Olympia Valance is an Australian actress who was on Neighbours along with every other Australian actress….because that’s just how Neighbors works…if you don’t do Neighbors you don’t exist….and I am not even sure if that applies to just actors, it may apply to every Australian, like how the Israeli 18 year olds need to join the Army, maybe every Australian at 18 has to do Neighbors…maybe not all in talking roles..but it is a right of passage to keep your citizenship and honor to your country…. That said, along with Neighbors, Australians are just wild and crazy and not just because I watched leaving Neverland and saw the Australian Michael Jackson impersonator weirdo 7 year old who MJ used to RIM….but because I’ve know Australians forever and they are this fun, funny, trashy, slutty, drunk….built on criminal DNA…raised in the middle of no where, far from Civilization….creating the debauchery that is everyone in Australia…even Steve Irwin and his Crocodile fuck that killed him… Point being…here’s some random Australian pussy…which is something you’d experience if you went o a bar in Australia…cuz that’s just the kind of women Australians are….the best kind of woman…. JOIN THE NEWSLETTER YOU ASSHOLES! The post Olympia Valance Potential Pussy Slip of the Day appeared first on DrunkenStepFather.com .
Fatal Shooting on Security Cam Soccer Star of the DAy Kid Blows Up Man Hole Washing Crocodile Idiots All Around The post Naked Flasher of the Day and Other Videos of the Day appeared first on DrunkenStepFather.com .
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So… are you on Team Hot Lost Boys or Team Hot Native Americans? Who did you think was gayer, the crocodile in Peter Pan Live! or those same hot Lost Boys? Did Christopher Walken mail in his performance? And how would SNL’s Stefon have reacted to the three-hour production aired by NBC last night? Peter Pan Live: Twitter Reacts! 1. A Gay Crocodile? Not that there’s anything wrong with this! Indeed, Peter Pan Live offered the sort of ideal bait for Twitter users not seen since this month’s Kim Kardashian nude Paper Magazine cover. From Allison Williams’ hair … to the possible murder of a maid… to pretty much everything Walken did or said, there was prime material to go around for celebrities and regular folks alike. Did you catch Peter Pan Live ? If so, you can likely relate to many of the messages posted above. And, if not, have no worries: you can learn all you need to know about the program by checking out these same messages! Wait… did we leave our George Foreman Grill on?!? We may need to go check on that. As we do, however, respond to the following poll with your take on this Allison Williams and Christopher Walken-anchored performance now. What did you think of it? GRADE PETER PAN LIVE: A B C D F View Poll »
Margot Robbie is a huge deal thanks to Wolf of Wall Street. I never saw it, but I do have an Australian fetish, and know she is from Australia… I don’t know what it is about Australia that I like, I doubt it is the white trash I envision when I think Australia. Or the fact that they were a nation built off criminals, because that was so long ago it doesn’t count. I don’t think it’s their shitty accents, the Crocodile Hunter or Crocodile dundee. I doubt it is the Koala or Kangaroo…but probably has everything to do with the girls being hot, down to earth, drunk, and into fucking…and having a good time, while traveling the world, because Australia’s in the middle of nowhere, and a great place to escape…end up in LA….and staring naked in a movie… So, I don’t care about Margot Robbie, or her SEX SCENE …i just like what she represents…Australian hipster model pussy…G’Day Mate.
