Vanessa Hudgens and Ashley Benson…did the ice bucket challenge… I can’t figure out if this is erotic, or cute, or funny, or annoying, but I can say that I like little hairy monkey Vanessa Hudgens better than Benson, and I like Benson better topless, and I like both of them better when they were in Spring Breakers together having a threesome in a pool, which I guess is a better version of them being wet…for charity, or really for anything…especially when in another language… Springbreakers-1
Izabel Goulart is a hard faced, hard body, fitness advocate with long fucking legs, straight from Brazil, sent to America to do the occasional campaign, who was once a Victoria’s Secret model, pulled out with her millions, but still walks their show cuz it’s good for the ego to be part of something a billion idiots watch and don’t realize is a shitty ad campaign… Well now she’s in GQ Portugal, because she speaks their language…and I think she looks awesome…because bitch puts in work people…and you should do…as you eat your Christmas cakes you fucking pig.
Front Pages Across The World Honor Death Of Nelson Mandela [Photos] It’s amazing how one man’s strength has had an impact across the globe. Have a look at front pages around the world that paid tribute to a true hero, icon, leader… Nelson Mandela who passed away at the age of 95 .
She found out on Facebook, though???? Woman Finds Out She Was Abducted By Father On Facebook Facebook can bring people together and tear people apart. According to Yahoo Shine: Angela Palmer has spent most of her life believing that her own mother abandoned her as a baby. Now, at 44, she’s learned the truth and has spoken with her mom for the first time in decades. And while Palmer is thrilled, her quest isn’t over yet. Now she has to raise funds to bring the mother she never knew from Croatia to the United States. Palmer, a medical health project services coordinator, is seeking the money through the website Fundly, where, as of Tuesday, she had raised more than $1,200 of the $4,000 she needs for two round-trip plane tickets for her mother and her husband. The new beginning was triggered by, of all things, a Facebook friend request. “I was at work the week before Thanksgiving, when I received a friend request from a woman named Helga Simeckie in Croatia,” Palmer, from Oceanside, California, tells Yahoo Shine. “I didn’t think much of it because I get random requests all the time, until she sent me a message written in German asking when I was born.” Palmer, who was born and raised in Germany, speaks the language fluently and wrote back, asking who the woman was. “She said she was my mother. I was shocked because my mother had abandoned me when I was a baby,” says Palmer. She had been raised by her father, who had always told her that after her mother gained custody following their divorce, she dropped the young girl off at a German orphanage when she was less than a year old. “Later, my father took me in, and although he was an alcoholic and mentally and physically abusive, he was the only parent I knew,” Palmer says. But Simeckie tells a different story. After emailing Palmer the evidence she had — her birth certificate and old family photos — she told Palmer that she hadn’t actually abandoned her and that Palmer’s father actually kidnapped her. “She said my father was wanted in Germany for kidnapping and domestic violence, but he avoided the police by constantly moving us to new cities,” she says. It all began to make sense to Palmer, whose father had said he was a traveling salesman and had to keep moving their small family in order to find work. In fact, they moved 12 times before Palmer turned 18. “Apparently, my paternal grandfather had kept my mother informed of my whereabouts during the years she was in contact with my father, but each time he received a court summons, we moved again,” she says. “I still don’t understand how he managed to escape the law so many times.” In late November, the mother-daughter duo spoke for the first time over Skype with the help of local news affiliate San Diego6 and have emailed each other every day since then. “I have an amazing gift that I didn’t have last year and I hope that my story will encourage others to keep looking for lost family members,” says Palmer. “My story could happen to anyone.” What’s done in the dark will always come to light.
