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Oh No They Didn't! - LiveJournal.com

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    There’s nothing like a hot young-adult film franchise to make college-aged movie stars millionaires. A year after Twilight alum Kristen Stewart became the highest-paid actress in Hollywood, Hunger Games star Jennifer Lawrence has passed Stewart as the highest-paid actor—male or female—under 30, reports Forbes. The magazine estimates that the newly minted Oscar winner and charm incarnate was paid $26 million from June 2012 to June 2013—more than a million dollars for each year of the 22-year-old’s existence. Almost more impressively, the hefty payout was reached after Lionsgate paid Lawrence a comparably paltry $1 million for the first Hunger Games film.

    Kristen Stewart, who netted $34.5 million between May 2011 and May 2012, dipped down to $22 million for the year of June 2012 to June 2013, Forbes estimates.

    Both actors, however, still trail the world’s reigning pop stars in terms of paychecks. The Top-Earning Celebrities Under 30 list is topped by Lady Gaga ($80 million), Justin Bieber ($58 million), and Taylor Swift ($55 million). In related news: college interns, keep your chins up during those unpaid summer internships.


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    It’s nice to know that Azealia Banks still wants to do more with her days than stir up controversy via Twitter. “Venus,” her new collaboration with Paul Oakenfold proves that her day job as singer and rapper is one she continues to excel at. As for Oakie, he’s always done well when he taps into the allure of his guest vocalists. From Shifty Shellshock to Brittany Murphy and now Banks, he brings out the best in his guests.

    DJ Bl3nd, the masked hard house DJ with a notorious web presence, takes on the role of hypeman on this remix, bringing the original to turntup status. His “Venus” is primed for a festival main stage with drops so big you might fall from outer space. And that’s precisely where this tune must have come from, because six months ago nobody could have predicted there would be a track with Oakenfold, Banks, and Bl3nd in the credits, but here we are, fully in orbit. Listen to the premiere exclusively here:


    Azealia Banks is about to take over clubs and Top 40 radio with this!

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    "The Fantastic Four" is headed to the Deep South.

    The super-team reboot is moving production from Vancouver to Louisiana, a studio spokeswoman told TheWrap.
    Louisiana lawmakers recently killed a bill that would have reduced the state's film production incentive program, keeping its generous transferrable credits in place. That made Fox feel comfortable sending work there, according to an individual with knowledge of the decision-making process.

    This marks the first Marvel-based Fox film to shoot in Louisiana, after many of the studio's superhero movies -- such as "X-Men" and the upcoming "X-Men: Days of Future Past" -- were shot in Canada.
    "The Fantastic Four" isn't alone among tentpoles headed to Louisiana now that the specter of cuts has dissipated. "Pirates of the Caribbean 5" will also shoot in the state, Jerry Bruckheimer told The Playlist last month. The producers cited the tax incentives as the reason for the decision.

    Louisiana offers a 30 percent transferrable tax credit for in-state expenditures related to a film's production -- and an additional 5 percent labor incentive for hiring the state's residents.
    Casting on "The Fantastic Four" has yet to be announced, but the film is expected to begin production in September. Josh Trank ("Chronicle") will direct the film, which is slated for release on March 6, 2015.

    What's your FF fan cast?

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    Moderator Jonathan Ross started the panel by asking the audience, “I just want to check if we have the right people in here. Does anyone here have a problem with the idea that the earth may be more than a two and half thousand years old because your friends are outside holding placards.” referencing the various people that were outside Comic-Con this year holding religious signs. The audience responded enthusiastically and it was this incredibly strong love towards science that was a mainstay vibe throughout the whole panel and presentation.

    This was followed by the world premier trailer for the series, which you can watch below. Seth MacFarlane also recorded a special video for the panel from the set of A Million Ways to Die in the West, which played afterwards. The video was brief but MacFarlane made a point to say, “I’m more excited to be involved with Cosmos than any project I’ve been involved with throughout my career. Like many of you, the work of Carl Sagan and Ann Druyan inspired in me a lifelong interest and enthusiasm for science.” MacFarlane introduced the panel through his video and the trio of talent involved with the show received a standing ovation as they took the stage.

    Ross’ first question for the panel was, “We remember the first series and it was an incredible event. Why do it again and why do it now?” Druyan, who is also Carl Sagan’s widow, responded by saying, “Because it is a very big universe and there are so many stories to tell. In the first series, we covered a lot of territory, but there is so much left. So we have new stories, or stories that yet to be told, that we want to tell you. We also feel that the kind of cultural atmosphere and assault on science is ending finally, and that the pendulant is swinging back our way. We want to torque the zeitgeist in the direction of not only exploration, reason, the love of nature, but also for the vision of the future that we can still have. It is within our grasp and that is what Cosmos is about – what happens when your brain, heart, soul, eyes, and your ear are fully functioning. So it is time to get going.”

    Ross then asked Dr. Tyson about the new spaceship of imagination, which can be seen zipping around in the teaser, and how it will play into the show. Tyson responded by saying that it will serve as both a figurative and literary vehicle to move through space and time during the series. It will not only move in space, but it will also move into the future. The spaceship will move to wherever the storytelling requires. The spaceship, along with Dr. Tyson, will be traveling to the past, present, and future throughout the series as Dr. Tyson will transition from one place to another. “That ship expresses anything that I am thinking about at the moment. So there are no buttons. I’m talking to you about the past and the past will appear right where I need to be and right where we need to go. It will allow us to transition from one place to another and from one time to another.”

    Ross brought up what was up with the small bits of animation that appear in small glimpses throughout the trailer and if that was MacFarlane’s idea and how it will serve the show. Brannon Braga, who will be directing and producing the series, answered the question by saying that it was Seth’s idea and how the animation segments will tell stories about the heroes of science and past history, but instead of telling them in live action, the series will tell these stores by using animation. Braga said that the style will be very “graphic novely” and that MacFarlane’s animation studio will be doing the animation.

    Ms. Druyan also talked about how the series will have a respect for its audience and that there will be no “dumbing down” involved with the show.“Carl Sagan taught me respect for the audience and for the public. There is no need to dumb anything down. Just speak clearly and use the words that we all use to depict the grandeur of nature. Cosmos, the original series, and this series are exactly on the same level, which is that we speak to everyone.” She went on to add, “There is no limitation and there is no exclusion. The information we are wanting to share to the world belongs to all of us.”

    Much of the panel was focused on why another version of Cosmos is needed right now and how it feels like there is a whole new generation of people ready to change how the world looks at science and our place in the universe. Dr. Tyson brought up the growing attendance at Comic-Con as proof that there is still hope and how it feels like the pendulum is swinging back in favor of science and an appreciation of knowledge.“If Comic-Con people ruled the world, the future would be invented daily and warfare would be nothing more than bar fights with toy light-sabers. That is the world I want." said Dr. Tyson before praising the high production quality of the new series. “This is the right combination of the right people at the right time to get everything back on track. Carl Sagan’s Cosmos was a generation ago and you don’t want to go for more than a generation without having the reboot of who we are where we are heading in this universe.”

    Cosmos: A SpaceTime Odyssey will be premiering something next year spring 2014 on Fox as a prime time miniseries event. The trailer makes the new series seem as slick, trippy, and fantastical as one would hope. If this new rebooted take on Cosmos will live up to the original classic series is still a question that fans will have until the much anticipated project, which has been in production for years now, finally airs next year, but there is absolutely nothing that feels discouraging based on the teaser footage and the amount of talent involved with the new series. The amount of passion that was evoked again and again throughout the panel by Ms. Druyan and Dr. Tyson was something beautiful to witness and these words cannot come close to capturing the sense of love and awe that was felt throughout the panel. The Cosmos panel was without a doubt one of the highlights of this year’s Comic-Con and it looks like Cosmos: A SpaceTime Odyssey will definitely be something to look forward to in 2014.

    a - b - c - d - e

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    What happens when Austin Mahone hangs out with the fellas of Big Time Rush? Well, fans will find out this Thursday when the singer stops by the Nickelodeon series of the same name.

