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- 06/07/14--12:47: _Lauren Weedman is s...
- 06/07/14--12:47: _Chris Breezy's Post...
- 06/07/14--12:54: _The Expendables 3 W...
- 06/07/14--13:21: _Meet the couple who...
- 06/07/14--14:05: _Jezebel writes a re...
- 06/07/14--14:05: _‘Orange is the New ...
- 06/07/14--14:38: _The Original Bird D...
- 06/07/14--15:40: _OITNB: The Story Be...
- 06/07/14--16:10: _The Heathers releas...
- 06/07/14--16:24: _Reclusive 'Calvin a...
- 06/07/14--16:30: _Cheryl Cole perform...
- 06/07/14--17:28: _Ellen Page with Car...
- 06/07/14--17:30: _Cheryl Cole is back...
- 06/07/14--17:30: _New snippets from U...
- 06/07/14--17:43: _Owl City and Lana D...
- 06/07/14--18:02: _4 Ways Celebrities ...
- 06/07/14--18:36: _Guillermo del Toro ...
- 06/07/14--18:36: _Want to be in a Dem...
- 06/07/14--18:53: _Photos of Marilyn M...
- 06/07/14--19:11: _‘X-Men: Days Of Fut...
- 06/07/14--12:47: Lauren Weedman is small-time and charming in Philadelphia
- 06/07/14--12:47: Chris Breezy's Post Jail Party - Full of Porn Star Booty
- 06/07/14--12:54: The Expendables 3 Will Be Rated PG-13
- 06/07/14--13:21: Meet the couple who stole Miley Cyrus' car
- 06/07/14--14:38: The Original Bird Dating Sim Is Getting An English Remake
- 06/07/14--15:40: OITNB: The Story Behind TV's Breakout Hit
- 06/07/14--16:10: The Heathers release a cover of Lady Marmalade
- 06/07/14--16:30: Cheryl Cole performs "Crazy Stupid Love" on Britain's Got Talent
- 06/07/14--17:28: Ellen Page with Carrie Brownstein
- 06/07/14--17:30: New snippets from ULTRAVIOLENCE
- 06/07/14--17:43: Owl City and Lana Del Rey share a creative muse...
- 06/07/14--18:02: 4 Ways Celebrities Have Nixed Smoking
- 06/07/14--18:36: Guillermo del Toro Says “Pacific Rim 2” Script Is In The Works
- 06/07/14--18:36: Want to be in a Demi Lovato video at LA Pride?
- 06/07/14--18:53: Photos of Marilyn Monroe Not Giving a Damn
You might recognize Lauren Weedman because you've seen her on HBO in Curb Your Enthusiasm, Hung, True Blood, or Looking. Or you might have seen her at Pat's Steaks in South Philadelphia. "I was the middle-aged white lady trying to dance sexy with drinks in her hand," she says.
Weedman has spent this week rambling around Philadelphia, studying our customs for use in her one-woman show, 'Well, I Think You're Beautiful, Philadelphia'.
"Before I got here," she explained, "I asked people for suggestions for titles, and everybody was, like, 'City of 1,000 Smells!''Ugliest City in America!''Killadelphia!' That, combined with a childhood friend being killed here back in the '90s, made me think it was a city of people running for their lives."
That friend was Kimberly Ernest, 26, beaten to death in 1995 in the infamous unsolved "Center City jogger" case. When I apologize for bringing down the mood with mention of her school pal, she says, "You didn't kill her, did you?"
That kind of quick gallows humor is what Weedman does best, these days exemplified by snarky Doris, the nurse/roommate character who's just about the only female in HBO's recently renewed Looking.
Weedman did her first city-centric one-woman show in May 2013 - The People's Republic of Portland. Boise Contemporary Theater then asked for a similar project, as did Revolutions Theater Festival in Albuquerque.
"The Portland show was - as all my shows are - about myself, so its focus was about how I needed to find a place to raise my kid outside of L.A.," she said in an interview this week. "Our theme in Boise was 'Can Boise save my marriage?' because a psychic there told me it was over - and indeed things had started to feel . . . odd."
"My next show was in Albuquerque. The day before I left, I found my husband had been having a three-year affair. So that show's theme was 'I guess I'm divorced now, Albequerque.'"
"This time I'm in the dating phase ... through Tinder."
One online find took her to view the "Rocky steps" at 2 a.m. "He was telling me all about the movies - 'No. 1 ... in No. 2 ...' It was so wonderful. He explained to me who Rocky is: 'Rocky's real.' Then I got a cheesesteak with the guy."
She mentions sitting at Eastern State Penitentiary thinking about the guy she'd gone out with the night before, who had done a year in federal prison for dealing drugs. "I was thinking how bizarre it is to date at 45. That doesn't sound hilarious, more like a bad sitcom pitch. But it will be funny."
