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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 84 | 85 | (Page 86) | 87 | 88 | .... | 4848 | newer

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    What I got for you, I promise is a killer, you'll be banging on my chest, Bang bang, GORILLA

    bruno-1355243346Bruno Mars doesn't do low stakes. He is a drama king, a man who thrives on grand statements, soap-opera plotlines and actual-opera melodrama. On his second album, Mars sings endlessly about sex – wild, wind-swept, Wagner­ian sex. The smuttiest song here, "Gorilla," has a backbeat that would make Mutt Lange quake in his boots and a lyric that R. Kelly would kill to have written: "You're bangin' on my chest/Bang, bang/Gorilla . . . you and me, making love like gorillas."

    From another performer, the bombast might be a deal-breaker, but from Mars – a master song-crafter and a nimble, soulful vocalist – it is the stuff of great pop. As on his 2010 debut, Doo-Wops & Hooligans, he infuses his songs with old-fashioned crooning as classily antique as his wide-brimmed fedora. But there's lots more: creamy Michael Jackson/Prince-schooled disco soul ("Treasure"), frazzled Police-style rock reggae ("Locked Out of Heaven"), Elton John-like balladry, Def Leppard grandiosity, dub reggae, all couched in beat-savvy modern production (Diplo, Jeff Bhasker, Mark Ronson). The result is a record that makes the competition sound sad and idea-starved by comparison.


    Adooore this album! Perfect <3 

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    Josh Brolin has opened up about the violence in his new film Gangster Squad in the wake of a series of gun massacres in the US in recent months. A gunman most recently opened fire at a Newtown elementary school last Friday (December 14), killing 20 children and six adults. There have since been increased calls in the US for new gun control laws.

    Gangster Squad was initially supposed to be released in September, but Warner Bros pushed the debut until January 2013 following the separate Aurora cinema shooting in July.

    Brolin spoke out about the gun violence in Gangster Squad while attending the film's premiere on Saturday (December 15).

    "When you're doing something like [a gangster movie], you're lending to the story that you already decided to do, so it's not something like, 'How do we treat this in a way that may be more respectful than not?'" he explained, according to E! News. "You've already decided to do that type of film. It was a lot of fun doing it but at the same time, for a guy who doesn't have any guns myself...I get a little nervous during that thing."

    He went on to discuss the potential influence of violent television shows, movies and video games.

    "Of course there's a sensitivity. But you have to look at the grand scheme of things, from a universal standpoint," he said. "You have video games, you have psychopharmaceuticals, you have the lowest employment, you have parents that aren't at home."

    He continued: "There's many, many different factors. You have CNN, which gloms onto the worst of what's going on and not necessarily the best. There are many different factors, there's no one reason. There's always been violence in movies and there always will be violence in movies. And whether it lends to the one psychotic who's out there and thinking the worst thoughts you can possibly think will always be a mystery."


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    Yes this is your weekly reminder that Emily Owens MD is still on the air.

    The CW released the official guide of Emily Owens M.D. episode 8 “Emily and.. the Car and the Cards” — which airs on Tuesday, Jan. 1st.


    When a female car accident victim is brought into the ER everyone immediately blames her boyfriend for causing the accident, bringing up painful memories for Will (Justin Hartley).
    Emily (Mamie Gummer) discovers that her cancer patient refuses to undergo surgery, fearing that reconstructive surgery will end her career and relationship.
    Meanwhile, Will is forced to make a difficult decision to using his girlfriend Cassandra’s (Aja Naomi King) studying method over Emily’s legendary flashcards for the upcoming exam, making Emily ultra competitive.

    1x08 Promotional Photos

    1x09 Promotional Photos

    Emily Owens thanks you for your time! Yes this show is still on the air but it's on hiatus right now and it will be back on january 1, 2013 (lol ikr what kind of sched is that?). So don't forget to watch this on tuesday 9pm on the cw!

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    Fans of The Real Housewives are going to be treated to yet another dinner party from hell. In a clip from the new episode, Faye and Brandi get into a tiff over Brandi's revelation about Adrienne.

    When Faye insists at Kyle's house that Brandi isn't sorry about the situation with Adrienne because she won't send flowers as an apology, Brandi calmly -- surprisingly -- defends herself.

    "I'm sorry, but it's not your business -- excuse me, but it's not," she tells Faye..

    But when Kyle's friend Marisa steps up to defend Brandi, Faye lets loose by dredging up old dirt and accusing the model of "viciously" attacking people.

    Rather than stay and fight, Brandi walks out of the dinner party.

    But not everyone is Team Adrienne. Yolanda wrote that "Brandi said things in the heat of the moment that were very hurtful and wrong, but instead of the appropriate apologies being accepted by Adrienne, these issues were taken to a whole new level. Adrienne chooses a intimidating and hostile way of communication, one that I have never experienced or witnessed in my life and to be honest - way out of my comfort zone."


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    Gossip Girl Series Finale Sneak Peek + Discussion

    6 years. 6 Seasons. 121 Episodes. It All Ends Tonight.



    Sneak Peek Video

    Episode Synopsis:I Love New York, XOXO

    GOSSIP GIRL IDENTITY REVEALED IN SERIES FINALE - The Series Finale begins with the stars and executive producers bidding farewell to the Upper East Side in a look back at the show’s many unforgettable moments. Then, in a fashionable farewell to remember, our favorite Upper East Siders join forces for one last soiree, and the shocking identity of Gossip Girl is finally revealed.