Portuguese director Miguel Gomes’s inventive, playful black-and-white Tabu — part drama, part romance, part malaria-induced fever dream — has turned out to be a favorite among critics at the Berlinale this week, alongside Christian Petzold’s Barbara , and it’s not hard to see why. Tabu was one of the few movies here to be heralded by a ripple of excitement — it seemed to be the one competition film everyone was curious to see. In the movie’s first section — despite an intriguing reference to a “sad and melancholic crocodile” — I feared the buzz would amount to nothing. And what if this crocodile never actually appeared? I wasn’t leaving without my crocodile, I decided, and luckily, I wasn’t disappointed. Gomes — who previously directed The Portuguese Nun and Our Beloved Month of August — used to be a film critic, and you know how those people are: They love their movie references, and Gomes uses plenty. (The film’s title itself is a nod to F.W. Murnau’s movie of the same name.) But he manages to avoid coming off as either a show-off or know-it-all, particularly in the movie’s second section. The first chapter deals with a mysterious elderly Portuguese woman named Aurora (Laura Soveral), whose mind appears to be disintegrating and who is convinced her housekeeper (Isabel Cardoso) is working black magic on her. She begs her neighbor, Pilar (Teresa Madruga), for help. It’s only after Aurora dies, and Pilar seeks out the man who used to be her lover, that the movie truly springs to life: The opening section is clearly intended to be an extended prologue, a means of whetting our appetite for what’s to come. In part two, we meet the young Aurora (played by Ana Moreira), a big-game hunter who, like good old Isak Dinesen before her, has a farm in Africa. Aurora is beautiful, headstrong, possibly emotionally unstable. She’s also a crackerjack markswoman who always gets her prey, sacking big game right and left. That includes menfolk: She’s married to a staid, successful businessman who doesn’t give her the attention she needs. It’s no surprise when she falls into the arms of Ventura (Carloto Cotta), a John Gilbert lookalike who plays in a local band — it specializes in hyper-romantic Phil Spector covers — and who also has some romantic complications of his own, in the form of a lover named Mario (Manuel Mesquita). The second half of Tabu is mostly silent. There’s sound, in the form of birds or crickets or rustling leaves, but all the dialogue of the story remains unheard and implied: The actors move their lips, but no words come out, and the effect is surprisingly intimate, like being keyed in to a secret language between lovers. We know what’s happening, and what’s going on in the characters’ heads, thanks to a voiceover narration provided by the old-man version of Ventura (Henrique Espirito Santo), as he reflects on his obsessive and marvelously melodramatic relationship with the young Aurora. Did I mention that by the time she and Ventura get together, she’s already pregnant with her husband’s child? Gomes piles one complication on top of another, but the effect is poetic rather than jumbled. I’ve been hearing people comparing Tabu to The Artist , couching it as a more art-housey version of that picture. There are similarities, but each film exists in its own distinct and imaginatively realized world. Gomes’s is dreamier, more impressionistic — at times, in the first section, the conversations between the characters spin out in oblique, off-kilter loops, as if they’d been invented by a less-flamboyant, less-kooky Almodovar. Gomes’s style here is winsome and affectionate; at times, it’s a little too arch and self-aware. But the picture’s satiny imagery, rendered in black, white and every glorious gradation in between, is so lovely that that hardly matters. The two lovers, Aurora and Ventura, lounge by a reflecting pool, glasses of lemonade on a tray between them, as that aforementioned crocodile — at this point, a mere babe — skims through the water like a silent witness to all that’s passing between them. Now we know why he’s sad and melancholic: He’s the croc who knew too much. But at least he’s been lucky enough to swim through this romantic dream of a movie. Read more of Movieline’s Berlinale 2012 coverage here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
A hungry saltwater crocodile named Elvis was apparently pretty hungry today. He also showed an apparent affinity for household machinery when he charged at a worker at an Australian reptile park before trying to eat … his lawn mower. “Before we knew it, the crocodile had the mower above his head,” Tim Faulkner said. “He got his jaws around the top and picked it up and took it underwater.” The reptile workers quickly left Elvis alone to enjoy his newly acquired mower, which he sat by until he was bribed with some Kangaroo meat to relinquish it. Here’s some footage of the croc’s delicious meal: Crocodile Eating Lawn Mower
In ongoing ‘Seattle Sonics’ series, DCFC take us to a pair of venues that helped shape the band: Crocodile Cafe and OK Hotel. By James Montgomery Death Cab For Cutie’s Nick Harmer and Ben Gibbard Photo: MTV News All four members of Death Cab For Cutie grew up in and around Seattle, during a time that outsiders have since deemed “The Grunge Explosion.” But for those living around the city — particularly those not old enough to get in to most shows (thanks to the city’s now-abolished Teen Dance Ordinance ) — they didn’t know anything about an explosion. They just knew there were a ton of really great bands they were missing out on. And back then, as is still the case today, most of those bands played Seattle’s Crocodile Cafe, with gigs being advertised in the city’s late, lamented free paper The Rocket. And for kids on the outside, like DCFC’s Ben Gibbard and Nick Harmer, both of those things were the source of never-ending frustration. “We