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Oh No They Didn't! - LiveJournal.com

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  • 09/26/14--11:30: Nashville 3x02 Promo

  • way to shit on Juliette/Avery, show...what a cheesy turn of events


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  • 09/26/14--11:31: Britney in Norway y'all!
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    Chris Pratt chats with Jimmy about a weird experience he had getting his first headshot when he moved to Los Angeles.


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    "Game of Thrones" star Aidan Gillen has joined the cast of 20th Century Fox's The Scorch Trials, the upcoming sequel to the now-in-theaters hit The Maze Runner. The Hollywood Reporter has the news, reporting that Gillen will play the story's villain, Janson, also known as Rat-Man. They have also confirmed that Wes Ball, the director of the first film, will be returning for the sequel.

    Also starring Dylan O'Brien, Thomas Brodie-Sangster, Kaya Scodelario, Will Poulter and Patricia Clarkson, The Scorch Trials adapts James Dashner's second book in the series, following Thomas and the other Gladers as they have escaped the maze and are put into a dormitory where they face new threats.

    The Scorch Trials is slated to begin filming next month and will hit theaters September 18, 2015.


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    Lena Dunham may be 28 years old, but she's wise beyond her years.

    To promote her forthcoming memoir, Not That Kind of Girl: A Young Woman Tells You What She's "Learned," the creator and star of HBO's Girls answered fans' questions in a series of 12 YouTube videos. In the clips, Dunham addressed topics ranging from from feminism to how to handle unfunny friends.

    Asked about how she learned to love the skin she's in, Dunham replied, "I went through all of college dressing like a lunatic, wearing neon and raving around and secretly hating myself. I know it's a really, really complicated thing because you sort of want to project the confidence that you don't have to sort of beat people to the punch and critique yourself before they can critique you." The two-time Golden Globe winner continued, "For me, confidence comes from feeling happy with my habits, feeling like I can be proud of my life, feeling like, 'I read a book this week, I ate food that I knew was going to give me energy, I slept enough and I know that I am the best version of myself that I can be.' And that doesn't mean losing 30 lbs. That means taking care of myself and treating myself like precious cargo."

    "I've been a bunch of different weights, and being temporarily 135 lbs., I was so obsessed with food," Dunham admitted. "I was so obsessed with, like, counting almonds that I don't think I got laid that entire time, whereas when I was at my biggest and running around Brooklyn in a romper, it was raining men."

    Dunham, who has been dating fun.'s Jack Antonoff since 2012, discussed bad sex.

    In fact, it wasn't until a few years ago that Dunham asserted herself in the bedroom.

    "I don't think I even thought about whether I was enjoying sex until I was, like, 25, because I was so worried about whether other people were enjoying sex with me that it never would have occurred to me that it was an act I was supposed to receive any pleasure from," the author said. "And then what I realized was having good sex takes two people who want to make each other feel good. There isn't a person who's 'good at sex' because it's an alchemy, it's a thing that happens between two people."

    read the rest at the source

    Best weight to have sex at, ontd?

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    Michael B. Jordan, The Fantastic Four’s Human Torch, has release his directorial debut, a video created in conjunction with AXE. The video unveils the source behind all temptation by going behind-the-scenes of the “AXE Temptation Lab,” where they have discovered the Temptation Gland.

    “I thrive off collaboration and love having a hand in various aspects of a project, so directing was a natural extension of my career,” said Jordan. “Working with AXE to help them launch the Gold Temptation line and bring the ‘AXE Temptation Lab’ to life was a great opportunity to showcase my directing chops and have a little fun while I was at it.”

    During the “AXE Summer of Temptation” guys and girls interacted with #TemptationTuesday and opened up about what truly tempts them. Feedback revealed 64 percent of people say the color red makes anything more tempting and, perhaps more interesting to ComicBook.com readers, 80 percent of TV and film viewers are tempted to read a spoiler alert before watching the corresponding episode or movie. Findings such as these served as the inspiration behind the Temptation Lab video and scenarios depicted in the content.

    Check out Jordan’s video below:

    The “AXE Summer of Temptation” was launched in conjunction with the brand’s first flanker fragrance, AXE Gold Temptation. As part of the Temptation Line, AXE Gold Temptation is based off of the successful core formulation of the brand’s top selling global fragrance, AXE Dark Temptation.

    Following in the footsteps of...


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  • 09/26/14--12:20: Elle Henderson - "Hard Work"

  • 1, 2

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    Final season - next Friday,or Thursday, or whenever it's stolen from the servers - be there!

