On September 7, A-listers from across Hollywood will once again come together. In order to Stand Up to Cancer. The third telethon will raise money for cancer research and be broadcast simultaneously on ABC, CBS, FOX, NBC, BIO, E!, Encore, HBO, HBO Latino, ION Television, LMN, Logo, MLB Network, mun2, Palladia, Showtime, Smithsonian Channel, Starz, Style, TBS and VH1 at 8 p.m. EST. With Taylor Swift , Alicia Keys, Coldplay and Tim McGraw set to perform, the stars involved will include: Gwyneth Paltrow, Julia Roberts, Matt Damon, Michael Douglas, Jessica Biel, Samuel L. Jackson, Jeremy Renner, Seth Rogen, Emma Stone, Simon Baker, Jordana Brewster, Diem Brown, Dana Delany, Chelsea Handler, Marg Helgenberger, Rashida Jones, Minka Kelly, Joe Manganiello, Jillian Michaels, Masi Oka, Ana Maria Polo and Alison Sweeney. The first two telecasts took place on September 5, 2008 and September 10, 2010 and, to date, have raised more than $180 million for this important cause.
It looks like Salma Hayek is off the hook… for an insulting gaffe she never made in the first place! In a recent cover story for the German edition of Vogue , the actress is asked about her role in Oliver Stone’s Savages and was originally quoted as saying: “I am proud to have been involved in this film with all these great actors. Honestly, I hardly had any memories of what it is to be Mexican. My life is completely different now.” It’s true that Hayek is married to French gazillionaire Francois-Henri Pinault , but Hispanic blog Guanabee doesn’t see that as an excuse for ignoring her heritage. “What did Salma mean by basically saying she forgot what it’s like to be a Mexican woman?” the site asked in response to Hayek. “That she’s too French and rich for our blood?” Not at all, says the star’s rep. He contacted E! News and explained that the “whole thing has been lost in translation. Salma is not disparaging Mexico in any way.” Translated, this is Hayek’s full quote: “I am proud to be in this movie with all these great actors. The truth is that I almost have to try and remember what it’s like to be Mexican. My life is different now. You cannot make yourself represent something. You have to be an individual, by being the best you can be.”
Also in Friday afternoon’s round-up of news briefs, Will Ferrell joins a new comedy. WWE champ gets back in front of the camera and a court in Beijing sends a group of execs from a VOD site to prison in one of the harshest sentences ever. Ted Beats The Dark Knight Rises Abroad The foul-mouthed creation by Seth MacFarlane and starring Mark Wahlberg is open in 10 overseas territories and scored number one in almost all of them. It’s international cume is $54.5 million in 20 territories and it’s still set to debut in 38 more, Deadline reports . Will Ferrell Gets an Internship He joins Owen Wilson, Vince Vaughn and Rose Byrne in the project directed by Shawn Levy and written by Vaughn. The story revolves around two men in their early 40s who are layer off and try to reinvent themselves as interns at an Internet company that is run by managers in their 20s. Variety reports . Randy Orton Back in the Ring for 12 Rounds: Reloaded The three-time WWE World Heavyweight champion will star in the follow-up of the action franchise. He’ll play an emergency medical technician who’s being pursued by a vigilante threatening his family, Deadline reports . WWII Pic About Epic Battle In the Works A film about the battle for Monte Cassino – one of the most bitterly-fought land campaigns of World War II – is being made to coincide with the battle’s 70th anniversary. 200,000 soldiers participated from 30 countries with 55,000 allied troops and 20,000 German troops injured or killed. John Irvin will direct, BBC reports . Beijing Court Send 6 VOD Execs to Prison China has issued its harshest penalties for online streaming of copyright infringed material on execs from OpenV.com, which attracted daily traffic of more than 55 million page views, 40 million video view and 8 million unique visitors. A large chunk of what it offered involved copyright infringed content, Screen Daily reports .
Happy 4th of July! Everyday there is an abundance of pictures I just can’t get to. I wish I could do 100 posts a day but I can’t. So here is a new section with plenty of celebrity photos for you to flip through. Today’s “ Hollywood Tuna’s Extra Catch ” consists of Mary Carey, Demi Lovato, Elsa Pataky, Holly Madison, Katy Perry, Dakota Fanning, Kelly Bensimon, Rose McGowan, Jennifer Lawrence, Imogen Thomas, Katharine McPhee, Delta Goodrem, Naomi Watts, Rita Ora, Sophie Anderton, Mariella Ahrens, Nelly Furtado Milla Jovovich, Kim Cattrall
I thought that because it was the 4th of July I should finish things off with some sexy pictures of a German chick. I know, it doesn’t make any sense to me either, but I like chicks who show off their tight bodies so this is happening. Here’s the always provocative Micaela Schaefer posing pretty much naked covered in some rope at an event for Mercedes-Benz . I know this is a little strange, but there’s nothing more American than a half naked hot chick and a fancy car. Happy fourth everybody.
