Lucky Guy(s). Kylie Bisutti, a Victoria’s Secret lingerie model, recently quit that job because it conflicted with her hardcore Christian beliefs, and to save her body for her husband. She will still model, but only in ways that honor the Lord. Bisutti, 21, appeared on Good Morning America on Thursday to discuss her decision, why she decided to quit, and how her husband Mike Bisutti feels about it … Kylie Bisutti Interview on Good Morning America “Growing in my relationship with the Lord and my faith… I just became so convicted about wanting to honor my husband with my body and wanting to be a role model for younger women out there that look up to me,” Kylie explained. In 2009, then-19-year-old and newly married Kylie beat out 10,000 other hopefuls in a Victoria’s Secret model search saying: “I have a very sweet personality, but don’t let that exterior fool you. I want this, and I’ll do what it takes to get it.” But Kylie said she had an epiphany one day, and not a good one. With her 8-year-old cousin admiring her physique, she recalls, “I was doing my makeup in the mirror one day and she was watching me… She just looked at me and she was like, ‘I think I want to stop eating so I can look like you.'” “And it just broke my heart, because she looks up to me.” “I didn’t want to be that type of person that she thought she had to do that. Thousands of girls that think beauty is an outer issue, and really it’s a heart issue.” How did her husband feel about this career move? “He was so, so supportive of me and I’m just so thankful that he let me grow and let me come to this decision on my own,” she said, noting that he’s very happy. “I’m definitely going to pursue modeling,” she said. “I just want to be more wholesome and the jobs that I choose are always going to be honoring the Lord.” Guys everywhere just lost out big time, but you gotta respect the girl for putting her convictions ahead of superficiality, money and fame, right? What do you think of Kylie’s decision?
Sometime after getting her start on NBC’s short-lived but well-loved cult series Freaks and Geeks , starring in two live-action studio Scooby-Doo movies, appearing for six seasons on ER , and turning in various screen performances (including a role as Ennis del Mar’s waitress fling in Brokeback Mountain ), Linda Cardellini took a break to reassess her career. “I wanted to step back and reevaluate myself as an actress and find out what I was capable of,” she told Movieline, describing her turn as a shell-shocked female soldier readjusting to life at home in this week’s Return , “and this was sort of the perfect role for that.” Return brought the actress in close collaboration with filmmaker Liza Johnson, who wrote and directed the drama about Kelli (Cardellini), a wife and mother who’s recently come home to her suburban Ohio town after a tour of duty in the Middle East with the National Guard. Despite the fact that she suffered no notable trauma overseas, Kelli finds that her familiar world has been utterly changed nonetheless; nothing seems to be in its right place anymore, in her home and in her mind. Despite her best efforts, Kelli’s emotional dislocation begins to sabotage her relationships and threaten her marriage as she grasps to keep control of it all. It’s an unusual perspective on war and its tragic effects, and one that Cardellini eagerly poured herself into. And it’s a performance that’s garnered new acclaim and attention for the actress, who also added roles in Kill the Irishman and Super to her post-break resume. Cardellini rang Movieline last week – expecting her first baby any day, she joked that both of her big projects could debut at once – to discuss Return , her career moves, and more. The director, Liza Johnson, workshopped this film for a while – how did it come to you and why do you think you tapped into it? After I finished ER I went to New York and I was thinking about doing a play, I sort of took a step back and thought I wanted to do something different than what I had been doing for so long. While I was in New York I was sent this script, I read it that night, and the next day I met with Liza. Really, I just sort of fell in love with the role because even though it’s a giant undertaking it’s a fantastic role for an actress, and I just thought it was an unusual way to take a look at a soldier returning, especially from a woman’s perspective. What kind of impression did Liza and her vision for the film make on you? When I met with Liza I thought she really had an interesting voice; she had a lot of ideas about the silences and the small details that have caused the unraveling in this person’s life, rather than the one big traumatic and catastrophic event, which was a really interesting way to play it and hopefully for people to relate to this type of character. She had things written in the script about the way things smelled, and the way things felt on her feet, and it was different than other scripts that I had read. Liza’s idea of how to shoot it and who this person was, we really just fell in sync close to immediately. I was very lucky that she chose me! We had the luxury of time because it’s so hard to put together a truly independent film – we had a little over a year together, talking about the film, obsessing over the film. For me and for Liza, we really enjoyed educating ourselves as much as we could about people returning and their stories, and people’s stories surrounding them. I’m onscreen the entire time – I’ve never had such great trust between myself and a director, and that was a wonderful feeling. We very rarely hear about, let alone see depicted, the experience of a female soldier. How did you learn about that