And if not? "If not, it's only 75 or 80 minutes and you're back on the streets, eating and drinking your troubles away, like I've been doing since I arrived."
One thing Chris Brown may be done with is gangs, but gang bangers ... not so much.
On Thursday, just three days after his release, the star looked to have been a fan of prison fare as he showed off a fuller physique his release party.
Brown's girlfriend Karrueche was spotted leading him blindfolded to the star studded shindig as she wore a figure hugging white dress and tan stilettos while leading her beau by the hand to the party.
The Look At Me now singer's eyes were covered by a red bandanna as he sported camouflage fatigues, made up of a large button down shirt and matching shorts.
Attendees at the party included T Pain, Tyga, Amber Rose, Akon and Lil Romeo.
Porn stars Alexis Texas, Bonnie Rotten, Alektra Blue and Sarah Jessie posed backside first for a pic at Chris Brown's Beverly Hills bash Thursday night.
Also on deck, porn star Kimberly Kendall -- who tweeted a pic of Chris dancing with her and a bunch of other hot chicks after blowing out the candles.
As we previously reported, T-Pain told us there was no weed smoking allowed at the party.
During the festivities Brown could be seen smiling and chatting with friends, clearly thrilled to be enjoying life on the outside.
This is the first time Brown has been seen since his release on Monday June 2.
Upon his release, the troubled star took to Twitter to post a message to his 13.5 million followers: 'Humbled and Blessed'.
Wtf kind of porn name is Bonnie Rotten.
Video of Karruche surprising Chris @ the Source
WHAT THE FUCK? NEWS
In The Expendables 3, Barney (Stallone), Christmas (Statham) and the rest of the team come face-to-face with Conrad Stonebanks (Gibson), who years ago co-founded The Expendables with Barney. Stonebanks subsequently became a ruthless arms trader and someone who Barney was forced to kill… or so he thought. Stonebanks, who eluded death once before, now is making it his mission to end The Expendables — but Barney has other plans. Barney decides that he has to fight old blood with new blood, and brings in a new era of Expendables team members, recruiting individuals who are younger, faster and more tech-savvy. The latest mission becomes a clash of classic old-school style versus high-tech expertise in the Expendables’ most personal battle yet.
TV spot won't embed click here
source 1, 2, 3
Racy pictures show pair arrested on suspicion of stealing Miley Cyrus' $100k Maserati (and they're a couple)
The man and woman who are suspected of stealing Miley Cyrus’ Maserati have been identified.
Us Weekly reports that a spokesperson for the Los Angeles Police Department confirmed: 'A female and a male were arrested today in relation to this theft case. They are a 21 year old female, Naomi Charles, an LA resident, and Tylor Scott, a 19-year-old male, who is an Arizona resident.'
The suspects appear to be a couple, as they can be seen kissing in photos posted on their social media pages.
The spokesperson added to Us Weekly on Thursday: 'Both have been arrested for residential burglary and they are being held on a $50,000 bail. They are still currently detained.
'They were taken into custody this morning around 11 a.m. in the city of North Hollywood in the 5300 block of Lankershim. They were identified by video surveillance and that’s how they were taken into custody.'
Scott was arrested in Arizona twice last year, according to Maricopa County court records. He was booked in December for 2nd degree Burglary, Theft of Means of Transportation (Auto Theft) and Drug Paraphernalia - Possession/Use.
While Scott’s profession is not known, TMZ reports that Charles is a fitness model.
Charles recently shared photos of expensive cars and wads of cash on Twitter, with the caption: ‘Life goals.’
TMZ claimed on Thursday that they were identified by officers while walking in North Hollywood, and recognisable from the surveillance video of the theft.
A witness spotted the man drop the Maserati Quattroporte off in the Simi Valley area of Los Angeles last Friday night and gave the description to law enforcement officers.
The man in question then 'jumped into the passenger seat of another car and drove off', the bystander told the website.
The car was abandoned all weekend and was picked up by police on Monday afternoon following calls from concerned neighbours.
Police were said to be 'dusting it for prints,' sources told the website.
The news comes after Miley was burgled on Friday of last week when two thieves hopped the fence of the 21-year-old singer's Los Angeles residence and made off with both her car and jewellery. The jewellery has not yet been recovered, according to reports.
The duo entered the home through the garage, Los Angeles police said in a statement to the LA Times.
Around 4pm, authorities were notified that the luxury car and other items were missing from the home nestled in the hills of LA's Studio City area.
Miley is currently in Europe for her Bangerz tour, where she was last spotted in Copenhagen, Denmark on Wednesday.
Oh, Game of Thrones. Could it be we've gone a few weeks without a rape? Or should I say, rapes.