both grew up in the Northwest, and we’d look at the shows at the Crocodile, seeing them in this weekly music magazine The Rocket, and be like, ‘Aw, I wish I could go to that show,’ ” Gibbard told MTV News. “But it was a 21-and-over venue at the time, so we couldn’t go, and all our favorite bands were playing [at the Crocodile], and we could never come see shows there.” But, as they got older, and formed Death Cab for Cutie in the college town of Bellingham, Washington, things started to change. The band started coming to shows at the Croc (Gibbard remembers seeing Bedhead with DCFC guitarist Chris Walla at the club in 1998) and even managed to score a gig or two there. And finally, at the end of ’98, they played a sold-out show at the legendary venue. It was, to say the least, a highlight, and the reason Gibbard and Harmer took MTV News to the Crocodile as part of our “Seattle Sonics” tour : The club played an integral part in their lives, both before and during Death Cab. “Every once in a while, people will ask, ‘Oh, what are the highlights of your band’s career?’ And without fail, I always reference the first time we ever headlined the Crocodile Cafe. … It was in, I think, December 1998, and it was on a weekend, a Friday or a Saturday, and we sold the club out,” Gibbard said. “There used to be a wall they’d put in that would diminish the capacity down to 300, from 600 or so, so we played a wall-in sold-out show, which still for us was a huge deal. And I remember coming offstage in the little backstage area that used to be here, between our main set and the encore, and becoming flushed with emotion, like, really, it was too much for me to handle, because I couldn’t believe we had done it. We had actually sold out and headlined the Crocodile Cafe. “And it was this turning moment, I think, for all of us. … We had this realization that, ‘Wow, we can really do this. We’re a real band. We’re not just four guys in a college town goofing off on the weekends and practicing after class. If we could get 300 people into this room to see us play, we can do it in Portland, we can do it in San Francisco. It can happen,’ ” he continued. “So not only was it kind of the fulfillment of a dream I’ve had since I was a teenager — since we were all teenagers — but it was a powerful moment for me, because I finally felt like we were on to something.” And while the band’s first-ever headlining gig at the Croc was a milestone (made even more because, as Gibbard beamed, “Afterwards I got to meet Peter Buck from R.E.M. in the bathroom”), there’s another venue in town that holds an even dearer place in their hearts: the legendary OK Hotel, one of Seattle’s most celebrated all-ages venue, since shuttered and reopened as a gallery space. Located in a decidedly seedy part of town — beneath a viaduct near the piers on Alaska Way — it was one of the few places where kids could actually go to shows and a stop for any band not yet big enough to sell out a 21-plus venue. Not surprisingly, Gibbard and Harmer spent plenty of time there, and they made sure to take us to the spot on their tour. “I saw Superchunk and Sunny Day Real Estate here, Low, bands I loved. This was a really important place for me, because as a kid, it made a real impression on me, seeing bands loading their own equipment and setting up their own stuff, because before coming to places like this, the only places you saw rock bands play were in arenas and large venues. I wasn’t used to seeing bands do it themselves. You heard about it, but you actually never saw it,” Gibbard said. “The only options to see shows as a teenager in Seattle were this place or bands that were so big they were playing arenas or a venue that was large enough to take out an insurance policy. So this was a venue where a lot of touring bands came through, because this was the only place you could do all-ages shows, legally.” But since he was still living with his parents across the Puget Sound in Bremerton, Gibbard never really got to see full shows. His curfew saw to that. But sprinting across the street to catch the last ferry home is part of the reason the OK Hotel will always hold a special place in his heart: It was a piece of his youth. “There’s a ferry terminal right across the street, and I had to be on, I believe it was a 10:50 ferry to be home by curfew,” he laughed. “So if the show started at 8 or 9 here, it meant I was running across the street to catch the ferry at 10:40 … so I have memories of going to see Superchunk here when I was 17 and hearing the beginning chords of ‘Package Thief’ and just running out from the venue, across the street and just barely making the ferry.” “Death Cab for Cutie: Seattle Sonics” concludes Friday on MTVNews.com with a look at the iconic Seattle studio where the band put the finishing touches on their brand-new album Codes and Keys. Related Videos Death Cab For Cutie’s Guide To Seattle
How humiliated is Kendra Wilkinson over the release of her sex tape? So humiliated that she’s only given two interviews regarding it! Following some of the best acting she’s ever done on her E! reality show last month, as she pretended to be heartbroken over the existence of Kendra Exposed , Mrs. Hank Baskett has sat down with Ryan Seacrest and reiterated her phony stance on the video. “It’s extremely embarrassing,” she says of the footage featuring her 18-year-old self with an ex-boyfriend. “I am a very open person, I am very honest about my life, but a sex tape was definitely not what I wanted in my life.” Pouring on her crocodile tears, Kendra added: “It just had to come out now when I finally cleaned up my life. It wasn’t for anybody else’s eyes to see except for ours.” With over a million dollars likely coming her way as a result of the release, we feel terrible for Wilkinson. Watch her interview below and sound off: Do you feel badly for Kendra? Sex Tape Interview