    But before show time, MTV News has an exclusive first look at the VMA-nominated singer's appearance on the season finale, dubbed "Big Time Dreams," airing on Nick on July 25 at 8 p.m. ET.

    In the sneak peek, he is pictured hanging out with BTR actress Ciara Bravo, who plays Katie Knight on the series. And, in another first look, the top hat-wearing heartthrob hangs out with the boy banders, who look to be approving of something by giving Mahone a bunch of thumbs (and fingers) up.

    "This episode is a fitting ending to season four," Kendall Schmidt told MTV News in a statement. "We always try to go big, and we worked hard to make a finale that will make a lasting impression."

    In addition to Mahone, the special will also feature appearances from Nick Cannon, Alexa Vega, Karmin, Mindless Behavior and Fabio. The episode revolves around the Tween Choice Awards, where the boy banders are nominated and booked to close the show. But before the foursome can take the stage, they uncover an evil plot to brainwash everyone in the audience. So BTR have to take down the bad guys and make sure the show rolls on as scheduled.

    It's a big summer for both Mahone and BTR. BTR are currently on the road with Victoria Justice on their Summer Break Tour, which wraps up August 11 in Milwaukee. Back in June, they dropped their latest album, 24/Seven.

    Meanwhile, Mahone just found out he's up for an Artist to Watch, Presented by Taco Bell Moonman at the 2013 MTV Video Music Awards for his Colin Tilley-directed "What About Love" video. This year's VMAs are taking place on August 25 live from the Barclays Center in Brooklyn.


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  • 07/24/13--18:16: Norman Reedus at the airport
  • Image and video hosting by TinyPic

    Norman Reedus, aka Daryl Dixon on the hit show 'The Walking Dead', catches a flight out of Los Angeles.

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic


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    'Blue Jasmine' after party 07/22

    GMA 07/23

    The View


    'Blue Jasmine'
    By Lily Rothman

    In Woody Allen‘s latest film Blue Jasmine—in theaters July 26—Cate Blanchett takes on the title role of Jasmine, a troubled woman forced by financial crisis to leave her lofty New York home for a San Francisco set-up with her sister (played by Sally Hawkins). This week’s issue of TIME features a look at where Blanchett fits into the pantheon of Woody Allen’s women—but that’s not all Blanchett discussed when she spoke to TIME.

    To read the full story about Woody Allen’s women, subscribe here. Already a subscriber? Click here.

    TIME: There was an item in the news in May where a journalist asked the author Claire Messud whether she would want to be friends with her character. Did you by any chance catch that?

    CATE BLANCHETT: I didn’t, but I think there’s a version of that question that gets asked to actors as well, which is ‘do you like your character.’

    Messud was upset because she said that nobody would ever ask a male writer that question. So I guess this is a two-part question. First, what are your feelings about Jasmine as a person, in terms of whether you sympathized with her?

    Sympathy doesn’t really come into it. Perhaps empathy does. I think if you’re too embroiled in the need to relate too closely to the character then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.

    In your experience, is that question of likeability something that people are more interested in for women?

    I think that that’s probably a pretty accurate assessment. Someone who’s attracted to a female character or finds them likeable is… well, it depends who the critic is, whether it be male or female, what their frame of reference is.

    In terms of preparing for this role, what kind of research did you do?

    Woody Allen is a great dramatist and a great comedian. So you are part of Woody Allen’s project, and that really is it, first and foremost. To be frank, I watched that brilliant documentary on him, repeatedly, to get a sense of who he might have been and who he is as a working artist and what other people’s experiences were like. But Jasmine’s experience is a quite common experience for people at the moment, certainly in the last five years—people who seem to have it all losing everything, and people who don’t seem to have much having much more than you think they do.

    Do you mean specifically the financial side?

    And in a social sense, and also in a moral sense. I think people have been confronted by all of those things in recent years, so it feels like a landscape that’s very current for a lot of people. But then there’s classic elements to Jasmine, like the delusion and the evasion, and who she perceives she is trumping who she actually is.

    So it’s not really a period piece.

    The wonderful thing about Woody, as a writer, is that he’s able to tap into things that are universal, almost archetypical, but then seem really current. I think there was a strong interest for him, in the film, in the fact that people in life are faced with choosing between reality and fantasy.

    You mentioned watching the Woody Allen documentary—what were your expectations going into filming, based on that? How did that compare to reality?

    Well, it had been said that there wouldn’t be a lot of dialogue with him but I found him very forthcoming, incredibly frank, and really generous and refreshingly honest.

    What was the atmosphere like on set?

    Pretty buoyant, actually. I think place has a lot to do with the atmosphere in Woody’s pictures, but very collaborative. You always feel in a way that you have a hold of Woody’s interest and so it makes people leap into the project. There’s this great energy around it.

    It sounds like the way people describe meeting politicians, the feeling of someone being really interested in you and what that does.

    It’s sort of a terrifying thought, until you realize he isn’t that interested. And he just wants to get the work done. A lot of his direction happens in his writing and what he’s interested in is seeing what people do with it. If they don’t do something with it, he’s not that interested, and if they do do something then he is.

    What initially drew you to the character when you read the script?

    Well, obviously, if Woody Allen calls and says he wants you to read a script of course you read it. It was a fantastically well-drawn story that you don’t want to screw with. And then once I heard the cast that was being assembled, it was delicious. I’ve long admired Sally [Hawkins]. And Bobby [Cannavale]’s a great stage actor as well as on television and he’s extraordinary. And Peter [Sarsgaard], and then with Alec [Baldwin], all those key relationships, you could already taste them before you got there. I just adored them all. This is sounding a bit wet, isn’t it? The making of it was actually quite robust for quite a delicate, fragile set of relationships.

    You’ve worked with several directors who are such personalities – like Woody Allen, Wes Anderson, Terence Malick – does that change the experience of making a movie?

    I think the atmosphere on set really comes from the material, but also the director. And I think with those three directors you mentioned, who I’ve had the great good fortune to have worked with, when you work with them you do understand their body of work and their preoccupations—but you don’t want to presume their preoccupations. Because the reason that they’re brilliant and they keep doing what they do is that they keep stretching in new ways each time. Just like you don’t want to be boxed into a corner as an actor, you do want to box a director in and assume what they want. It’s a dialogue, and what great good fortune to be in dialogue with those gentlemen.

    What went into creating Jasmine’s voice? The way she spoke was so of a place and class.

    She’s always been a fiction constantly rewriting herself, so in deciding how she spoke the most important thing was that she and [her sister] Ginger were very different. It depends at what moment you choose to crystalize your identity, and I think it was when she was at university and realized she wanted to move in a certain class of men and women. That’s sort of where her identity, her voice, her persona, her physique, started to sort of form itself.

    Were there particular cultural references or people that you thought Jasmine would have based that persona on?

    There are certainly many women who I’ve encountered over the last few years, that I’ve just thought “oh, that’s interesting.” They don’t necessarily have to live on the Upper East Side [of Manhattan] but, yes, there are certain sounds. I’m not from there so I listened to as many people as I could. Documentary is great; radio is great. It’s not based on any one particular person.