world and that unique point of view, through talking to real life servicemen and women? We tried to find as many people as we could that would talk to us, and people were very generous in speaking to us. People’s experiences were very different. There was one woman who was happily returning to her third or fourth deployment, and I spoke with another girl who, after one deployment, her life had been turned completely upside-down. The differences between those stories, and also the common threads – and I spoke with men as well, to get the generalized version of the story and to understand things that weren’t necessarily gender-specific, things that were common threads for men and women, so that the story could be accessible to many people since it wasn’t based on one person’s actual story. We spoke with psychologists and vets from other wars, people who had family members returning – and what it was like to be shut out from that – and went to places where we thought she’d have grown up. We went to places she’d have visited with her family; we did things she would have done in basic training even though you never saw them in the film. We just tried to fill her life as much as possible, especially because there are so many silences and so many small details and there’s so much restraint in her character, I wanted to be able to seed those silences with all the details I had learned. There are many instances where we realize, after the fact, that she’s felt off despite being back home and in her “normal” routine – and many small details that are not verbalized, but come through in quiet, subtle cues. Yeah. And the script didn’t tell me what to think, or how to think, but also as Kelli I don’t know how to say the things that I’m feeling, which is what I think happens in life. I don’t think that we’re always the most articulate we can be when we’re going through something traumatic or life-changing. Hindsight is 20/20 – you don’t realize for years to come that you’re going through and how they affected you. I imagine that Kelli, in the years to come, will understand more about herself than she does at the moment. Things are very jarring for her from the moment we meet her; she’s just come home from a tour of duty and trying to readjust to her old life, not quite sure why things feel different. How would you describe her headspace? She frequently explains, when people ask her what happened “over there,” that “other people had it a lot worse.” She’s in denial, for sure… I think she’s in denial, I think there’s some guilt, I think there’s some sadness…loss at her perspective of the world right now, I think there’s an innocence lost. I think she’s going through a lot of things that she doesn’t quite know how to put into words, but she certainly didn’t lose a limb like people that she saw, she didn’t lose her life, she didn’t get raped – she’s forced to count her blessings based on some of the things she’s seen but still does not feel her old self, and still feels changed by everything that’s happened, so it’s confusing. We spoke to this psychologist and she said sometimes people don’t have one specific trauma, but the idea of being in a broken and war-torn world where you see things that change your opinion of what mankind can be like is enough to cause trauma in your life. I think that’s an interesting thing; a lot of returning soldier stories have one big catastrophic event where someone gets hurt or there’s an outburst of violence, and I think those things do, of course as we’ve seen, really happen. And I think there’s another version of that, with people returning with stories that aren’t quite as explosive but that can be life-changing for them as well. I think that’s something that people come home with and can be healed from, but also some people are healed from it and some people are not. The idea of “returning” is made exponentially stressful given the possibility of redeployment for many soldiers like Kelli, and that constant feeling of being torn between two worlds seems even worse than having to adjust even once back to normal life. Absolutely. And what do you do with that commitment that you’ve made and the duty that you have – and the duty you have to your family? And what are your alternatives? Not to mention that in focusing on a female soldier’s perspective you get the added element of maternal demands – Kelli’s husband at one point asks her to try to be a mother to her children. The idea of these two potentially conflicting duties, service and motherhood, pulling a woman in two different directions is even more complex. Yeah, and I think it’s maybe just as difficult for men to do the same but we’re used to it. The idea of a woman leaving her children [to serve in the military] is a newer concept for people, so dealing with the fallout of that is something I think she has to deal with as well. Because the expectations of her returning home are different than they would be if she were a man. And the expectations of the man staying home are different as well, and Michael [Shannon]’s character is really interesting in that way too, in that he’s been holding things together waiting for her to come back and be normal and that just can’t happen. It’s really, really sad. Did Michael come to the project after you were attached? No, I think he was first! I don’t know if Liza knew him before or what, but he was attached first and very, very early on – it took at least a year after that, if not two, for the movie to be made. Then I came on and everybody else after that. What was it like playing opposite Michael and, by contrast, John Slattery, who plays an interesting character in that he and Kelli seem to get each other