    If you have any extra streams please link them in the comments and I will edit this post.

    Thank you to brenden for allowing us to have the discussion on the mainsite so more people can participate.
    When Gossip Girl is revealed, I will update this post!

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    Sienna Miller and her fiancé, Tom Sturridge, went for a walk in Notting Hill yesterday with their daughter, Marlowe Sturridge. It's the end of a big year for Sienna and Tom. In addition to getting engaged, Sienna and Tom welcomed Marlowe into the world on July 7.


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    On Dec. 5 at 11:31 p.m. I tweeted the following:

    This was my Twitter-casual response to both the National Board of Review and the New York Film Critics Circle awarding Bigelow best director of the year, and awarding her new movie Zero Dark Thirty, about the 10-year hunt for Osama bin Laden, Best Picture. I hadn’t seen Zero Dark Thirty but thought, in the Twitter-moment, can it really be that good? Marc Boal and Kathryn Bigelow and another war film?

    Everything about their previous effort, The Hurt Locker, seemed to me not bad, exactly, but tepid, simplistic, crude, TV-movie-ish—except for the extended sniper set-piece, ending with a whirlwind of sand blowing across the desert, a haunting visual grace note to a scary, tense scene. The Hurt Locker also felt like it was directed by a man. Its testosterone level was palpable, whereas in Sofia Coppola’s work you’re aware of a much softer presence behind the camera. In 2009, after The Hurt Locker had dominated the Oscars, I had tweeted something along the lines of: the main aspect of The Hurt Locker that interests me most is that it was directed by a “beautiful woman” rather than a man (or something like that). No one really said anything; there was very little favoriting or retweeting or unfollowing then. There were also no outraged comments about the supposed ha-ha nudge-nudge sexism that could be, I suppose, construed from the statement. But then, in 2009, I didn’t have 364,000 Twitter followers either.


    That same night, Dec. 5, I went on:

    The only thing that bothers me about that tweet is the use of the word “junk.” No, the movies listed above aren’t junk. Their level of craftsmanship is often quite high. They might be just OK as movies, but they’re certainly not junk in terms of execution. “Junk” is the writer’s exclamation point. It’s the writer’s Twitter flourish to a kind of dead sentence, filled with a list, and an echo of what bothered me about The Hurt Locker—because she was again being sold as the front-runner for perhaps her second directing Oscar with what looked like a very similar film. And what point was I trying to make exactly? I mean, what “visionary” filmmaker ever wins an Oscar? So what if competent technicians usually win it? That’s why the Oscars exist. So: I don’t really like any of the above films—and except for the use of the word “junk” I’m fine with that tweet (it’s not gender specific—it’s specifically about Bigelow’s work). There’s also something about the night’s earlier tweet that’s already beginning to bother me but I don’t know what it is. Yet.


    The next day, Dec. 6, I tweeted:

    The woman, an Oscar-nominated producer whom I’m close with, and who had called me out earlier in the day about those two tweets from the night before, now laughed at her self-seriousness. She conceded that yes, she is a very Empire woman and that of course Bret “has the right to free speech no matter how dumb.” We left it at that. She was also the first to warn me what the repercussions in the press might be if I kept it up about Kathryn Bigelow. I thought: Oh please. The press? They’ve been trashing me for years. Did you see what they did to me during my Twitter campaign for the 50 Shades of Greyscreenwriting gig? I can handle the press, babe. Besides: I’m not gonna keep going on about Kathryn Bigelow.


    And then, on Dec. 7, I kept it up:

    This tweet, in its own way, has become a problem. And by “problem,” I don’t mean for the 364,000 people who follow BretEastonEllis’s verified Twitter account. No, it’s become a problem for the Twitter Me; my Twitter consciousness, just wanting to have fun and be a bit of a provocateur in 140 characters. And then realizing ... err, that’s not really fun or that provocative. It goes beyond douchiness into another more insensitive realm. Most of the time, if I felt I’d stepped over a line, I just shrugged it off and moved on, thinking, it’s only Twitter; these are just flashing thoughts, immediate responses to cultural stimuli floating in the air, allowing me to unleash the mind of a consciously groomed brand built for outrage and skepticism.

    Or was I just a truly demented person? Or was I something in between? Was I “barraged” on Dec. 7? Yeah, a bit. Was I called “sexist” and “toxic”? Yes. Why? For thinking that someone can be overrated because they’re beautiful? No. Please, that happens every day—that’s called life, that’s called Hollywood. No, I was “barraged” because the woman in question had moved ceaselessly ahead in a man’s field and made it to one of the pinnacles in a male-dominated profession: the podium of the Kodak Theater on Oscar night, winning Best Director. My “problem” was: did she win it for directing a movie a man usually makes? And if so, is that double-COOL or double-MEH?


