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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 372 | 373 | (Page 374) | 375 | 376 | .... | 4830 | newer

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    The video for Lady Gaga and R. Kelly's duet "Do What U Want," which appears on the former's new record Artpop, will see release on December 3rd through a unique "BitTorrent Bundle" courtesy of the file sharing service and Vice.

    Directed by Terry Richardson, the video will be made available in the package alongside photos and 4K video that document the making of the clip, as well as exclusive interviews with Gaga and Richardson.

    Though the "Do What You Want" package is being billed as Vice and BitTorrent's first bundle, the two companies announced a similar project with Madonna back in September: The pop star offered up a 17-minute film secretprojectrevolution, as well as plenty of bonus material, as a way to kick off her new Art for Freedom initiative.

    In the statement announcing the "Do What U Want" video, the bundle was described as a way to "explore the link between open expression and open technology; providing an inside look at the creative process, with original film, music, archival content and behind-the-scenes footage direct from artists."

    Gaga and Kelly have been promoting "Do What U Want" all over the place recently, performing the song at the American Music Awards – set in a sexy oval office no less – as well as during Gaga's recent turn as host and musical guest on Saturday Night Live.

    "I felt that it was somewhat of a sexual song, but on a classy tip, you know?" Kelly told Rolling Stone about the song. "Because I have a lot of sexual classics myself. But this, it had a rock funkiness, and somehow, magically, an R&B-ish feel to it. I was just amazed by it."


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    Madonna is in Haiti to visit humanitarian projects that ex-husband Sean Penn has been overseeing since the Caribbean nation's devastating earthquake in 2010, the actor said Monday.

    Penn said in a brief phone call to The Associated Press that he had invited Madonna, with whom he has "maintained a great friendship over the years," to visit several times and that she had come with her son Rocco. He said they arrived a "couple of days" ago, and he wasn't sure when she would leave.

    "She's here, she's seeing, she's made the effort to come here, and I'm thrilled by that," Penn said, adding that he hoped Haiti might inspire her to seek out a cause in the country. "She has a unique platform, and wherever she chooses to bring that to, it's very well."


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    bless at them knowing the actual difference between booty popping and twerking

    source: youtube

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    The first and only entry on When Life Gives You Plemons—a“fansite” devoted to the actor then appearing as Landry Clarke on Friday Night Lights—reads: “I Was Disappointed to Learn That Jesse Plemons Is a Highly Regarded Child Actor…and not some weird albino kid Peter Berg found in the streets.

    As compliments go, it's a mixed bag. But it does get at some of the freakishly natural—and naturally freakish—presence that Plemons brought, first to Friday Night Lights and then to Breaking Bad's “Opie, dead-eyed” Nazi flunky Todd Alquist.

    “All I knew at the audition was that ‘Paul,’ which was the name they told me, was supposed to be innocuous, fresh-faced, but with something to hide,” Plemons says. From that meager description, he spun a chilling and darkly hilarious character that stood out on a show with no shortage of those. “I don't think anybody realized what a wonderful little sociopath he would be,” says executive producer and frequent director Michelle MacLaren.

    Plemons, 25, did in fact start as a child actor, first as an extra in Westerns shot near his small Texas hometown and eventually in movies like Varsity Blues. These days he's plumped up for the role of hefty Jerry McCarthy in HBO's forthcoming Olive Kitteridge (“The diet was called ‘eat everything in sight’ ”) and slimmed down to play Floyd Landis in Stephen Frears's upcoming Lance Armstrong biopic (“That's been a good deal harder”). That project seems perfect for an actor who should already be well acquainted with complicated antiheroes. (Even Landry did some killing, now and again.) Indeed, one of Plemons's pet obsessions was once Billy the Kid, a character he's imagined playing someday.

    As he says, “I like it when the lines between a good and bad life are significantly blurred.”


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  • 11/26/13--13:28: Artpop drops to 7th place
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    Britney Spears is the spectre that haunts the future of Miley Cyrus. Child star turned sexy pop ingénue, the full force of 21st century global stardom brought Spears paparazzi invasions, romantic disasters, stints in rehab, mental health concerns and endless comebacks. Miley, be warned: this is where twerking could lead.

