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Oh No They Didn't! - LiveJournal.com

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    Twenty-five years later, the political message and musical innovation on Rhythm Nation 1814 is more significant than ever, though less appreciated than it should be.

    The most culturally significant female artist of the 1980s? Janet Jackson.

    I realize that’s a big claim for a decade that included such talents as Whitney Houston, Tina Turner, Annie Lennox, Cyndi Lauper, and Madonna. It may seem even more dubious given the fact that Janet really only emerged as a major figure in 1986 with the release of Control—and only released two substantial albums over the course of the decade. Janet didn’t have the vocal prowess of Whitney Houston, or the poetic subtlety of Kate Bush; she didn’t have Annie Lennox’s penchant for the avant-garde or Madonna’s predilection for shock.

    But none of these artists achieved the cross-racial impact (particularly on youth culture) of Janet. And none of them had an album like Rhythm Nation 1814.

    In his Rolling Stone cover story, journalist David Ritz compared Rhythm Nation 1814, released 25 years ago today, to Marvin Gaye’s landmark 1971 album What’s Going On—a pairing that might seem strange, if not sacrilege. But think about it, and the comparison makes a lot of sense. Both albums are hard-won attempts by black musicians to be taken seriously as songwriters and artists—to communicate something meaningful in the face of great pressure to conform to corporate formulas. Both are concept albums with socially conscious themes addressing poverty, injustice, drug abuse, racism and war. Both blended the sounds, struggles, and voices of the street with cutting-edge studio production. Both fused the personal and the political. And both connected in profound ways with their respective cultural zeitgeists.

    Yet while What’s Going On has rightfully been recognized as one of the great albums of the 20th century, Rhythm Nation’s significance has been largely forgotten. At the time, though, it was undeniable: For three solid years (1989-1991), the album ruled the pop universe, the last major multimedia blockbuster of the 1980s. During that time, all seven of its commercial singles soared into the top five of the Billboard Hot 100 (including five songs that reached No. 1), surpassing a seemingly impossible record set by brother Michael’s Thriller (the first album to generate seven Top 10 hits). Janet’s record has yet to be broken.

    During its reign, Rhythm Nation shifted more than seven million copies in the U.S., sitting atop the charts for six weeks in 1989 before becoming the bestselling album of 1990. It was the first album in history to produce No. 1 hits in three separate years (1989, 1990, 1991). Meanwhile, its innovative music videos—including the iconic militant imagery and intricate choreography of the title track—were ubiquitous on MTV.

    But its impact was far more than commercial. Rhythm Nation was a transformative work that arrived at a transformative moment. Released in 1989—the year of Spike Lee’s Do the Right Thing, protests at Tiananmen Square, and the fall of the Berlin Wall—its sounds, its visuals, its messaging spoke to a generation in transition, at once empowered and restless. The Reagan Era was over. The cultural anxiety about what was next, however, was palpable.

    * * *

    The 1980s were a paradoxical decade, particularly for African-Americans. It was an era of both increased possibility and poverty, visibility and invisibility. The revolution of the pop-cultural landscape was undeniable. “Crossover” icons like Janet, Michael, Prince, and Whitney shattered racialized narrowcasting on radio, television and film, while hip hop emerged as the most important musical movement since rock and roll. The Cosby Show changed the color of television, as Spike Lee and the New Black Cinema infiltrated Hollywood. Oprah Winfrey began her reign on daytime television, while Arsenio Hall’s hip late-night talk show drew some of the biggest names in America. By 1989, from Michael Jordan to Eddie Murphy to Tracy Chapman, black popular culture had never been more prominent in the American mainstream. Over the course of the decade, the black middle and upper class more than doubled and integrated into all facets of American life, from college campuses to the media to politics.

    Janet was determined to use her platforms to do more than simply entertain.
    But there was a flip side to this narrative—the decay and abandonment of inner cities, the crack epidemic, the AIDS crisis, the huge spike in arrests and incarceration (particularly of young black men), and the widening gap between the haves and have-nots, including within the black community. By the end of the 1980s, nearly 50 percent of black children were living below the poverty line This was the reality early hip hop often spoke to and for. Chuck D. famously described rap as “CNN for black people.”

    It was these voices, these struggles, these ongoing divides and injustices that Janet Jackson wanted to represent in Rhythm Nation 1814. “We have so little time to solve these problems,” she told journalist Ritz in a 1990 interview. “I want people to realize the urgency. I want to grab their attention. Music is my way of doing that.” Pop stars, she recognized, had unprecedented multimedia platforms—and she was determined to use hers to do more than simply entertain. “I wanted to reflect, not just react,” she said. “I re-listened to those artists who moved me most when I was younger ... Stevie Wonder, Joni Mitchell, Marvin Gaye. These were people who woke me up to the responsibility of music. They were beautiful singers and writers who felt for others. They understood suffering.”