    And yes the earlier tweets now crest with:

    Again, there’s a problem here. The tweet is one of those definite proclamations—it’s neither asking a legit question and calling out the right people, nor is it a jolly-nasty tongue-in-cheek remark that could be construed as a joke about reverse sexism. The queasy feeling I get rereading it—and some of the others about Bigelow—is: Why does it look like I’m attacking Kathryn Bigelow when I just had an urge to tweet about her? And why am I so acutely aware of thisnow, rather than, say, in 2009 when I first tweeted about The Hurt Locker and her beautya time when I wasn’t even thinking that this was something I could be capable of doing—was I really attacking a woman on Twitter? Had I been giving myself excuses all these years while locked in my Twitter cage of 140 characters? And did I have to finally admit that I went too far sometimes?


    A lot of this handwringing has to do with the dismantling of a casually unconscious sexism that has long been tolerated in the culture (“Duh? You think, Bret?” I can imagine the National Organization for Women groaning). Those big proclamations I made about Bigelow’s “hot” looks: where does thatcome from? Because clearly I haven’t been mentioning her male counterparts looks or lack thereof. And being gay you’d think I might’ve gone there (sorry Martin McDonagh). Out of all the Bigelow tweets there are only one or two I can kind of stand by. That hasn’t happened to me before. Not once since I posted my Very First Tweet in 2009 (about the band The Gaslight Anthem) had I felt bummed out about something I tweeted.

    As someone who is not a white, male, heterosexual filmmaker, as someone who has felt like an outsider for things they couldn’t help, as someone who had been bullied for exactly those things he couldn’t help—I guess I should have known better.

    As someone who is not a white, male, heterosexual filmmaker, as someone who has felt like an outsider for things they couldn’t help, as someone who had been bullied for exactly those things he couldn’t help—I guess I should have known better.

    It wasn’t until the last week or so—after talking casually to a few women about the tweets, including a journalist doing a piece on me, that female producer, my mom—and reading the countless news articles about them which, no matter how hyperbolic they were, revealed to me an insensitivity on my part. And only then did I have My Twitter Moment…


    What has been happening on my Twitter page in 2012? Usually I’m responding to things I’m reading that morning, or had seen at a screening that night, or was watching on TV in bed the night before. I’m usually in my office tweeting, more often than not at night, after a couple of drinks or glasses of wine, sometimes even Blake Shelton blotto, and sometimes stone-cold sober, as I was in the middle of the night two Saturdays ago tweeting passages from a 1978 Paris Review interview with Joan Didion, along with pictures of my Christmas tree. So what does Twitter actually mean if that’s the way I go about it? How thought-out are my statements? How grounded are my opinions? How much does randomness and juvenilia and alcohol contribute to each tweet? Were the Kathryn Bigelow tweets really that bad given the context they were tweeted in? The idea that some people thought I was becoming a “shit-stirrer” was not only inaccurate, but failed to “get” the context of Twitter…


    I certainly never thought I’d feel the need to consider having to write a sentence about how the “marginalization of anyone for something they can’t help (gender, sexuality, race) is actually unacceptable to me and always has been…but in REAL LIFE NOT ON TWITTER!”

    Twitter seems like a writer’s funhouse to me, not something I’d use “seriously” to “hurt” someone. I don’t want to hurt anybody. And I’m not even saying that Kathryn Bigelow was hurt or even noticed the tweets or even cared. I imagine her balls are bigger than that. I thought that in the Bigelow tweets people might find a certain truth (Yes, Bret! Tell us the truth! You’d know!) about the hypocrisy of the world, of the Hollywood mindset, beautiful women in the movie biz, reverse sexism, etc. But they ultimately revealed a much more layered sexism that, I guess I thought as a gay man, I could get away with since my supposed vitriol about Bigelow was coming from another “oppressed” class. But in 140 characters it didn’t land that way.


    I’ve taken a lot of hits in my career—they bounce off. The armor was built so long ago that I now assume everyone else in the public eye can handle it when they’re shot at. But the outcry over the Bigelow tweets was eye-opening to me in a way that nothing else has ever been. I got it. I heard it. I looked back at what I was doing with those tweets (quickly, unconsciously, hurriedly, drunkenly) and I have to admit they simply back-fired. Which is why I’m writing this. No one asked me to write this. I simply write something like this when I’m in pain. And I’ve been slowly feeling a painfulness when reading all of the articles reacting to those tweets.


    The American press’s reaction to the Bigelow tweets was swift and overwhelming. Without reading the news I could still feel it swirling in the air because everyone around me was talking about it. It was by far the most sustained attack on anything I had tweeted about. What was odd about the collective anger was that the tweets were solely about daunting, glamorous Kathryn Bigelow—they were not directed at women everywhere, yet women united and seemed to bond over what they perceived as both a much broader and more personal “attack” (a word used often in the articles in the days that followed).  The quick thoughtlessness that Twitter encourages had a lot to do with why the word “attack” was never going to register for me until after I started reading the press. What started bothering me was: what does my thinking Bigelow is physically hot have to do with anything? What point was I trying to make with that? That her success is due to her physicality? Was there anyway to get my real thoughts and feelings through in 140 characters and in a coherent and intelligent manner? Or do 140 characters (or less) determine that what you’re trying to say is sometimes going to come off as shallow, or mean-spirited, or wrong?

    No one likes being wrong—I mean really wrong—about something. And in some of the cases where I’ve been attacked I really haven’t cared, because I’m not an example. I don’t represent. I’m just a lone voice and not a teacher. And I refuse to make my Twitter page one; it is what it is, take it or leave it, follow or unfollow, enjoy it or let it piss you off. But I’m taking a bit of a break from Twitter—not fully, not all the time, just over the holidays—until I see Kathryn Bigelow’s new movie.