    The publicity pitch for 31-year-old Spears’s eighth album, Britney Jean, is that it is her “most personal” to date. The use of her middle name in the title implies familial intimacy, the private self behind the public icon. It would presumably be asking too much to detect either irony or satire in the decision to launch this campaign with a highly effective, stripped-down electro club banger called Work Bitch, in which young women are commanded (in a peculiar fake English accent) to put some serious effort in if they want to “sip Martinis” in “a hot bikini”. Credits reveal that this prostitution anthem involved contributions from six writers, four of whom are male.

    The opening tracks are polished until they gleam, dazzling with the flash of high-end digital pop. They encompass the sci-fi techno of (Madonna producer) William Orbit and the fizzy, melodic electropop of the ubiquitous will.i.am, while dinky retro synths can be found on the charming Perfume. Even in adulthood, Spears’s voice remains that of a pouty child, though it is often hard to detect any human personality beneath the layers of Auto-Tune. The lyrics are banal to the point of indifference, and with the tracks sequenced (as mainstream pop collections usually are) to put big hitters first, there is a sense of declining returns as events progress.

    This album continues the striptease of Britney’s career. But behind each discarded veil there is just another veil, an insubstantial gauze masking teams of (presumably unphotogenic) producers, writers, stylists and sloganeers. Britney is their glitterball, endlessly spinning in a hall of mirrors. Her only function is to keep spinning, but it only works if the audience is dazzled enough to spin with her.


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    The Hunger Games are real.

    It is now tradition that each year, the president will pardon one turkey from becoming Thanksgiving dinner. So far, 23 turkeys have been pardoned by POTUSes over the year. Last year, the turkey that President Obama pardoned was named Cobbler.

    But this year, the White House is doing something different: They're asking you to vote on which tribute turkey should be pardoned. And which should be murdered. For all of our amusement.

    Just kidding—that would be heartless (even if we are voting to save one turkey while we feast on million others). The White House explains, "Both turkeys will be pardoned, but only the American people will decide which bird takes the title." But you're still a Capitol citizen, so adjust your wig and tell these turkeys, "May the odds be ever in your favor."

    Now decide: Are you #TeamCaramel or #TeamPopcorn? Here are their stats:

    Caramel is almost five months old, weighs in at 38 pounds and stands two feet tall. His favorite food is soybeans and he's a self-proclaimed Little Monster (apparently his favorite song is "Bad Romance"). He has a "quick, clear and frequent" gobble.
    (You can listen for yourself. There are audio clips on the site. Which seems weird, but hey. This is all kind of weird. We're pardoning a turkey here, people.)

    On the other hand, Popcorn is the same age, but he is a little shorter and lighter (he's 1' 11" tall and 37 pounds). Popcorn loves corn, "Halo" by Beyoncé and has a "more garbled, longer notes" gobble.

    As of publishing time, Popcorn has more votes on Facebook. But who knows how this will end? Caramel and Popcorn might pretend to fall in love and threaten to stuff themselves and Obama will end up pardoning them both.


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    It's all Harry Potter's fault. Ever since the wizarding franchise so successfully bisected its final chapter into two financially and critically acclaimed parts, it's become a foregone conclusion that every closed-ended blockbuster series will do the same. And why wouldn't they? It doesn't take much to work out that two box office record-smashing films are better than one, particularly when there's no scope for further sequels.

    Vehemently though Peter Jackson tried to tell us that three Hobbit films were necessary in order to do justice to the scope and detail of JRR Tolkien's world, we all know that the endgame is financial rather than creative. Die-hard Twilight fans were undeniably grateful for the series' ending being postponed, but would a lean two-hour finale have made for a better movie than two faintly anaemic Breaking Dawns? Probably.

    So how will it work for Mockingjay, Suzanne Collins' third and arguably most difficult Hunger Games novel? A bleak, haunting war drama that's relatively free of incident for large chunks, centring on an increasingly broken Katniss and distinctly lacking a victorious third act, it's not really an ideal candidate for the Part Deux treatment.

    But there are advantages, particularly in the case of a world with as much backstory as Panem, to screenwriter Danny Strong being given a little more breathing room. Despite Catching Fire's hefty running time, a few key elements from the book were left out – most notably Haymitch's backstory and Katniss's interactions with refugees from other districts – whereas there's scope in Mockingjay to include these moments that flesh out character rather than furthering plot.