    Do you have any interest in directing movies?

    If the right project came along, absolutely. I’ve directed things in the theater but it’s very much based on the material. I’m not out there looking. I’m very happy working as an actor.

    But never say never?

    It seems like hubris when you’ve worked with Woody Allen and Terrence Malick and with Anderson and Scorsese, to say that.

    The Essentials: 5 Great Cate Blanchett Performances

    There are very few actors, in these days of soundbites and tabloids and gossip blogs and 15-page colour spreads in which we are “invited into their beautiful home,” that we can truly say we don’t get enough of. And there are fewer still, who even in that glare of publicity that surrounds a new film’s release, do not end up somehow diminished by the process, dissected and dissassembled and repackaged and repurposed for use as a tiny cog in a big marketing machine. But Cate Blanchett is one of the rare few who manages that trick, again and again, retaining a cool, inviolate and perhaps slightly detached image, even as the performances she gives can be frightening in their engagement and commitment. And it’s another such that Blanchett reportedly gives in Woody Allen’s “Blue Jasmine” which opens this Friday, and for which she’s already garnering early awards buzz. We called it “ an outstanding firecracker turn … that has Oscar-worthy written all over it in flames”

    Aside from her striking face (the alabaster skin, crescent-shaped eyes, cheekbones you could hang a week’s washing on), this quality of aloofness is one of Blanchett’s unique attributes as an actress, a kind of absence of desperation, which makes her seemingly completely unafraid to take on characters who are partially or wholly unlikeable, or to invest even her heroines with a certain moral ambiguity. Blanchett, we feel, doesn’t care if we like her characters, as long as we are convinced by them, and as a result, while she certainly has the grace and the beauty to have more frequently taken the beautiful girlfriend/wife role, or the straight-up romantic interest, mostly she has avoided that trap and turned to characters with much more depth and agency. Or maybe that’s just what she has brought to the films. In any case, we thought this was a good moment to take a look at five of the roles that we consider among her best.

    Controversially, no doubt, we left two of the more famous, indelible Blanchett performances off the main list, partly because we wanted to have a chance to shine a light on some other, lesser seen films and partly because, while she’s extraordinary in both, she’s a supporting player in a much larger ensemble in the “Lord of the Rings” and ‘Hobbit’ movies, and in “The Aviator.” But of course it should be noted that her ethereal elf Galadriel brought her to a whole new level of fame (and really, we can’t imagine anyone else being able to walk that line between otherworldly goodness and beauty, and actually being quite uncannily terrifying when she needs), and that her Kate Hepburn brought her a Best Supporting Actress Oscar. The latter is a turn that proved a little divisive, with some accusing her of straying too far into impersonation, but as bigs fans of Hepburn ourselves we have to say we found it one of the definite high points of the Scorsese picture.

    Neither film, however, could by any stretch of the imagination be called a “Cate Blanchett film”—here, instead are five in which hers is a lead role, and which each shows a different side of this versatile, fascinating actress. What they all have in common, though, is that certain restraint, even when she’s playing messy and broken, that is a bravery all of its own: Cate Blanchett always allows herself, and her characters, to retain a sliver of mystery, of unknowability, and far from this creating distance from the audience, for us at least, it almost always invites us deeper in. MORE

    Elizabeth” (1998)

    I’m Not There” (2007)

    "Notes On A Scandal" (2006)

    Honorable Mention IMO

    Veronica Guerin (2003)

    The Aviator (2004)

    Babel (2006)

    TLTR(2001) & The Hobbit(2012)

    Oscar and Lucinda (1997)

    Karl Lagerfeld creates Chanel costumes for Cate Blanchett's latest film

    Ask any designer which celebrity they would most like to see wear their clothes and you'll probably get 'Cate Blanchett' as the answer.
    The Oscar-winning Aussie seems to have cast a spell over the fashion world, expertly sporting hard-to-wear pieces by Balenciaga , Givenchy and Armani Privé from red carpet to red carpet, never slipping up.
    She brought a little bit of that magic to her latest film, the Woody Allen-directed Blue Jasmine , in which she plays the titular role of Birkin-toting Jasmine, a perfectly-primped Upper East Side New Yorker who loses everything and spirals into a breakdown.
    The character called for some serious designer duds and, naturally, with the mere mention of Blanchett's name and the designer's came running.
    "I called up Karl Lagerfeld and, I have to tell you, I was astounded," costume designer Suzy Benzinger told Lucky magazine . "I sent a note and in two days he shipped out two custom made jackets for Cate Blanchett with the most beautiful note.And I just thought, 'Oh my god,' and he just said 'For Cate, I'd do anything'".

    Cate Blanchett’s Audition for Blue JasmineLasted Less Than Two Minutes

    To Cate Blanchett, Woody Allen’s no-nonsense, get-it-done directing style on Blue Jasmine was a revelation. “Ninety-seven percent of his direction is in the screenplay, and then he just wants to get out of the actors’ way,” Blanchett said at the New York premiere last night. “But I love the dialogue with the director, so, you know, I’d ask him a question, and he’d answer it. He was pretty practical.”

    The audition process was equally streamlined. “He called, and we spoke for about a minute and a half, and he said he had a script, and was I interested in reading it, and I said, ‘Uh, yes I am,’” Blanchett told VF Daily. “And he sent it to me and said, ‘Call me when you’ve read it.’ And I called, and we spoke for another 45 seconds, where I said I’d love to do it, and he said, ‘Great, I’ll see you in San Francisco.’”

    While she plays the wife of a disgraced financier, à la Ruth Madoff, Blanchett says the story is not necessarily based on the Madoff scandal. “Like everybody else, I had followed that phenomenal betrayal and transgression. But that’s a movie in and of itself; I mean, I think that’s just in everyone’s consciousness,” she explained.

    At the premiere, where Blanchett wore a striking Balenciaga ensemble, an original archival piece that was re-created for her, she joked that she was able to play the part of a Park Avenue socialite “with surprising ease.”

    Of working with Alec Baldwin, who plays her Ponzi-scheming husband, she said, “It was like cream. He’s so intelligent and inventive and generous. I loved it.” (Baldwin recently "The real thing in this movie is Cate Blanchett shows you again—again—why she is one of the three greatest movie actresses alive today. Being around her was like being on cocaine. She was such a thrill. I love her." to VF Daily.

    Peter Sarsgaard said he was initially nervous about working with Allen, and that it took him a while to relax in his role as an ambitious politician. “You definitely feel like if the camera is on and it’s pointing at you, there’s a good chance it’s going to be in the movie, because he doesn’t take a lot of shots and do a lot of takes,” Sarsgaard said. “But then when I got on set and I realized that he wanted me to do a good job, then I relaxed a little.”

    When Andrew Dice Clay’s manager called and told him that Woody Allen wanted to meet him, he thought he was kidding and nearly hung up. He explains that he was nervous just to meet the iconic director. “I wanted that to go right because sometimes you meet with a director or producer, and you just don’t hit it off personally,” Clay said. “But myself and Woody, we both grew up in Brooklyn, we went to neighboring high schools, he’s a comic, I’m a comic, there was no problem with dialogue between us. And it just really worked out.”

    Though Woody Allen has worked with many big stars, Blanchett was a force of nature, according to Sony Pictures Classics executive Tom Bernard. “He was in awe of Cate Blanchett,” Bernard told VF Daily at an after-party at Harlow. “He couldn’t believe it. He had to just step aside. He was really amazed by her.”