    And then, perhaps, we can start all over again.


    I thought this was amazing. It's one of the most sincere acknowledgements of sexism from a man that I've seen.

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    "I celebrate nudity every day," de la Huerta says. "It’s our first wardrobe... We did the photos with no makeup, and we both wanted them to have a very natural feeling."

    Based on the above cover, it's safe to say she's accomplished that. Assuming one's natural state is to be spread eagle on the beach, that is.

    The star posed for photographer Mario Sorrenti, and it's clear she's a big fan of his work. Says de la Huerta:

    “I did my first nude shoot with Mario when I was 17. He made me feel beautiful, and I really feel it was on that shoot that I overcame my fear of being naked. Mario is such an artist. He has taken photographs of me in which my body looks like a sculpture.”

    Source 1 and 2
    She looks so different when she's not stumbling around somewhere drunk. Although my first reaction to these is, "Oh God! Sand and splinters in uncomfortable places!"

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    NBC isn’t raising the curtain on Smash Season 2 until Tuesday, Feb. 5 — with a two-hour opener, no less. To help the musical-drama’s fans, both existing and prospective, bide their time, we previewed the premiere and compiled this list of non-spoilery observations.

    * Things between Ivy and Karen (played by Katharine McPhee and Megan Hilty) are as fr-fr-fr-frosty as ever, no thanks to Derek (Jack Davenport). (Seriously, there’s one Derek/Karen scene that will have you progressively screaming, “No…. No!… NO!” at the telly.) Will that change when the almost-Marilyn is afforded a chance to save Bombshell‘s bacon? And are Derek/Ivy not necessarily dunzo — this despite a sordid scandal that erupts around him and threatens his planned revival of a well-known, super-soulful ’70s musical?

    * It turns out the reviews for Bombshell‘s Beantown try-out were largely rousing — save for a chorus of damning digs aimed at one (and only one) person.

    * Eileen rides quite the emotional roller coaster, going from proudly touting Bombshell’s tony Broadway home to… suffering all sorts of humiliation. But hey, she’s still dating Patrick Thornhart, right?

    * The fallout from the Rebecca Duvall boondoggle is far from over (if I may invoke the title of the Satan’s Alley showstopper).

    * Of the four characters cut from Season 1, Michael Swift’s absence is swiftly dealt with, Julia’s husband Frank figures into a fantastically messy farewell scene and Karen’s cheatin’ fiance Dev gets in a few last (handwritten) words. Ellis, meanwhile, is… not mentioned at all (unless you count a reference to The Poisoned Smoothie Incident of 2012).

    * Meanwhile, new additions Jeremy Jordan (Newsies) and Andy Mientus (Carrie) get a good chunk of screen time as Jimmy and Kyle, pals/coworkers who aspire to write the next great musical. Alas, despite knocking Karen’s socks off with his skills, Jimmy gets off on the wrong foot with the highly eligible chanteuse. Karen’s new roomie Ana (played by Krysta Rodriguez) seems fun enough (if a bit morally casual).

    * Oscar-/Grammy-winning recurring player Jennifer Hudson first belts out a rousing number as the Tony-winning star of a musical called Beautiful, then later duets with a Bombshell star.

    * When Tom suggests that Julia crash with her gay bestie for a bit, he says, “It’d be like a sitcom!” — yet amazingly stops short of specifically likening the scenario to Will & Grace.

    * There’s a quite random yet nonetheless visually irresistible performance number that manages to mash Robert Palmer music videos with the Eurythmics.

    * Someone is faced with the difficult choice of love… or joining the Book of Mormon national tour.

    * New York City namechecks during the two hours include the restaurant Butter (yummm), New York Post theater critic Michael Riedel (who gets quite an earful at a Bombshell party) and Broadway vet Harvey Fierstein (playing his raspy self in multiple scenes).

    * Justified Emmy winner Margo Martindale sneaks in an appearance as a persnickety theater wing mucky-muck. Hmm, makes one wonder if Ellis got slipped some “apple pie”….


    Katharine McPhee

    Megan Hilty

    Debra Messing

    Christian Borle

    Anjelica Huston

    Jack Davenport

    Leslie Odom Jr

    Jennifer Hudson

    Jeremy Jordan

    Krysta Rodriguez

    Andy Mientus

    Group Shots

    1 | 2

    NGL, I am excited for S2. Apparently the critics received three episodes from the new season and it is way better than S1.

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    Leonardo DiCaprio has got to be one of Hollywood’s hottest players. Seriously, can you believe he is quickly approaching 40 and has yet to put a ring on anyone’s finger? The actor is known to date a string of much younger models. His relationships last about a year and then he moves on to a younger, hotter variation on the same theme, a’la George Clooney. At least until now that has been Leo’s MO. Now it looks like he has been caught getting cozy with his The Wolf of Wall Street costar, Margot Robbie.

    The 38-year-old actor has grown a wee bit closer to Margot and he reportedly stayed overnight at her apartment in Union Square, New York last week. He was spotted sneaking out of the 22-year old’s digs the next morning. The two reportedly share a smokin’ hot chemistry that was on full display last month at Leo’s Vegas birthday bash. He was single again after a nearly year long fling with Victoria’s Secret model, Erin Heatherton. She, like all the ladies before her, wanted more and Leo made tracks for the door instead. That left him open to the possibility of something with Margot at his party and they spent a good deal of time together. That might just be when things turned from professional to up close and very personal.