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    It’s been a few years since Joanna Newsom last released an album — 2010′s triple-album Have One on Me, for those keeping track — but it’s not like she hasn’t been busy. In fact, she’ll be starring in Inherent Vice, the new Paul Thomas Anderson-directed film based on the novel by Thomas Pynchon. Newsom’s character in the film is Sortilège, an “earth-goddess-like” character who acts as the narrator for the film. Hmmm… Newsom as an “earth goddess.” Yeah, we can see it.

    Inherent Vice — which is set in the 1970s and is described as a “stoner detective film” by the New York Times— is also stars Joaquin Phoenix, who plays a Southern California detective who investigates a conspiracy, plus Benicio Del Toro, Owen Wilson, Reese Witherspoon, Josh Brolin, Martin Short and Jena Malone. The film debuts Oct. 4 at the New York Film Festival, which runs from today to Oct. 12.


    Making a film debut in a Paul Thomas Anderson adaptation of a Thomas Pynchon novel is audacious. It feels like it's been ages since she last released music, though

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    In this nerve-ratcheting haunted house tale by way of Roman Polanski's "Repulsion," Essie Davis gives a breakthrough performance as a woman struggling to cope with-- and even love -- her disturbed six-year-old son.

    What begins as a gloomy mother-son drama with etchings of "We Need to Talk About Kevin" goes horrifically bat-shit after he opens a creepy children's book portending doom and bloodshed for both of them. And that's all I'll say.

    Watch the official US trailer below. This 2014 Sundance knockout most recently picked up a bevy of prizes at Fantastic Fest.


    Anyone up for a creepy post???

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    Did you know that Brooklyn Nine Nine costars Chelsea Peretti & Andy Samburg were childhood friends?

    Chelsea tells Conan of her childhood crush on Andy & explains how to flirt with emojis.

    What's your fav emoji, ONTD?


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    Lifetime’s Aaliyah biopic is coming soon, whether fans like it or not, and the network is beginning to ramp up promotion for the TV movie.

    A brief trailer featuring lead actress Alexandra Shipp aired this week, showing the 23-year-old dressed in Aaliyah’s classic baggy jeans and crop-top outfit, showing off some of her dance moves.

    Actress/singer Zendaya was originally set to play Aaaliyah in the biopic, but she dropped out, explaining that she wasn’t comfortable with the production.

    “I just felt the project wasn’t 100 percent there. I feel [that] production wise everything just felt a little rushed,” she told MTV News back in June. “And I think because she’s someone I admire and I love so much, it can’t be done halfway, or not to the standards I think it should be done at, so I just decided not to do it.”

    “Aaliyah: The Princess of R&B” debuts on Lifetime on Saturday, November 15.

    Source: MTV / YouTube
    Who's gonna be watching?

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    That Olivia Pope really ignited something. Since her debut on ABC April 5, 2012, television hasn’t been the same. And, now, the Kerry Washington icon-turning vehicle is the lead-in for Shondaland’s latest coup, How To Get Away with Murder, starring Viola Davis as law professor and legal mastermind Annalise Keating.
    Talk about a Thursday night Scandal! Remember the last time network television ran two back-to-back dramatic series starring black actresses produced by a black woman in primetime? Big tip: it has never happened. Earlier this year, Teresa Wiltz asked “Does this mean that 2014 is the year of the black woman on TV?” in her appropriately titled OZY piece “The Year of Black Women on TV.”

    If ABC is answering the question, the response could very well be a resounding “yes.” Ask folks like New York Times writer Alessandra Stanley, who began her ill-advised September 18 post-racial offering “Wrought in Rhimes’s Image” circling around the unprecedented event with “When Shonda Rhimes writes her autobiography, it should be called ‘How to Get Away With Being an Angry Black Woman,’” and the resistance is very clear.

    Oh never mind that Murder, like almost every other series on TV, even in this great age of black female engagement, was created by, gasp, another white male. The only difference here is that its acknowledged star is a black woman and, of course, that other “angry” black woman co-produces it. But who has time for those pesky facts?

    True to character in a good way, other networks have attempted to duplicate Scandal’s success, in hopes of striking the ratings gold ABC has been mining. NBC tried with Meagan Good and Deception. CBS appears to have fared slightly better with this past summer’s Steven Spielberg-produced sci-fi series Extant, starring trailblazing Oscar winner Halle Berry. BET even got in on the action with Gabrielle Union as a capably problematic cable news star in Being Mary Jane. Angela Bassett didn’t star in FOX’s third season of American Horror Story: Coven, but she acted out enough to garner an Emmy nom. Nicole Beharie co-stars in last year’s breakout hit Sleepy Hollow on Fox that recently returned for sophomore duty. So why wouldn’t ABC take a page from its own game-changing playbook and not do it again with Murder and Rhimes, who still amazingly has Grey’s Anatomy on the air in what seems like its three-thousandth season?