    A sprawling 12-track manifesto (plus interludes), Rhythm Nation acknowledges this suffering and transfuses it into communal power. It was Janet’s second collaboration with Jimmy Jam and Terry Lewis, the talented duo from Minneapolis who miraculously merged elements of three existing musical strands—Prince, Michael, and hip hop—into something entirely fresh and unique. The Flyte Tyme sound featured angular, staccato-synth bottoms, often overlaid with warm, melodic tops. The sound was tailored to Janet’s strengths: her rhythmic sensibility, her gorgeous stacked harmonies, her openness to new sounds, and her wide musical palette. Jam and Lewis also took the time to learn who Janet was, who she wanted to be, and what she wanted to say, and helped translate those sentiments and ideas into lyrics. On Rhythm Nation, Janet wrote or co-wrote seven of the album’s 12 songs, interweaving social and personal themes.

    Rhythm Nation transfuses communal suffering into communal power.
    Twenty-five years later, those songs still pop with passion and energy
    . Listen to the signature bass of the title track, based on a sample loop of Sly Stone’s “Thank You (Falletinme Be Mice Elf Again),” and the dense textures of noise that accentuate the song’s urgency. Listen to the funky New Jack riff in “State of the World,” again surrounded by a collage of street sounds—sirens, barking dogs, muffled screams—as Janet narrates vignettes of quiet desperation. Listen to the industrial, Public Enemy-like sermon of “The Knowledge.” The opening suite of songs feel like being inside a sonic factory: machines spurt, hiss, and rattle, as if unaccountably left on; glass breaks, metal stomps and clashes. All this is juxtaposed, of course, with Janet’s intimate, feathery voice, making it even more striking.

    Listen to how she sings in a lower register in the first verse of “Love Will Never Do (Without You),” then goes up an octave in the second, before the chorus nearly lifts you off the ground. The album is full of sudden, unexpected shifts, as when the euphoric throb of “Escapade” transitions into the arena-rock stomp of “Black Cat.” On the final track, following the eerie strains of young children singing (“Living in a world that’s filled with hate/ Living in a world we didn’t create”), the album concludes as it began, with a somber bell tolling, perhaps a reference to John Donne’s famous dictum, “Ask not for whom the bell tolls/ It tolls for thee.”


    Fav Janet album ONTD?
    miss u much

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    Doctor Who fans have a tendency to worry about ratings more than fans of other shows, and with good reason. The show has been cancelled or been put on hiatus twice, and recently overnight ratings have begun to show a bit of decline. Cries of “this is worse than the 80’s!” and “it’s going to end up cancelled!” have been adorning message boards and blog posts across the dark recesses of the internet recently. But is there really any truth in these statements? Well, I don’t think so, and I’m going to try and tell you why…

    Ratings and the BBC

    Unlike most television channels, the BBC does not show adverts for anything except itself. This is because it has no need to, as, at least in the UK, its primary source of income is the TV license. The TV license is a sum of money that UK residents have to pay by law, basically, to watch TV channels. The BBC’s money from the TV licence isn’t dependent on ratings – this is why it can get away with having documentaries on BBC Four that no-one will ever watch, whereas other channels have to try and maximise viewership so as to make as much money as possible. Therefore, as it still has solid ratings, the BBC doesn’t have as much to lose by keeping it on air as other channels would. And talking of money…

    Doctor Who Makes Shedloads of Cash

    Did you mourn the passing of “Sonic Strawberry” Doctor Who Frubes? Are you awoken every morning by the sound of a TARDIS alarm clock*? Was your last birthday celebrated with a cake made with an official Dalek mould? Okay, so you might have answered ‘no’ to those last few questions, but you can still see my point. Look around your house. How much Doctor Who merchandise, DVDs and books do you have? For every piece of Doctor Who merchandise sold the BBC makes a bit more money, and that’s a lot of money it wouldn’t get if the show was cancelled. The BBC is a lot smarter than to kill off one of, if not, the biggest cash-cow it has, especially as one of its other biggest money-spinners is Sherlock, and I’m not sure Mr Moffat and Mr Gatiss would be terribly enthusiastic about making anymore of that if the BBC stopped the production of the other show that they’re currently working on.

    Also, it’s not like Doctor Who is sapping BBC resources either. Despite the fact that it is one of the most expensive programs the cooperation makes, it turns a healthy profit every year, and more than adequately finances itself. So, from a financial point of view at least, Doctor Who is still secure.

    Television Has Changed

    In recent years, Doctor Who’s overnight ratings have decreased. However, the amount of people watching it on iPlayer, Sky Plus and the like has dramatically increased. This has had a profound effect on the actual ‘final’ ratings. These have blossomed in size, with increases of over two million becoming more and more common. This shows how much the way people are watching television has changed. It used to be something that you had to watch at a certain time, or you’d miss it. Now you can miss it but still have a chance to watch it soon after by setting it to record or just by watching it online. The BBC will obviously take this into account, and so while the overnights might look slightly underwhelming, the overall ratings are very good. Remember, the decline in ratings hasn’t just affected Doctor Who. Across the channels, ratings are starting to drop a little bit, so Doctor Who isn’t alone in this.