Kudos to John Singleton for speaking up on the growing trend of black films being made in Hollyweird without any input from blacks! Singleton penned a moving essay about the current state of affairs in black film, applauding 2013 as a banner year where great films made by black are being recognized ( Fruitvale Station, The Butler, 12 Years A Slave ), he also gives props to 42 which had a black director at the helm but help from Jackie Robinson’s widow Rachel and a black producer but he points out a problematic trend since the success of The Help — black films being made by whites with zero white input. Here are some excerpts via The Hollywood Reporter : What if the commercial success of “black films” like 42 and The Help, which also had a white director, are now making it harder rather than easier for African-American writers and directors to find work? That is exactly what people in certain Hollywood circles are debating. When I brought up the issue with a screenwriter friend, he replied, “It’s simple. Hollywood feels like it doesn’t need us anymore to tell African-American stories.” The thinking goes, “We voted for and gave money to Obama, so [we don’t need to] hire any black people.” I could go on and on about the white directors who got it right and others who missed the mark. But my larger point is that there was a time, albeit very brief, when heroic black figures were the domain of black directors, and when a black director wasn’t hired, the people behind the film at least brought on a black producer for his or her creative input and perspective. Spielberg did that on The Color Purple (Quincy Jones) and Amistad (Debbie Allen). Tarantino had Reggie Hudlin on Django Unchained . But now, that’s changing; several black-themed movies are in development with only white filmmakers attached, including a James Brown biopic. That’s right, the story of “Soul Brother No. 1, Mr. Say It Loud, I’m Black and I’m Proud” is being penned by two Brits for Tate Taylor, director of The Help. A compelling argument can be made that Brian Grazer, the project’s primary producer, has had multiple successes with black talent such as Eddie Murphy and Denzel. And Mick Jagger also is involved, and the Brits tend to have a greater appreciation for African-American creative culture than most white Americans. Still, it gives one pause that someone is making a movie about the icon who laid down the foundation of funk, hip-hop and black economic self-reliance with no African-American involvement behind the scenes. One of Brown’s most famous lines was, “I don’t want nobody to give me nothing; open up the door and I’ll get it myself.” How is that possible when the gatekeepers of this business keep the doors mostly locked shut in Hollywood? In the black film community, the consensus is that we’re entering a new era of “Al Jolson movies.” Jolson, for the uninitiated, was the star of the first “talkie,” The Jazz Singer in 1927, and is best known for donning blackface and singing “Mammy.” He is an apt symbol for what slowly is becoming the norm in Hollywood. Even when there are black directors or writers involved, some of the films made today seem like they’re sifted of soul. It’s as if the studios are saying, “We want it black, just not that black.” Audiences, though, can smell what’s real and what isn’t. And there is a noticeable difference between pictures that have significant contributions from African-Americans behind the scenes and those that don’t. That’s why I can fully relate to the disappointment some friends feel upon hearing about producers holding meetings on black-themed movies without even noticing that no one in the room speaks the language or intimately understands that world. There are cultural nuances and unspoken, but deep-seated emotions that help define the black American experience. The rhythm and cadence in which we carry ourselves among one another is totally alien to most non-blacks, even if it is a constant fascination to them. In many ways, The Help’s $170 million domestic box office set a new paradigm for how Hollywood wants its black pictures: uplifting, sentimental and inoffensive. It’s no one individual filmmaker’s fault. It reflects the latent racism that influences what gets made and what doesn’t in the studio system. What Hollywood execs need to realize is that black-themed stories appeal to the mainstream because they are uniquely American. Our story reminds audiences of struggles and triumphs, dreams and aspirations we all share. And it is only by conveying the particulars of African-American life that our narrative become universal. But making black movies without real participation by black filmmakers is tantamount to cooking a pot of gumbo without the “roux.” And if you don’t know offhand what “roux” is, you shouldn’t be making a black film. Very well done — the whole piece is worth being read in it’s entirety HERE . What do you think? Is it racist for white filmmakers to make black films without black input? Continue reading →