As I wrote for Bent: How innocent it looks now, the controversial Jaime-Cersei scene, with its single demure assault of a grieving woman by her brother beside the poisoned corpse of their incestuously-begotten son. The next episode gifted us with a whole flotilla of angry cocks as - in another departure from George R.R. Martin's source books - the Night's Watch assaulted en masse the already serially abused daughter-wives of Craster. It made for grim viewing. Watch the scene for long enough and the Cersei-Jaime-corpse caper takes on the fond, sepia edges of an Edwardian picnic. Ah, for the rapes of yesteryear.
If you're one of the large and increasingly vocal number of people who are disturbed by the treatment of sex and violence on Game of Thrones, then this scene probably provoked a familiar feeling of angry exhaustion. This reaction can be difficult to manage, because the sadness and weariness means you don't have much energy left for the anger. And – especially as a person who doesn't generally have a problem with sex and violence – you don't know where to direct the anger. Is it at George R.R. Martin, the author of the novels on which the show is based? Or should it be at the show's co-creators, David Benioff and D. B. Weiss? Maybe the problem lies with the directors of offending episodes, such as Alex Graves, who gave us the Jaime-Cersei rape scene? Or does the buck stop ultimately with HBO, who commissions this series, and puts it out into the world?
On this last point, here we have Michael Lombardo, president for programming at HBO, responding to the recent controversy in an email to The New York Times, and defending the show, arguing "the choices our creative teams make are based on the motivations and sensibilities that they believe define their characters. We fully support the vision and artistry of Dan and David's exceptional work and we feel this work speaks for itself."To which we might reply: yes, the work speaks for itself, but it also speaks for you, HBO. You're a network, a conduit. You are what you choose to present. And this statement offers a blanket endorsement while also spectacularly passing the buck.
Then there's this from Neil Marshall, who directed the second season episode "Blackwater" of Game of Thrones, and has described the 'surreal' experience of being urged by an unnamed executive producer to add more full-frontal nude shots to scenes during filming. The producer's reasoning? He's not on the 'drama side' of things; he represents the 'perv side of the audience'.
And this got me thinking about HBO's role in all of this. A lot of the anger so far has understandably been directed at the show's writers and directors. And it's true that they're the ones on the ground, making the creative choices. But HBO influences these choices. Drastic departures from agreed-upon limits must be theirs to check, if they want to. But not only does the ickiness of Game of Thrones only increase over time, but in the wake of the recent controversy – about something as serious as rape, no less – they've come out with their explicit support.
Has Game of Thrones jumped the shark?
The logical answer is of course, no. The things that were always good about Game of Thrones are still good – and in fact the show has recently upped its game in terms of tighter episode focus on compelling storylines. And certain central performances, like Peter Dinklage's, continue to deepen and delight. But what was rank in the show has only grown ranker. And you can only take in the whiff for so long before you start to wonder: is this an isolated problem with Game of Thrones, or does it signal something about HBO's approach more generally? When it comes to sex, has HBO jumped the shark?
And to point all of this out is not to say for a second that all sex should be tediously soft-tinted and petal-strewn. There's definitely a place for submission and domination, and combativeness, in consenting sexual acts, and plenty of adults play those games and enjoy them. But the point of those games is that they don't have blurred lines at all. In fact, they have very clear lines: 'safe words', agreed-upon boundaries. And those clear lines are put in place because the grey area is so dangerous (which is often why it's interesting to people in the first place). Similarly, in the world of TV and film, the danger of sexual combativeness should be played with responsibly. Show human complexity, sure – show the very human horror and humiliation that is rape – but don't show it gratuitously, or as a titillant. Don't callously present it as 'edge'.
Just don't do this:
About that scene
Does that look like it 'becomes consensual', Alex Graves, Daniel Weiss, David Benioff, HBO? Really?
But what about your other defenses, Alex Graves., that "the consensual part of it was that she wraps her legs around him, and she's holding on to the table, clearly not to escape but to get some grounding in what's going on." And that she's clearly at one point 'kissing him back.'
Both these 'defenses' articulate well some of the confusion surrounding rape. First, the idea that kissing also means consent to sex – as though every time a person makes out with someone else they're also up for intercourse (which would make going to the cinema an awkward event to say the least). Second, there's the idea that bodily actions (like the opening of legs) are somehow interpretable and meaningful over and above the literal meanings of actual spoken words (in this scene, 'no, no', 'stop', 'it's not right' etc., which as words go, aren't exactly ambiguous). It's unnerving, to put it mildly, that these classic rapey apologia are put forward as arguments by a major TV director of the world's most popular television show. As Myles McNutt has argued, this was always going to be a shocking scene in terms of character development, but it wasn't necessarily an unthinkable scene: what has been most shocking is the apparent inability of this director to see that he'd filmed a rape at all.