    Allen was out of the country and did not attend the premiere, but he sent a text, which his publicist, Leslee Dart, read aloud: “I’m in the South of France, so I can’t be there this evening. I only wish I was in New York, and couldn't be there.”


    We might have award season with Queen Cate!



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    Kellan Lutz, who played Emmett Cullen in "The Twilight Saga," is in early talks to join Sylvester Stallone in "The Expendables 3," an individual familiar with the Lionsgate project told TheWrap. Lionsgate did not immediately respond to a request for comment.

    Australian filmmaker Patrick Hughes, who has a successful background in commercials, is directing the action-packed sequel, which Stallone is producing with Millennium Films.

    According to insiders, "Expendables 3" will introduce a younger group of tech-savvy action heroes who initially clash with the older crew, though they eventually team up to save the day.

    It remains unclear which surviving cast from "The Expendables 2" will join Stallone in the sequel, though action heroes Jackie Chan and Wesley Snipes have been rumored for new roles.

    While Stallone has hinted on Twitter at the potential casting of Mel Gibson, TheWrap has confirmed that the "Lethal Weapon" star is not officially involved with "The Expendables 3" at the moment.

    "The Expendables" films have grossed more than half a billion dollars, and the latest sequel will start shooting next month. "The Expendables 3" hits theaters Aug. 15, 2014.

    Since his breakout role in the "Twilight Saga," Lutz has starred in Relativity's "Immortals" and the Michael Bay-produced remake of "A Nightmare on Elm Street." He recently wrapped the title role in Renny Harlin's "Hercules 3D" and also stars in an upcoming "Tarzan" movie.

    Lutz is repped by Innovative Artists, Zero Gravity Management and attorney Jeffrey Endlich.


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    Taylor Swift, the pride of Berks County was in Philadelphia last weekend to perform two shows at Lincoln Financial Field. And a girl’s gotta eat, right? After Friday night’s show, Swift and her entourage popped into Ralph’s in the Italian Market for a late-night dinner, as dutifully documented by intrepid photojournalist HughE Dillon over on PhillyChitChat. Swift, seen above in Ralph’s dining room, had chicken parm.

    According to two sources, one of whom is a waiter at Ralph’s, Swift left a $500 tip on an $800 check (that’s 62.5%), which may just make her the most generous 23-year-old on the planet. Maybe she needs to have a chat with that douchey Justin Bieber, who is a reported stiffer.

    Other Celebs worth mentioning being generous tippers
    David Beckham: left a tip of $1,000 on a bill amounting to $100
    Julia Roberts: always tips 100% of her bill
    Johnny Depp: left a $4,000 tip at a Chicago Steakhouse

    Celebs who have not been so generous tippers
    Lebron James: left $10 on a $800 bill
    Miley Cyrus: did not leave a tip when she and her sister went to Outback Steakhouse
    Jeremy Piven: left a Entourage box set as a tip
    Usher: notorious for leaving an autograph instead of a tip

    Below, a photo Ralph’s posted on its Facebook page of Swift and friends posing with staff:

    source / source / source

    So ONTD be honest are you a good tipper or a bad tipper? Have you ever completely bailed on leaving a tip? Have you ever worked in the service industry and got a bad tip when you deserved more?

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    at 3:07


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     photo ellen-page-592x416_zpse19d0bdd.jpg

    Actress Ellen Page has been asking herself some big questions since starring in the eco-thriller “The East”. Mostly dealing with how one can live ethically in a world so filled with corruption.

    Turns out, the actress, who studied permaculture, design and eco village development at Lost Valley in Oregon, met a lot of people who lived the freegan lifestyle, and questions whether or not that’s the route she should take.

    Page said in an interview, “Every morning when I wake up and open my eyes I am unwillingly oppressing a lot of people and the environment to live in the privilege that I have — that we all have living in this area of the world. Not that everyone in this area of the world experiences that. And that’s a hard thing. I think that is something a lot of people are dealing with right now and it is hard to know if running away to the woods and becoming a freegan is the best choice, or do we stay in the infrastructure we’ve inherited and do our best to create positive change? I don’t necessarily know the answer. Maybe I’m just being a selfish jerk.”

    What is a freegan? According to this site, “Freegans are people who employ alternative strategies for living based on limited participation in the conventional economy and minimal consumption of resources. Freegans embrace community, generosity, social concern, freedom, cooperation, and sharing in opposition to a society based on materialism, moral apathy, competition, conformity, and greed.”

    It’s true that, even without being a movie star, most Americans live a life that is destructive to the planet. Whether it’s our eating habits, our desire to shop, our love affair with cars or any of the hundreds (probably thousands) of other ways our lifestyles hurt the planet, the average person is prone to doing much more damage than good. While you’re not likely to find me dumpster diving anytime soon, there are certainly many ways to incorporate freeganism into daily life. Perhaps Page will find a balance between more traditional life and reducing her impact through freeganism.

    Do you practice any sort of freeganism?


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    Amanda Bynes’ metamorphosis from a promising child star to a bizarre woman with worrying behavior is yet another example of how the MK-Ultra entertainment industry messes up the minds of those who grow up within it. While most media sources cite “drugs” or “mental problem” as causes of her erratic behavior, these are only symptoms of the true issue here: Bynes is yet another former child star going through a MK programming meltdown.

    Bynes began her acting career at the age of ten and quickly obtained her own show at Nickelodeon. From there, she followed the unfortunate pattern of going from a star admired by children to a “barely-legal” sex bomb to then turn into a bizarre tabloid celebrity with erratic behavior. Is that pattern familiar? Look at the paths taken by other products of Hollywood Mind Control such as Britney Spears and Lindsay Lohan and see if you see similarities.

    When she reached legal age, mass media undressed her and told the world: “Hey, she is not minor anymore! It is now safe to sexualize her!”. How many child stars went through that process? How many lead great and healthy lives afterwards? Not many.

    This “Got Milk” ad is about “metamorphosis”. However, the metamorphosis Bynes’ went through in the years following that ad were definitely not due to drinking milk but to Monarch Mind Control. Maybe that is why there’s a butterfly on her nose.

    Now, at age 27, Bynes looks and acts extremely different, as if she was thoroughly traumatized and “re-programmed” in the past years. Was it Monarch Mind Control? When approaching the age of 30, MK slaves often go through a meltdown – a result of the their minds and bodies not being able to cope with the intense trauma they are subjected to anymore.

    Not unlike Britney Spears, Bynes was spotted acting strange in public places, wearing bizarre clothes and even shaving her hair. Here’s a video summing up her recent “meltdown”.

    Since then, things got even weirder when as she began posting tweets and videos displaying increasingly worrying behavior. Her tweet requesting rapper Drake to “murder her vagina” confused many as her odd choice of words maybe revealed an unhealthy relation with her own sexuality.

    The “selfie” video freaked out quite a few people as is not only indicative of someone that is “not well” – It almost looks as if it’s a MK programming glitch.


    Amanda Bynes’ metamorphosis from a promising child star to a bizarre woman with worrying behavior is yet another example of how the MK-Ultra entertainment industry messes up the minds of those who grow up within it. While most media sources cite “drugs” or “mental problem” as causes of her erratic behavior, these are only symptoms of the true issue here: Bynes is yet another former child star going through a MK programming meltdown.

    Like many other child stars, Bynes started as a beautiful, down to earth girl with eyes that convey intelligence (according to IMDB, she was a straight-A student).

    When she reached legal age, mass media undressed her and told the world: “Hey, she is not minor anymore! It is now safe to sexualize her!”. How many child stars went through that process? How many lead great and healthy lives afterwards? Not many.

