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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 387 | 388 | (Page 389) | 390 | 391 | .... | 4151 | newer

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    Rebel Wilson and Melissa McCarthy are proud and successful big gals.

    And now, the actresses and friends have banded together in a pact to stay just the way they are, RadarOnline.com has learned.

    “Rebel and Melissa have known each other for five years and there’s a lot of love there,” the source said.

    “Neither one of them is trying to lose weight and they’ve formed this little support group to keep each other from falling into the skinny Hollywood trap.”


    The Super Fun Night and Mike And Molly TV stars, who also act in movies, refuse to succumb to the pressure of the media which is “desperate to see what these hilarious and successful women would look like when they’re thin.

    “Obviously, they could both snap their fingers and lose the weight because of the resources they have available to them — which could include everything from personal trainers to Lap Band surgery — but right now they’re agreeing with each other that they have to hold the line and provide a positive image for overweight girls everywhere.”

    And married mother of two McCarthy told The New York Times after veteran movie critic Rex Reed called her a “female hippo,” that she “felt bad for someone who is swimming in so much hate.”

    According to the source, “There will be plenty of time for dieting years from now, but Rebel and Melissa are determined to stay at their current sizes for now.”

    Source

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    Steven McQueen’s “12 Years a Slave” took the honors in five categories as the Online Film Critics Society announced the recipients of the 17th annual OFCS awards for excellence in film.

    Best Picture: 12 Years a Slave
    Best Animated Feature: The Wind Rises
    Best Film Not in the English Language: Blue Is the Warmest Color
    Best Documentary: The Act of Killing
    Best Director: Alfonso Cuaron – Gravity
    Best Actor: Chiwetel Ejiofor – 12 Years a Slave
    Best Actress: Cate Blanchett – Blue Jasmine
    Best Supporting Actor: Michael Fassbender – 12 Years a Slave
    Best Supporting Actress: Lupita Nyong’o – 12 Years a Slave
    Best Original Screenplay: Her
    Best Adapted Screenplay: 12 Years a Slave
    Best Editing: Gravity
    Best Cinematography: Gravity

    Source - this was just announced

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    Actor Mark Wahlberg considers himself the best white rapper-turned actor and has placed himself ahead of Grammy Award winner Eminem.

    In an interview with Global Grind TV, the 42-year-old, who went by the name "Marky Mark", claimed to be the most successful white rapper-turned-actor, reports contactmusic.com.

    "I'm the best white rapper-turned actor. Eminem did a great job in '8 Mile', but he only made one movie so I definitely have that title," said Wahlberg.

    In 1991, Marky Mark and the Funky Bunch, US hip-hop group led by Wahlberg, released their single "Good Vibrations". The track was the lead song from their debut album, 'Music For The People', which reached no. 1 on the Billboard Hot 100.

    It was three years later in 1994 that he made his big screen debut in Danny DeVito's comedy "Renaissance Man", however, his work was noticed only after he featured in "The Basketball Diaries", alongside Leonardo DiCaprio.

    source

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    In Pimp Theory, a “bottom bitch” is the one in the whores’ hierarchy who rides hardest for her man. She’s the rock of every hustler economy and her primary occupation is keeping other ho’s in check and gettin’ that money. She isn’t trying to elevate the status of her sister ho’s. She isn’t looking to transform pimp culture. The bottom bitch is a token who is allowed symbolic power, which she uses to discipline, advocate for, represent and advance the domain of the stable.  In pop culture, she represents the trope of the chosen black female, loyal to her man and complicit in her own commodification.


    In hip hop vernacular she has emerged as the “Boss Bitch” or “Bawse”, titles you’ll hear used liberally across urban/pop discourses – from the streets to rappers to the hip hop, basketball and ATL housewives.  What she represents is an appearance of power within a structure of male dominance, but in reality this “power” is merely vicarious and not a positional power in and of itself.

    Admittedly, bottom bitch is an unfortunate metaphor to use for framing conversations about Beyonce, but when you’re married to “Big Pimp’n” and his cameo on your new self-titled album, coined a “feminist masterpiece,” is all about how he gon’

    Catch a charge, I might, beat the box up like Mike…

    I’m like Ike Turner

    Baby know I don’t play, now eat the cake Annie Mae

    Said, eat the cake, Annie Mae

    you leave us no choice. When elements of the feminist community rise up to applaud your simplistic, pro-capitalist, structurally violent sampling of feminism, the metaphor becomes even more relevant. Moreover, we’re concerned that the capitalist ethics of mainstream hip hop has seduced feminist allies into flirting with bottom bitch feminism in their silencing of those who would critique Bey and the systemic violence she represents.

    To this we ask: Is a feminism sponsored by the corporate music industrial complex as big as we can dream? Is the end game a feminism in which the glass ceiling for black women’s representation only reaches as high as our booties? Can’t we just love Bey as an amazing corporate artist without selling out the hard won accomplishments of our black feminist and womanist foremothers?  Can we not love her for the gorgeous and fierce mega pop star she is without appropriating her for some liberal, power feminist agenda?

    These questions asked, we do understand the terror and mistrust some black women may feel when confronted with representations that reflect us to ourselves as brilliantly beautiful.  We also get the impulse that these same women may have to criticize and destroy such images. But this is not that. Our critique of Bey as a feminist doesn’t come from a place of fear. Indeed it may even be more a critique of the black feminist blogosphere. Our real fear is of a bourgeoning cadre of institutional gatekeepers of “appropriate” black feminist politics going in hard with their facile analyses, shaming and silencing black women with alternative reads of B.