    PLEASE NOTE: The rest of this article contains SPOILERS for the entire plot of Mockingjay. You have been warned.

    As in the book, Catching Fire ended on the blunt, shocking revelation that "there is no District 12", and we pick up in Mockingjay with Katniss surveying the ruins of her former home, which has been gutted by bombings from the Capitol. We find out in passing that Gale was instrumental in evacuating the 800 or so survivors from the district (including Katniss's mother and sister), which could make a stunning flashback sequence in itself if Strong wants to throw us in at the dramatic deep end.

    One inclusion that feels indispensable, now that there's space for it to be realised properly on screen, is Haymitch's victory in the second Quarter Quell. His experience and tactics in the arena bear a lot of parallels to Katniss's – at one point he holds a young female ally's hand as she dies, and he wins by using the arena's force field as a weapon, an act that's viewed as revolutionary by the Capitol. After this stunt, Haymitch's mother, younger brother and girlfriend were all killed by Snow in retribution.

    All of this backstory was left out of Catching Fire, but it'd be downright criminal for it not to be portrayed in one of the two Mockingjay instalments. We're already mulling over who could play the young Haymitch, who was described as "something of a looker" before he climbed inside a bottle.

    One of the biggest problems split sequels encounter is finding an appropriate dividing point for the story, but Mockingjay has the perfect shock Part One ending already built in. Peeta has been rescued from the Capitol after months of separation from Katniss, and she's overjoyed at being reunited with him... until he tries to strangle her on sight."My lips are forming his name when his fingers lock around my throat" is a moment that feels tailor-made for big screen shock value, and it'll add some bite to Katniss and Peeta's so-far-so-uninspiring dynamic on screen.

    It's also possible that two movies will allow us to see more from the perspective of different characters – the last two films' focus on President Snow and the Gamemakers have already shown that breaking away from Katniss's point of view isn't a problem. We might see more of Peeta's experiences while he's held captive by Snow (although this would dispel a lot of the suspense surrounding his return), or more of the scarred Finnick and Johanna, or Katniss's sister Prim working as a doctor in District 13.

    And then, of course, there's the epilogue. Like the downbeat, troubled cousin of Harry Potter and the Deathly Hallows' incongruously neat wrap-up, Collins' epilogue picks up with Katniss, Peeta and their two children some twenty years into the future. Many fans felt that Gale, whose relationship with Katniss is central throughout most of Mockingjay, got short-changed here, thanks to the unconfirmed possibility that he engineered the bombing that killed Prim. Katniss shuts him out, and the last we hear is that he's nabbed "a fancy job" very far away from her in District 2. A legion of shippers mourns, and understandably so.

    The temptation might be to pad out the epilogue with additional scenes as fan service; scenes that honour the established bond between Katniss and Gale, or expand on the fates of other supporting characters, all of whom go unmentioned on the page. But the lack of closure is an essential part of the ambiguity that makes Mockingjay's ending so bold and so fitting for what's essentially a very dark, morally difficult series. Whatever else might change for the better on screen, the ending is note-perfect as it is.

    Watch the cast of The Hunger Games discuss Mockingjay at the SOURCE since the vid won't embed.

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    1, 2

    Have any of y'all talked about bodily fluids on national television while promoting your first holiday project?

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    Joan Rivers thinks everyone is way too uptight about hurling racial and other epithets ... so he hurled against Italians, Blacks, Jews, Chinese, gays and don't forget the Irish.

    And speaking of the Irish, Joan blanched at MSNBC's firing of Alec Baldwin for going on a homophobic tirade.

    We got Joan outside Canter's restaurant in L.A. -- where lots of Jews hang out.

    We didn't bleep anything in the clip, because all you'd hear is a bleep. It's pretty shocking. Take a listen.


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    Kanye West is taking the "daddy's little princess" cliche literally. In yet another outrageous interview -- this one with Power 105's The Breakfast Club on Tuesday, Nov. 26 -- the "Bound 2" rapper compared his 5-month-old daughter, North, to actual British royalty.

    "My daughter is in a position of a level of royalty like the prince and princess in London," the proud dad bragged, possibly alluding to Prince William, Kate Middleton, and their 4-month-old baby boy, Prince George. (Incidentally, West's fiancee, Kim Kardashian, was pregnant at the same time as the Duchess of Cambridge; both were due to give birth in July, but Kardashian delivered over a month early.)