    DiCaprio and Robbie have been spending an increasing amount of time together lately - they were also spotted at a party together in Las Vegas in the weeks before his own birthday celebration.

    Leo's party came shortly after his split with previous girlfriend, Victoria's Secret model Erin Heatherton, 23. The couple parted ways in October after a ten-month relationship amid rumours that Leo wasn't ready to settle down.

    The Blood Diamond, Inception and Great Gatsby star has also dated blonde actress Blake Lively and Israeli model Bar Rafaeli in the past.

    Leo celebrated his 38th birthday at New York's The Darby with a number of other stars including Beyoncé, Jay-Z, Robert De Niro and Cameron Diaz - but it was Margot Robbie who kept his attention at the Saturday night party in November.

    One onlooker said of the couple: 'There looks to be some strong chemistry between Leo and his leading lady. They spent a lot of time at the party together.'

    The 22-year-old is not well known as yet, with a background as a star of long-running Australian soap opera, Neighbours, and the axed series Pan Am; but Leo made sure she had the highest billing at bash, according to PageSix.


    Another month, a new romance for Leo. Will he ever find the right woman and if he does, is he ever going to step up and take the plunge? Do you think Leo is commitment phobic and that is why he pulls the plug on all of his romances the second his main squeeze wants to make it a little more permanent?

    His rep denied the rumor:

    "That didn’t happen. Leo worked late and stayed home.”

    lbr it was probably a hit it & quit it

    source | 1& 2

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    Because we need a counterbalance to the Cumberbatch posts around here.

    lol alice eve... :{ All hail the return of the beautifulest cast ever, though~


    bromance 1  bromance 2


    Source 1, 2

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    ONTD detectives, which one of these motherfuckers done spilled the tea???

    “Elimination Night” is a new novel written by “Anonymous” that, although the names have been changed (barely) to protect the innocent, is obviously based on American Idol Season 10.

    The New York Post serves up the juiciest details from the book. Remember, this is a work of fiction. The amount of fact vs fiction is tough to determine here, but the book sure sounds entertaining. Here are the best bits:

    The bigger bombshell is the book’s depiction of producers using a secret rating system to vet contestants before they even make it to the judge’s table and then, as the season progresses, manipulating and even sabotaging the singers they want to see rise or fall.

    No kidding.

    The show desperately needs a big name, so it approaches Vasquez, a Queens-born singer known for outrageous outfits, dating a gun-toting rapper and starring with her then-fiance in a universally panned movie (titled “Jinky” instead of “Gigli”).

    She agrees to appear on the show, with a whopping caveat: They must adhere to a 78-page contract rider, which includes:

    “Artist’s body to be insured with $1 billion dollar policy in case of injury. (Breasts, buttocks to be valued at $100 million each.)

    “Crew to be forbidden to make eye contact with Artist at all times.


    “Artist to be provided with chauffeur-driven limo . . . Limo to be a Rolls-Royce Phantom, white. Artist to select driver (male, under 25) from head/torso shots.”Lovecraft, a 62-year-old, bass-mouthed rock star with a notorious weakness for booze, pills and women, has just had a falling-out with his band, Honeyload. He comes in to meet the producers with two porn stars in tow, on the
    heels of a rehab stint.

    Guess who!

    Both stars vie for top billing. Lovecraft complains when Vasquez’s inflated salary is released, while Vasquez throws a tantrum when Lovecraft becomes the fan-favorite judge.

    When Vasquez decides to fly on her private jet to Houston for auditions, Lovecraft insists the show charter him one, too.

    Neither are very good judges. (In real life, Lopez and Tyler hung on for two seasons before they announced they were leaving the how earlier this year.)

    Vasquez relies on her agent to supply cue cards for her “ad libs.” Later, when she’s outed for using the cards, her husband, described as a pseudo-Marc Anthony (“her teenage sweetheart Edouard Julius, the actor, trapeze artist and former Olympic show jumper”) arrives on set and uses hand signals to tell her which singers to vote for and against.

    Meanwhile, Lovecraft often “confused his gut with the area directly below it — namely his penis” to a point where the show’s producers are forced to hire a counselor to lecture the staff on fraternization and add language to his contract to keep a lid on the old man’s libido.

    “He had been exchanging direct messages on Twitter with several other female contestants . . . providing them with both his cellphone and Twitpics of his bulging underwear, taken from under the judge’s desk,”
    the author writes.

    Not hard to believe, actually.

    Jimmy Nugget is 18-year-old country yodeler who bears a striking resemblance to “Idol” winner Scotty McCreery, a 17-year-old country boy from North Carolina. But in the book, he has a not-so-hushed-up secret: He sleeps with men.

    Hhm. WTF???!!!! That had me laughing out loud for severing minutes. I think the author might be trying to spice things up. As if the Idol story needs any more embellishment. Sex sells, however.

    Real-life contestants Karen Rodriguez — a 21-year-old Manhattanite — and Pia Toscano — a 22-year-old from Howard Beach — seem melded in the book’s Mia Pelosi, who’s blessed with an angelic voice and professional training but cusses like a truck driver. In the book, Mia has done time in juvenile hall for drunk-and-disorderly conduct.