Add to this the fact that Graves also filmed this scene apparently without analysis or discussion of the issues involved. Says Graves:
"Nobody really wanted to talk about what was going on between the two characters, so we had a rehearsal that was a blocking rehearsal… By the time you do that and you walk through it, the actors feel comfortable going home to think about it. The only other thing I did was that ordinarily, you rehearse the night before, and I wanted to rehearse that scene four days before, so that we could think about everything. And it worked out really well. That's one of my favorite scenes I've ever done."
Well, as long as everyone thought about the issues privately, what need is there for a director to direct their interpretation? Even though the fact that "no one wanted to talk about what was going on between the two characters" was a pretty fucking sure neon sign that there was something unusual and disturbing going on between the two characters to begin with? All of which makes the 'it was consensual' apologia extra creepy: because the defence of 'kissing'! and 'look, leg-wrapping!' is coming from such a rote and reflex space, and not a space of thought and analysis, and certainly. There's also the disturbing fact that these are classic date-rape defences.
If Alex Graves had done some research into rape or even into heterosexual sex from a female perspective as part of his preparations to, you know, direct scenes of rape or heterosexual sex, he might have a more nuanced view. So here's a tip, A.G.. If a person is being penetrated, and that person can't break free, that person might as well open their legs a bit as a protective gesture. This might seem counter-intuitive to someone who doesn't get penetrated as part of sex (in which case, as a director, research! think! ask!). But the fact remains that the incorporation of something into your body might be done in such a way as to minimise the harmful effects of a violent coercive penetration you don't choose, without meaning for a moment that the penetration isn't therefore coercive (such as if a rapist holds a knife to your throat to ensure physical cooperation, and you open your legs and angle your pelvis toward him to minimise harm).
In the case of the 'wrapping her legs' scenario in the Cersei-Jaime rape scene, even a cursory look at the mechanics reveals that a woman in that situation might do this to prevent even more piercing pain and probable tearing to her already too-dry and unaroused vaginal walls, and to prevent wrenching bruising to her thighs; a woman in this situation might as well hold onto a table to keep her balance and to stop her head being pounded on the stone flags. Moving your legs and arms about while also saying, repeatedly, 'no, no' doesn't somehow cosmically change the meanings of those words, just as protecting your face by lifting your arm, or holding on to a stool to keep your balance, or using certain parts of your body to protect other parts of your body, while lying on the ground being kicked – instead of fighting back – doesn't thereby mean that you consent to being kicked.
And it would be one thing to show this because it happens, because it's part of the general horror of human life, because relationships between the sexes are often fucked-up, for a battery of complex reasons. But it's another thing to choose to show it for no obvious reason at all, when it illuminates nothing (except perhaps, the gender dynamics of a pretend patriarchy, in another dimension/planet, that's been amply 'fleshed out' already), and when there are no obvious consequences for character (Jaime and Cersei seem to have forgotten about it by the time we roll on to 'Oathkeeper', the next episode). It's beyond understanding why you, Game of Thrones, HBO, constantly choose to take acts of consenting sex and mutual desire from your source material and turn them into rapes. And then to pretend that a woman saying 'no, no' and 'it's not right', up to the very moment that she's forcibly penetrated – next to the body of her dead son no less – is somehow not being raped at all.
Remember when you knew what a rape was, HBO?
Fantasy can be serious. And ethical objections aren't always veiled pruderies.
Read the full article at SOURCE. It's interesting even if its long, the writer talks in-depth about HBO and the way they portray sex scenes in general.
Remember to include spoiler tags when necessary!
Mere hours after Netflix premiered season two of “Orange is the New Black” in its entirety online, three of the show’s stars took the stage at the Austin Television Festival to discuss the streaming service’s critically acclaimed drama.
Uzo Aduba (Suzanne “Crazy Eyes” Warren), Danielle Brooks (Tasha “Taystee” Jefferson) and Lea DeLaria (Carrie “Big Boo” Black) were suitably impressed that most of the ATX Festival audience had resisted the urge to binge the show in the wee hours of the morning, allowing them to watch the season two premiere on the big screen at Austin’s State Theater.
While all Netflix cast members seem notoriously spoiler averse, the trio had plenty to say about the experience of filming and the groundbreaking nature of the show, which is set in a women’s federal prison and doesn’t shy away from portraying its characters in all their blunt, eccentric, sexually liberated glory.
Aduba admitted that being cast on the show changed her entire perspective on prisons and their inhabitants, revealing that she used to watch “Lockup” on MSNBC from a “voyeuristic perspective” to get a window into the closed societies of prisons, but after reading the second script for the series, “I started to stop and realize, we’re not telling stories about crime, we’re telling stories about people who happened to commit crimes. The stories we’re talking about are these people and their journey: what it is for Red to be a wife to this man — all she wants, more than anything, is to belong. That was a change just in my own life, realizing that these are people— good people can make mistakes, they’re more than just the singular adjective or descriptor that we want to put on them. They’re not just the crime or the jumpsuit — they’re someone’s mother, someone’s neighbor, they had a job, they have a parent somewhere. That was very life-changing for me.”