    It’s Still Incredibly Popular

    As you will all know, before the start of Series 8, Doctor Who went on a world tour, visiting major cities across the globe. How many other shows can still have the popularity and worth so that those making it can happily finance a trip around the world to promote its eighth series? And, following on from that, how many new shows these days manage to reach their eighth series? How many other programs on British television have been going strong (with the occasional lapse) for 51 years? How many other programs can throw themselves a 3D birthday bash that gets shown across the globe, takes the show in a new direction and then gets voted the best ever story? Not many, I can tell you.

    Doctor Who’s all important “indefinable magic” is still going strong. Its ratings and popularity are going up all around the world. In the last nine years Doctor Who has cemented itself as one of the key programs of the modern age, and as one of the greatest shows ever made. Who in their right mind would cancel a show like this?

    So, to conclude, I personally think that Doctor Who has nothing to worry about when it comes to ratings, and that it’ll still be on our screens for a while yet.

    Therefore, it will now be terribly embarrassing for me if the Beeb do decide to cancel it.

    *I have one, but I’ve stopped using it due to the fact it was incredibly annoying.


    Care to speculate on the numbers, ONTD? How are you liking the season so far?

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    The “g” word, of course, being “gorgonzola.” Nahhh, I’m just kidding. Daredevil‘s going to be gritty, you guys.

    Speaking with Paste Magazine, Daredevil showrunner Steven S. DeKnight had this to say about the upcoming Netflix show:

    “With this version of Daredevil, we wanted it to be grounded, gritty, as realistic as we could portray. That naturally fits in with the Daredevil character. Matt Murdock, on a regular basis, would get the shit beat out of him. That’s one thing that makes him a great character. He’s not super strong. He’s not invulnerable. In every aspect, he’s a man that’s just pushed himself to the limits, he just has senses that are better than a normal humans. He is human. The other thing that really drew me to this character is that he’s one of the most morally grey of the heroes.

    None of this sounds that bad on its own, but any time I hear the word “gritty” applied to a superhero property, I rear back from my screen in horror. It’s instinctual at this point. We’ve just had so much grimdark since Christopher Nolan’s Batman trilogy burst onto the scene. One of the good things about Marvel Entertainment’s projects is their distinct lack of grit, the fact that—unlike DC/Warner Bros.—they keep the fun in the superhero genre. That said, “gritty” has all but turned into a meaningless buzzword, so DeKnight using it here doesn’t necessarily mean we’re looking at a humorless series where Daredevil growls and broodily punches baddies in a monochromatic cityscape.

    Plus, we’re talking about Steven DeKnight, creator of Spartacus, here. If his definition of gritty is “violent with a lack of moral simplicity,” then technically Spartacus could be considered gritty too, even though I absolutely wouldn’t call it that. It was too… fun. You get a slo-mo blood splatter! And you get a slo-mo blood splatter!

    DeKnight elaborated on the “morally grey” comment, explaining that Daredevil (Charlie Cox) is“a lawyer by day, and he’s taken this oath. But every night he breaks that oath, and goes out and does very violent things.”

    “The image that always stuck in my mind was the Frank Miller Elektra run where he’s holding Bullseye over the street, and he lets Bullseye go because he doesn’t want Bullseye to ever kill anyone again. When I read that originally, when I was young, I’d never seen anything like that in comics. Superman scoops up the villain and puts them in jail. This time the hero didn’t do that. It was a morally grey ground that I found absolutely fascinating. There are two sides to this character. He’s literally one bad day away from becoming the The Punisher! Frank Castle went just a little bit further than he did. Daredevil has no qualms about beating the hell out of somebody. He’s not going to tie them up with his webs! He’ll come close to killing somebody. And it’s that fine edge—Why doesn’t he go all the way? I really liked the flawed heroes, the human heroes.

    Don’t let me down, Steven.


    Marvel and Netflix are proud to announce that acclaimed actor Scott Glenn has joined "Marvel's Daredevil," an all-new 13-episode series premiering on Netflix in 2015.

    Best known for his work in blockbuster films such as "The Bourne Ultimatum," "Silence of The Lambs" and "The Hunt For Red October," Scott Glenn will play Stick, the mysterious martial artist and mentor of Matt Murdock (a.k.a. Daredevil).

    Scott Glenn joins Charlie Cox (Matt Murdock), Deborah Ann Woll (Karen Page), Elden Henson (Foggy Nelson), with Rosario Dawson and Vincent D'Onofrio (Wilson Fisk) in the critically-lauded cast of "Marvel's Daredevil."