    Recent “selfies” show Bynes with a half-shaved head (Britney Spears shaved her head during her meltdown), increasingly revealing clothing and a disturbingly vacant eyes.

    While many people in media now perceive Bynes as some sort of running gag, her “antics” are becoming increasingly disturbing and worrisome. Her actions cannot simply be explained away with “drugs” – They are symptomatic of a deep-seated psychological process that thoroughly modified her, physically and mentally. It is said that “Eyes are the window to the soul”. Well, look at her eyes then and now. This is what years of industry Mind Control does to a soul.

    From a child star, to sex bomb to loose canon, Amanda Bynes is going through a pattern that is constantly repeated in the entertainment industry. How come these starlets go through the exact same stages? It is because they went through the same “school”: Industry Mind Control.



    Monarch Mind Control is a form of mind control which creates a mind control slave by utilizing the human brain's trauma response of dissociation to create a form of Multiple Personality Disorder (MPD) wherein various triggers can cause the slave personality to surface and respond to commands given by the master ("Handler" in Monarch parlance).

    The Monarch Mind Control designation was originally applied by the US Department of Defense to a sub-program under the CIA's MK-Ultra Program. However, the techniques employed in the Monarch programming system extend back further under various names, such as the Nazi marionette programming.

    Even further back, the techniques used in Monarch programming can be traced to various generational Satanist families among European royalty. The MPD state created by the Monarch programming techniques were used to isolate the personality involved in Satanic rituals from a public face. Without this alternate personality, the nobles practicing Satanism inevitably went insane, so it's practice spread rapidly through the occult community.

    It is unclear who first started practicing the MPD techniques as a way of creating mind control slaves rather than as a defense mechanism, but it is clear that the Nazis were using Electro-shock and binding to create slaves in the 1940s. After World War II, some German and Italian psychologists who were working on Marionette programming were brought to the United States to continue working on their research.

    After the original development of the Monarch program inside of MK-Ultra, it has been adopted by other groups such as the Illuminati and the American entertainment industry. Very notably, since the 1970's the Disney corporation has been involved heavily in Monarch programming, and several of their films (especially Alice in Wonderland) are used as a base for Monarch programming.

    Over 1 million Americans have had Monarch programming applied to them.

    Monarch programming is achieved through repeated abuse and torture, until the victim dissociates from reality into a fantasy world in their head. When that happens somehow an alternate personality is created, and the handler (abuser) can trigger this personality at any time.

    Beta programming is sex kitten programming, used to create "ultimate prostitutes" as well as celebrities used to sell sex in the media to the masses. Making it look cool and awesome to be sexually abused and over used. They are made to be devoid of all sexual inhibitions. Take a look at Courtney Stodden.

    Delta programming is used to program soldiers and patsys to carry out ritualistic murders.

    Monarch programming is applied when a drone is needed to carry out commands which are of a morally questionable nature. Monarch victims are used for assassinations and murders which must be carried out for political purposes. It is used heavily within the entertainment industry to create easily manipulated music stars. One variation of the process, known as "Kitten" or "Sex Kitten" programming is used to create willing sexual body slaves.

    Many modern female musicians have performed in videos with multiple allusions to Monarch mind control including Miss Monroe, Lady Gaga, Jessie J., Britney Spears, Christina Aguilera, Katy Perry, Hillary Scott of Lady Antebellum (who is also a Handler) Taylor Swift, Amanda Bynes, Justin Beiber, Miley Cyrus and many more.

    Kittenet programming, sometimes referred to as "BETA" programming utilizes incest and sexual abuse to program a woman or man as a willing sexual slave. Often the handler is referred to in this context as "Daddy" or "my lover."


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    Michael Vartan will join "Bates Motel" in Season 2 as a love interest for Vera Farmiga's Norma Bates, according to TV Line.

    The "Alias" star will recur in Season 2 as George, "a recently divorced charmer" who was described in the casting sides as potentially being "The One" for Norma.

    Farmiga recently told TV Guide that a new romance can't come a moment too soon for Norma: "She sure needs it. Her neediness gives her an urgent desire to touch and kiss Norman, and that need should probably be filled by someone other than her son," she pointed out.

    The A&E series is also casting roles for Christine, described as "a local socialite in her late 30s who becomes Norma’s first real friend"; and Caleb, "Norma’s estranged fortysomething brother" who arrives in town to try and convince his younger sister to invest in a new (and probably sketchy) business venture.

    The show was renewed in April for a 10-episode second season, which is scheduled to premiere in 2014.

    Source: Huffington Post.
    I need this show back like... now. My Monday nights feel so empty.

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    The brunette beauty discusses her rise from Irish dance competitions in Canada to the pages of American Vogue— and beyond.

    I was discovered at an Irish dance competition when I was 14. I was sitting with my friends and this older man came up to me and said, “Have you ever thought of modeling?” I actually thought he was one of the security guards or someone who worked at this dance competition, and he was going to tell me to remove my feet from the fancy tables. All of us thought it was some kind of joke— or that this man needed glasses.

    If you think of a model, you probably think of a gorgeous, beautiful bombshell of a woman — not so much a lanky 14-year-old girl at an Irish dance competition. I was laughing hysterically, but secretly I was also kind of excited that someone thought I, of all people, could be a model. I told him to talk to my mom, who was also there at the competition. She was like, “No, no way are you having my daughter model.”

    But this guy didn’t give up, and I kept seeing him at different dance competitions because his daughter danced as well. Finally my mom gave in. I don’t know why — maybe she was intrigued by the idea too.

    So he took me to get photos taken. I wore my [own] clothes — I had no style, and I had gotten my makeup done at the MAC counter. The photographer didn’t want any wrinkles in the front of my shirt, so instead of Photoshopping them out, which he didn’t want to do either, he would make me pull my top taut in front of me for every shot. It was just a big mess. If you saw the photos, you would have never said, “Yep, that’s a model!”

    Coco's first test shoot.

    Despite all of that, I then went along to a modeling convention that agents from around the world were attending. Usually you’ll get called back by one or two, but I got callbacks from all of them, which was kind of crazy.

    I went to work with the agency Supreme in New York. At first they had about 75 girls. Then, all of a sudden, Supreme changed their agents and said they were removing [almost] all the girls. Only a few were invited to stay — in the end only two of us stayed. It was all part of a larger shift to a more androgynous look, where the agency wanted really skinny girls with edgy haircuts. Paul Rowland — the founder of Supreme and Women, who’s no longer there — was trying to change the whole industry, which I think he did by signing all these really boyish girls. All the while, I was thinking, How exactly do I fit in this group?

    When I was 15 I was sent to Asia, to [work in] Taipei and Singapore. I was sent there because I’m Canadian, and you need to have a certain amount of tear sheets and a few different covers to prove you’re a model worthy of a visa in the U.S. I didn’t have a lot of work under my belt at the time, so it made sense. In Taipei, I truly learned my “modeling 101.”

    Today I’m known for posing— I would definitely say that came from Taipei. At castings there, agents send you with a few girls in a car to go see a client. The client sits there at a table with about 10 people and says things like, “Our catalogue today is Hello Kitty” or “sexy” or “cutesy.” And you depict what you think that means. You have a minute to give them all your poses, almost like a dance-off — but a pose-off. If you book the job you may get to do a catalogue of 75 photos. The new girls would always say, “What on earth am I doing?” And you’re like, “It’s normal. You’ll get into it.” I thought that’s how modeling was, and I came back to New York and I’m doing all my poses and people were like, “What on earth are you doing?” They just couldn’t understand the whole “dance” I was doing when I got in front of the camera.