The stars also applauded “OITNB’s” writers for their authentic characterization; Aduba said she was especially impressed with the way Taystee is portrayed: “It opens minds up to [the fact that] we’re all more than what we might seem on the outside. I think a beautiful thing they do with Taystee is … We think this is who she is, but she’s super well read, she’s good with numbers, she’s an incredibly intelligent young lady.”
Brooks agreed, “It gets rid of this stereotype of all women in prison, what you think they are. That’s one of the reasons I love playing Taystee — she is very educated. Yes, she has that form of being in a foster home and not having a family background, but she’s proven [she can] break out of that … it’s really great for our society to take a look at how we are judging one another with all of these women.”
“It’s like I’ve died and gone to feminist lezzy heaven,” DeLaria wryly concurred. “I’ve been a professional lesbian for over 30 years — before that I freelanced — but my entire career has been about that, putting a human face on what a butch is. To be able to finally get to portray this … usually whenever you see someone like my character in some other television show, she’s stupid, she’s fighting some other dyke with a pool cue, she’s a truck driver. It’s interesting to me that not only is Big Boo smart, she’s the smartest woman in the prison – she always has a warm heart and a warm soul, she’s three dimensional and not a caricature. I think that makes us all feel very blessed to be in the show.”
Season two of “Orange” ups the ante in many ways, Brooks promised, teasing that fans can expect a number of new character back stories – including Taystee’s. “This season is very exciting. I think it intensifies to the 100th degree … a lot of cliffhangers are answered this season, but then it leaves you with some other things,” she said.
“There’s some new characters too; Vee, played by Lorraine Toussaint — she really comes in and rocks it. I’m excited for people to see that.”
“And Kimiko Glenn – she plays a character, Brooke, that just embodies that whiny liberal that you just want to smack … she’s terrific,” DeLaria added. She also promised that we can expect further insanity from Big Boo this season: “I’m just going to say one word: #peanutbutter. I’ve been getting that hashtag all day,” she said cryptically. “I just think they sit around in the writer’s room and go ‘What’s the craziest thing we can think of and who will do it? Oh yeah, give it to DeLaria.’”
An audience member noted that she appreciated the show’s examination of authority figures and their own corruption, something that Aduba agreed was one of “Orange’s” most fascinating aspects.
“I think it is really interesting that the show touches on that — who is the real criminal, and what is the real crime?” she noted, pointing out that everyone, from Mr. Healey to Figueroa to Pornstache to gentle guard Bennett, plays in moral grey areas (or crosses the line completely) on the show.
“As much as we’re invested in [Bennett and Daya’s relationship], it’s wrong, it’s completely incorrect,” DeLaria pointed out.
“And yet we forgive it,” Aduba noted.
“For Fig, you’re going to be happy to see what happens to her in season two,” Brooks teased. “The writers are so much more brilliant than what I could come up with, so I think you’ll be pleased.”
The actors said that they’re hoping to play their characters for many years to come, and shared some of their aspirations for the layered women they portray.
“I think I would like for Suzanne to have more of the same, in that I love that they continue to place her on solid ground,” Aduba said, hoping that the writers “continue to round her out [and] keep having … questions come up for her, such as the love question: what it is to love; what it means to love; how far someone will go for love; what someone will do for love. I would love to see that continuation. I love seeing her vulnerability, her willingness to just live, I’d love to see that fire continue to be stoked.”
Touching on her character’s depth and growth, Brooks said, “I would love to see Taystee develop into Tasha. She’s not quite there yet… I would love to see her become a woman and I think for season one, we end up with that conversation with her and Poussey in the library. In season two she really takes to heart that conversation – she tries so hard. She’s so hopeful of getting out, I would love to see her grow as a human being.”
“I’d love it if Big Boo had sex with a human,” DeLaria laughed. “Had a relationship with something other than a machine — that would be awesome, I’d love to see what would happen to Boo in an actual relationship. We’ve seen her talk about a relationship so I would love to see what the writers envision for her in that situation and how I could make it happen. I would like it if she could never get out of prison – maybe she could shoot Pornstache and get a life sentence.”
by Laura Prudom
Hatoful Boyfriend is a Japanese dating sim that replaces the usual array of sexy anime characters with pictures of birds. Devolver Digital and Mediatonichave teamed up to official bring this wonderfully creepy thing to the Western world.
Hatoful Boyfriend — literally 'Pigeon-ful Boyfriend' (thanks, AnimeNewsNetwork) — took the internet by storm in late 2011, capturing the hearts, minds and cloaca of people looking for proof that Japan is pretty weird sometimes. The original game spawned fan-made English language translations, as well as some very unfortunate fan art and fan fiction.