    The hip hop star also spoke about his now-infamous "Bound 2" music video, which featured a topless Kardashian straddling him on a motorcycle. (The clip was re-created shot-for-shot by James Franco and Seth Rogen in a viral spoof earlier this week.)

    "I wanted to take white trash T-shirts and make it into a video. I wanted it to look as phony as possible," West told The Breakfast Club. "I wanted the clouds to go one direction, the mountains to go one direction, the horses to go over there...'cause I want to show you that this is The Hunger Games. I want to show you that this is the type of imagery that's been presented to all of us. And the only difference is a black dude in the middle of it."

    "I'm like Marina Abramovic," he continued, referring to the famed performance artist. "This is, like, performance art. The thing is, I don't got a problem with looking stupid."

    One thing he does have a problem with? People telling him what to do. In a different interview later that day with MTV personality Sway Calloway, West got suddenly riled up while the two were talking about the rapper's fashion dreams.

    "I'm standing up, and I'm telling you, 'I am Warhol. I am the No. 1 most impactful artist of our generation. I am Shakespeare in the flesh,'" he said. "Walt Disney, Nike, Google -- now, who's gonna be the Medici family and stand up and let me create more? Or do you want to marginalize me 'til I'm out of my moment?"

    The conversation escalated further when Calloway suggested that the aspiring designer "empower [him]self" to release his own ideas instead of waiting for the industry to come around.

    "How, Sway?! You ain't got the answers, man!" West raged, yelling and ignoring Calloway's repeated attempts to calm the rapper down. "You ain't got the answers! You ain't got the answers, Sway! I've been doing this more than you!"

    "You trying to give me advice on somethin' -- you ain't got the answers," he continued, agitated. "You ain't spend $13 million of your own money trying to empower yourself!"

    The two proceeded to literally yell at each other on air for a few minutes, until Calloway finally succeeded in getting the outspoken star to relax. "I love you, man," West said later. "I'm sorry."


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    Friendships are built on shared interests, passions and personality traits.

    Also, initials.

    That's one of the only explanations we can think of for the latest celebrity friendship between Karlie Kloss and Kim Kardashian. Kim posted a photo of herself and the model on Instagram on Monday with the simple caption "❤️ @karliekloss"

    Karlie tweeted at Kim, "so good to see you the other night, you looked beautiful xx kk"

    And thus a lovely friendship, full of monogrammed gifts and kutesy nicknames, was born. Think Kim will sit front row when Karlie's walking runways this coming Fashion Week?

    "karliekloss kk+kk=k squared?#regram from @kimkardashian"

    Everyone's Best Friend, Derek Blasberg, posted this too:

    Clearly she is working that social ladder!


    Countdown to Naomi & Kim pictures from vacation in Hawaii

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    After years in development hell, Spike Lee’s remake of Park Chan-wook’s beloved “Oldboy” is finally here. Does it live up to the high expectations set by the original? Does it mark a return to form from the director of some of the most important movies of his era or is it another disappointment? No and no. Sadly, what’s so remarkable about “Oldboy,” especially when one considers the darkness of its themes and graphic violence, is that it’s just so forgettable. It’s an echo of Park’s film and will be quickly dismissed in the legacy of its director.

    Joe Doucett (Josh Brolin) is a prick. He’s a drunk who forgets plans with his daughter, screws up business deals by hitting on the client’s girlfriend, and generally seems like the kind of guy you’d avoid at a bar. Joe stumbles around the world, barely keeping alcoholism in check and burning bridges left and right. One late night, after trying to get bar owner friend Chucky (Michael Imperioli) to open for one more drink and failing, Joe is kidnapped. He’s thrown in what looks like a cheap hotel room but is actually a prison cell run in a high-profile, highly-secretive building operated by Chaney (Samuel L. Jackson). While he’s imprisoned, his wife is brutally murdered and Joe is framed for the crime. He spends the next twenty years in that room, being fed dumplings through the door and watching Kung Fu movies. And then he’s let go.