    Being in a historic moment doesn’t guarantee television success, however. Nor maxim cultural impact. Ultimate fixer Olivia Pope may be her lead-in, but that doesn’t mean that Davis’s Keating is working with the same ammo. Unlike Washington’s Pope, who has amazingly replaced Sarah Jessica Parker’s Carrie Bradshaw as television’s ultimate fashion orgasm, Davis is not quite the center of attention her top billing suggests. Keating’s eager minions, in contrast to Pope’s gladiators, work hard to overshadow her in the show’s debut. Whereas Olivia Pope struck awe, Keating appears to strike dread, and not in a particularly noble way. One young man in particular, Wes Gibbins, played by Alfred Enoch, recognizable from his ka-chinging Harry Potter role as Dean Thomas, rivals Davis in screen time, arguably banking even more scenes than she does. While it may be a win for young black male actors, Enoch isn’t helping ABC stick to the “black woman, hear me roar” script.

    Even when Washington is not on the screen in Scandal, she is forever looming. Too often, Murder evokes an ensemble feel, not that “we can’t really go without Davis” promise that many articles, even Stanley’s unfortunate one, have proposed. Despite her many accomplishments, which include two Tonys, Davis is best known for her “You is kind. You is smart. You is important,” quotable from her Oscar-nominated role (her second actually following Doubt) as maid Aibileen Clark from 2011’s much-side-eyed (from this half of the racial divide at least) film The Help that nabbed her co-star Octavia Spencer that Oscar as the sassified maid Minny with a penchant for baking one unforgettable pie. Murder is not as bad as Disney promoting The Help as the stories of the black maids but not quite admitting that those stories were filtered through the white female protagonist. But it’s not as good as Davis really being the estrogen center of it all.

    Last season, Scandal could have conceivably ended with Olivia and Jake jetting off to sandy paradise, leaving Fitz behind to be there emotionally for his wife and kids after losing their son, not to mention run a country. ABC has been so hushed about the season premiere that it’s hard to know if the thrill is back at full throttle. For Davis, Kerry Washington’s lead could be a blessing or a curse. Olivia Pope’s white coat is a hard act to follow. For history’s sake, let’s hope Analise Keating has more than that red leather outfit in her closet. Because we certainly need more “bad ass sistas” to join the party.

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    I'm not ready :( Last night's episode was so good!


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    As you'll see, Sam's back scars (from flogging) are shown pretty often. Which means he actually spends the most time out of anyone in the makeup chair. "Sam has the unfortunate task of having a prosthetic back applied every time his 'taps aff!' as the Scots would say," makeup supervisor Kendrick explains. (‘Taps off' means to take your top off in Glasgow, by the way.) "The whole process for Jamie's back scars and many other scars is 2 hours 30 mins and it takes three of us to do. There are two large prosthetic pieces to apply and some smaller ones, and every single section needs to be glued onto Sam's skin, blended and coloured up. However the upside of having scars on, is getting the scars off at the end of the shooting day, this takes roughly 45 mins with oils and lavender flannels, Sam usually enjoys this process!" Somehow we can't feel too sorry for the makeup artists either…

    The 34-year-old native Scotsman admits he was "desperate" to get cast on Outlander, in part because of executive producer Ronald D. Moore's work on Star Trek and Battlestar Galactica, and he even managed to get some time on the lunch break during his screen test to talk to Moore about Captain Kirk. Heughan is also obsessed with another little time travel franchise known as Back to the Future. "I think that is one of the best trilogies ever made," he told us, and Caitriona added, "Sam tries to talk about it every day, if he can."


    Producer Ronald D. Moore admits that finding Sam Heughan for Jamie, and Catriona Balfe for Claire, did not go as expected. "At the outset, I told everyone that we would find Claire first and then Jamie would be the last one cast, and of course it was exactly the opposite," Moore tells us. "It was really hard to find Claire. Sam came in really early in the process and he was literally the first one we cast. We saw the tape and we were like, 'Oh my god, there he is. Let's snatch him up now.' And then Claire just took a long time. A lot of actresses, a lot of tape, looking for really ineffable qualities. She had to be smart, she had to have a strength of character, and really, she had to be someone that you could watch think on camera. But then suddenly Caitriona's tape came in and we had that same light-bulb moment."

    "There's this group, The Outlander Bakers," Catriona tells us, "and I do not know how they do this, but we shoot in the most remote locations up in the middle of mountains in the highlands. And they will find us and they will bring us not only amazing cakes and cookies but gluten-free stuff. It's quite amazing." And apparently they take orders! "Sam has been very smart about it," Catriona says with a laugh. "He just sort of tweets his love of all things peanut butter and there it arrives!"