    I booked two jobs a day in Asia, so 75 looks, and then at night another 75. Two catalogues a day for two months. I thought it was awesome — I was getting paid and I thought they were great photos. [Then] I actually looked back at them a few months ago and, oh my goodness — they are actually the worst photos I have ever seen.

    After Taipei, I went to Singapore and worked on my portfolio further. Singapore is a great place to make your book. Visually, they have interesting concepts, and their photographers are very good.

    A selection of Coco's early modeling work from her gigs in Asia

    When I returned to the U.S., all of my agents had left Supreme. I decided I wanted to leave also, to join [them] at Elite. Paul Rowland readily signed for my release. I guess he thought I was a waste of time. Once I got back with my old agents, they sent me on a Steven Meisel casting that immediately turned into my first shoot with him in L.A. In fact, it turned into a six-month exclusive with Steven, meaning I would work only with him on my jobs— my shows, everything.

    When Paul found out about Steven and saw that I had exclusivity, he tried to come back and say, “You can’t leave Supreme, you never were allowed to leave.” But he had signed me away, so that was that. Any time a new girl gets to shoot with Steven, it usually means the industry is going to start to take her seriously because he takes her seriously. I think there are two major players in this industry who can actually do that: Steven and Anna Wintour.

    On my first shoot with Steven, I remember thinking, Pose, pose, pose— and Steven was just smiling and looking at me in an odd way. I thought, “Maybe I’m not supposed to be doing all this, but hey, I’ll just try it.” And funnily enough, after that first shoot I got a phone call saying I had six months’ exclusivity.

    Steven loves models. That’s what the whole industry is to him — it’s all about shooting the models he loves. As a kid he would wait outside of agencies or phone up casting directors — he was always in love with models, so it makes sense that he would become the ultimate model maker. He made Naomi [Campbell], he made Linda [Evangelista], and how crazy that I can say he made me too!

    He has a classic way of doing things. When we get on set, the girls are always taken care of— he makes sure they have water, that they’re comfortable. He has a huge mirror so that when we pose with 10, 15 girls, we can all see how we look. Everything is calm and perfect. And since he makes you so comfortable, you don’t mind taking the time to just sit there while he makes sure the lighting is just right or gives you lots of direction that will make you look your best in the end. Some models don’t like to be told what to do and want to be left alone to do what they think — but with Steven, they all want to take his direction. You never doubt him, he’s just so good.

    During the first season of shows I did under Steven’s tutelage, my agents started booking me for a wide range of clients. However, Steven wanted me to be completely exclusive to only a very, very small group of clients and sent over his “list.” As I went from New York to London to Milan, the industry started to hear about this list, so when I finally got to Paris, big designers were trying to get their name on the list. It was, now looking back, one of the craziest times in my career. Who does that for a model?

    I remember my first season of shows in Milan under Steven, Prada said they wanted exclusivity. So I did all the looks for them — the makeup, the hair tests. Then in the end they said I would not be their exclusive girl. I was so upset because I’d missed all my castings and chances for the other shows [on Steven’s list], but lo and behold, my agents sent me anyway — immediately! So I went to see everyone and I got all of the other jobs anyway. I got to do every other show on the list.

    I learned to do runway in a very specific way. The guy who taught me, Mac, is a big, big guy with shoulders like a football player. But he walks in heels and it’s this incredible stomp. We were in Times Square on a rooftop in the summer, and we had to walk on tar that sunk in when you walked on it. I remember so clearly that I was trying to make sure my feet weren’t getting stuck in tar over and over and over in practice. When I did the actual shows, I thought, OK, you give a stompyou really give a walk.

    Coco werqing her fierce runway walk for Versace

    Brana Wolf was styling Versace at the time, and she had already seen me walk in a few shows. I could see Donatella [Versace] was leery about me because I am the most pasty-white girl in the world, and at the time a lot of girls were getting spray tans for her show. And Brana said, “But just wait — watch her walk.” So I gave my best stomp down the runway and I just remember Donatella nodding and saying, “OK, you can do the show.”

    I met a lot of important people my first year modeling. I didn’t know very much about most of them at the time. I remember Anna Wintour being really nice when I met her. A lot of people had said, “She might be a little scary.” Or, “She might be a little overwhelming.” And I was like, “What? This is awesome. She’s great.”

    My first American Vogue shoot was actually with [photographer] Arthur Elgort and [Vogue creative director] Grace Coddington in Maine; we shot there for three days. Usually when a model is doing a test shoot for American Vogue, you don’t get a full editorial— the girls that were already doing a lot of shoots for American Vogue told me I would probably be a foot model at first to see how I work. Well, amazingly, I got my own editorial. We were in this little fisherman’s village where they had asked this young fisherman my age if he would be in a photo with me on a boat. The whole town came out and they were really excited for him. At the end of they day, all the kids in this town go bowling. And Grace is like, “Yeah! Go Coco! We can put you in Balenciaga and you can go bowling!” I’m like, “I really don’t want to go bowling,” and she’s like, “No, no, no, just go bowling!” So I said, “OK, but I’m not wearing Balenciaga.” So I went bowling with them in my own clothes. She just thought it would be an epic moment to say that I wore Balenciaga going bowling, but I didn’t. I wish I did, looking back.

    That whole first American Vogue trip I felt like Grace and Arthur were my sweet aunt and uncle. I’d go to them and say, “Can I eat with you guys?” And they’d say, “No! We’ll give you some money and you go have some fun with the local kids and eat dinner with them.” It was really cute.

    My husband James and I work every day together. Some people would kill each other, but we wouldn’t have it any other way. James is my manager— he works with the books, he makes sure that contracts and agencies are in line, but he also works as my own personal creative director. All the projects I’ve taken on outside of modeling, from designing a jewelry line to making a short film, have happened because of him. He also helps with my social media. It’s a true partnership. Actually sometimes we joke that he’s more important to the Coco Rocha brand than I am!

    My first foray into TV was interviewing people backstage at shows for E! Canada a few years ago. The microphone just said “E!” so everyone was running over thinking it was U.S. E! — and we didn’t set them straight. I was then asked to do some big TV shows but nothing ever fell into place — either the idea wasn’t interesting to me or I didn’t like the production values, so it didn’t happen. But The Face [was different]. I immediately loved the concept; I was already mentoring models on the side, which I love to do. So when I heard that Shine Production and Oxygen were thinking about doing a show and I could mentor girls as part of it, it was perfect! I could teach my girls on my own terms. As for that experience as whole, there will be a second seasonand you’ll have to see who’s coming back. That’s all I can say.

    Sometimes I miss the runway. Doing the actual show is like a performance to me. But I don’t miss the whole backstage part. Backstage at one show, a girl from England, who was very hyper, bumped into this Russian girl who said, “That is enough! You will not do that anymore!” And all of a sudden all the Russian girls started to encircle this English girl, which made all of the English-speaking models circle, West Side Story style. This little English girl in the middle was just about to bawl because she didn’t mean anything, she was just jumping around. But everyone’s emotions are so heightened from being around each other all the time in such a frenetic, high-pressure environment. On the runway they passed, and the Russian girl just smashed into the English girl to prove a point. So that’s always fun — I love drama. As long as I’m not in it.

    ( SOURCE )

    Well, this was a pretty interesting backstory of her modeling life. But... never forget, y'all...

    Favorite models post? Which models do you stan for, ONTD?

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    Jack Gleeson in the short film Chat

    Chat Short Film from David Cullinan on Vimeo.

    Chat is a short film about the connection between two people, Adam & Jane.