    "Stick is one of the most important figures in Matt Murdock's life and Scott Glenn embodies all the qualities of someone so integral to this hero's journey," said Jeph Loeb, Marvel's Head of Television. "There are few actors who could bring such the authenticity, gravitas and charisma to such a key role in Matt's journey to become the super hero we call Daredevil."

    "Marvel's Daredevil" follows the journey of Matt Murdock, who was blinded as a young boy but imbued with extraordinary senses, now fighting against injustice by day as a lawyer, and by night as the super hero Daredevil in modern day Hell's Kitchen, New York City.

    Marvel's first original series on Netflix is Executive Produced by series Showrunner Steven S. DeKnight ("Spartacus," "Buffy: The Vampire Slayer," "Angel") and Drew Goddard ("Cabin in the Woods," "Lost," "Buffy The Vampire Slayer," in addition to writing the first two episodes of "Marvel's Daredevil"), along with Marvel TV's Jeph Loeb ("Marvel's Agents of S.H.I.E.L.D.," "Smallville," "Heroes").

    "Marvel's Daredevil" is produced by Marvel Television in association with ABC Studios for Netflix

    (special thanks to neuersfor this update)


    Gritty huh...(I'm getting flashbacks of the time Charlie killed a guy via garotte in Boardwalk Empire)

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  • 09/15/14--13:13: Two new posters for 'Tusk'

  • Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.


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    *Romeo Miller is out, and Robert Ri’chard is in! Ri’chard is replacing Miller in the upcoming exotic dancer flick, “Chocolate City.”

    Allegedly, Miller was kicked to the curb since he couldn’t quite get the required dance moves down. Basically, he doesn’t have that male stripper edge.

    But Ri’chard — as his replacement — has the right stuff to play the male lead in what is already considered the black version of the popular film, “Magic Mike,” reports AlwaysAList.

    Ri’chard previously starred on Nickelodeon show “Cousin Skeeter” and then, became hot stuff on “One on One” and “Meet the Browns.”

    Now he’ll star as a young college student named Devin who is sucked into the world of exotic dancing in order to pay bills.


    But Ri’chard isn’t the only hot stuff that will be featured in the film. Tyson Beckford, Ginuwine and Darrin Dewitt Henson will put down the moves as well.

    Other cast members include Michael Jai White, Vivica A. Fox, DeRay Davis, Carmen Electra and Imani Hakim.

    The film is being shot independently and footage has already leaked online. Nu-Lite Entertainment is producing the film that is expected to be released sometime in 2015 with eOne Entertainment’s non-theatrical division.



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    Sharon Osbourne has launched a vicious attack on U2, calling their music so “mediocre” that no-one would buy it.
    The former X Factor judge – who manages husband Ozzy – said they are “business moguls” and not musicians after giving away their new album for free with Apple. The Dublin rockers agreed a deal with Apple to give Songs of Innocence to more than half a billion people for free through iTunes.But Sharon – who called the band, as well as Apple “a bunch of megalomaniacs” – said: “U2 you are business moguls not musicians anymore.

    “No wonder you have to give your mediocre music away for free cause no one wants to buy it. Guys nothing is for free, how much you making?”Furious Sharon added that they are now “just a bunch of middle age political groupies” – in a dig at Bono’s charitable work. She added: “Whose political ass are we going to pull you out of today? Or are you front row at another tragic fashion show?” In a foul mouthed Twitter rant, Sharon ended by telling the band they should “f**k off”.


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    n an appearance this weekend at the Montreal Comiccon, Arrow star Stephen Amell revealed some information about the Arrow Season 3 Premiere. In particular, one specific tease that he dropped is sure to leave fans wondering how it is even possible.
    “We start off the third season…it was always the idea of the producers that..you know how in James Bond movies they start off with a big action sequence that isn’t directly tied into the plot of that particular movie? It’s just to establish that we are watching an action film, and it’s James Bond and he does James Bond stuff,” said Amell. “We start off the third season with a gigantic action set piece. You’ve seen pieces of it in the preview for Season 3, and it is myself, Diggle, Roy, and his whole costume. And then of course Felicity at the helm. And it’s just all of us kicking ass. And it’s good.”
    Then, Amell added, “And I will tell you that, I’ve got one for you, in the premiere of Arrow, me, dressed in a suit as Oliver Queen beats up the Arrow. What? It will make sense when you see it.” someone else will be in the Arrow suit obvs...-.- or a hallucination
    Arrow Season 3 premieres on Wednesday, October 8, 2014 at 8 PM ET.