Devolver and Mediatonic will be showing the new English version of the game being closed doors at E3 next week, with the game coming to PC and Mac later this year. While we wait, here's my original post from 2011, complete with what might be the best headline I've ever written.
In 2004, Piper Kerman, a woman from a wealthy Boston family, served 13 months of a 15-month prison sentence for drug-trafficking and money-laundering offences. In 2010, she turned that experience into a bestselling memoir, Orange Is The New Black: My Year In A Women's Prison, which told stories of life on the inside and attempted to put a human face to the 2.4 million people currently incarcerated in the United States.
"I thought that if I was successful at what I wanted to achieve," she explains, over a coffee near her home in Brooklyn, "then people would come away from the book thinking differently about who was in prison and why they were there, and what really happens in there."
She could not have imagined just how successful she would be. In June 2013, the streaming service Netflix unveiled the series Orange Is The New Black, an oddball, 13-episode comedy-drama loosely based on Kerman's story. It already had two high-profile shows in its stable: House Of Cards, the campy political thriller starring award magnets Kevin Spacey and Robin Wright, and the rebooted sitcom Arrested Development. But at the end of the year, Netflix, usually tightlipped about its viewing figures, revealed that Orange Is The New Black was its most popular original show. The underdog had become a sensation.
Kerman, who acts as a consultant on Orange (everyone on the show uses the shorthand name), and is a prominent advocate for penal reform, says she knew early on that she wanted her story to be told on TV. "Even the best, best bestselling book only reaches a fraction of the people that filmed entertainment reaches," she says. Plus, she goes on, television is longer and goes deeper. "Film is reductive to a single protagonist, but a series allows you a degree of latitude. What was interesting about my story was not my story solely, but the fact that it interlays with all these others."
The drama initially centres on a fictional version of Kerman, Piper Chapman. She's played with impressive range by Taylor Schilling, who runs the gamut from wide-eyed terror to steely self-preservation. In the Litchfield Penitentiary, where Chapman serves her sentence, she does battle with petty bureaucracy, abusive guards, fundamentalist bigots, the etiquette of prison's micro-society, defective tumble-dryers and the hunt for a mythical chicken that may or may not represent hope and freedom for her fellow inmates.
Though the chicken is TV fantasy, Kerman says a surprising amount of the show is rooted in the truth. "I met the warden of a very large women's prison in the midwest, and she said, 'Oh, we love the show.' And I said, 'Really?' And she said, 'Oh yeah: we have a [born-again Christian] Pennsatucky, we have a [Chapman's would-be prison wife] Crazy Eyes. My response to this warden was, 'Of course you have a Pornstache, then,'" referring to the magnificently moustached corrupt guard (played by The Wire's Pablo Schreiber) who brings drugs into the prison and has sex with the inmates.
"When you talk about something like the criminal justice system in America, there are inherently political strands," Kerman continues. "Race drives incarceration, and people are disproportionately punished based on their social situation, so it would be impossible to have a show about prison and not touch on political questions. But it goes back to the intimacy of a series; you invest yourself in those characters and the fact that you really care about them and what happens to them and why, that raises questions."
The show is now entering its second season, and while it covers plenty of new ground – a fresh arrival and wannabe top dog, Vee, sets about dividing up the prison along racial lines, and we get the backstories (the show loves a flashback) of online fraudster Morello and Poussey, a sharp-tongued wise-cracker previously used more as a comic foil – it's the central romance between Chapman and her former criminal cohort Alex Vause that has many fans hooked. The pair's destructive, co-dependent love story drives much of the first season, and is the catalyst for a huge shocker at the start of the second.
Laura Prepon, who plays Vause, explains its appeal over the phone. "It's a rocky relationship, it's very tumultuous, but I think the reason fans love it so much is because it's a true love they have for each other, but they just keep fucking it up. [Alex] is a straight-shooter, she doesn't mince her words, but she's also a truthful, vulnerable person. Piper really is the love of her life, and you see her hurt and vulnerable when she's dealing with love."
Plus, of course, Vause has got attitude. "She's a total badass," agrees Prepon, who suddenly begins to shout. "Oh my God, there's all these girls running by the car right now," she shouts. "They're really running! This is crazy. There are girls surrounding the car!"
Prepon has her theories about why Orange has caused such a fuss. "You never see a show with this many strong independent women on TV, and audiences want that. They're hungry for that, and it's pretty incredible." In many ways, its success can be seen as a defiant middle finger to traditional television models. Showrunner Jenji Kohan, who also created Weeds, took Orange to various cable executives; they all passed, leaving Netflix to take the chance. "Nothing is taboo for Jenji," says Prepon. "We're just trying to tell these stories in an authentic, honest way, about these women who are stripped of their creature comforts and are thrown into this environment where it's not about the makeup and the wardrobe and the hair. It's about what these women are dealing with."