    Jack helps promo a local literary magazine

    Jack shows up at 01:26

    Such a flawless individual, I can hardly stand it. Also, in "hey, those two know each other???" news of the day, HERE is an Instagram video of Jack courtesy of none other than Emma Greenwell aka Mandy Milkovich from Shameless. Lol ok.

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    Kelly Cutrone, the sharp-tongued fashion publicist and America's Next Top Model judge, believes society's 'emphasis on thin' stems from consumers, rather than the fashion industry.

    The 47-year-old founder of publication relations firm, People's Revolution, told The Fashion Spot: 'Society has a hyper emphasis on thin and that trend comes from the consumers — it does not come from the fashion industry.

    'The fashion industry needs to make money, that's what we do. If people said, "we want a 300 pound purple person," the first industry to do it would be fashion.'

    She continued: 'You look at the Dove campaign in Times Square — it sticks out like a sore thumb. Those girls in the white T-shirts and underwear, next to Calvin Klein [and all the other fashion ads].

    'As a consumer, it doesn't make me want to buy Dove. I'm all for the real look, but as a consumer it doesn't make me want to buy clothes.'

    Dove’s Real Beauty Sketches campaign, however, which has been viewed more than 55 million times on YouTube since its release in April, was instantly praised for its 'inspiring reality check' by consumers.

    And according to AdAge, Dove's U.S. sales increased by one per cent in the four weeks after the ad's release, with an overall three per cent rise for the full year.

    The opinionated Ms Cutrone also touched on the body differences between swim models, and fashion models, speaking in the lead-up to America's Next Top Model's twentieth cycle, which premieres on August 2.

    'Most fashion models do not look good in bikinis, because they're too thin,' she said.

    'It's really about the breasts. Fashion models are a size 34A or 34B, and their hips are the same, 34 [inches], so essentially you're looking at a very straight body.

    'So for swim, a girl who's more curvy or more busty, a 34C — a full C — that's really what we look for. Someone with ample curves.'

    And when it for aspiring models, Ms Cutrone had a few words of advice: 'If you're 5'6", just stay home. Don't pretend you're 5'8" or 5'9".

    'If you want to be a beauty model, I guess that's fine, you can do glamour, but you're not going to do runway.

    'If you're over 29 — 26 even — I would suggest you work regionally and not try to work nationally. These are the things no one ever wants to say, because they're mean, but it's true.'

    I really can't stand anyone involved in this show anymore. I'll probably end up attempting to watch this season since they have guys but it's been dead to me for a while and what is with that arbitrary point system that they've added now? Please stop.

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    Andrew Garfield wondered aloud why Spider-Man couldn’t be gay, but the reason could lie within the very pages that first brought the character to life.

    “Why can’t we discover that Peter [Parker] is exploring his sexuality? Why can’t he be gay?”

    With those words, The Amazing Spider-Man star Andrew Garfield has launched a long overdue debate over why virtually every single well-known superhero has remained resolutely heterosexual ever since Superman first appeared wearing a skin-tight costume and bright red briefs.

    At least, Garfield should have launched that debate. Instead, the reaction has largely been knee-jerk trolls posting in all caps about a gay agenda, while gay and gay-friendly geeks swoon at Garfield’s refreshing attitude.

    Meanwhile, the actor’s central question — why can’t Peter Parker be gay, or at least be, you know, bi-curious? — has gone rather unexplored. Perhaps it’s because at first glance, the question seems intractably depressing to answer, inviting the kind of cynical “because mainstream America would reject a gay Spider-Man” shrug that makes you hate people in general for sucking so much. Or, conversely, the question seems so rhetorical — “Because of course he should be!” — that trying to answer it feels maybe a little dumb.

    But as Mark Harris pointed out in his terrific essay for Entertainment Weekly, in the last 10 years, on the big screen and on the page, Spider-Man has died, sung, turned evil, and been recast as a half-black, half-Latino teenager. And then there was the time Peter Parker made a deal with the evil Mephisto to save the life of his elderly Aunt May by erasing the entire existence of his marriage to Mary Jane Watson.

    So, truly, if all that can happen — or if Wolverine can kill an alternative universe version of himself, or two different Supergirls can merge to become an “Earth-born angel” — why is it so difficult to allow these characters to explore their sexuality more forthrightly?

    The answer, it seems, may lie with comic books themselves.

    “I think it has a lot to do with the cyclical nature of the big-name comics industry,” says Charles “Zan” Christensen, founding president of PRISM Comics, a nonprofit organization that serves as a kind of clearinghouse for LGBT comics and comic book writers. “Even if something very radically different happens, regardless of what it is — marriage, children, deathnothing lasts forever.”

    Indeed, those aforementioned storylines for Spider-Man, Wolverine, and Supergirl that pulled the character away from their established core identities were all eventually retconned out of existence — or likely will be soon. “Everything always gets reverted to what it was and then its relaunched as a brand new thing,” Christensen says. If a writer were to launch a story arc that made Spider-Man, Batman, or Wonder Woman gay, they would inevitably become straight again— it’s just the way comics work. But “de-gaying” an iconic superhero could be just as problematic as “gaying” that superhero in the first place.

    You’re dealing with a community of queer characters in comics that is so small to begin with,” Christensen says. “All those characters are bearing a burden of representation that is inordinately high compared to their stature in that universe. They have to stay the way they are and grow in number, otherwise it’s a step backward, because they’re already so underrepresented. … You whittle away at it, people are bound to take offense. That’s just kind of where we are right now.” (A rep for Marvel declined to comment for this story, and a rep for DC did not respond to a request for comment.)

    Alternate version of Wolverine (James Howlett) teaming up with Greek demi-god Hercules in more ways than one...

    What makes the lack of major gay superheroes even stranger is how gay comic book heroes otherwise are: all that tight spandex clinging to all those idealized bodies spending all that time and energy hiding a “secret identity.” Batman and Robin’s relationship became so unmistakably homoerotic that Batwoman was introduced to prove the Caped Crusader’s hetero bona fides. And from the start, the X-Men have been stand-ins for virtually every marginalized minority. Yet with all this gay subtext rampant within comic books, for decades, no characters at all were allowed to actually be gay.

    And that’s the world of comic books. Comic book movies are stuck within an even more rigid set of expectations for a famous superhero’s established biography. The Amazing Spider-Man director Marc Webb chuckles good naturedly when asked about his star’s comments about Peter Parker’s sexuality. “I don’t think you’ll find anybody more supportive of the LGBT community,” he says, “but when it comes to his sexuality, I think we’re going to stick to the comics.…I am working for a character that is much bigger than me, whose experience has to be universal in some way, and has to be mythological in a way that transcends personal experience, if that makes sense. I have obligations to a canon and to a character that pre-date my birth.”

    From Webb’s perspective, making a character gay who was heretofore straight wouldn’t be very effective anyway. “It’s not something that you toy around with, that you slap on later,” he says. “I think it’s something that’s fundamental to who people are.” Instead, says Webb, “You could create a character where [being gay] was fundamental to his life and his understanding of the world.”

    Over the last 15 years, that very thing has been happening, with the birth of permanently gay superheros like Northstar, Midnighter, and Apollo. But unless you’re a regular comic book reader, you’ve likely never heard of themthey simply don’t hold the same cultural power as Spidey, Batman, Wolverine, or, say, Green Lantern.