    Real Colored Girls are not here to promote or co-sign the idea that to critique Bey’s “Flawless Feminism” is to hate black women.  We reject the idea that love for the folks equals blind loyalty. Our deep and abiding love and respect for the ancestors will never permit an image of feminism wrapped in the gold chains of hip hop machismo.  We ain’t throwin’ no (blood) diamonds in the air for ‘da roc, no matter how many feminists you sample over a dope beat. We’re smarter than that. We’re worth more than that.

    Insisting on a rank and file consent and approval to these ‘terms of engagement’ is a form of bullying and in the spirit of Audre Lorde we remind you that silencing dissent will not protect you.  We feel strongly that it is our duty and imperative to engage multiple perspectives in the marketplace of ideas, supporting open discourse, lest we find ourselves guilty of policing one another into a dishonest respectability.

    Our work is not done. Beyhive Bottom Bitch Feminism does not replace nor is it even in the realm of the critical work of black women writers and artists across the discursive spectrum, as some folks have proclaimed across social media. As womanists and black feminists, we have a responsibility to bring it with our cultural work which we will infuse, at all times, with an ethic of care and responsibility. The coontocracy of assimilationist corporate negroes is in full effect, riding for patriarchal capitalist agendas and having us believe that somehow Bey’s success is a step toward some dystopic vision of progress for Black women. There may be empowerment for some folks but by and large it is a false hope steeped in capitalism and individualism, supporting the escapist desires of rampant pornographic consumerism.

    This essay does not come from a place of ‘who gon’ check me, boo?’. We would like to invite dialogue, conversation and a multitude of perspectives. We’re thinking that our next conversation will be about how Beyonce has opened the door for further discussion around black female sexuality. We’ve been feelin’ this quote by bell hooks from her essay “Selling Hot Pussy”:

    When black women relate to our bodies, our sexuality, in ways that place erotic recognition, desire, pleasure, and fulfillment at the center of our efforts to create radical black female subjectivity, we can make new and different representations of ourselves as sexual subjects. To do so we must be willing to transgress traditional boundaries. We must no longer shy away from the critical project of openly interrogating and exploring representation of black female sexuality as they appear everywhere, especially in popular culture.
    Source

    ONTD, would you consider yourself a Bottom Bitch Feminist?


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    They are known for being clean-cut popstars, but One Direction reinvented themselves for the X Factor final on Saturday night.

    The chart-topping five-piece, who won the ITV talent show in 2010, wore all-black outfits for their live performance at London's Wembley Arena.

    But, despite getting an audible reaction from fans, their appearance divided wider opinion.

    Together, the boys - Niall Horan, Zayn Malik, Liam Payne, Harry Styles and Louis Tomlinson - wore matching, black skinny jeans with rock 'n' roll-inspired tops.


    article-0-1A2132F600000578-508_634x868
    article-2524284-1A2149BD00000578-11_634x986
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    Skärmavbild 2013-12-16 kl. 17.39.35
    Skärmavbild 2013-12-16 kl. 17.39.53
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    Harry opted for a classic shirt, while Liam and Zayn wore structured jackets. Louis kept it simple with a T-shirt, while Niall wore a scoop-neck top under black shirt-jacket.

    The quintet looked comfortable in their new, edgier look - but it was greeted with a mixed reaction.

    Singer Boy George took to Twitter to declare: 'Harry looked like a young Keith Richards!' before adding: 'Liam looked quite....messy!!'

    Meanwhile, former Loaded editor Martin Daubney said: 'Harry the headband is the next step to your inexorably morph into Mick Jagger. Espadrilles next.'

    Billie Faiers then said: 'Is it me or do one direction look really old all of a sudden ?? Haha'.


    Speaking to host Dermot O'Leary, Harry said he was looking forward to some well-earned time-off over the festive period. 'We've got christmas off. I'm a turkey guy, everyone is,' he joked.

    The 19 year-old then added that he won't be exchanging mutual gifts with his band-mates for the holiday season: 'We're not very good at presents for each other.'

    Liam chimed in: 'We're absolutely sick of each other, so we won't be with each other.'

    But fans shouldn't expect them to be away for too long. Niall said: 'We're back on tour in April to South America and then next door at Wembley Stadium in May.'

    SOURCE

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  • 12/16/13--08:50: Tom & Nicole being flawless
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    Following his November X Files release, Chris Brown releases the first single from his sixth studio album X. His album will be released in early 2014 and is set to feature Rihanna, Timbaland, Diplo, Wiz Khalifa, Nicki Minaj and Pharrell.

    Sources: 1&2


    R U REDE FOR X?

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    Real Madrid and Portugal's Cristiano Ronaldo opened a museum in his honor in his birthplace on Sunday, which he said had extra room for the Ballon d'Or and many other trophies to come.

    Standing next to his 2008 Ballon d'Or and 125 other individual and team awards dating back to his Madeira childhood, the 28-year-old told reporters the CR7 Museum was a gift to his fans.

    "Of course it's a special day, it's the opening of my museum and I am proud," the Portugal forward, who has scored 33 goals this season, said.

    "I have room for more trophies. I don't really want to mention specific ones. All I want is to win more awards and if the Ballon d'Or comes, there is extra room here."

    Soccer's world governing body named him, Barcelona's Lionel Messi of Argentina and Bayern Munich's French winger Franck Ribery as the three finalists for the 2013 Ballon d'Or award, formerly known as FIFA World Player of the Year.