In August 2013, two months after Orange first appeared, BuzzFeed reported that Prepon was leaving the show. It caused a stink: some sites even speculated that Prepon's Scientology beliefs meant she was no longer comfortable playing a lesbian, a point she has always denied. Eventually, it was announced that she would be back for one episode, and then for four. "Because of a scheduling conflict, I wasn't able to be in the whole season, but I did as many as I could," she says now. Netflix, being relatively new to the series game, doesn't have six-year contracts in the way that traditional television does, though that "has changed a little bit" according to Prepon. "We're like pioneers of this new frontier, in terms of a place like Netflix making its own shows. It's a learning curve for all of us … But we already handled that, so I can be in every episode of season three." She will be filming it by the time season two appears online.
Jenji Kohan has spoken in the past about using the character of Chapman, a white, wealthy blonde woman, as her "Trojan horse", a way of telling stories that might not ordinarily be heard. Kerman thinks this says more about the entertainment business than it does about what viewers actually want, however. "Jenji said she couldn't go to a major media company and say, 'I want to make a show about a wide mosaic of women of all ages and races, and they're going to be poor…' Viewers are more receptive to a huge amount of different stories than perhaps media executives give them credit for."
As we talk, Kerman suddenly spots a familiar face: "Oh, my husband just walked in!" The real Larry, played by Jason Biggs in the show and much derided by fans online, comes over and gives the real Piper a kiss. I ask Larry what he thinks of TV Larry. "He's not nearly as hot," he jokes."I appreciate my friend's teenage daughter saying, 'Dude, you're much cooler than that guy on TV.' It's just a kick, you know?"
For Kerman, whose fictional self takes up a lot more screentime, there is a lot more to consider. "I think she's a really well-done character," she says, laughing. "Sometimes I watch between my fingers: 'Oh no, don't do that!' I made plenty of mistakes when I was incarcerated. They don't mirror her choices, but her choices are very believable and as a human being, to be in this situation, which is scary and unfamiliar, you cling rather desperately to the things that make you feel better, even though they might not be the best thing for you." And with that, she nails the appeal of the show: "Any of us can relate to that, right?"
The whole of season two of Orange Is The New Black is on Netflix now
Have you finished Season 2 yet, ONTD?
The elusive creator of “Calvin and Hobbes” secretly penned crocodiles, Martian robots and bodacious babes in hundreds of newspapers this week for “Pearls Before Swine.” The cartoonist, Bill Watterson, best known for creating the precocious Calvin and his beloved partner in crime, Hobbes, a plush tiger, retired from the comic business disenchanted and averse to interviews and public appearances.
His work has never been forgotten, but it’s been missed.
His art appeared surprisingly in “Pearls Before Swine” on June 4, 5 and 6 in the form of a little girl named Libby, a second grader with a natural gift for drawing who effortlessly took control of the comic. Watterson made Stephan Pastis promise he wouldn’t reveal his identity until after each of the comics they collaborated on had been released.“It was the hardest secret I’ve ever had to keep,” Pastis wrote in a blog post.
As Libby, Watterson dived into the familiar fantastic imagination where a crocodile gobbles Pastis up and then, a pig and mouse debate how a new artist will change their banter as a giant Martian robot attacks. In the comic, Pastis’ character begs Libby to take over, but she backs out and calls comics a dying artform. She even complains about the lack of space — a reason Watterson cited in 1995 when he concluded “Calvin and Hobbes” in a letter to newspaper editors and readers.
The three strips are the result of weeks of careful planning between Pastis and Watterson.
Like many before, Pastis sought out the cartoonist during a book tour. He failed to catch Watterson’s attention, but he sent an email anyway. To his surprise, Watterson replied and had an idea for a comic strip. How could Pastis resist the Bigfoot of cartooning? “I will do whatever you want, including setting my hair on fire,” Pastis wrote in a blog post.
The pair fleshed out the details over email and Pastis always had that inkling that he would say something wrong and “Bill would disappear back into the ether” and the “whole thing would seem like a wisp of my imagination.” In the blog post, Pastis revealed Watterson is not a fan of technology. To avoid losing any strips in the web of snail mail, they worked with a scanner, Photoshop and email attachments, but that proved difficult for Watterson. They worked out their technical problems over email for weeks.
Pastis described working with Watterson as “editing the pope,” he said in an interview with the Washington Post. “Like telling Michelangelo: David’s hands are too big.” In a rare quote to the Post, Watterson says working on the strip was fun, but surprisingly challenging added. “Stephan kept setting up these situations that required more challenging drawings ... so I had to work a lot harder than I had planned to! It was a lot of fun,” Watterson said.