If it is not spread eagled and if I can’t see labia, it’s not a fucking upskirt to me….but people are talking about it and I wouldn’t be holding up the fucking fort that is DrunkenStepfather.com, if I didn’t pull these pictures up for you to sit an analyze whether she’s wearing fucking panties or not…..without using common sense and google to find picture of her modeling nude before she decided to marry that huge black guy wih an arm sized penis…who she had constant sex with as he sang love songs to her….cuz you know a scarred up face like his only gets pussy for one reason…and that reason is huge cock….that destroys pussy….and her pussy is German and German pussy likes being violated and abused….there is a reason they produce german scat films…..and her pussy has a dozen kids….so maybe it is best her upskirt involves crossed fucking legs….old, lack of elasticity, mangled messses are no fun to look at….at least not if you are normal like me…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
“After the show I have to really put some more attention to sex in my life,” Marina Abramovic vows near the beginning of Marina Abramovic: The Artist Is Present , an elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City’s Museum of Modern Art. “Semi-intellectual artist at the top of her career,” goes Abramovic’s self-drafted personal ad, “looking for single male.” My head completed a few full rotations taking in what all’s going on in that sentence, but let’s begin with the part about being on top. That Abramovic seems to have willed her own peak into being — the German artist Frank Uwe Laysiepen (AKA “Ulay”) teases his former partner about whether she now prefers to be addressed as “the grandmother of performance art” or “the diva of performance art” — is deftly interlayered with director and cinematographer Matthew Akers’s presentation of a life and career united by the stubborn pursuit of meaning. The picture gives a sense of life’s fragments aligning, finally, to form a coherent story. What that story is depends on who’s doing the telling, of course. At the outset of her three-month MoMA performance — where the artist sat like a Buddha in a red (or blue, or white) dress, receiving an intrigued, then entranced, then near-hysterical public, one at a time, for a bout of eye contact across a wooden table — Abramovic outlines the three different versions of herself, her favorite being the pure, unshackled sensibility watching over the two other, more mortal selves. Hers is a very physical feat, as is made clear; there’s a bedpan built into her chair, and Ulay describes being wrecked by a similar performance during their partnership. As she did then, Marina carries on, outlasting her lover and smiting her doubters, a martyr to an indeterminate and therefore capacious cause — to “create a charismatic space” that will slow down time, return us to the present, absorb our ills, reflect us to ourselves, and/or furnish an insatiable attention-seeker with patiently queued reams of admirers. There is a careful reverence to these kinds of commissioned artist studies, and the earnest styling of the subject as a kind of time-bending sensei — a destination and a journey — might feel more poncy if it hadn’t played out pretty much exactly that way over three months in midtown Manhattan. Walking into the atrium the first day of the exhibition, Abramovic jokes about feeling like Marie Antoinette being led to her fate. But if the crossover success of “The Artist Is Present” came as a surprise, The Artist Is Present suggests a woman very consciously stepping forward to collect her due. “Excuse me,” Abramovic says in her smoky Balkan accent, “I’m 63 — I don’t want to be alternative anymore.” But the HBO treatment (it will air on that channel after a brief theatrical run) makes a strange and occasionally unsatisfying match for its subject. Entire corollary documentaries are glimpsed in a scene or a comment: Ambramovic’s ambition is alluded to in somewhat dark tones; the footage of striking and often disturbing previous performances barely outlines a complex and sometimes confounding sensibility; gallerist Sean Kelly speaks of his team’s invention of a market for her work, a model that has become a standard in the performance-art world; Ulay’s reappearance and the couple’s awkward, poignant reunion suggests untold romantic galaxies. And then there is curator Klaus Biesenbach, who in word and manner reveals a critical, under-investigated side of Abramovic. “Klaus, I love you,” Abramovic murmurs to him in the moments before her performance begins. “Is this okay?” Biesenbach acquires a curiously steely look when he describes the way “Marina seduces everyone she ever meets.” They are great friends now, he says, repeating it twice, “but we’re divorced .” Groupies and pranksters abound, as do would-be artists who see themselves as part of the show; all shenanigans are quickly shut down as Abramovic lowers her head like a mournful deity. In fact, Biesenbach says, the exhibition is ultimately a self-portrait, and just as he mistakenly believed Abramovic to be in love with him, so the same misunderstanding is repeated “with every single person in the