    Ronaldo, this year's World Soccer magazine's player of the year, said he was not desperate to win the most prestigious individual award in the sport.

    "The World Soccer magazine's player of the year award was another important trophy but it does not mean I will win the Ballon d'Or. I hope that happens but I am not obsessed about it." The Ballon d'Or results will be announced on January 13.

    Despite the frenzy of reporters and fans at the opening, the space is more humble than your average museum.

    It occupies the ground floor of a discreet five-storey building, a few hundred meters from the Funchal city centre and with a view of the Atlantic Ocean.

    With an idyllic sunny day greeting him back, it is easy to understand why Ronaldo took the chance to remember that leaving this place remains his hardest moment as a footballer.

    "You can't win anything without sacrifice. Mine was to leave Madeira when I was 11 and try it out at Sporting. To move out to the mainland was the hardest thing in my career".

    Curious neighbors stood on their balconies to witness the ruckus, unusual on the quiet island with 260,000 inhabitants, famous for its luxuriant biodiversity, strong-flavored bananas and fortified wine.

    CHIPPED TROPHY

    It is not any 28-year-old that has the chance to cut the ribbons to a museum in their name but Ronaldo said his treasure cove deserved it.

    "Here is the evidence of what I have won, no one will take it away from here and these were things I wanted to share with my fans, show them what I have already achieved," Ronaldo said.

    The first piece on display, probably the smallest, dates back to when Ronaldo was eight and top-scored in a tournament with his first club Andorinha, Portuguese for swallow.

    The next youth trophy misspelled his first name, attributing it to 'Christiano', and was half broken, contrasting sharply with the two shiny Golden Boots - won as Europe's top marksman - and a lifesize wax figure of him in a Portugal shirt dominating the main room.

    "Does the statue look the same or what?" he asked reporters. "No, I think it looks more handsome (than me)," Ronaldo joked.

    Ronaldo paid tribute to Manchester United's Sir Alex Ferguson, who oversaw his rise to stardom over a six-year spell at the English Premier League club, his family and agent Jorge Mendes as some of those who helped him succeed.

    All the match balls from games in which Ronaldo scored at least a hat-trick are also on display, the last from a stunning performance in Portugal's 4-2 win over Sweden that earned them a berth at Brazil's World Cup.

    The front page of local newspaper Diario de Noticias da Madeira' showed what the museum means to his people back home.

    It displayed an eight-year-old Ronaldo wearing an oversized pink shirt while receiving his first trophy with a shy smile under the headline: "Trophies for the world to see".











    from irina shayk's instagram:




    source | source

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    Presenting our Top 100 Tracks of 2013, as voted by our writers and editors. Any track that was released in 2013 or had its greatest impact in the U.S. this year was eligible.

    5. Ciara -- Body Party



    Ciara Princess Harris was just 10 years old when Ghost Town DJ's' "My Boo" was released on Jermaine Dupri's Atlanta-based So So Def Recordings in 1995. A mid-level radio hit, it received a low-slung "Quiet Storm Mix" courtesy of Jonathan Smith, who was still a few years away from ripping a "YEAAAHHHHH!"-sized hole through the fabric of mainstream pop as Lil Jon. Nine years later, Ciara scored her first #1 hit with the title track to her 2004 debut LP, Goodies, an intoxicating party anthem with production touches from Smith. Nearly a decade after that, a full-circle moment's arrived in the form of "Body Party", Ciara's own slowed-down reconfiguring of the enduring R&Bass classic that is "My Boo".

    So while it's fair to refer to this song as 90s nostalgia—the video's overt True Lies striptease homage as well as its nods to "My Boo"'s original pool-house clip, certainly add fuel to that fire—there's something deeper going on here: "Body Party" is a tribute not only to the city of Atlanta but also a chunk of its considerable musical legacy. The track's major players—Ciara, her co-writer and boyfriend Future, and current hot-streak producer Mike WiLL Made It—all rep the A, and the song is the greatest achievement of the year for all three of them.

    It doesn't take regional genuflection, though, to appreciate a track that brings together two of pop music's sometimes-sold-separately Big Issues—love and sex—with such ease. "Body Party"'s sonic layout is spare and ingeniously simple, but there's myriad details: the aqueous squish on every downbeat, Ciara's soft mimicking of Mike WiLL's signature drop, and Future's gorgeous coo that trickles down the chorus, an aviary call that gives a new meaning to the phrase "put a bird on it." Ciara concludes each verse with a wordless exclamation that conveys total, overwhelming ecstasy. She can't lie. —Larry Fitzmaurice

    4. Arcade Fire - Reflektor



    In 2007, music critic Sasha Frere-Jones famously declared Arcade Fire guilty of being white, by using the Montreal sextet as the exemplar of contemporary indie rock’s disavowal of syncopation, groove, and the sort of cross-cultural miscegenation that has traditionally fueled pop music’s greatest evolutions. His piece certainly got the band's attention: member Will Butler even sent Frere-Jones an mp3 containing bits of Arcade Fire songs that betray the direct influence of black music. But with the sultry bottom-end bump of “Reflektor”, Arcade Fire turn in the best possible retort—even if it's six years late.

    As the first teaser of their powerhouse match-up with producer James Murphy, “Reflektor” feels no less momentous for sounding exactly like the LCD 12" remix of “Neighbourhood #3 (Power Out)” that never happened. It’s hardly the first Arcade Fire song to rail against the sedentary, disassociative effects of computer-age technological dependency, but the critique is heard in the 4/4 funk as much as Win Butler’s lyrics: this band has gone disco not as an escapist antidote to modern malaise—and not just because their heroes in the Clash did the same thing on their fourth album—but to embrace dance music’s communal, connective, IRL qualities.