    "All of our actors wear their kilts just a bit differently from each other," Outlander's costumer Terry Dresbach tells us. "They personalize them and make them very much their own. We are talking about 12 yards of fabric that has to be belted and tucked by each actor, and they have developed their own ways of wearing them that belongs very much to them. It is incredibly important that they FEEL like their character, and helping them to find that place is an essential part of our job."


    Are you guys ready for tomorrow? I'm getting Claire level drunk to cope with it being the last episode for 7 months.

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    20-Somethings Still Scream: A Review of the Nick Jonas Concert

    Just in case you’re not on the Radio Disney mailing list, or haven’t had the unfortunate fate of hearing me whimper in despair for the past year, I’ll catch you up: The Jonas Brothers are no more (we’re going to skip right over the discussion about me being way too old to be affected by this). The reason is that Nick Jonas, the youngest, couldn’t bear the constraints of his squeaky clean sugar mold any longer, and, like the Hulk, busted out and tasted an even sweeter freedom. I’m still kind of mad, but this has not stopped me from giving him all my money, so when I heard he was coming to San Francisco, I promptly bought a ticket.

    Historically, there are a few routes for teen heartthrobs to take once they grow out of their sugar-pop shell. A) Disappearance, in which their female fandom is left in despair for a decade or more, until a greyed, sleepy version of the band reunites to the hysteria of thousands of mom-haircuts in sparkle tops; B) Growth, in which the heartthrob evolves musically, broadening his fanbase and growing a permanent five o’clock shadow; and C) Alienation, in which the heartthrob makes terrible decision after terrible decision until the only fans he has left can arguably be considered clinically insane.


    Naturally, Nick has taken Avenue B. He’s been in the business since pre-pubescence, and after a decade has seemed to figure out how to appeal to his fanbase at any stage of his career. He’s taken on heavier topics, opted for a stripped down stage show, and to be honest, none of that matters as much as the fact that he started weightlifting and saying the F word. There’s just something about witnessing a previously zipped-up and polished pop star say “Fuck it,” literally, and behaving in an unfiltered fashion. It’s like hearing your grandma swear for the first time. It’s magnificent.

    And his fans have changed too, kind of. They make fewer signs and write on their faces less. They order from the bar. They dress with a youthful sexiness fitting of twenty year olds that I’ve never been able to pull off (this isn’t false modesty, I wore an outfit from Ann Taylor). The number of dads at this most recent show has dropped considerably, replaced with boyfriends, whom, despite their wilting girlfriends surging toward Nick Jonas like the tide to the moon, are relatively upbeat, most likely because they’ll surely get laid for the favor.

    They do, however, still scream. This is somewhat rectified by the fact that there is a mere fraction of screaming fans allowed in the venue as the arena tours of past. But it bursts forth, for sometimes no reason, and without warning. And it’s the literal worst.

    And that brings me to the review of the actual show. Assuming I haven’t lost you all already, I’m going to keep it short and sweet, so here it is, The Good, The Bad, and The Ugly:

    The Good:

    1. The venue was very intimate. I got to pretend I was apathetic about the whole thing and stand in the back near the bar (Dad-town), but could still see everything, and notice the details that normally only the first few rows absorb, like how Nick Jonas unironically bites his bottom lip as only wildly attractive famous white guys can manage.

    2. The mashups. A setlist that consists of 90% new music gets unengaging real fast. Thrilling little surprises like Sam Smith snippets were peppered throughout the entire show, making a song you’d normally forget as soon as the next starts stand out.

    3. This little dancey thing.

      Nick takes himself pretty seriously and that means always looking like he’s working through a really tough crossword puzzle. The lighthearted things are like spotting a unicorn.

    4. The signature falsetto voice. It’s like adult Nick Jonas ate kid Nick Jonas, but kid Nick Jonas refuses to be upstaged, and so he fights through at the end of a song when adult Nick Jonas gets tired.

    read the rest at the SOURCE

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    If you love to hate little miss damaged hair but secretly enjoy her music, you can now download it (legally) for FREE! This won't help her album rise back up the charts, but it'll help her rise on the last.fm charts! Get those scrobbles, gurl.


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    After 25 years as a star, John Cusack has seen the movie industry’s dark side close up – from its misogyny to its treatment of young actors. His new film, Maps to the Stars, is brutally honest, he says

    A couple of summers ago, John Cusack was at a baseball game, watching the Chicago White Sox play.