through their similar military experiences even if it doesn’t exactly work out… No, and I think he’s a surprise to her, too. I think she feels that she’s finally found somebody that maybe she can trust, and you get a glimpse of Kelli when she’s a little more carefree. She’s laughing, she’s having a good time, she’s talking, and she actually opens herself up a bit more before you realize how quickly that is an illusion, and how quickly she shuts down. Things are still not as she hopes them to be. I think it’s interesting, too, how he deals with his return – he’s a returning vet from a different war, versus her coming home from a more recent war, and it’s a common thread yet they have very different approaches to dealing with it. But John’s great; it was really fun to be able to play on set. It was very fun to have a different version of Kelli come out in those scenes, and I wanted people to understand what she was like when she could smile easier, and laugh, and relate to people a little bit better. With Michael, I had been on set a long time shooting by myself and when he showed up there was this whole family dynamic that came with him. For all the crazy parts he plays he’s a really wonderful, good person. Such a dynamic and amazing actor, it was a thrill to work with him and we had such a good time. We had this chemistry that just worked in terms of the opposition and the affection we had towards each other. How has your process evolved over the years in terms of the projects and characters that you choose? You know, it’s hard to say. It’s a good question. I’ve always tried to choose things where I could be different than what I have been doing, and I really like to be able to surprise people with what I’m able to do. I sometimes can shy away from the limelight a little, and I took a break after ER . I could have done several things but I just waited until I found a role… I wanted to step back and reevaluate myself as an actress and find out what I was capable of, and this was sort of the perfect role for that. I’m lucky that Liza trusted me with such a giant undertaking. It’s the first time someone’s been able to hand me a role like that, and it felt so good to sink my teeth into that and really understand myself again as an actress. But I love to do comedy too! I like to choose things that excite me and challenge me, and this was definitely one of them. [Laughs] It was very fast and furious shooting, too. And also I wanted to know more about that subject matter, so it was an education as well. You mentioned those few years that you took off to re-assess your career direction and the kind of projects you wanted to take on. When you look back on Freaks and Geeks , it has such an enduring legacy and even Paul Feig, for example, has had huge recent success. Yeah! It’s so great. When you look back on that time, how do you feel about the fact that many people still associate you with Freaks and Geeks and have such a love for the series, even now? It’s amazing. It really speaks to the power of the DVD because while we were on network television we got very much ignored, like the freaks and geeks of the industry. [Laughs] But I love it. I’m so proud of the show, I’m so proud of everybody who went on to do all the different things that they’ve done. It was such an interesting and unique group of people. Our [2011Paleyfest celebration] was like a high school reunion. We drove up and I said, ‘God, what are these people waiting for?’ And we realized they were here for Freaks and Geeks , to be part of the event, and I thought, wow – what a change, from being cancelled and not even getting to a full season! A line around the block a decade later. And I run into people who are still discovering the show. I think we’re all pretty proud of it. You followed Freaks and Geeks with a number of roles in big mainstream films – the Scooby-Doo movies, for instance. Considering this more recent career refocus, are there any earlier roles that you might reconsider doing if you had to do them over again? You know, everything I’ve done has brought me to where I am. Some people wonder where that is, but to me it’s the story of my life and I’ve had a pretty good life, so I’m pretty happy. And this latest role, if I would have stepped in a different direction I wouldn’t be in this film now, and to me it’s one of my greatest accomplishments so far. Return is in select theaters this Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Occasionally troubled actor Gary Busey has less than $50,000 to his name and more than $500,000 in various debts, according to his recent bankruptcy filing. Despite starring in more than 70 movies and a bunch of TV shows in his career, the 67-year-old Busey filed for Chapter 7 bankruptcy in California yesterday. On the paperwork, Gary checked the box showing he has less than $50,000 in assets and is somewhere between $500,000 and $1,000,000 in the fiscal hole. Busey indicates he may owe money to the IRS, various lawyers, UCLA Medical Center, Wells Fargo, L.A. County Waterworks Districts and a storage company. He also notes that he might owe money to a woman named Carla Loeffler, who sued Busey for allegedly trampling her en route to an airport gate in Tulsa. No word on how Gary has so little money to his name after decades as a working actor, but cocaine futures have really skyrocketed of late, so that can’t help. [Photo: WENN.com]