    Like many of Murphy’s signature productions, the pulse builds and builds and builds—mixing in everything from piano-house rolls, to Colin Stetson’s sensuous sax lines, to Owen Pallett’s string arrangements, to a blink-and-miss-it David Bowie cameo—until it’s on the verge of collapse. Even Win’s repeated incantation of “reflectors,” “resurrectors,” and various other “-ectors” transform his words into a rhythmic device of their own, like a verbal cowbell. But then, chaos and ecstasy are not mutually exclusive ideals. You can’t build a disco ball without a thousand little pieces of broken glass—all the better if they're bits of your computer screen after you kick it in.—Stuart Berman

    3. Vampire Weekend -- Hannah Hunt



    In a parallel universe, Ezra Koenig might produce a great American novel, or at least the type of short stories to land him on The New Yorker's 20-Under-40 list. Consider the genesis of "Hannah Hunt": The flesh-and-blood woman behind the name of Modern Vampires of the City’s centerpiece was a college classmate. “We were in the same Buddhism class and we sat next to each other and stuff,” he explained to me nonchalantly. “I loved her name so much and thought it would be a great name for a song.” From those humble beginnings, Koenig crafted a devastating character that won’t leave you. Hannah Hunt is sharp but impulsive, destructively short-sighted in spite of her freakish perceptiveness. She’s nerve-wracking and slippery and large-hearted. She’s the one you want in the passenger’s seat on cross-country road trip, even if she’ll end up in tears at the beach. She won’t stop testing your limits, even when she means better; “If I can’t trust you, then dammit, Hannah!,” Koenig cries, his voice piercing the ballad’s meticulous baby’s-breath arrangement like an outburst at a pristine, Upper West Side dinner table. Hannah Hunt hasn’t won your trust yet, but you’ll give her another chance. —Carrie Battan

    2. Kanye West -- New Slaves



    It's tough to remember now, but in the moments before Kanye West performed "Black Skinhead" and "New Slaves" on "Saturday Night Live", it seemed possible that the walls might finally be closing in around him, that the most inspiring pop culture run of the millennium might actually be tapering off. He was palling around with Big Sean on rap radio, picking through Kim's closet on reality television. His most recent project, the cluttered and uncooked label compilation Cruel Summer, was uncharacteristically careless. Maybe Kanye would recede slowly; it happened to everyone eventually. He'd had an inspiring run, after all.

    From the first moments of those "SNL" performances, however, it became clear that we might not even be at the halfway point. The two songs he debuted felt alien, inchoate, possibly tuneless, and gave the immediate sense that a sleeper cell had been activated somewhere soft and vulnerable. "New Slaves" was the purest and most direct expression of Kanye's latest all-consuming message: You are going to let me in, and the further in you let me in, the more shit I am going to break.

    "New Slaves" is the hardened cartilage of Yeezus, the leanest and grisliest piece of music on an album without a single yielding surface. There isn't a wasted breath or unnecessary word; every single thought cleaves through meat. "My mama was raised in the era when/ Clean water was only served to the fairer skin," he begins. Can you get closer to the point than that? You can: "I know that we the new slaves/ I see the blood on the leaves/ I see the blood on the leaves/ I see the blood on the leaves," he seethes, the hate and shame of systemic racism coming through more vividly with each repetition.

    Yes, Kanye is a wealthy man, and yes, the particulars of his rage might be convoluted, involving his lack of access to the upper reaches of the fashion industry. But its source comes from an acute, unwavering awareness of a central fact: Even in the elite corridors of power where he now walks, some doors are still locked. On "New Slaves", he transforms into the hordes demanding entry. To paraphrase the words of his one-time mentor: The whole industry could hate him; he'll flail his way through. —Jayson Greene

    1. Drake -- Hold On, We're Going Home (feat. Majid Jordan)



    It’s had a rough century, but things were looking up for the institution of marriage this year. Six more states legalized same-sex unions and beyond that, wedding DJs got an infusion of surefire new material—“Blurred Lines”, “Suit & Tie”, “Get Lucky”, amongst others—ubiquitous, charming songs by well-groomed, well-meaning men whose subject matter and rhythms won’t put anyone on the spot. “Hold On, We’re Going Home” also cracked those playlists, but while your grandfather can sing along to it without embarrassing himself and the light-stepping groove allows people to move without necessarily “dancing,” Drake expresses the kind of personal, ceremonial vows you hear at the altar rather than the after-party.

    See, Drake’s never had a problem with intimacy, just commitment. Elsewhere on Nothing Was the Same, he makes life very difficult for Courtney from Hooters on Peachtree, Porscha from Treasures, and other women in his past that he hoped would be “the one.” Not the best he ever had, not the girl who can do better. "Hold On, We're Going Home" has him eyeing someone in the present with whom he can envision a future and let go of the past. What happens when they get home is left unsaid. They might make love, they might fall asleep on the couch. But either way, being together means they can be themselves.