atrium.” The better part of Abramovic’s personality slips out in asides and interactions, rather than in the rehearsed bits about her trinity of selves. Eerily untouched by age, her imposing physicality is softened by girlish accents. A shadow storyline trails Akers’s art show procedural, and it involves, of all plainly human things, Marina Abramovic getting laid. And yet the sideways frequency with which the issue comes up feels telling. As so often seems to be the case with successful women, for Abramovic being at the top of her career means forever looking past that next big project for her “other” life to begin, the one where she falls in love and has heaps of sex and looks up the hot Asian guy from day X and hour Y of her MoMA residency. At the outset Abramovic says she wanted to show the world, one time, the unglamorous underside of art’s creation; in fact the result has a slickness some might find disconcerting. Seeing her pinned down and packaged as an art star or even just a documentary “personality” might feel antithetical to a body of work committed to its own transience. And yet The Artist Is Present is ultimately an Abramovic production, whether the purists care to acknowledge her love of designer clothes and way with a one-liner or not. Why shouldn’t this be the woman who made an entire city confront the tyranny of time’s passage? Because I wasn’t seeking anything so grand from this clean-lined documentary, I came away moved most of all by the perseverance of an artist who, having put the time in, was rewarded with a moment that set a life lived largely through performance into meaningful relief. There’s also something to be said for having your ex come and pay homage to you, on your turf, at a MoMA restrospective of your career. As Ulay himself demurs: Only respect. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
“After the show I have to really put some more attention to sex in my life,” Marina Abramovic vows near the beginning of Marina Abramovic: The Artist Is Present , an elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City’s Museum of Modern Art. “Semi-intellectual artist at the top of her career,” goes Abramovic’s self-drafted personal ad, “looking for single male.” My head completed a few full rotations taking in what all’s going on in that sentence, but let’s begin with the part about being on top. That Abramovic seems to have willed her own peak into being — the German artist Frank Uwe Laysiepen (AKA “Ulay”) teases his former partner about whether she now prefers to be addressed as “the grandmother of performance art” or “the diva of performance art” — is deftly interlayered with director and cinematographer Matthew Akers’s presentation of a life and career united by the stubborn pursuit of meaning. The picture gives a sense of life’s fragments aligning, finally, to form a coherent story. What that story is depends on who’s doing the telling, of course. At the outset of her three-month MoMA performance — where the artist sat like a Buddha in a red (or blue, or white) dress, receiving an intrigued, then entranced, then near-hysterical public, one at a time, for a bout of eye contact across a wooden table — Abramovic outlines the three different versions of herself, her favorite being the pure, unshackled sensibility watching over the two other, more mortal selves. Hers is a very physical feat, as is made clear; there’s a bedpan built into her chair, and Ulay describes being wrecked by a similar performance during their partnership. As she did then, Marina carries on, outlasting her lover and smiting her doubters, a martyr to an indeterminate and therefore capacious cause — to “create a charismatic space” that will slow down time, return us to the present, absorb our ills, reflect us to ourselves, and/or furnish an insatiable attention-seeker with patiently queued reams of admirers. There is a careful reverence to these kinds of commissioned artist studies, and the earnest styling of the subject as a kind of time-bending sensei — a destination and a journey — might feel more poncy if it hadn’t played out pretty much exactly that way over three months in midtown Manhattan. Walking into the atrium the first day of the exhibition, Abramovic jokes about feeling like Marie Antoinette being led to her fate. But if the crossover success of “The Artist Is Present” came as a surprise, The Artist Is Present suggests a woman very consciously stepping forward to collect her due. “Excuse me,” Abramovic says in her smoky Balkan accent, “I’m 63 — I don’t want to be alternative anymore.” But the HBO treatment (it will air on that channel after a brief theatrical run) makes a strange and occasionally unsatisfying match for its subject. Entire corollary documentaries are glimpsed in a scene or a comment: Ambramovic’s ambition is alluded to in somewhat dark tones; the footage of striking and often disturbing previous performances barely outlines a complex and sometimes confounding sensibility; gallerist Sean Kelly speaks of his team’s invention of a market for her work, a model that has become a standard in the performance-art world; Ulay’s reappearance and the couple’s awkward, poignant reunion