As accomplished as NBA legend Bill Russell was on the court, he was also a giant off the court. Why else would President Obama see fit to present Russell with a Presidential Medal of Freedom Award in 2010? On the hardwood, Bill Russell was the cornerstone of the Boston Celtics’ dynasty of the 1960s, winning an unprecedented 11 championships in his 13 seasons. A skilled shotblocker, Russell revolutionized NBA defensive concepts. A five-time NBA Most Valuable Player and a 12-time All-Star, Russell averaged 22.5 rebounds per game and led the league in rebounding four times. He had 51 boards in one game, 49 in two others and a dozen consecutive seasons of 1,000 or more rebounds. William Felton Russell was born on February 12, 1934, in Monroe, Louisiana. His family later moved to the San Francisco Bay Area, where Russell would go on to attend the University of San Francisco, where he blossomed. Russell would lead the University of San Francisco to 56 consecutive victories and NCAA Championships in 1955 and 1956. Russell was named the NCAA Tournament Most Outstanding Player in 1955. Boston Celtics Coach and General Manager Red Auerbach drafted Russell to the Celtics in 1956, but Russell didn’t join the Celtics until December because he was a member of the 1956 U.S. Olympic basketball team, which won a gold medal at the Melbourne Games in November. After another NBA Championship in 1965-66, Red Auerbach retired, and Russell took over as player-coach the following season, becoming the first African-American coach in the league. He led the Celtics to a 60-21 regular-season record, but Boston finally had their streak of championships snapped when they lost to a powerful Philadelphia 76ers team in the Eastern Division Finals. Having witnessed racism and all its ugliness firsthand as a child growing up in segregated Louisiana, Russell took public stands against discrimination throughout his career. Before the 1961–62 NBA season, Russell refused to play in an exhibition game in Lexington, Kentucky when he and his black teammates were refused service at a local restaurant. Russell also joined other prominent black athletes like Kareem Abdul-Jabbar in publicly supporting Muhammad Ali’s decision to refuse to be drafted. Until the ascent of Michael Jordan in the 1980s and ’90s, Russell was considered by many as the greatest player in the history of the NBA.
Jay performs his song to daughter Blue Ivy Carter and a host of other hits at the famed venue, with help from Alicia Keys and Nas. By Rob Markman Jay-Z performs at Carnegie Hall Photo: Kevin Mazur/ WireImage NEW YORK — From Marcy to Madison Square and now from Crooklyn to Carnegie. Jay-Z has come a long way since releasing his 1996 debut, Reasonable Doubt, and the magnitude of his travels wasn’t lost on the God MC when he performed at Carnegie Hall on Monday evening (February 6). The swanky crowd filled the Stern Auditorium at Carnegie Hall for the first of two benefit concerts, which joined Jay’s Shawn Carter Scholarship Foundation with the United Way of NYC to raise money for gifted high school students who aren’t financially positioned to attend college. The premium-priced charity tickets brought out the likes of Liza Minnelli and New York Yankees pitcher CC Sabathia. With a full orchestra that included ?uestlove and Young Guru playing DJ, Hov took the stage at 8:45 p.m. ET after a dramatic string build. Emerging from the stage’s side door in a white tux jacket toting a gold bottle of Ace of Spades champagne, Jigga began his evening shouting, “Allow me to reintroduce myself, my name is Hov,” the iconic opening line from 2003’s “Public Service Announcement.” Those who thought Jigga would conform to the stuffy artistic standard typically associated with the famed concert hall were mistaken. Jay strutted across the stage drinking from his gold bottle promising the crowd, “It’s just tea.” On this night, Hov pledged to eradicate the divide that separates musical genres, only differentiating between good and bad music. “All those lines that divide us, we gonna step on ’em,” he announced to the electric crowd. As he’s done most of his career, Jay continued to stomp out the misconceptions that rap can’t be considered highbrow art as he tore through radio hits and street favorites like “U Don’t Know” and “Where I’m From.” Jay did balance things out when he invited Alicia Keys onstage for “Empire State of Mind” but got extra-gritty on the very next song, making way for Nas to perform his own “N.Y. State of Mind” from the Queensbridge MC’s 1994 classic Illmatic. There was a perfect juxtaposition throughout. The biggest musical clash came when Jay performed the “Annie”-sampling “Hard Knock Life.” Jigga rapped the song’s verses, while the wealthy crowd song the downtrodden chorus. By the time Hova rolled into the set’s next song “Izzo,” a marijuana smell filled the air. That must be a first for Carnegie. Ever the master of ceremonies, the Brooklyn rap juggernaut slowed things down properly easing into “Girls, Girls, Girls,” then “Song Cry” and then “Glory,” the song he released days after the birth of his and Beyonc
When I watching the Super Bowl half time show…Like Gisele, I prayed, only not for my husband to win, cuz I knew he couldn’t do it on his own, but for Madonna to have a lip slip while lip syncing….see cuz I watched the shit and she wasn’t out of breath for a fucking second of her miserable performance…..I also prayed she’d have a heart attack, not a fatal one, just one hard enough for her to realize that a senior she should sit the fuck down, class the fuck up, this isn’t geriatric aqua-robics bitch, this is a pop music career and you’re 140 fucking years old…..turns out there is a god…cuz here’s her big old mom pussy….aged from perfection…if you know what I Mean… and if you don’t it is that this performance is fucking hysterical…even if it’s not the best Lip Slip or even an actual Lip Slip…but it’s the best I’ve found so far…and I take what I can get….