    That’s a feeling you can’t micromanage or overthink, and “Hold On” is delivered with necessary immediacy, its handful of crucial lyrics latching onto a cyclical melody. It’s a deceptively simple song that drew out instant covers from artists of all stripes—out of love, respect, and surely envy. They won’t be the last, because “Hold On” promises all we can ask for from a pop song (or another person): hot love and emotion, for richer or poorer, for better or worse, in sickness and in health. Endlessly.—Ian Cohen


    rest at the source

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    Behind the Scenes: What It Was Like to Interview Britney Spears for the January Issue

    I’m the Fashion Features Editor at InStyle and in addition to assigning and editing cover stories and fashion features, I sometimes get to write them. This was the case with Britney, who I have long admired since I was an editor at Teen People in the early 2000s. Here’s a step-by-step account of our interview that didn’t make it into the story:

    1. As I walked up the dance rehearsal space, I could hear “Toxic” blaring. It’s one of my personal favorites and immediately took me back to her famous MTV snake performance (um what). If I wasn’t nervous before about interviewing a cultural icon, I was then.

    2. I was greeted by a very nice and slight guy who manned the door the whole time I was there. He basically acted as a bouncer, checking people in and out, but didn’t have as hulky or intimidating a presence as I would have thought someone in that role should have.

    3. I hung out the lobby for a while waiting, listening to the rehearsal in the neighboring room, but it would get really crowded at times with handlers and business associates. It was also extremely hot in the space. Eventually I migrated to an empty locker room area that was a tad cooler.

    4. At one point I saw the show’s producer, Baz Halpin, walk by and I asked to speak with him about the production. He told me about the snow and rain elements of the show and the number of dancers. He’s also worked with Pink and Katy Perry.

    5. Shortly after I spoke to Baz and after about three spins of the chorus of Stronger, dancers started pouring out of the back room/rehearsal space. I heard someone mention something about lunch and then, sooner than I thought she appeared. In the midst of the scrum, Britney walked by. Her publicist ushered me into an adjacent office and we shook hands just like you would in a very professional greeting (firm handshake, mutual eye contact, polite pleasantries).

    6. I didn’t include the shoes in the write-up of what she wore: totally cute hot pink Nike sneakers.

    7. The next few minutes were really hectic as there was a tiny fridge in the office and the dancers were popping in and out to grab their lunches while someone else stood on a chair to affix thick black velvet fabric to the single window in the space (to keep out the lenses). Britney, who had taken a seat across from me, was just chilling. Even though she had obviously just been working out hard (and in that heat), her skin looked flawless.

    8. During the interview, she was funny, open, warm, and down to earth. Sure she was guarded about certain topics—relationships—but very open about other topics, like her disdain for how society puts too much pressure on women to look thin. In fact, one of my favorite quotes that didn’t make it in and that I think reflects her matured sense of self and her emerging perspective on the important things in life, is this one: “If you have a point in your life in which you are 15 pounds overweight, it’s okay. It’s really not a big deal in the grand scheme of things.”


    Brit also tweeted about Vegas and her E! documentary I Am Britney Jean which premieres on December 22nd!








    Vegas Stage!

    pom-stage


    Source 1: http://tumblr.instyle.com/
    Source 2: https://twitter.com/britneyspears/with_replies

    I would love to hear Brit talk about the industry and all its pressures...I think she knows a lot more than what people give her credit for


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    12 Years a Slave and American Hustle lead the nominees for the 19th annual Critics' Choice Movie Awards, with 13 apiece. Gravity also was among the most-nominated films, landing 10 noms.

    BEST PICTURE
    American Hustle
    Captain Phillips
    Dallas Buyers Club
    Gravity
    Her
    Inside Llewyn Davis
    Nebraska
    Saving Mr. Banks
    12 Years a Slave
    The Wolf of Wall Street

    BEST ACTOR
    Christian Bale – American Hustle
    Bruce Dern – Nebraska
    Chiwetel Ejiofor – 12 Years a Slave
    Tom Hanks – Captain Phillips
    Matthew McConaughey – Dallas Buyers Club
    Robert Redford – All Is Lost

    BEST ACTRESS
    Cate Blanchett – Blue Jasmine
    Sandra Bullock – Gravity
    Judi Dench – Philomena
    Brie Larson – Short Term 12
    Meryl Streep – August: Osage County
    Emma Thompson – Saving Mr. Banks

    BEST SUPPORTING ACTOR
    Barkhad Abdi – Captain Phillips
    Daniel Bruhl – Rush
    Bradley Cooper – American Hustle
    Michael Fassbender – 12 Years a Slave
    James Gandolfini – Enough Said
    Jared Leto – Dallas Buyers Club

    BEST SUPPORTING ACTRESS
    Scarlett Johansson – Her
    Jennifer Lawrence – American Hustle
    Lupita Nyong’o – 12 Years a Slave
    Julia Roberts – August: Osage County
    June Squibb – Nebraska
    Oprah Winfrey – Lee Daniels’ The Butler

    BEST YOUNG ACTOR/ACTRESS
    Asa Butterfield – Ender’s Game
    Adele Exarchopoulos – Blue Is the Warmest Color
    Liam James – The Way Way Back
    Sophie Nelisse – The Book Thief
    Tye Sheridan – Mud

    BEST ACTING ENSEMBLE
    American Hustle
    August: Osage County
    Lee Daniels’ The Butler
    Nebraska
    12 Years a Slave
    The Wolf of Wall Street

    BEST DIRECTOR
    Alfonso Cuaron – Gravity
    Paul Greengrass – Captain Phillips
    Spike Jonze – Her
    Steve McQueen – 12 Years a Slave
    David O. Russell – American Hustle
    Martin Scorsese – The Wolf of Wall Street

    BEST ORIGINAL SCREENPLAY
    Eric Singer and David O. Russell – American Hustle
    Woody Allen – Blue Jasmine
    Spike Jonze – Her
    Joel Coen & Ethan Coen – Inside Llewyn Davis
    Bob Nelson – Nebraska