    If TMZ didn’t get it from Nigel dig it up…it can’t be true!

    [During the audition process] Producers cheat by hiring local talent scouts to get established singers through the door— with the help of bribes like “phones, concert tickets, T-shirts . . . Oh, yeah, and cash,” the book says.

    Hm. For years, there have been rumors about talent scouts sending singers straight to the producers.

    Each contestant’s ticket is then given an oddly inverted code so that the producers can track the talent: “N” means a definite “yes, they’ll go onto Hollywood; “X” is maybe; and a “Y” is an absolute no but “the kid looks like a crier or a psycho, so roll the cameras.”

    Executive producer Len Braithwaite, seemingly based on real “Idol” executive producer Nigel Lythgoe, gives this order: “If someone has a good gimmick—y’know, dying kid, mom in prison, amusing facial tic — put a star in the top-right corner.”

    Sob stories are almost always valued over talent, the book says. A star in the right-hand corner equals more air time.

    To ratchet up the drama, producers hang in the wings to screen the contestants before they perform. The strategy is this: “Tell the singer the very opposite of the truth.”

    So, if the singer is incredible, the producers tell her that she’s probably not moving on. If he stinks, well then they tell him he’s the next Otis Redding. This all makes the decision, that moment of reckoning, all the more cinematic, the book says.

    The star judges are coached to bluff and give the strongest contestants the most negative signals by wringing their hands or shaking their heads during the audition process. It all adds to the tension.

    After the auditions are done, during the high-stakes Hollywood performances, the elaborate backstories contestants tell about the song they’re about to sing are almost always ghostwritten, the book says.

    Contestants who aren’t producer favorites are sabotaged with mind tricks and steered into making poor song choices that could result in their elimination.

    Even the judges are manipulated. Producers direct male singers to tell Vasquez, “I was obsessed with you when I was a kid,” knowing it will upset her. This ensures a “nay” vote, no matter how good the singer’s pipes are.

    There are no stories of producer shenanigans in the name of manipulating the outcome of the competition that would surprise me.

    The show’s host, Wayne Shoreline — alter ego of the affable Seacrest — is detestable in the book.

    The narrator describes a a man who enjoys making people squirm during the most vulnerable moments of their lives in front of 20 million viewers.

    The crew nicknames him “Hal 9000” because he’s as emotionless and sexless as a robot. At one point, he eats a puppy.

    “The pressure didn’t seem to affect Wayne,” the narrator says. “Up there on stage, he was focused, yes, but calm . . . Some take it as niceness. Professionalism, even. There people have it all wrong.

    “Wayne is a functioning psychopath.”

    OMG Lulz. Randy Jackson is there too, of course. As “JD Kootz”. And his catch phrase is “Booya-ka-ka.” M’kay. Also, the reporter speculates on who she thinks might be “Anonymous.” She thinks it could be Pia or Karen. I think it’s probably a production assistant, with access to gossip and backstage scoop, who left or was canned.


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    It wasn’t because he was trying to hook up with Mariah either…

    Nick Cannon revealed some secrets from his Hollywood playboy days during Tuesday morning’s Howard Stern Show interview.

    Cannon was dating soon-to-be reality star Kim Kardashian when her infamous, freaky tape with Ray J hit the internet. Cannon says he didn’t break up with Kardashian because of the tape, but rather because she lied about it.

    Via Examiner:

    “This was my issue,” said Cannon. “We talked about this tape…And she told me there was no tape. If she might have been honest with me I might have tried to hold her down and be like ‘That was before me’ because she is a great girl. She’s actually one of the nicest people you’ll ever meet. But the fact that she lied and told me that there was no tape?…And I still think she might have even had a part to play with it.”

    Kardashian’s tape launched her reality TV career. Howard Stern referred to her as “the world’s most famous adult star”.

    “I think she’s a great businesswoman if you ask me,” said Cannon


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    Do you remember when J.J. Abrams' ABC series Alias was the greatest female spy story of its time? Premiering in 2001, just weeks after the 9/11 terrorist attacks, it starred an apple-cheeked newcomer with just the right combination of hardness and softness. For five seasons and through hundreds of costume changes — does the CIA really spend thousands of dollars on neon wigs? — Sydney Bristow (Jennifer Garner) showed the world that a female spy could be just as clever, alluring, and badass as James Bond, even on a TV budget.

    Since the premiere of Showtime’s spy thriller, Homeland, last year, however, Sydney has been retroactively exposed as Spy Barbie, a product of the girl-power fad of the 1990s. Homeland and the upcoming film, Zero Dark Thirty, which chronicles the decade-long manhunt for Osama bin Laden, make a more serious case for feminism — or a more serious kind of feminism — by pulling their female CIA-agent protagonists from the field and eschewing gold-lamé bikinis for sensible pantsuits.

    The 'Zero Dark Thirty' 'Homeland' Comparison
    Zero Dark Thirty’s Maya (Jessica Chastain) and Homeland’s Carrie Mathison (Claire Danes) are certainly cut from the same cotton-polyester blend cloth. They’re both young, willowy, fair-haired women hell-bent on finding a man: Maya is after bin Laden and Carrie after Abu Nazir, OBL’s fictional counterpart. They’re no-nonsense women with passion and indignation to spare, and more often than not, the smartest person in the room. They’re frequently the only women in a man’s world, but they’re not the type to make a big deal about it. Their hunches are usually ignored by exasperated higher-ups, but that has less to do with their gender than political convenience and grandstanding.