    It’s almost time for the new season, and spoilers about Arrow‘s third outing have started to emerge online.
    Season mystery | Executive producer Marc Guggenheim teased the shape of the season to Entertainment Tonight, saying: “Something is going to happen in the season premiere that will set in motion a series of events that will reverberate up to our mid-season finale, Episode 309, and beyond.
    “We’re going to be setting up a very specific mystery – with a very clear question – that will receive a very clear – and surprising – answer by Episode 309.”
    R’as al Ghul | Despite Liam Neeson being quite vocal about the role, Arrow has cast Matt Nable in the role. He will first be seen in episode four, but won’t face off against Oliver until later in the season.
    “Before the winter break, which would be Episode 9, you’ll see some big stuff with him and Oliver,” executive producer Greg Berlanti promised.
    Ray Palmer | Oliver will face a new enemy in Brandon Routh’s Ray Palmer, who Guggenheim says he is “not like Sebastian Blood, looking at Oliver with disdain. Oliver quite frankly just doesn’t play to this guy’s level.”

    Felicity | Rumours about Palmer and Felicity getting romantic have circulated since the casting was announced, and Guggenheim said of the matter: “The chemistry between Brandon and Emily is pretty undeniable.”

    Team Arrow | We will get a Diggle-focused hour in episode three, with a Felicity-centric instalment – which will finally delve into her past – to follow in week five.
    Diggle | Diggle and Oliver will be at loggerheads when we return, as was glimpsed in the season three trailer aired at Comic-Con.
    On Oliver’s attempt to keep Diggle away from danger now that he’s about to become a father, Guggenheim told Entertainment Weekly: “What’s Diggle’s identity? Is he his own man, is he just Oliver’s sidekick, is he a father, is he a husband? He used to be a solider, now he’s a part of Oliver’s crusade. Is he going to end up at A.R.G.U.S.? He’s got some very hard choices to make.”
    A.R.G.U.S | Speaking of A.R.G.U.S, Entertainment Weekly also teased that the group will get some new blood in season three.
    Thea & Malcolm | We will get to see what else was said between Thea and Daddy Merlyn in the back of the limo, where we left them at the end of season two. Austin Butler has also been cast as Thea’s new love interest, a “charismatic DJ” whose relationship with Ms. Queen quickly turns romantic.
    Laurel | Laurel will become the Canary at some point, despite sister Sara still being around, and Ted Grant aka Wildcat will help her get there.

    Episode 3 will focus on dad-to-be Diggle, Episode 5 delves into Felicity's past (with NYPD Blue's Charlotte Ross as her mom), viewers will get to sit in on the limo convo between Malcolm and daughter Thea, and Ted “Wildcat” Grant (played by J.R. Ramirez as a Latino boxing instructor) will play a role in Laurel's evolution into Canary.
    The Canary revelation, really, isn't surprising. Nobody involved with the show has done much to distance themselves from the overall impression that's where Katie Cassidy's character was heading. Nevertheless, this seems the first confirmation that she'll take up the mantle that her character does in the comics...and probably raises some broader questions about what that means for Laurel's sister Sara, the previous Canary who has ties to season-long big bad Ra's al Ghul.
    Amanda Waller | We will discover in the season premiere why Oliver and Waller hold such disdain for each other, via the Hong Kong flashbacks.


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    John Travolta has spoken publicly for the first time about claims made by his former pilot that he had been romantically involved with him.

    At the start of the year, Douglas Gotterba alleged that he and the actor had enjoyed a sexual relationship when he was under his employment.

    According to documents filed at the Court of Appeal in California, Gotterba worked for Travolta’s aircraft company, Alto, for six years before leaving voluntarily in 1987.

    Travolta and Gotterba are currently embroiled in a legal dispute over the claims.

    Gotterba argues that he was not tied to a confidentiality agreement during his term in the position, which would have prevented him from disclosing the details of “his personal and intimate relationship” with Travolta.

    Travolta’s attorney, Martin Singer, strongly disputes this.

    "This is every celebrity's Achilles heel,"[Travolta] told The Daily Beast.

    "It's just about people wanting money. That's all. It happens on many levels.

    "Also, I don't care that much about it. Other people may attack it back more than I do, but I let all the media stuff go a long time ago because I can't control it.

    "I think that's why it persists, to some degree."

    Asked whether he found the accusations offensive, he responded: "I found it most offensive with the loss of my son. I felt like that was the lowest I’d ever felt. Sex stuff is always going to be interesting to somebody, but you stay away from family.

    "You really should. With that, I always felt like the media - not all of the media, but parts of it - went too low there."

    Jett Travolta died at 16 after suffering a seizure during a family holiday in the Bahamas in January 2009 - an event the actor described earlier this year as "the worst thing that’s ever happened in my life".

    However, Travolta’s lawyer, Martin Singer, first heard that Gotterba had "given statements" to the National Enquirer, and was planning to chart his time with Travolta in a tell-all book, in 2012.

    Singer warned Gotterba in June the same year that breaching the purported four-page "enforceable" gagging order could lead to a payment running to "tens of millions of dollars". "You proceed at your peril," he said.

    Gotterba denies having ever signed such a termination agreement, despite Alto’s insistence that he did so in April 1991.