    BEST ADAPTED SCREENPLAY
    Tracy Letts – August: Osage County
    Richard Linklater & Julie Delpy & Ethan Hawke – Before Midnight
    Billy Ray – Captain Phillips
    Steve Coogan and Jeff Pope – Philomena
    John Ridley – 12 Years a Slave
    Terence Winter – The Wolf of Wall Street

    BEST CINEMATOGRAPHY
    Emmanuel Lubezki – Gravity
    Bruno Delbonnel – Inside Llewyn Davis
    Phedon Papamichael – Nebraska
    Roger Deakins – Prisoners
    Sean Bobbitt – 12 Years a Slave

    BEST ART DIRECTION
    Andy Nicholson (Production Designer), Rosie Goodwin (Set Decorator) – Gravity
    Catherine Martin (Production Designer), Beverley Dunn (Set Decorator) – The Great Gatsby
    K.K. Barrett (Production Designer), Gene Serdena (Set Decorator) – Her
    Dan Hennah (Production Designer), Ra Vincent (Set Decorator) – The Hobbit: The Desolation of Smaug
    Adam Stockhausen (Production Designer), Alice Baker (Set Decorator) – 12 Years a Slave

    BEST EDITING
    Alan Baumgarten, Jay Cassidy, Crispin Struthers – American Hustle
    Christopher Rouse – Captain Phillips
    Alfonso Cuarón, Mark Sanger – Gravity
    Daniel P. Hanley, Mike Hill – Rush
    Joe Walker – 12 Years a Slave
    Thelma Schoonmaker – The Wolf of Wall Street

    BEST COSTUME DESIGN
    Michael Wilkinson – American Hustle
    Catherine Martin – The Great Gatsby
    Bob Buck, Lesley Burkes-Harding, Ann Maskrey, Richard Taylor – The Hobbit: The Desolation of Smaug
    Daniel Orlandi – Saving Mr. Banks
    Patricia Norris – 12 Years a Slave

    BEST MAKEUP
    American Hustle
    The Hobbit: The Desolation of Smaug
    Lee Daniels’ The Butler
    Rush
    12 Years a Slave

    BEST VISUAL EFFECTS
    Gravity
    The Hobbit: The Desolation of Smaug
    Iron Man 3
    Pacific Rim
    Star Trek into Darkness

    BEST ANIMATED FEATURE
    The Croods
    Despicable Me 2
    Frozen
    Monsters University
    The Wind Rises

    BEST ACTION MOVIE
    The Hunger Games: Catching Fire
    Iron Man 3
    Lone Survivor
    Rush
    Star Trek into Darkness

    BEST ACTOR IN AN ACTION MOVIE
    Henry Cavill – Man of Steel
    Robert Downey Jr. – Iron Man 3
    Brad Pitt – World War Z
    Mark Wahlberg – Lone Survivor

    BEST ACTRESS IN AN ACTION MOVIE
    Sandra Bullock – Gravity
    Jennifer Lawrence – The Hunger Games: Catching Fire
    Evangeline Lilly – The Hobbit: The Desolation of Smaug
    Gwyneth Paltrow – Iron Man 3

    BEST COMEDY
    American Hustle
    Enough Said
    The Heat
    This Is the End
    The Way Way Back
    The World’s End

    BEST ACTOR IN A COMEDY
    Christian Bale – American Hustle
    Leonardo DiCaprio – The Wolf of Wall Street
    James Gandolfini – Enough Said
    Simon Pegg – The World’s End
    Sam Rockwell – The Way Way Back

    BEST ACTRESS IN A COMEDY
    Amy Adams – American Hustle
    Sandra Bullock – The Heat
    Greta Gerwig – Frances Ha
    Julia Louis-Dreyfus – Enough Said
    Melissa McCarthy – The Heat

    BEST SCI-FI/HORROR MOVIE
    The Conjuring
    Gravity
    Star Trek into Darkness
    World War Z

    BEST FOREIGN LANGUAGE FILM
    Blue Is the Warmest Color
    The Great Beauty
    The Hunt
    The Past
    Wadjda

    BEST DOCUMENTARY FEATURE
    The Act of Killing
    Blackfish
    Stories We Tell
    Tim’s Vermeer
    20 Feet from Stardom

    BEST SONG
    Atlas – Coldplay – The Hunger Games: Catching Fire
    Happy – Pharrell Williams – Despicable Me 2
    Let It Go – Robert Lopez and Kristen Anderson-Lopez – Frozen
    Ordinary Love – U2 – Mandela: Long Walk to Freedom
    Please Mr. Kennedy – Justin Timberlake/Oscar Isaac/Adam Driver – Inside Llewyn Davis
    Young and Beautiful – Lana Del Rey – The Great Gatsby

    BEST SCORE
    Steven Price – Gravity
    Arcade Fire – Her
    Thomas Newman – Saving Mr. Banks
    Hans Zimmer – 12 Years a Slave

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    Late Monday night, LaBeouf tweeted an apology.

    LaBeouf claimed he wasn’t “copying” Clowes, but rather was “inspired” by him and “got lost in the creative process.”

    The first part of his apology is very similar to an entry on Yahoo! Answers written four years ago. A user named Lili wrote, “Merely copying isn’t particularly creative work, though it’s useful as training and practice. Being inspired by someone else’s idea to produce something new and different IS creative work, and it may even revolutionalize [sic] the ‘stolen’ concept.”