    Zero Dark Thirty and Homeland’s rejection of honeypots in favor of intelligence analysts is instrumental in the reception of the film and the TV show as feminist works. That rejection reflects changing demographics within the espionage community, where female superstar data-crunchers are quickly becoming the norm. Both Maya and Carrie are famously based on real-life women in CIA.. The head of the spy bureau’s Al-Qaeda tracking team recently stated, “If I could have put out a sign on the door [after 9/11] that said ‘No men need apply,’ I would have done it.” But what’s most interesting about the feminisms — that’s feminism with an 's' — of ZDT and Homeland are their different, but equally compelling, approaches to female heroism.

    The feminism in ZDT follows the "anything a man can do, I can do better" school of thought. It’s impossible not to project that attitude onto ZDT director Kathryn Bigelow, whose filmography strongly suggests a “guys’ girl,” and who received the first-ever Best Director Oscar awarded to a woman for making a macho military movie, The Hurt Locker.

    It's difficult not to see Bigelow's brand of feminism in Chastain's Maya. Girlish ponytail and pouty lips aside, Chastain’s Maya is essentially a gender-neutral character. When she’s asked about her thoughts on office romance, her response is the closest she ever gets to femininity: “I’m not that girl that fucks.” In other words, the sexless, workaholic Maya briefly dons the mean-girl mask to define herself against all those other “girls” who men might see as sexual partners, instead of colleagues. In a later scene, she takes credit for her discovery of bin Laden’s hideout in a room full of military brass by declaring, “I’m the motherfucker that found this place.” With that short statement, Maya draws attention to her gender by pointedly not drawing attention to it. Anyone can be a motherfucker, man or woman — just like anyone can find bin Laden.

    Like Zero Dark Thirty, Homeland is rarely about Carrie’s gender. But the character begs to be read as a fervent defense of female hysteria and hyper-emotionality. It’s not PMS that makes Carrie a puppet to her emotions, but her bipolar disorder, a condition that’s spottily and sporadically treated in the show’s first season. Even after a bout of electro-convulsive therapy and a regular regimen of lithium to stabilize her mood swings, Carrie isn’t balanced enough for spycraft. When she helps capture Nicholas Brody (Damian Lewis), the ex-P.O.W. she alone — and correctly — believed to be a terrorist (and whom she later has an affair with), she screams, “I LOVED YOU!” at him while her embarrassed colleagues handcuff and cart him away.

    But the reason Homeland is a feminist — rather than misogynist — show, even with a caricature of female emotional instability at its center, is that it transforms a trait that has traditionally been used to denigrate women into a professional advantage. This isn't the kind of gender-neutral feminism that congratulates female CEOs for shattering the glass ceiling. Rather, it questions the value of gender-neutrality and asks why women should want things that men have designated as desirable. Why should a little girl crash toy trucks together, for example, when playing with dolls will improve her verbal and empathy skills more quickly? Or in the case of Homeland, why should Carrie's emotional instability be counted against her when it's her perilous leaps of logic and mania-induced zealotry that enables her to see what nobody else can ? Even her ill-advised affair with Brody, fueled by loneliness and uncontrollable desire, helps her collect evidence of his extremism.

    The different approaches to feminism that Homeland and ZDT embody prove that there isn’t just one correct approach to gender equity: women (and progressive men) can have their feminism both ways. Now if only we could get a female CIA director, or even just a movie about one, already.

    Bonus note: Do Homeland and Zero Dark Thirty pass the Bechdel test? Although the central cast of Homeland is basically Claire Danes and a bunch of dudes, it passes with flying colors. ZDT is a bit more complicated. Maya and a female colleague (Jennifer Ehle) discuss work a lot, but work for them is killing and torturing a bunch of men. It doesn’t pass on technical grounds, but it does in spirit. Whether the banner of feminism should be used to ignore, soften, or justify the brutality of torture, well, that’s a discussion for another day.


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    Merry Christmas, Glee fans! Oh, did you wish for some shirtless pictures of the show's stars? Well then, you're in luck!
    Glee creator Ryan Murphy decided to play Santa Claus and give his followers an early holiday gift: A picture of fan favorite Darren Criss as Blaine, sans shirt, but wearing a Santa Claus hat!

    So why is Blaine taking off his shirt on Fox's hit show?

    "Merry Christmas," Murphy tweeted along with the hilarious photo of Criss. "Men of McKinley calendar coming soon..."

    Is he being serious? Hard to tell, but just last week Murphy also posted a photo of Blake Jenner (The Glee Project's season two winner who now plays Ryder), saying, "Meet Mr July in our Men of McKinley calendar!" So we're guessing Criss is December!