suggests untold romantic galaxies. And then there is curator Klaus Biesenbach, who in word and manner reveals a critical, under-investigated side of Abramovic. “Klaus, I love you,” Abramovic murmurs to him in the moments before her performance begins. “Is this okay?” Biesenbach acquires a curiously steely look when he describes the way “Marina seduces everyone she ever meets.” They are great friends now, he says, repeating it twice, “but we’re divorced .” Groupies and pranksters abound, as do would-be artists who see themselves as part of the show; all shenanigans are quickly shut down as Abramovic lowers her head like a mournful deity. In fact, Biesenbach says, the exhibition is ultimately a self-portrait, and just as he mistakenly believed Abramovic to be in love with him, so the same misunderstanding is repeated “with every single person in the atrium.” The better part of Abramovic’s personality slips out in asides and interactions, rather than in the rehearsed bits about her trinity of selves. Eerily untouched by age, her imposing physicality is softened by girlish accents. A shadow storyline trails Akers’s art show procedural, and it involves, of all plainly human things, Marina Abramovic getting laid. And yet the sideways frequency with which the issue comes up feels telling. As so often seems to be the case with successful women, for Abramovic being at the top of her career means forever looking past that next big project for her “other” life to begin, the one where she falls in love and has heaps of sex and looks up the hot Asian guy from day X and hour Y of her MoMA residency. At the outset Abramovic says she wanted to show the world, one time, the unglamorous underside of art’s creation; in fact the result has a slickness some might find disconcerting. Seeing her pinned down and packaged as an art star or even just a documentary “personality” might feel antithetical to a body of work committed to its own transience. And yet The Artist Is Present is ultimately an Abramovic production, whether the purists care to acknowledge her love of designer clothes and way with a one-liner or not. Why shouldn’t this be the woman who made an entire city confront the tyranny of time’s passage? Because I wasn’t seeking anything so grand from this clean-lined documentary, I came away moved most of all by the perseverance of an artist who, having put the time in, was rewarded with a moment that set a life lived largely through performance into meaningful relief. There’s also something to be said for having your ex come and pay homage to you, on your turf, at a MoMA restrospective of your career. As Ulay himself demurs: Only respect. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
I don’t know about you, but I happen to really enjoy French Canadian women, they’re just so exotic. Not exotic like Brazilian women or German strip clubs or anything like that, but exotic in the sense that they like to have their picture taken like pornstars. Here’s Maryse Ouellet hosing herself down in a very little bikini. Enough said. Did I mention she looks like she’s oiled herself up? Silly girl, oil and water don’t mix.
Jolie rumored to be in talks to direct the film, while Cyrus is currently reading the E.L. James novels. By Jocelyn Vena Angelina Jolie Photo: Kevin Winter/ Getty Images It seems that everyone has the fever these days. That fever is for the steamy erotic novel “Fifty Shades of Grey.” And there are two more Hollywood A-listers who are potentially getting all hot and bothered. Well, one of them is, at least. Angelina Jolie had been rumored to be in the running to direct the big-screen adaptation of the E.L. James novel. Deadline reported that the film’s studio had had a “conversation or two” with the actress about possibly helming the sexy film franchise. The trilogy follows the S&M relationship between shy college coed Ana Steele and her domineering billionaire beau, Christian Grey. However, Jolie’s rep tells The Hollywood Reporter that there haven’t been any talks with the studio, Universal Pictures’ Focus Features, about her coming on board to direct. Well, with the studio on the lookout for not only a director but also a leading lady, they might want to call up the newly engaged Miley Cyrus . One day after announcing her impending nuptials to “Hunger Games” star Liam Hemsworth, she tweeted , “Reading 50 shades of grey next to the oldest dude ever. #awkward.” Even if Cyrus doesn’t get the part of Ana, she is working on her own sexy project. The singer is currently hard at work on her next studio album , which sources say will be “very adult and sexy.” The insiders add that Miley’s music is reflecting her personal life, as she plans her wedding and approaches her big twentieth birthday later this year. The insider continues, “We are watching a young girl turn into a young woman.” But back to “Fifty Shades.” Since the phenomenon took off, everyone from Julianne Hough to Nina Dobrev to Ian Somerhalder has opened up to MTV News about the novels, whether because they are fans or because they have an interest in tackling one of the roles. Related Photos Books You Can Read Instead Of ’50 Shades Of Grey’ Related Artists Miley Cyrus