    LaBeouf wrote: “Copying isn’t particularly creative work. Being inspired by someone else’s idea to produce something new and different IS creative work.”

    Read the entire apology below [the cut].


















    He later tweeted the goddamn truth:




    You done goofed, Shia. Bye.



    He's less talented than Lindsay, gets in brawls, terrifies his female co-workers, drops out of a play, acts like a creep in general, and this fucker still gets steady work? Male privilege is real.

    Let me tell you what we should do with him:



    Shia's farce of an "original" short film has been taken down from the internet, but Jordan Zakarin from Buzzfeed still has a copy up and a page from the comic (reproduced with permission). Click the link below and scroll to view Shia's piece of shit movie and the excerpt from the comic.


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    How was your year?

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    Steve McQueen’s 12 Years A Slave leads the London Critics’ Circle Film Awards nominations with nine nods. Stephen Frears’ Philomena is the next most nominated title with five nods, including film of the year and a nomination for star Judi Dench for best actress.

    FILM OF THE YEAR
    Blue Is the Warmest Color
    Blue Jasmine
    Frances Ha
    Gravity
    The Great Beauty
    Her

    Inside Llewyn Davis

    Nebraska

    12 Years a Slave
    The Wolf of Wall Street

    FOREIGN-LANGUAGE FILM OF THE YEAR
    Blue Is the Warmest Color
    Caesar Must Die
    Gloria
    The Great Beauty
    A Hijacking

    BRITISH FILM OF THE YEAR
    A Field in England
    Filth
    Philomena
    Rush
    The Selfish Giant

    DOCUMENTARY OF THE YEAR
    The Act of Killing
    Beware of Mr Baker
    Leviathan
    Stories We Tell
    We Steal Secrets: The Story of WikiLeaks

    ACTOR OF THE YEAR
    Bruce Dern– Nebraska
    Leonardo DiCaprio– The Wolf of Wall Street
    Michael Douglas– Behind the Candelabra
    Chiwetel Ejiofor– 12 Years a Slave
    Tom Hanks– Captain Phillips

    ACTRESS OF THE YEAR
    Cate Blanchett– Blue Jasmine
    Sandra Bullock – Gravity
    Judi Dench– Philomena
    Adele Exarchopoulos– Blue Is the Warmest Color
    Greta Gerwig– Frances Ha

    SUPPORTING ACTOR OF THE YEAR
    Barkhad Abdi– Captain Phillips
    Michael Fassbender– 12 Years a Slave
    James Gandolfini– Enough Said
    Tom Hanks– Saving Mr Banks
    Jared Leto– Dallas Buyers Club

    SUPPORTING ACTRESS OF THE YEAR
    Naomie Harris– Mandela: Long Walk to Freedom
    Sally Hawkins– Blue Jasmine
    Jennifer Lawrence– American Hustle
    Lupita Nyong’o– 12 Years a Slave
    June Squibb– Nebraska

    BRITISH ACTOR OF THE YEAR
    Christian Bale– American Hustle / Out of the Furnace
    Steve Coogan– Alan Partridge: Alpha Papa / The Look of Love / Philomena / What Maisie Knew
    Chiwetel Ejiofor– 12 Years a Slave
    Michael Fassbender– The Counsellor / 12 Years a Slave
    James McAvoy– Filth / Trance / Welcome to the Punch

    BRITISH ACTRESS OF THE YEAR
    Judi Dench– Philomena
    Lindsay Duncan– About Time / Last Passenger / Le Week-end
    Naomie Harris– Mandela: Long Walk to Freedom
    Sally Hawkins– Blue Jasmine
    Emma Thompson– Beautiful Creatures / Saving Mr Banks

    YOUNG BRITISH PERFORMER OF THE YEAR
    Conner Chapman– The Selfish Giant
    Saoirse Ronan– Byzantium / The Host / How I Live Now
    Eloise Laurence– Broken
    George MacKay– Breakfast With Jonny Wilkinson / For Those in Peril / How I Live Now / Sunshine on Leith
    Shaun Thomas– The Selfish Giant

    DIRECTOR OF THE YEAR
    Alfonso Cuaron– Gravity
    Paul Greengrass– Captain Phillips
    Steve McQueen– 12 Years a Slave
    Paolo Sorrentino– The Great Beauty
    Martin Scorsese– The Wolf of Wall Street

    SCREENWRITER OF THE YEAR
    Ethan Coen & Joel Coen – Inside Llewyn Davis
    Spike Jonze– Her
    Steve Coogan & Jeff Pope – Philomena
    John Ridley– 12 Years a Slave
    Terence Winter– The Wolf of Wall Street

    BREAKTHROUGH BRITISH FILMMAKER
    Jon S Baird– Filth
    Scott Graham– Shell
    Marcus Markou– Papadopoulos & Sons
    Rufus Norris– Broken
    Paul Wright– For Those in Peril

    TECHNICAL ACHIEVEMENT AWARD
    American Hustle– Judy Becker, production design
    Behind the Candelabra– Howard Cummings, production design
    Filth– Mark Eckersley, editing
    Frances Ha– Sam Levy, cinematography
    Gravity– Tim Webber, visual effects
    The Hunger Games: Catching Fire– Trish Summerville, costumes
    Inside Llewyn Davis– T Bone Burnett, music
    Stoker– Kurt Swanson & Bart Mueller, costumes
    12 Years a Slave– Sean Bobbitt, cinematography
    Upstream Colour– Johnny Marshall, sound design

    DILYS POWELL AWARD FOR EXCELLENCE IN FILM
    Gary Oldman

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  • 12/17/13--07:06: Alex O'Loughlin on the beach
  • Image and video hosting by TinyPic

    Alex O’Loughlin shows off his sexy shirtless body while enjoying some time on the beach on Sunday (December 15) in Honolulu, Hawaii.