    The legal dispute continues.


    in the interview he also says he doesn't regret Battlefield Earth

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    You can view the pilot episode by clicking here for US residents and here for Canadian residents.
    If any other options become available, I will update. :)

    A Show Within a Show About Another Show. Anyway, It’s Complicated.
    The online-only curiosity “Play It Again, Dick” is billed as a “Veronica Mars” spinoff, but it doesn’t do that description justice. The most interesting thing about it is that a project featuring so many of the actors and characters from an existing series could feel so little like the original.

    The online series, which begins with two episodes on Tuesday on CW Seed, the CW network’s digital content site, packs a lot of concept into its short running times. It stars Ryan Hansen, who played the supporting character Dick Casablancas, a mostly creepy rich kid, during the three seasons of “Mars” a decade ago on CW. In “Play It Again, Dick,” a fictionalized, slightly Casablancas-like Hansen plots to advance his career by creating and starring in a “Mars” spinoff. He’ll once again play Dick, who will now be a private eye — just like Veronica Mars, except he’ll be an ’80s-style tough guy rather than a bright, compassionate high school student.

    For a short-form digital series, “Play It Again, Dick” is fairly amusing, as “Mars” stars like Kristen Bell and Jason Dohring, playing themselves, are sucked into Hansen’s scheme and CW executives put up money for a pilot. It’s also an all-around opportunity for self-promotion. Ms. Bell gets in a mention of her singing-and-dancing chops (in “Hair” at the Hollywood Bowl). And reinforcing the online show’s funhouse-mirror quality, Rob Thomas, who created both “Mars” and “Dick,” comes on to deny the existence of his own creation — “They wouldn’t go and make that show without me” — while inserting a plug for his next TV project, “iZombie.”

    Mr. Thomas, who wrote “Play It Again, Dick” with Bob Dearden, also has fun with the main character’s first name (actually, the main character’s character’s first name) as often as possible. As when Ms. Bell says to Mr. Hansen, “Rob always had a blind spot for” said character.

    “Dick” is the second significant extension of the “Mars” brand this year, following Mr. Thomas’s “Veronica Mars” feature film in March. The film was in tune with the mood of the original series, which blended knowing jokiness and teenage-soap-opera sincerity. The online series trades that in for a broader, coarser, self-mocking style (maybe a better fit short episodes). Fervent fans of the franchise, given the chance to see Ms. Bell, Mr. Dohring and a number of other “Mars” actors together again, won’t complain either way.

    Created by Rob Thomas; written by Mr. Thomas and Bob Dearden; directed by Viet Ngyuen; Mr. Thomas, executive producer; Danielle Stokdyk, producer.

    WITH: Ryan Hansen (himself and Dick Casablancas), Kristen Bell (herself and Veronica Mars), Robert Buckley (Gaston), Francis Capra (Eli Navarro), Enrico Colantoni (himself), Percy Daggs III (himself), Ryan Devlin (Duncan Kane), Jason Dohring (himself and Logan Echolls) and Christopher B. Duncan (himself).


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    Teen Wolf's JR Bourne, Tyler Posey and Daniel Sharman have teamed up to offer this LIMITED EDITION T-shirt ($21.99) to raise funds to be donated to Cystic Fibrosis research. Only available for 21 4 days.

    American Apparel Male 3/4 Sleeve Raglan Shirt: $24.99
    Tultex Unisex Pullover Hoodie: $34.99
    American Apparel Female Short Sleeve Tee: $21.99

    Message from JR:

    "My beautiful niece, Madison Macgregor, was born with Cystic Fibrosis 15 years ago. Cystic Fibrosis is an inherited life threatening disease that primarily effects the respiratory system. Although the life expectancy has grown considerably in the last 15 years and CF research currently being conducted has brought us closer to making it a livable disease, we still have so much further to go. My family has been working along side the foundation for well over a decade and we can not be more grateful for the support we’ve received over the years. From the bottom of our hearts, Thank You." —JR Bourne

    Source: Represent
    JR and Posey

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    The new album "rose ave." will be available Oct 14th


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    James-Franco-Zachary-Quinto-Michael-2 (1)

    Zachary Quinto, who plays James Franco's ex-boyfriend in the indie flick Michael, is happy to see his co-star exploring gay topics in his films even if Franco is not gay himself.

    'My feeling about James, in particular, is that he’s someone who is really interested in generating a dialogue,' Quinto tells HuffPost Live. 'I think it's certainly an issue in society today that warrants provocative discussion.'

    Quinto, one of the few openly gay male movie stars, supports Franco's desire to explore political, social, spiritual and sexual topics in such gay-themed films as Howl, Milk, Interior. Leather Bar and Michael.

    'People are probably more comfortable not talking about these topics,' Quinto says. 'So I feel like putting it out there, and putting it out there in different ways, is something that’s interesting and something that I don’t think people should shy away from.'

    Quinto plans to reprise his role as Spock in a third Star Trek film and will appear in a few episodes in the news season of HBO's Girls.


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    Q: How did the cover for Christina Aguilera’s Bionic come about and did the record label give you feedback on it before the final version?