Somebody please cancel Glenn’s show. He’s making our ears bleed. Glenn Beck Says Immigrants Learned From The Klan If immigrants learned from the Klan, then where did a racist azzhole like Glenn learn how to be such a loser? According to Raw Story Conservative radio host Glenn Beck told Kansas Secretary of State Kris Kobach (R) on Tuesday that immigrant activists have the “same ideology” as the Ku Klux Klan but they “are just changing their hood.” Over the weekend, about 300 activists traveled had traveled to Kobach’s home after holding a prayer vigil and and a town hall event to protest his efforts to crackdown on immigrants, including a role in an Arizona law which was eventually overturned by the United States Supreme Court. “I believe that this is the same exact tactics used by the Klan in the 1960s,” Beck declared on Tuesday. “And they’re doing it in the name of civil rights. But make no mistake, you are on the right side. You are the new civil rights movement.” “The civil rights movement did produce some laws that would stop you from doing these kinds of things,” he observed. “Have you thought about going and using the civil rights laws to stop this kind of harassment and intimidation at your own home?” “They’re called the Klan laws,” Kobach explained. “They’re a set of laws that say you cannot intimidate an official by trespassing his property or threatening violence, you cannot intimidate an individual by threatening violence so that they don’t vote or they don’t exercise their civil rights. And arguably both of those might apply here because they were trying to intimidate me as an elected official to change my point of view, and certainly they don’t like what I’ve been saying for years and doing for years to stop illegal immigration.” “You know, this is exactly — they’re just not wearing white cloaks, but this is exactly the KKK-type of intimidation,” he added. “These people have learned from the Klan,” Beck agreed. “The left is set up on revenge. And so they’re using the tactics of those who kept them down in the past, that we all tried to defeat — or at least all decent-minded Americans wanted to defeat and tried to defeat. And so they are just changing their hood and changing their language.” “But it is not changing who they really, truly are and what they are trying to do.” Earlier this week, Kobach insisted to Fox News that he was prepared to take advantage of his Second Amendment rights and use deadly force against “illegal aliens” rallying at his house if necessary. “Mob activity is always the same,” Beck remarked on Tuesday. “And it’s led by a few, and it’s led by people like Brown Shirts or the Klan or whatever you want to call it, hate groups. And they come and they march and they force you to salute and they force you to be silent.” Maybe someone should take Glenn and lynch, burn, and torture him then he could see that immigrants and the Klan are not the same thing.
My name is Cheraine, I’m 14 years old and I live in the Netherlands . I’ve been a belieber since the start of 2010 and from then on, people tell me things like: “You’ll never meet or see Justin Bieber.’’ I kept telling them “Never say never” but when Justin came to my country in 2011 for the My World tour, I didn’t get tickets and I thought they were right.. but they weren’t. I met Justin at April 10th, 2013. The day of the show I took a shower, did my hair and make-up etc and I was so nervous. Around 2 p.m. my brother picked me and my mom up, and we headed to the arena. A lot of people told me to, “Have fun at the believe tour, you really deserve it,” it was so sweet. When we arrived at the arena, I started to cry. It was really happening, my dreams were finally coming true after 3 years. While in line for the meet and greet, I met amazing beliebers, some I already knew from Twitter. When everyone was in the line, our host Ryan came and told us the rules like, no kissing, no autographs and stuff like that. After two hours of waiting Dan Kanter came to say hi to everybody, and he talked and took pictures with fans. After he took a picture with that girl next to me, he smiled at me and said “Hi.” I smiled back and replied, “Hoi” which means hi in my language, he probably didn’t understand it, I still feel ashamed haha, but I couldn’t help it. I asked him, “Can I take a picture with you?” and he was like, “Yeah sure!” I hugged him and after that we took a picture and I thanked him and he smiled. After Dan left the host and some other people gave away stuff like posters with Justin’s signature, T-shirts and more. Around 8 p.m. Justin arrived and the meet and greets were starting. Everybody was freaking out. I just KNEW I was going to meet Justin in less than 10 minutes and that feeling was just crazy. When it was almost my