    After his release, Joe becomes obsessed with figuring out who took the last two decades of his life. As with the original, the key to “Oldboy” is about asking the right questions. It’s not who wronged you that matters. It’s why. And why they let you go. Whereas Park allowed these themes to emerge from the narrative, Lee and writer Mark Protosevich hammer viewers over the head with them. Protosevich’s script for “Oldboy” is so frustrating in how self-aware it is of both the original and the themes with which it plays, making it always feel like a movie more than a story with characters with whom we can relate. It’s constantly calling back to the original (“Hey, remember this?!?!”) while drawing attention to how it’s different and highlighting, underlining, and bolding its themes. It never develops its own rhythm or reason to exist.

    And then there’s the cast. Brolin is actually quite good, as he always is, especially in relation to the physical demands of the role, but the film truly goes off the rails when Sharlto Copley appears as the villainous Adrian. Brolin and cinematographer Sean Bobbitt (“Shame,” “12 Years a Slave”) seem to be striving for something gritty and genuine in their performance and the film’s aesthetic which makes Copley’s ridiculously mannered, goofily-accented performance all the more annoying. As if he came from the set of another film, Copley plays Adrian like a Hammer villain, mistaking the elegant approach of Ji-tae Yu in the original as something more exaggerated. Elizabeth Olsen fares better as Marie Sebastian, the girl who comes to Joe’s aid, but the part here feels even more underwritten than in the original.

    More than most remakes, it feels like those involved with the production of Spike Lee’s “Oldboy” never got a handle on why they were updating the original. It’s certainly not a shot-for-shot remake like Van Sant’s “Psycho” but it also doesn’t have enough of its own personality to feel like a distinct film in its own right. It doesn’t stand on its own. Everything that works about it feels like a callback to the original, like a cover band in a bar singing a song for which they have no direct, emotional relation to the lyrics. Some of the inherent power of the storytelling of Park’s version remains intact but not enough to justify its existence.


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    She warned us in 2001, when we weren’t listening close enough: “I’m a slave for you. I cannot hold it, I cannot control it.”

    Full of fire and poison, Britney Spears was only 20 years old and had already blossomed into a pop icon. A garden-picked southern girl thrown into the MTV machine, clearly promised megafame and wealth in exchange for hard work and objectification. That child-like bubble gum voice was disturbingly sweet and recognizable, her all-American, heart-shaped face and flowing blonde hair made her dream-like, innocent sex appeal almost too hypnotic.

    Every teenage boy wanted to rip off the schoolgirl skirt she effortlessly debuted in the music video for 1998’s “Baby One More Time,” while every teenage girl (and some boys) dreamt of wearing it. Did she know this? Did it make her feel powerful? What did she even want? Did she know it was going to last this long? Why do we still even care about her?

    What was the plan, Britney Jean?

    Her iconography in the first five years of her career was never obnoxious. It was always subtle, but strong.

    1. She wore a burmese python around her neck.

    2. She kissed Madonna in a wedding dress.

    3. She simulated an orgy in a sweaty bath house.

    4. She simulated suicide in a bath tub.

    5. She wore nothing but diamonds.

    She achieved the shock that so many clownish pop stars try to do today, but she looked the part so effortlessly and naturally, it was graceful, compelling and addictive.

    She was unstoppable. It’s like this sweet girl genuinely wanted to be modest and wasn’t asking anything from us. She didn’t want to use her fame for some type of self-empowerment message or rage about politics, she just wanted people to escape and have fun. She just wanted to be dope.

    In 2007, something changed about the way we looked at her. She shed the skin of the plaything with whom we were so comfortable. The one we got to know. Before we could even get a chance to say goodbye, the girl next door had moved away.

    She wasn’t listening anymore, she was rebelling. She wasn’t comfortable being whoever the industry that robbed her of her identity told her she was supposed to be. She was confused. She was coming onto us. She wanted out.

    Spears’s punk attitude was pop culture’s wet dream. A Shaved head, a random british accent, pink wigs, trips to the loony bin, all rumored to be fueled by a cocktail of prescription drugs and mental illness. The paparazzi were basically living outside her house at one point to give us our daily Crazy Britney fix.

    You were all getting off on watching this “sick girl” run around, keeping up with the content in tabloids, Entertainment Tonight segments and refreshing x17, TMZ and OhNoTheyDidnt every night.

    You still get nostalgic today.

    Why? Is it because you just wanted the movie to keep going on and on? Were we just waiting to see her die on a video shot by the paparazzo?

    What was so magical about watching Britney Spears lose her mind?