    A: Christina and her then-husband Jordan Bratman had been buying my work for a while. They became good friends and we regularly hung out. Jordan is still one of my good friends, one of the nicest people you could meet—a true brother. When Christina asked me if I’d produce the artwork for her then-upcoming album, I was obviously flattered, but also concerned as in truth, I didn’t listen to her music. While she’s cool and I enjoyed hanging out with her, it wasn’t the music I listened to and I couldn’t see how what I did would fit with what she was doing. She explained that I’d have complete creative control and work directly with her and Jordan on the artwork. I asked her to let me listen to the album and see what came to mind. She told me, "I like the skulls being revealed in your paintings, but don’t make me dead". The album had a futuristic feel, but at the same time a nostalgia to it, and whether you like her music or not, she is an incredible singer— her voice is unbelievable. To me it seemed fairly natural to make her appear to be made up of musical components, like a steampunk robot. The feedback was fairly minor, so while producing the artwork was incredibly time-consuming, it went fairly smoothly.

    Q: I saw the “hidden” items in that cover: your dog image and names important to her, including 'mom'. Were there any other "easter eggs" in the Bionic cover that you left for people to discover?

    A: I started by hiding my name and the D*Dog in the artwork, right at the end when it was close to sign-off, thinking I could sneak it past her. No chance. She’s very meticulous and nothing just passes her by. She didn’t complain, just asked if I could add a few more hidden elements in there, so I did. Some obvious, some not so. I get asked a lot of times what things mean, but it wouldn’t be the same if I pointed them all out and explained their meanings.


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     photo shelter22_zps579361ee.jpg

    Paul Bettany has well and truly entered the 21st century and joined Facebook and Instagram. In a very straightforward manner, Paul christened his Facebook page with: "Okay, so I joined Facebook finally. Here is the poster for my movie that I directed."

    Paul and his wife and leading lady Jennifer Connelly were recently at the Toronto International Film Festival to promote Paul's directorial debut, Shelter. They're pictured below at the TIFF press conference and premiere for the film.

     photo PaulBettanyForgerPressConference2014uBYlS5h9Q_xx_zpsac76b884.jpg
     photo PaulBettanyForgerPressConference2014s69zYi_-yiDx_zpsbd8a8e55.jpg
     photo JenniferConnellyForgerPressConference2plpfoAJDo7x_zps83f44765.jpg
     photo JenniferConnellyForgerPressConferenceoQJiCoSsWOIx_zpsa4c51dde.jpg

     photo JenniferConnellyShelterPremiereArrivalshvlBAMNXvtZx_zps2b2f2db8.jpg
     photo JenniferConnellyShelterPremiereArrivalsAylgrbFI2Hsx_zps676b2dbd.jpg
     photo JenniferConnellyShelterPremiereArrivalsV1T22qAMXevx_zpscca51f8a.jpg
     photo JenniferConnellyShelterPremiereArrivals5djVV-738Mxx_zps82f14a6e.jpg

    (Source 1/2/3)

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    Image and video hosting by TinyPic

    1. A New York state of mind
    The leadoff track on 1989 tries to capture the excitement of someone who just moved to New York, as Swift did earlier this year."I was so intimidated by this city for so long," she says. "It's so big, with so many people. I thought I would never be able to make it here, because I wasn't something enough — bold enough, brave enough to take on this huge city in all of its blaring honesty. And then at a certain point I just thought, 'I'm ready.'"

    4. Some classic T-Swift journaling
    One song was taken straight from the pages of Swift's journal, and another, "Out of the Woods," sounds like it could have been. "The thing I love about that song," says Antonoff, who co-wrote it, "is parts of it reads like a diary, and parts of it read like something 100,000 people should be screaming all together. It's got these very big lines that everybody can relate to, which are given weight by her being really honest about personal things."

    5. A spirit of discovery
    Maybe the biggest influence that 1989 had on 1989 was what Swift, who was born that year, describes as a feeling of freedom. "It was a very experimental time in pop music," she says. "People realized songs didn't have to be this standard drums-guitar-bass-whatever. We can make a song with synths and a drum pad. We can do group vocals the entire song. We can do so many different things. And I think what you saw happening with music was also happening in our culture, where people were just wearing whatever crazy colors they wanted to, because why not? There just seemed to be this energy about endless opportunities, endless possibilities, endless ways you could live your life. And so with this record, I thought, 'There are no rules to this. I don't need to use the same musicians I've used, or the same band (lmao rip), or the same producers, or the same formula. I can make whatever record I want.'"

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    Barcelona have honored the memory of former coach Tito Vilanova by renaming a training ground after him.

    The Catalan club's board of directors agreed to name the number one pitch at the club's training camp at Sant Joan Despi after Vilanova.

    Vilanova, who replaced Pep Guardiola at the helm of Barca and won La Liga in his only season in charge, died of throat cancer at the age of 45 in April.