Here’s a real fucking amazing scandal everyone should stop their shitty lives and give a shit about…. Rihanna was in the same club as Chris Brown…a dude she made beat her up to advance her career in exchange of pay-off….or maybe who she just made beat her up cuz Bajan women are apparently insane according to my Bajan friends…..and Drake…a dude she’s apparently been fucking…and I’m sure it’s not the first time Rihanna’s teenage whore turned popstar pussy has been in the same room as two guys who have fucked her, I mean everytime she hangs with her dad and brother over the holidays it happens…I’m just joking I don’t know if she even has a brother, let alone a brother who fucks her….and I only care cuz she’s in a hot outfit….probably to parade around her ex lovers to try and make them jealous, while they are likely fucking way hotter bitches, but in her mind they haven’t got shit on her cuz they aren’t Rihanna….and she’s Rihanna…so take that….. Happy Black History Month….Here’s the clip… Here’s the Rest of the Pics FOLLOW THIS LINK
Her caption: Fun at the Super Bowl This is probably the first time she’s referred to a bowl being super and didn’t mean because it was filled will butter, or chocolate, or deep fried anything..you know or that the bowl itself was so big if felt like it never ended, allowing her to be the pig at the trough she obviously is….but the good thing about pigs is that they have a set of super bowls of their fucking own….and by bowls I mean her pregnant milk filled mom tits…..
Here are some LeAnn Rimes tight ass in a bikini because being in a bikini is what she fucking does…she threw that good Christian shit out a while ago when she decided to turn on her fans, turn on her career, be satisfied with her money and started tempting married men into fucking her…only to become a sex addict home wrecker with implants…only to be criticized for being skinny, even though skinny is amazing and the real disgusting about her is her fucking face…and that’s all I have to say about that.. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
‘Mr. Spielberg, when you meet him, he is not intimidating at all,’ McPhee tells MTV News. By Christina Garibaldi Katharine McPhee Photo: Alberto E. Rodriguez/ Getty Images It’s been a while since we’ve seen Katharine McPhee in the spotlight. Now all eyes are on her as the “American Idol” alum takes on the leading role as Karen Cartwright in the highly anticipated NBC musical drama “Smash.” But the road to “Smash” hasn’t been an easy one for McPhee. After coming in as runner-up in the 2006 season of “American Idol” and starring in “The House Bunny,” McPhee has had a rough road on her career path. She was dropped from her record label in 2008 and struggled with getting other movie projects off the ground. But her determination paid off, which is something she could relate to when playing her character on “Smash.” “My character, Karen, is the biggest dreamer of them all, she dreams big. Our show is about dreaming big,” McPhee told MTV News at the New York premiere of “Smash.” “She has a big heart, she has a lot of drive and she’s very determined about what she wants in her career and what she wants out of it and how she’s gonna go about doing it, and keeping a real strong moral code. I think she is a little green when you first meet her. She’s not quite sure how things go and how things are worked in the business, [and] she learns a lot throughout the course of the first season.” The show centers on the making of a Broadway musical based on the life of Marilyn Monroe. In the first episode, viewers will see McPhee’s struggle with several auditions before getting a callback to compete against newcomer Megan Hilty’s character for the part of Marilyn. But according to McPhee, her audition for the role of Karen was nothing like the one you will see during the premiere on Monday. “I did have to audition for this,” McPhee said. “It was actually one of the more simple auditions I’ve been through. I auditioned, put myself on tape, flew to New York the next week, was testing for it. I waited two days for Mr. Spielberg to watch the tape and I got the part.” Yes, that’s right. McPhee had to audition for Oscar-winning director Steven Spielberg, who is a producer on the series. So we had to ask: Who is more intimidating to audition for, Spielberg or former “Idol” judge Simon Cowell? “I would say neither,” McPhee declared. “Mr. Spielberg, when you meet him, he is not intimidating at all. He’s the most lovely, wonderful, gentle man.” Are you excited for Monday’s premiere of “Smash”? Let us know in the comments. Related Artists Katharine McPhee