Watterson has not contributed to a syndicated comic strip since 1995 and in recent years had produced public art only twice in recent years, the Post reported, including a poster for a documentary film and a painting of Richard Thompson for charity.
mama better slay us with that choreo!!!!!!!
The 27-year-old actress took advantage of some remaining downtime by heading to the trendy Chateau Marmont in Los Angeles on Friday.
Ellen, who was accompanied by Portlandia's Carrie Brownstein, donned straight-cut black trousers, a blue button-up blouse, black dress jacket and stylish black loafers, along with her usual trucker cap.
Cruel World (@ 0:00)
Sad Girl (@ 0:30)
Pretty When You Cry (@ 1:00)
Money Power Glory (@ 1:30)
Fucked My Way Up To The Top (@ 2:00)
Old Money (@ 2:30)
The Other Woman (@ 3:00)
Black Beauty (@ 3:30)
Guns and Roses (@ 4:00)
Florida Kilos (@ 4:30)
It’s been a minute since we heard from Owl City, but earlier in the day, Adam Young returned to the limelight with the announcement that he will be releasing a new EP titled Ultraviolet on June 27. Check out the record’s cover art by following the jump below, and swing over to his official website to unlock a new song clip and the EP’s complete track listing.
Back in March, Owl City teamed up with violinist Lindsey Stirling to produce the bubbly single, “Beautiful Times.” If for some reason you missed it, it can also be found below.
Let us know if you’re excited for Ultraviolet in the replies, and follow us on Twitter for more entertainment news for today’s generation.
Lana's cultural impact making itself known. But really, this is actual proof that musical icons think alike. #lanaadamcollab2014
I have a dear friend who's trying to quit smoking—she's one of the 42.1 million people in the U.S. who turns to cigs—and she's doing a great job of lessening her daily intake. Still, she's in need of extra motivation—as many wannabe-quitters are!—so I thought it was worth taking a look at some of the things stars have done to toss the tobacco.
Cameron Diaz quit with: sheer willpower
Cameron smoked through her twenties and stopped while training for Charlie's Angels—then took the habit up again (briefly!) before stubbing out the habit in her thirties. After smoking a reported 20 cigarettes a day, Cameron decided to quit, saying: "I gave up because my parents were upset that I was smoking so much and I was setting a bad example. It preyed on my conscience. I was into roll-your-own, and I was killing myself."
Jennifer Aniston quit with: yoga
According to the intro she wrote for Yogalosophy—the book penned by Jen's yoga trainer (and star of Teen Witch—raising my hand as being a crazy-nut fangirl of that movie!)—Mandy Ingber's book, regular yoga helped Jen to let go of her addiction to cigarettes and caffeine.
Paul Rudd quit with: hypnotherapy
The always-hilarious-and-dreamy (let's be real, here) Paul turned to hypnotherapy to quell his cigarette habit, apparently at the suggestion of costars such as Rashida Jones.
Uma Thurman quit with: nicotine gum
Uma says that giving up smoking was the "biggest struggle of my life." In 2005, she quit for good—by chewing gum. Nicotine gum gives ex-smokers-to-be teensy amounts of nicotine while also rewarding their mouths with something to do instead of sucking on a cig. (Some research has shown that using nicotine gum while nixing cigarettes can triple the chances of being able to quit for six months.)
In the years since Monroe’s death in 1962, candid photos of the blonde bombshell have surfaced that reveal a different side to the glamorous starlet who seemed to adore the cameras. Tousled, intimate portraits of Marilyn without her familiar sheen of lipstick, deeply engrossed in books and allowing us a glimmer of her everyday life suggested the actress was much more than her “dumb blonde” persona.
Marilyn was doing the no makeup selfie before Gwyneth. She showed a passion for good food and felt comfortable in her own body (most of the time) before Hollywood’s current everywoman Jennifer Lawrence made a show of it. The actress craved respect, but she was unafraid to be playful and goofy. And sometimes she just didn’t give a damn. We have the photo evidence to prove it.
mods: this was written for her birthday (June 1st), but I just saw this today and thought it was qt enough for an old hollywood post
X-Men: Days of Future Past will cross the $100 million mark at the box office in China this weekend. It will be only the third movie from 20th Century Fox to reach such high numbers in China, following Titanic and Avatar.
The film is closing in on $550 million worldwide. It has currently grossed $169 million domestically and $380 million internationally. China has proven to be its largest international market by a large margin, with the UK following with $36 million.
X-Men: Days of Future Past had a strong opening on Memorial Day weekend, ranking first at the box office in all markets. It will be challenged at the box office this weekend by Edge of Tomorrow. All films will be struggling for the attention of the international market in the coming weeks as the 2014 FIFA World Cup begins on Thursday, June 12.