    What people don’t seem to understand is: Britney is never going to strike a chord with an album like 2007’s Blackout again. It was her gritty and experimental hadal zone opus. She executive produced the record and the lyrics; they reflect the chaos that was her life at the time. It’s a dark pop album where everything seems to go right, yet the person who is performing it is being told that her life is going down the wrong path. It was a confusing moment in time that will never happen again.

    Move on and fast forward to 2013.

    Britney Spears is not that angry girl anymore. She is a woman and a memory.

    She is a pop cyborg who was once known to infect the first millennium’s radio-waves with provocative, electronica-heavy viruses like “Toxic” and “Piece of Me.” But today, instead of standing out, she is drowning out.

    Will.i.am, executive producer of her 8th studio album Britney Jean clearly sees Britney as his own woman-bot. He forces her into the “EDM” sound that he inflicted on 2009’s Top 40 with his group The Black Eyed Peas. Maybe he thinks it doesn’t sound dated, or maybe he is just extremely tired, out of touch, and isn’t as creative as the dudes who were controlling her before.

    Britney-bot is one that will listen to will.i.am’s commands, one that will do everything as instructed, because she has been programmed to do that since she was first activated in 1998.

    There is nothing we can do about it.

    It’s not surprising that in the first three minutes of the schizophrenic Britney Jean, she identifies with an extra terrestrial on the spaced out and chilling album opener “Alien” (produced by William Orbit). It flashes her complex vulnerability and we see life through someone that feels out of touch from the world. “The stars in the sky look like home, take me home…” For a second, you really want to go “home” with her. The post-Saturn’s Return vocal delivery in the chorus makes her voice foreign, but maybe that’s the point. Maybe Britney is just an alien that we will never understand, despite the relatable, humanistic words she is saying.

    “Work Bitch” is loud. She sounds feisty, ready to start a fight over a big bass-heavy beat. Get the Bravo cameras out, mommy is mad and using her British accent again.


    The demanding attitude in this song can’t help but make you feel bad for her. This is her way of letting people know that fame isn’t actually that great, and that living a live of opulence is a reward that comes from working hard and sacrificing your privacy in ways you could never imagine. It almost sounds like she’s ready to punch a young girl in the face after telling her: “I just want to be you” on the streets.

    “Perfume” (co-written by Sia and Chris Braide) is a love letter to self-hatred, paranoia and insecurity.

    “Sometimes it feels like there’s three of us in here…” It’s very simple and silent, it’s barely there — like she’s barely there — and will no doubt be remembered as a classic Britney ballad. Her voice acts as an instrumental while she worries over a man who’s cheating on her. The truest vocal performance on the whole album is featured in this song: “I hide it well, hope you can’t tell but I hope she smells my perfume…

    “I don’t even know where will.i.am came from, like literally who is he? How did him and Britney even meet and how can we go back in time and prevent them from making music with each other? Figure out how to rip out your tracking device from under your arm, Bot Britney! CALL JOHANNA!” are some thoughts that should pop in your head while listening to the next track.

    “It Should Be Easy” is horrifying, simply because it exists. It’s something that doesn’t even make sense as an actual musical composition. Her voice is so vocoded that it sounds like they produced it with Garageband, made her swallow helium, and didn’t let her hear the playback. The production (co-produced by Nicky Romero) is indescribably awful. It’s even more upsetting that a major record label thought it would be OK to put out a song like this under a name as big as hers.

    The lazily-looped urban drum MILF jam “Tik Tik Boom” is weak. She’s talking about a guy who’s going to make her climax, yet it doesn’t feel very erotic. T.I. wears misogyny like a badge in his alarming verse:“She like the way I beat her, treat her like an animal. Somebody call PETA!”

    You are really going to sit there and duet rap about treating Britney Spears like an animal? On her own song? Bro…

    “Body Ache” is a straight-up hands up in the motherfucking air, sniff some moon rock and dance ’til your body is numb anthem.Throw out your useless music intellectualism and just let this song do its magic. David Guetta gives her emotive vocals a chance to finally breathe, and the music commands you in all the ways her most iconic singles do. This is where she is at her strongest: wearing the classic Britney Spears costume. This is a reminder that Electronic Dance Music is not the enemy some people make it out to be.