turn to meet Justin, the security opened the curtains, and Justin stood there. I freaked out, it felt like I was going to faint. Security was like, “You need to calm down.” When it was my turn Justin said something, I don’t know what he said but he probably said something like hi. I almost forgot everything because I was in shock and it felt like a dream. I walked to Justin and he hugged me from behind. I couldn’t believe I was standing next to my idol, and oh my god he smells so good. After we took the picture I said something like, “Thank you, I love you so much.” I really wanted to hug Justin, but the security pushed me out. After my meet & greet I was crying so hard, my dream came true and I was so happy! It was the best thing that happened in my life. Everyone was crying and we all hugged each other, that was really cute. The concert was PERFECT. I cried my eyes out, everything was so beautiful, and it made me forgot all my struggles. During ‘As Long As You Love Me,’ we held up signs saying “we will love you forever as long as you love us.” Justin told us “I’ll love you forever.” We had a special moment after ‘Believe’ as Justin just stood there on stage for like 10 minutes, looking into the crowd, listening to our screaming and he got tears in his eyes. It was so perfect. He tweeted about our special moment. I’m so happy I was there, it was so beautiful. It was the best day of my life. I’m so happy I got the chance to meet Justin, the one who changed my life. He taught me that dreams do come true, he’s the reason for my smile, I’ll support him forever, no matter what. Thank you so much Justin, I love you. -@MyHeroJDBx More here: My name is Cheraine, I’m 14 years old and I live in the…
A word of advice: Don’t go to see Brandon Cronenberg’s unsettling Antiviral if you’re getting over a cold or have recently undergone a medical procedure that involved the withdrawal of blood or a skin biopsy. The 33-year-old filmmaker’s debut feature makes such effective use of hypodermic needles and flesh samples that I left the screening room on unsteady feet, feeling like I’d just donated a pint of my own plasma. But do go see the movie. In a world in which Jay-Z and Beyonce’s trip to Cuba can hijack a news cycle that should be focused on gun control, sequestration and the false positives of our current economy, Antiviral is a squirm-inducing corrective for our obsession with celebrity that resonates long after the closing credits. The premise alone is perversely brilliant: Cronenberg has brought to life a queasy world in which preoccupation with fame has metastasized to the point where civilians pay good money to be infected with the copyrighted STDs of their favorite celebrity and to dine on pale, gristly cuts of meat grown from their tissue cells. At the center of this story is Syd March, played by Caleb Landry Jones , a dour salesman of celebrity sickness who, behind his employer’s back, is infecting himself with his company’s offerings so that he can extract his own bootleg versions to sell on the black market. Phil’s extracurricular dealings leave him constantly sick, but when he becomes infected with the most sought-after celebrity virus of all, things get much, much worse. I sat down with the thoughtful, soft-spoken Cronenberg in New York on Tuesday to discuss Antiviral and his own encounters with celebrity as the son of Cosmopolis director David Cronenberg . He had some particularly interesting things to say about critics who contend that his film is too similar to his father’s early work in the horror/sci-fi genre. Movieline: One of the messages I took away from Antiviral was that the lure of celebrity is irresistible, no matter how horrific or deadly it becomes. Brandon Cronenberg: The character of Syd definitely sees himself as superior to that culture and removed from it, but it has actually totally defined him and he can’t escape from it. We’re all products of our environment, and it’s hard not to be affected by that stuff in a certain way. But I wouldn’t say it’s impossible to resist. I want the film to be partly an active resistance. It does work as a corrective, especially if you are celebrity obsessed and squeamish about hypodermic needles. I think we can change the part where we’re not complicit in creating that kind of culture and supporting that industry by engaging with it in a certain way. Antiviral also works as a metaphor for how celebrity has infected news reporting and even our government. Jay-Z and Beyonce are in the news today because of their trip to Cuba when there’s so much more important stuff that should be dominating the news cycle. In the film, no one’s famous for any reason. It’s purely the industry of celebrity going as far as possible — or almost as far as possible because there’s still some loose connection to real human beings. In Japan for instance, there are purely digital celebrities, and