    To the tune of the perennial classic "All I Want for Christmas is You"

    I don't want a lot for Christmas
    There is just one dick I need
    I don't care about the ratings
    For New Normal, AHS or Glee

    I just want Darren for my own
    More than Klaine shippers could ever know
    Cuz his asshole is bliss
    All I want for Christmas
    Is Criss

    I don't want a lot for Christmas
    There is just one dick I need
    I don't care about the ratings
    For New Normal, AHS or Glee

    I don't need to hang my balls
    There upon my husband’s chin
    Chris Colfer won't make me happy
    With a toy inside my *ahem*

    I just want Darren for my own
    More than Klaine shippers could ever know
    Cuz his asshole is bliss
    All I want for Christmas
    Is Criss

    Oh, I won't ask for much this Christmas
    I won't even wish for blow
    I'm just gonna keep my dick out
    Underneath his mistletoe
    I won't make a list and tape it
    To my "North Pole" for some extra named Nick
    I won't even try to pretend
    Gwyneth Paltrow’s not a dick

    'Cause I just want you here tonight
    Holding on to my headboard so tight
    What more can I do?
    Baby all I want for Christmas is Criss
    Criss, baby

    Oh, my ratings are declining
    So drastically everywhere
    And the sound of Jessica Lange’s
    fierceness fills the air

    And the Glee Cast is singing
    I hear that Autotune ringing
    Santa won't you bring me the ass I really need?
    Won't you please bring my Darren to me, me, me?

    Oh, I don't want a lot for Christmas
    This is all I'm asking for
    I just want to see Darren Criss
    Bending over, letting me in his backdoor

    Oh, I just want him for my own
    More than Klaine shippers could ever know
    Make my wish come true
    Baby all I want for Christmas is


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  • 12/17/12--19:45: You know you love me, xoxo

  • Daniel "Lonely Boy" Humphrey!

    Momentous ONTD viewing post can be found here.

    E! Online about the reveal:

    So who was behind the site that spread nasty rumors and gossip and controlled our gang's lives for six years, leaving them forever nervous to check their phones every time they went off in fear that it was yet another Gossip Girl blast? Dan "Lonely Boy" Humphrey! Yes, the eternal outsider turned out to also be the insider.

    So how do we learn Dan was "pulling the strings" all along? Cue flashback to Dan's first UES party, where he was invited by accident by Serena. "Once I got inside, I wasn't leaving, because that's when I saw you," Dan says, though Serena doesn't remember their first Hello Kitty-referencing encounter. Before he can confess to Serena, he decides to give his final chapter to Nate and Spectator, which reveals who Gossip Girl is.

    "I wasn't born into this world, maybe I could write myself into it," Dan explains after the big reveal happens. "I might have been a joke, but at least these people were talking about me." (He also reveals that Jenny [Taylor Momsen] knew it was him!) Serena defends Dan, saying he was just as hard on himself as he was on any of them.


    May we use this post to point out all of the ways in which it doesn't make sense/why Dan is the biggest tool in the GG universe & why it's the best thing that happened in the entire episode?

    Also, Nate as Mayor... that's rich.

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    According to an interview posted by the Movies.com website on Monday, actor Samuel L. Jackson (Jungle Fever, Pulp Fiction, The Avengers) will be joining the cast of the live-action film adaptation of Yasuomi Umetsu's Kite anime. He told the site,"After [RoboCop in January]. I'm going to do this live-action version of Kite, the Japanese anime, I'll be doing a live-action version of that in Johannesburg." He will then shoot his scenes for the Captain America: The Winter Soldier film.

    The Film Business Asia website reported last year that the film will begin shooting in South Africa on a US$12-million budget, although it said at the time that the filming will begin in January of 2012. Director David R. Ellis (Shark Night 3D, Cellular, the sequels Final Destination 2 and The Final Destination, Asylum) was attached to the project earlier this year. Ellis had directed Jackson on Snakes on a Plane, but Jackson did not confirm if Ellis is still attached. Distant Horizon's Anant Singh and Brian Cox were producing the project along with Moisés Cosio and Alejandro Saevich of Detalle Films in Mexico.

    According to Variety,e Kite remak the will be an action film about a young woman with financial troubles. A corrupt security force that had been selling young women murders her police officer father. The woman teams up with her father's former partner to uncover the mystery of his death, unaware she was betrayed from the start. Film Business Asia said that "Distant Horizon sources describe the new film as a 'full on female actioner' with 'gritty realistic action.'"

    Media Blasters released the original Kite anime and its sequel Kite: Liberator in North America.

    Jackson was also the executive producer and cast member of the two Afro Samurai anime projects (which also had live-action plans), and he voiced the character Zog in the CG film version of Astro Boy. He just finished shooting Spike Lee's remake of the Oldboy film.

    (In 2000, No Doubt paid homage to the infamous bathroom shootout scene from the film in their video 'Ex-Girlfriend')


    This entire fucking film disturbed me so much. It's odd, because Perfect Blue doesn't bother me one bit, yet this film...left a bad taste in my mouth. Let's just say that certain...."things" happen, and I almost had to turn it off because I was so upset by what occurs. This will either be a total disaster...or whitewashed to the core.

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  • 12/17/12--20:00: Twelve Days of ONTD: Day 9

  • Every day until Christmas, we'll be randomly giving away $25 Amazon gift cards to a lucky commenter! 

    How do you enter? All you have to do is comment!  We'll be randomly selecting winners from the comments section.   To keep it fair, you can only win once, but you can comment as much as you'd like, which increases your chances of winning.  


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    Or, try this link


    I wonder if X Factor will do the same

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