    A statement from Barcelona read: "The Board gave its unanimous approval of the proposal to rename pitch number one at the Ciutat Esportiva after Tito Vilanova in posthumous honor of the former FC Barcelona player and manager."

    Vilanova began his playing career at Barcelona's training academy but never made it to the first team. Instead, he played at Celta Vigo and Mallorca before his career was cut short by a serious knee injury.

    He went on to coach Barcelona's youth system and in 2008 he was hired as Guardiola's assistant.

    Vilanova helped Barca win 14 of a possible 19 major trophies in four years under Guardiola before becoming head coach in the summer of 2012


    omg 😭😭😭

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    Cara Delevingne is in talks to co-star with Nat Wolff in the adaptation of John Green’s “Paper Towns” for Fox 2000.

    Jake Schreier will direct.

    The story follows young neighbors who share the jarring experience of finding the body of a man who committed suicide. The two leads grow apart — until the night he finds her at his bedroom window, dressed like a ninja. She enlists him in a campaign to get revenge on the people who’ve hurt her. The next day, she vanishes and he is left to ponder the ramifications of the evening. Then he begins getting clues and follows them in an attempt to find her.

    Marty Bowen and Wyck Godfrey are producing. Scott Neustadter and Michael H. Weber (who also adapted Green’s “The Fault in Our Stars”) are writing the script.

    After the success of “Stars,” which grossed $280 million worldwide, Fox is hopeful fans will have an appetite for another complex YA love story.

    Fox 2000 seems to want to stay in business with the model-turned-actress, as she is also in talks to star in its Beach Boys inspired “All Summer Long.” She most recently wrapped production on the Warner Bros. film “Pan.”

    She is repped by WME and United Agents.


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    “The Vampire Diaries” Season 6 Poster Tears Damon And Elena Apart


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    Nick Cave told Kylie Minogue to ''sing less and tell the story more'' on his new documentary, '20,000 Days on Earth'.

    The Bad Seed rocker worked with the 'Sexercize' hitmaker in 1995 when they released their single 'Where The Wild Roses Grow' and despite landing a Top 20 hit together, he wasn't overly keen on her singing.

    In Nick's new documentary, '20,000 Days on Earth', he tells Kylie: ''Sing less and tell the story more.''

    In the music video for their duet, the Australian beauty plays Eliza Day who eventually gets beaten to death by Nick, but the 46-year-old pop star doesn't hold any grudges against her singing partner.

    Reminiscing about their time together, Kylie is quoted by NME Magazine as saying: ''When I first worked with Nick it was tender and genuine. And then I saw him perform and speed-read his biography, and I realised that the person I'm watching on stage singing, 'From Her To Eternity' is very different to my experience with him. OK, so he did kill me with a rock - but you know what I'm saying.''


    Dream team: team Kylie

    It’s easy to imagine there being a dozen Kylie Minogues, doubles or clones, all just shy of 5ft with that adorable pearly overbite, each putting in a few exhausting frontline hours before switching places with a hand slap. Minogue has kept herself secure in the pitiless game of pop for 27 years now – ridiculous work, and she remains busy beside.

    Consider the last two years, in which time Minogue managed a Cannes-approved acting turn in Leos Carax’s Holy Motors and became a bi-continental TV draw, judging The Voice in the UK before making weekly London-to-Sydney flights to do the same in Australia. The 46-year-old dropped a 12th career album in the spring, Kiss Me Once, and will begin touring it over 38 dates this autumn. There’s an argument to be made that when she gigged at the close of the Commonwealth Games last month, a breathless half-hour of loco-motions done, of arounds spun, Kylie’s was the only serious, world-class performance of the tournament.(lmao)

    The Australian should be so lucky to get some sleep – her workload enabled not by a squadron of boomerang-browed clones (sadly), but by a loyal and large team, currently 17-strong, 18 if you count an ever-present pug that belongs to Kylie’s creative director William Baker, and 19 if you include the centrepiece attraction herself.

    Last week, the team was in south London, rehearsing the imminent tour, plans “three-quarters there”, by Kylie’s reckoning, nudged hourly closer to completion by four dancers and a choreographer, Ashley Wallen; four musicians, two backing singers and a musical director, Steve Anderson; tour manager Sean Fitzpatrick and production manager Kevin Hopgood; a one-man strike team for hair and makeup, Christian Vermaak; and Kylie’s keeper of the appointments book, an unflappable and quietly terrifying personal assistant, Leanne Buckham.

    More at Source 1: http://www.theguardian.com/lifeandstyle/2014/sep/13/-sp-lets-stick-together-the-teams-behind-kylie-coronation-street-spotify-today-and-house-of-Holland

    Source 2: http://www.contactmusic.com/story/nick-cave-told-kylie-minogue-to-sing-less_4372188

    Source 3: https://www.youtube.com/watch?v=cv7NEbacamQ

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