    The 39-year-old Aussie actor was joined by his bikini-clad girlfriend Malia Jones and their adorable son Lion.

    It was recently announced that Chi McBride has signed on as a regular on Alex‘s hit show Hawaii Five-0, which airs on Fridays at 9/8c on CBS!



    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

    Image and video hosting by TinyPic

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    Over the last few weeks, you've been busy deciding which group of fans should be named as the best of 2013 and now, the results are in. We can officially announce that the best fans of 2013 are... Selena Gomez's Selenators!
    'Come & Get It' star Selena and her fans have come out on top in the tough contest as voted for by our wonderful EntertainmentWise readers, beating Directioners, Little Mixers and plenty more to scoop the prize – including the supporters of her former boyfriend Justin Bieber.
    Despite Beliebers being out in front at the halfway point, Selenators have swooped in to steal the crown during the final days of voting.
    Beliebers have been loyal this year, supporting the star through his South American tour and getting behind his Music Mondays project, but it wasn't enough to win them the best fans accolade.
    Selena fans have had a busy year and rushed to support the starlet when she broke up with Biebs back in January, tweeting heartfelt messages and reassuring her that 2013 would be a fantastic year.
    Well, the Selenators were right! The 21-year-old has gone from strength to strength this year, releasing her first ever solo studio album 'Stars Dance' and scoring the US Billboard number one spot before setting off on a world tour of the same name.
    As well as keeping busy on tour and in the studio, Selena managed to squeeze in time to scoop a number of awards during 2013, taking home the Best Pop Video accolade at the MTV VMAs and winning two prizes at the Teen Choice Awards. But now, it's time for the fans themselves to celebrate winning an award – congratulations Selenators!
    Selenators won the poll in a landslide victory, tallying up over 50% of the votes while Beliebers managed to get 24% of the votes, earning them second place. But it wasn't just Beliebers who lost to the starlet's fans and Directioners finished in third place while Little Mixers finished fourth with just under 5% of the votes.
    12

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    Jennifer Lawrence, Tom Hiddleston, Michael Fassbender, Harrison Ford, Chris Hemsworth, Jake Gyllenhaal, Hugh Jackman, Roberto Orci, Johnny Knoxville, Elizabeth Banks, Natalie Portman, Kat Dennings, Stan Lee and more weigh in on their favourite character - Batman or Superman. We pick their brains in the run-up to Man of Steel 2!

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    who would you pick ONTD?
    

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    Actor Chiwetel Ejiofor has spoken of his excitement at going head to head in awards season with old friend and rival Idris Elba.

    Ejiofor, 36, who plays a free-born black man forced into slavery in 19th-century America in the film 12 Years a Slave, is shortlisted for best actor at next month’s Golden Globes against fellow Londoner Elba, who plays Nelson Mandela in the biopic Long Walk to Freedom.

    Speaking at a special screening of 12 Years a Slave at Cineworld Haymarket last night, the former Dulwich College pupil, whose parents are Nigerian, said: “I love Idris and his work and I’ve known him for 20 years so I’m very excited for him and his film.

    “I was talking to him not long ago and we were reflecting on the privilege of getting to play these extraordinary people and to find audiences for those portrayals is incredible.”

    The reception in the US has been “phenomenal”, he said, casting aside fears that an American audience might reject a British director and British actor telling such an American story. Ejiofor added: “People come to the film with an open mind and they recognise that these are people who are telling the story from the perspective of a diaspora as well as specific nations all of which were involved in the slave trade(take note whoopi! - op) be that Britain or the West Indies, or Nigeria where my heritage is and where hundreds of thousands of slaves came from.

    “It did feel correct that there was an international element to the story because these were international events and that has been a concept that has been welcomed in the States. ”

    The film is directed by another Londoner, the Turner Prize-winning artist Steve McQueen. It is based on the 1853 memoirs of Solomon Northup, a free black man from upstate New York kidnapped and sold into slavery, and features harrowing scenes of brutality. But McQueen, 44, who grew up in London and is of Grenadian descent, defended the violence. “Either we are making a film about slavery or we are not,” he said. “I wanted to tell the truth and I needed to see those scenes as a filmmaker and as someone whose ancestry went through that.”

    The film has secured seven Golden Globes nominations including McQueen for best director, Michael Fassbender for best supporting actor, Lupita Nyong’o for supporting actress, best screenplay and best score.

    The film is released in Britain on January 10. The Golden Globes awards ceremony takes place on January 12.

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    Trying not to picture them sitting around with a plate of jollof rice, sipping malta guiness while watching nollywood films.

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    STOCKHOLM, Sweden - The Swedish publisher of the bestselling "The Girl With the Dragon Tattoo" trilogy says it has hired an author to write a sequel to the series by Stieg Larsson, who died in 2004.

    Norstedts said Tuesday it has signed a contract with "I am Zlatan" author David Lagercrantz for a new book about journalist Mikael Blomqvist and hacker Lisbeth Salander that is scheduled to be published in August 2015.

    The head of publishing at Norstedts, Eva Gedin, told The Associated Press the book will be an original work that includes nothing from the fourth book in the series that Larsson began writing but hadn't finished when he died.

    Larsson's trilogy has been a huge international success, with more than 75 million books sold in 50 countries.


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