    “’Til It’s Gone” aims for euphoria but fails. It’s fit for an unknown’s mid-90s warehouse rave. The opening vocals are stronger than the actual song. It seems like nobody who worked on the song had any idea what to do with it after it peaks in the first 15 seconds. It could have worked in the shiny, simple way “Body Ache” does, if the producers didn’t think “Meh, lol, let’s just loop the chorus and make it sound like she is computerized-stuttering. I got other more important shit to do, like submit demos for the next Miley album…”

    The most personal and powerful song,“Passenger,” seems to be a real mirror of who Britney Spears actually is. If you are wondering, she believes in God and uses religion as a way to guide her life like the millions of other people on this planet. I know, not that exciting right? Well she might make you want to check out your local church service after the way she belts that chorus: “I’ll let you lead the way now cause I want you to take the wheel/ I never knew how good it would feel.” Diplo helped her find a ray of light and everything suddenly makes sense.

    “Chillin’ With You” features her sister Jamie Lynn. It’s intimate and awkward. It’s all about them hanging out together, a casual look at an all American sisterly bond. It’s strange in it’s own dizzying normalcy. They talk about drinking red wine and “walking on the sky”, you know casual Spears’ family get together shit.

    “Don’t Cry” closes things off with a basic sad ballad about her leaving. It’s all over. She’s off. “Pack my bags can’t take no more. Adios, I’m out the door. Hide your tears and dry your eyes cause I don’t wanna see you cry!”

    Is it a break up between the listener and her, or is she plotting her escape from will.i.am’s studio?

    Is this who Britney Jean really is?

    At the end of the day ya’ll: she’s just a normal 31-year-old mom who likes to have sex, likes to hang out with her sister, gets annoyed when guys are cheating on her, pops some meds, likes to dance with her friends, probably even runs on the treadmill to “Party All The Time” by The Black Eyed Peas during her work out session.

    She survived some public troubling times and God and religion helped her find what seems to sound like “personal” happiness, and she isn’t afraid to let you know that in her “most personal album ever.”

    She somehow still manages to be one of the biggest pop stars in the world and keeps us interested, even though she really isn’t even that interesting.

    Britney Jean is ordinary and proud of it.

    Does she even care? Who really cares?

    I mean:

    It’s Britney, bitch.

    Source: Thought Catalog

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    Mcfly have released about 18 versions of their new single this week (I'll spare you all those) but this is the only one that matters.

    Love Is On The Radio: Me & Mrs. F Version (featuring Bump)


    So cute. Kill me.

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    Chris Hemsworth carries his adorable daughter India as they enjoy the day together last week on the island of La Gomera in Spain.

    The 30-year-old actor and his 18-month-old daughter were joined for their outing by mom Elsa Pataky, who is pregnant with the couple’s second child. Chris took pics of his family as they enjoyed the day. Can you spot a baby bump on Elsa???

    News of Elsa‘s pregnancy broke just last week – we can’t wait to find out more about the new addition!



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    i'd eat mashed potatoes off of him tbh


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    So, a fan in the audience says how she performed "Underneath the Tree" twice and stopped halfway through the performance the first time. As she said yesterday on the Today show she is still experiencing morning sickness. The fan in attendance thinks she switched to performing "Don't Rush" (a song off of her greatest hits album...released last year) because it's an easier vocal as it doesn't have any crazy high notes. BUT according to someone at NBC they said she performed "Underneath the Tree" twice for the Christmas special (airing December 11th at 10pm on NBC) and that doesn't make a lot of sense because I was at the Christmas taping and she performed "Underneath the Tree" twice. 1 taping was said to have been used for the Christmas special and the 2nd take they said was gonna be used for the music video. Either way, home girl needs to take a break. She's not out of her first trimester yet and yeah, she needs to chillax.

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    Fans of The National, Bob’s Burgers and, well, gravy, you are in for a treat: The Fox comedy has animated the Brooklyn indie rockers singing “Sailors in Your Mouth,” the wistful ode to the savory sauce that was heard in Sunday’s Thanksgiving episode. That wasn’t the first time that the band and Bob’s Burgers bonded: The National contributed a rendition of “Kill Your Turkey” to last year’s Thanksgiving episode, and Bob’s Burgers writer Scott Jacobson directed the video for The National’s “Conversation 16,” which stars… Bob’s voice actor Kristen Schaal.

    Won't embed, so watch at the Source

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