    Ah, yes! Green Lantern! Last year, to great fanfare, DC Comics made Green Lantern gay— well, it made the Alan Scott Golden Age version of the character who lives in an alternative universe called Earth 2 gay, but still! Similarly, after largely disappearing from comics for 25 years, DC resurrected Batwoman as a lesbian in 2006. (The irony was likely not lost on her.) Over at Marvel, the subtext between X-Factor mainstay Rictor and his alien BFF Shatterstar became overt text when they locked lips… and came out as a same-sex couple in Peter David’s run. And this is where Christensen sees a real opportunity for growth with LGBT comic book characters. “I find that it’s the characters that have lost popularity and that are ripe to be harvested for something brand new,” he says. “[They] don’t have much of a following or any ties to the past that are important anymore.”

    Besides, Christensen notes that talk of “gay” or “straight” superheroes ignores the first part of Garfield’s question: Why can’t Spider-Man just explore an attraction to men? “The future of representation of queerness in general, it might not be about identity at all,” he says. “A character has a relationship with a woman one year and then discovers he likes men the next year. It doesn’t have to change who they are. They may be confused. They may not be confused. They may want something and they’re not quite sure why they want it. And that doesn’t have to mean that that character is no longer for straight men or no longer for women or no longer for gay men. I would love to see that.”

    Before you scoff at the idea of Bruce Wayne and Clark Kent giving each other a once over in director Zack Snyder’s recently announced movie featuring Batman and Superman, consider James Bond. There has been no more steadfastly heterosexual character in modern popular culture than Agent 007, and yet last year, in Skyfall, Bond did the heretofore unthinkable: He more than hinted that he’d fucked around with guys. Sure, he was reacting to the slithery flirtation of the flamboyant villain Silva (Javier Bardem), but it was a deliciously inclusive moment, not a gay panic-y one. And with it, Skyfall grossed over $1 billion worldwide. If Bond can get a little gay, why not Peter Parker?

    Meanwhile, perhaps the biggest LGBT addition to the world of comic books has had nothing to do with superheroes: In 2010, the Archie comics introduced Kevin Keller. He’s since earned his own set of issues, and earlier this year, the issue of Life with Archie about Kevin’s wedding sold out.

    “Who would have thought that we would have a gay Green Lantern, a gay high-profile Batman family character — Batwoman — and then a gay character in Riverdale of all places?” Christensen says. “These are things that I never would have imagined when PRISM started 10 years ago. Things change pretty quickly. I think that once [comic book] companies realize others companies are doing it and having success with it and making money from it, they’ll start to try it.” Or, perhaps, explore it.

    ( SOURCE )

    UGH. SMH at the fact that HULKLING AND WICCAN from Young Avengers weren't fucking even acknowledged, and they're GAY SUPERHEROES for fucks sake. And just give me a James Bond getting it on with the first Bond Man/Boy in Bond 24, dammit! Is this too much for a gay fanboy to fucking ask?! And since Wolverine and Hercules had a thing going on in the comics... Does this mean Hugh Jackman and Dwayne Johnson would grace us with epic mansecks?! GUHHHH...

    Et tu, ONTD? Are you ready for fully out gay superheroes go from the page to your movie and TV screens?

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    This week marks a major milestone for two of music’s all-time most popular artists: 30 years ago, Madonna and Metallica each released their debut albums.

    On July 25, 1983, when lead singer James Hetfield and drummer Lars Ulrich were still in their teens, Metallica released Kill ’Em All. The album sold more than three million copies and launched the band to rock star status.

    Two days later, 24-year-old Madonna released her self-titled debut. The album went on to sell more than 10 million copies and peak at number eight on the U.S. charts on the strength of singles like “Holiday,” “Lucky Star” and “Borderline.”

    These are not artists that have a lot else in common. They’re opposites in a lot of ways: opposite coasts, opposite sexes, divergent genres and audiences. But it is a pretty big coincidence that two debuts released within 48 hours of each other ended up launching two huge careers.

    Think about it. Thousands of artists release debut albums every year. Most of those artists don’t go on to have 30-year careers and almost none go on to sell hundreds of millions of albums. Given this strange coincidence, we decided to compare Metallica and Madonna's careers over the past three decades.

    Album sales

    Madonna: With 12 studio albums (and 3 compilations), she has sold more than 300 million copies.
    Metallica: The band’s nine studio albums and handful of live albums and compilations have sold 100 million.
    Points: +1 for Madonna.


    Madonna: The singer has won pretty much every music award there is including seven Grammys, 20 MTV VMAs and 39 Billboard Awards, in addition to two Golden Globes.
    Metallica: Among others, Metallica has won a total of nine Grammys, three MTV VMAs and four American Music Awards.
    Points: 0. Metallica was nominated for the first-ever Grammy for best hard rock/metal performance, which they lost to Jethro Tull, forever proving that awards are dumb and pointless.

    Movie career

    Madonna: Her acting has been widely panned, but her performance in Evita earned her a Golden Globe. Truth or Dare was pretty great though.
    Metallica: Their 2004 documentary, Metallica: Some Kind of Monster, features the band recording an album while working with a Cosby-sweater-wearing life coach, which is as amazing as it sounds. They also have a concert film due out this fall, and their four-hour 1992 doc features a scene with Madonna.
    Points: +1 for Metallica.

    Greatest achievement

    Madonna: She’s not really an album artist, but her singles have reflected and influenced pop’s evolving style. She holds the record for the most Billboard Top 10 singles, and Billboard named her the top solo artist of all time. And she holds the Guinness World Record as The World's Most Successful Female Musician of All Times.
    Metallica: Metallica’s 1991 self-titled album (known as “The Black Album”) not only catapulted the band to another stratosphere of fame, it’s also considered a metal masterpiece. It debuted at number one on the U.S. charts, and has ensured that every subsequent Metallica album has done the same.
    Points: +1 for both. Too close to call.


    Madonna: She’s probably known as much for her fashion as for her music. Madonna’s style has always been iconic, from lace bras in the '80s to pointy bras in the '90s. She reinvents herself visually and musically with every album; even her microphone choice has become a signature look.
    Metallica: Generally a lot of black. And they cut their hair in the mid-’90s, which caused people to call them sellouts. Can you believe we live in a world where people criticize grownups for getting haircuts?
    Points: +1 for Madonna. Or +1 million for Madonna. Really, she was the only one trying.


    Madonna: The singer seems to welcome controversy from everyone, including the Catholic church, late night TV viewers, adoption advocates and coffee table book enthusiasts. Most of the time, though, Madonna seems in control of the situation.
    Metallica: In the early 2000s, Metallica sued Napster over copyright issues. This alienated many fans and made the band seem out of touch with their audience and music in general. Also, did I mention the time people got mad that they got haircuts?
    Points: +1 for Madonna.


    Madonna: In recent years she has duetted with the likes of Ricky Martin, Justin Timberlake, Britney Spears and M.I.A., to varying results. She also did those Gap ads with Missy Elliott.
    Metallica: 2011’s Lulu with Lou Reed was weird from the get-go, and pretty universally panned.
    Points: Oh, let’s say 0.

    Overall fame

    Madonna: Madonna is one of the most famous people ever. Your grandma knows who she is. Not only that, but people know who you’re talking about when you say “Material Girl” or "Vogue.”
    Metallica: Hands down the biggest metal band ever, though I’m not sure Metallica’s goal was ever to be a household name. And they aren’t quite. Your mom still doesn’t really know who they are, and she probably calls them “the Metallicos.”
    Points: +1 for Madonna.

    Results: 5 to 2 for Madonna. Hopefully Metallica can close the gap by 2043.


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    'After Tiller,' a controversial award-winning documentary about the four doctors who openly perform third-trimester abortions despite death threats and the assassination of their mentor, is set to be released this fall, and The Daily Beast has been given a first look at the exclusive trailer.


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