I think probably the most extreme level would be when human beings are abandoned altogether. Then it becomes an industry that fabricates digital celebrities and prints money because people are willing to do anything to feel somehow connected to these creations even if they’re not real. Celebrity dominates the news in a way that’s often fairly stupid because it’s not about anything really significant. At the same time, it’s what gets people’s attention, and as long as those are the news stories that are getting the most hits or the biggest ratings, they will continue to get big play because news is a business. Can you envision any kind of a turning point? I don’t see it changing anytime soon, but it could in theory, so it’s important to think about it. I noticed that the name of your protagonist is the same as the artist and sculptor Sydney March, who was involved in the creation of Canada’s National War Memorial. Was that intentional? What? The name is even spelled the same. That’s one of the most interesting things I’ve heard all day. I mean it’s probably embarrassing that I don’t know that, but that wasn’t intentional. I just liked the name and probably some combination of Syd Barrett and [Cid from] the Final Fantasy video games . I took the last name from the Saul Bellow novel The Adventures of Augie March . You grew up with a fairly famous father. What was the take on celebrity in the Cronenberg household? I think there were two aspects to it. One was that I saw people who were celebrities who had this media alter ego, or this persona that was so unrelated to who they were as human beings. And that’s definitely one of the themes in the film: celebrities as these media constructs or cultural constructs that exist purely in the public consciousness and are, in many ways, fictional and unrelated to the real human being. The human being as an animal, as a body, becomes totally eclipsed by this idea that runs rampant. The body eventually dies and the idea lives on, for however many decades, to appear in commercials, to perform on stage — it goes on endlessly. That sense of a runaway double that isn’t related to the person was interesting to me thematically. And then, on a personal level, I didn’t experience anything too extreme because my father’s a director and we’re still living in Toronto. So, it’s not like we were being hounded by TMZ or anything. But it still — I would go to a school and see someone I didn’t know and they’d come up to me and be like, “I heard you were coming and we have a lot to discuss.” And that was pretty weird. They behaved as if they knew you. Yeah, exactly. So, I did have a taste of that weirdness that is fame by proxy or fame by association. You’ve said that you immersed yourself in the tabloid world of TMZ and other celebrity media to research Antiviral . Did you, or do you find any celebrities genuinely fascinating? Not so much. I think there’s a line between taking an interest in someone because you respect their work versus obsessing over them. I went through a period of reading a lot of Hunter S. Thompson and he especially puts his life — or his version of his life — in his work. So, through an interest in his writing, you can’t help but be interested in what he’s done and, [wonder] how much of his writing is his own fantasy of himself and how much of that is real. But I don’t think anyone going to Cuba is that interesting. Most of it is an industry that thrives on hooking people with trivial but juicy details and playing to that gossipy society. So who are some of your other influences? There are a lot of writers I like, and a lot of filmmakers and musicians. I wouldn’t know how to begin listing them all, but I think [their influence] sort of comes to me subconsciously. I know some people usually have a particular influence that stands out and they emulate that person and learn from them. But for me it’s not really a conscious process. I felt like George Lucas’ THX 1138 was an inspiration. Only in that I’ve seen that film once. I’m not a huge THX fan and I wasn’t trying to deliberately emulate that movie. Others have been talking about my “Kubrick shot” or whatever, and, again, I like Kubrick, but I’m not a huge fan. I think it’s more that those films and filmmakers have an effect on the language of cinema in general. You told the New York Times that your father’s films have actually played a smale role in your work as a filmmaker, but a substantial part of the critical discussion of Antiviral is how much the film resembles some of his early efforts. I think you have a distinct style and vision as a filmmaker, but for those who don’t, what would you say they’re missing about your work? It’s not so much what they’re missing. I think there’s an assumption about my intent when it comes to that discussion. The assumption is that [ Antiviral ] is a deliberate emulation, that I must have