    “In the next box over there was a gorgeous girl – young, but she was looking right at me,” he says. I went to go to the bathroom and I saw her get up. I thought: ‘Ohhhh … she’s going to come and meet me and I’m gonna … you know …’ I was going to be really flattered. And she was, like: ‘I have to take a picture of you! You’re my mom’s favourite actor.”

    And so it goes. The twentysomethings crushing on Cusack in 1989 have become mothers. Their daughters weren’t raised on Say Anything’s boombox scene. They knew him from the iffy rom-coms, corny psychological thrillers – or simply because Mom was a big fan.

    The baseball scene is one that could have been plucked from Maps to the Stars, featuring Cusack as a millionaire self-help guru. David Cronenberg’s first film shot in the US, Maps is a fever dream of modern celebrity. A savage Hollywood takedown that riles the studio system for its absurdity, then vilifies those obsessed with fame. It’s also an ensemble drama parading some of the biggest names in Hollywood: Cusack, Robert Pattinson, Julianne Moore, Mia Wasikowska. They promote the film as every other: by walking the carpet, smiling into flashbulbs and holing up in hotel suites to tell journalists about the real, fake Hollywood behind the fake, fake one. Sometimes the parallels become so close the lines start to blur.

    In Maps, Cusack plays Stafford Weiss, a therapist who got rich off a cocktail therapy (one part Freudian psychoanalysis, one part deep-tissue massage, a generous measure of bullshit) that’s guzzled by the showbiz elite. They want a quick fix for their deep insecurities. Stafford lays his hands on his followers and kneads out emotional pain. “You saw heavy combat as a child,” he tells Havana Segrand (Moore), a faded fortysomething star who weeps her mommy issues into a yoga mat. “If we can name it, we can shame it.”

    “LA seems to be a place where a guy can say he’s a ‘life-coach-channeller-masseur’,” says Cusack. “It just seems to be ripe with all these frontier crazies. People are looking to turn their pain into beautiful art, but they also want to be famous. And there’s so much money – so of course all the predators come in.”

    Age is currency in the Hollywood of Maps. Stafford’s 13-year-old actor son, Benji, holds a studio to ransom over the pay deal for the next instalment of his “Bad Babysitter” franchise. A 26-year-old actress is “menopausal” according to her teenage co-stars. Havana Segrand is losing her mind because her credit’s running out. The film’s writer, Bruce Wagner, has dismissed the idea that Maps is satire. He has, he claims, heard every line of the script said in earnest.

    Which bits of the film reflect Cusack’s own experience? “Almost everything,” he says.

    “I got another 15, 20 years before they say I’m old. For women it’s brutal. Bruce’s thing about if you’re 26, you’re menopausal? It’s only absurd because it’s a little bit further than the truth.”

    “I have actress friends who are being put out to pasture at 29. They just want to open up another can of hot 22. It’s becoming almost like kiddie porn. It’s fucking weird.”

    “People would look after you when I was a kid,” he says. “There were good people in the business. When I came to LA Rob Reiner said: ‘Come stay at my house.’ He taught me. I worked with Pacino [in 1996 crime drama City Hall]. Pacino would talk to you and mentor you. Now it’s different. The culture just eats young actors up and spits them out. It’s a hard thing to survive without finding safe harbour.”

    Maps to the Stars broods on how celebrity corrupts the fallible. It’s also something of a bitchfest; a blood-letting that Cusack enjoys having a stake in. Hollywood today is closer to Wagner’s vision than we realise, he says. It’s no longer a place, it’s a nostalgic idea. The mega-corporations have stepped in, bringing with them the era of the 50-producer movie. In modern Hollywood the franchise is king, the star is used as leverage. “You can’t make it up,” says Cusack. “It’s a whorehouse and people go mad.”

    Young stars should seek shelter wherever they can, he says. His Maps co-star Robert Pattinson is going about it the right way. The film is Pattinson’s second collaboration with Cronenberg after the Don DeLillo adaptation Cosmopolis, which helped R-Patz break from Twilight.

    “I think it’s very wise – and speaks highly of Robert [Pattinson] that he’s formed a thing with David. He can try to be good and have a space where he’s not just this product that’s going to be followed around by TMZ. That speaks to the healthier instincts of the guy. I don’t know if there’s that space for other people.”

    Read the rest of this interesting interview and a video at source.

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    Leigh Anne and Jade took time out while on the Neon Lights Tour earlier this year to make a quick video for one of their favourite songs.


    leigh-anne >>>>>>>>>>>>>>> where's the new single tho

older | 1 | .... | 664 | 665 | (Page 666) | 667 | 668 | .... | 4830 | newer