been watching my father’s films since I was a kid and was brainwashed. It wasn’t really like that. As a father he had a huge influence on me obviously – genetically and because I grew up around him and we have a very good relationship. So, it’s not weird that there are overlaps when it comes to our interests and our esthetic sensibilities. Good point. And then when I got into film, I just knew that if I worried about that, that would become everything, you know? If I was just trying to avoid anything that could be associated with my father, that would be my entire career and that would define my work and that’s a really shitty place to be working from. So I just decided to do whatever I felt like doing and it became this. I can see the similarities – some of them are legitimate — but I also think some of them are very overstated because people like that narrative and they like to make that assumption. It’s an easy narrative. Yeah, exactly. In terms of the similarities, I’d say I come to them honestly. They’re honest to my own interests. For instance, some people talk about some of the hallucinatory, biomechanical stuff in Antiviral being related to his work. And I guess it is, but that scene in the closet… Where Syd merges with the machine that he’s using to make the bootleg viruses? Yeah. That was based on some old drawings that I had done. I wanted to see what they would look like as a film, and I knew as I was writing it that people would make that connection [to my father]. But I thought I just had to make sure that I didn’t avoid doing anything just to avoid that comparison. Your father is not the only filmmaker who has explored those man-meets-machine themes. Right, and my father has done a lot of other types of movies, too. He hasn’t really been making horror films for a while now. What’s the best piece of advice your father has given you about filmmaking? I don’t really have a good answer for that. He has given me some advice but there isn’t one thing that stands out. Did you show him the film early? Did he give you advice? Not really – he was pretty busy during the actual making of the film. I forget what he was doing: promoting A Dangerous Method or finishing Cosmopolis but he actually wasn’t really around during production. There’s that point where you feel the film is polished enough to show to your family and friends to get as much feedback as possible, and he saw it then. I got notes from everyone, but I don’t remember him having any dramatic advice. You don’t know what you’re doing next at this point? Not really. I mean, I am writing but it’s still in the early stages. Do you think your next picture will be in the horror-science fiction genre, or will you do something different? I don’t really like target a particular genre in advance. I wasn’t thinking horror-sci-fi when I started Antiviral , but it developed into that. And the next one probably will be, but I’m not specifically trying to do that. We’ll see where it ends up. More Antiviral coverage: REVIEW: ‘Antiviral’ − Brandon Cronenberg’s Piercing (And Icky) Look At Celebrity Obsession Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Social networks are built on the language of “likes” and positivity. Until now, thanks to the Hater App developed by Jake Banks. He decided to develop an alternative app – intended for sharing the things you don’t like – because he feels Facebook et al. restrict us from being ourselves. “It’s really an answer to everything out there. All you can do is ‘like’ things,” Banks told Mashable . “I don’t want to be the guy pretending to be someone I’m not.” “I want to be real and say, ‘I’m sitting in traffic and I hate this.'” While you can post a comment like that anywhere, Banks says a “dedicated community” for dislikes frees up users to re-think the content they share. The Hater app, which launched on the iPhone Friday just in time for SXSW, and will be available on Android within months, looks a lot like Instagram. You can take a picture or upload a photo from your phone, share it with a caption, and view/respond to other posts from the Hater community. Of course, the goal of Hater is very different than Instagram. With Hater, for example, you might take a picture of yourself stuck in a traffic jam – or of a couple of d-bags – to show how much you dislike it/them. Hater’s app also gives users the option to pull an image of something they hate from other sites and to post to the service using an alter ego. “It’s a little more self-deprecating and a little more fun,” Banks says. “You’re sitting at work, working a 12-hour shift and you go on Facebook and you see your friend from high school is on his third vacation of the month.” “He’s taking pictures of his food and all that. Now you can snapshot it and Hate it.” Okay, be honest … who hasn’t wished they could do that?!
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