Ah, Valentine’s Day. That magical day when men lurking in lingerie stores are assumed to be confused husbands, not creepy cross-dressers, roses mean “let’s bone” instead of “I’m sorry,” and we have an excuse to post this picture of Heidi Klum’ s merkin in the movie Blow Dry (2001). For more V-day vixens that will give you a heart on, check out our brand-spanking nude Naked with Flowers and Chocolate playlist right here on MrSkin.com!
Ah, Valentine’s Day. That magical day when men lurking in lingerie stores are assumed to be confused husbands, not creepy cross-dressers, roses mean “let’s bone” instead of “I’m sorry,” and we have an excuse to post this picture of Heidi Klum’ s merkin in the movie Blow Dry (2001). For more V-day vixens that will give you a heart on, check out our brand-spanking nude Naked with Flowers and Chocolate playlist right here on MrSkin.com!
No one, as far as I know, has come to the Berlinale in search of Gillian Anderson, the strawberry-blonde vixen who set millions of hearts aflutter — and not just male ones — with her role in the supernaturally beloved ’90s show The X-Files . But Anderson has surprised those of us who love her by showing up — in small roles, but still — in two films here, James Marsh’s Shadow Dancer and Ursula Meier’s Sister . In Shadow Dancer , a thriller set in early-‘90s Belfast, she’s a British secret-service officer who squares off against a colleague (played by Clive Owen). In Sister , she’s the well-heeled patron of a tony Swiss ski resort — and a mom — who befriends a young thief and rapscallion who barely knows what it means to be a child. Anderson hasn’t really been in hiding. She was one of the best things — perhaps the only good thing — in last year’s Johnny English Reborn , and she recently played Miss Havisham in the British TV adaptation of Great Expectations . She chooses her roles carefully and doesn’t seem particularly attracted to big Hollywood vehicles — though it’s more likely that Hollywood isn’t particularly interested in her, which is certainly its loss. There are plenty of movies to parse and examine here at the Berlinale, but at dinner last night with some colleagues (who happened to be guys), Anderson came up in the conversation, and we just looked at one another: “Gosh! Isn’t she something?” is the gist of what we said. Perhaps we love her more because she shows up so infrequently and so fleetingly, like a ginger comet. Her role in Shadow Dancer is small and tokenlike, but it’s interesting for its metallic coldness, not a quality we usually associate with Anderson. Then again, maybe it’s really just a mirror angle of the clinical skepticism she brought to the role of Dana Scully in The X-Files : She’s good at playing characters who can turn the warmth off when it gets in the way of the goal at hand, and in Shadow Dancer , she plays a character who’s all about goals. In Sister , Anderson isn’t strawberry blonde but truly blonde, and the first glimpse we get of her is a mane of glorious, rich-girl hair. At first I could see only the oblique planes of her face and, not knowing she was in the movie, I thought to myself, “Could it be…?” Her role is small but potent: Her character, skiing at the resort with her own kids, meets the young thief Simon (played, beautifully, by a kid actor named Kacey Mottet Klein), and the two are immediately charmed by each other. He pretends to be a the son of the resort’s owner, when really he’s a mighty mite of a hustler who scrambles to make a living for himself and his sister (Léa Seydoux). Anderson scrutinizes his face as he advertises this fanciful false background — you can see, in this tiny but potent scene, that she’s amused by him and yet somehow, instinctively, she also feels protective. It’s not that she doesn’t believe his tale (she seems to buy it all); it’s that her better judgment tells her that this kid is in need of something, and though she can’t be the one to provide it, she grants him the kindest gift she can: She takes him seriously, reacting to him as if he were the miniature adult he’s trying so desperately to be, meeting him on his own scrappy turf. That’s a lot to pack into a few small scenes, and it’s a bit frustrating that her character’s role in the drama isn’t better worked out — her final encounter with Simon doesn’t feel true to the woman we met earlier. On the whole, the picture is unevenly worked out, but it’s ultimately touching, thanks to the bittersweet grace notes scattered throughout. Anderson is one of those grace notes; her presence is as subtle as a sigh, but it’s the kind that sticks with you long after the credits roll. Read more of Movieline’s Berlinale coverage here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
No one, as far as I know, has come to the Berlinale in search of Gillian Anderson, the strawberry-blonde vixen who set millions of hearts aflutter — and not just male ones — with her role in the supernaturally beloved ’90s show The X-Files . But Anderson has surprised those of us who love her by showing up — in small roles, but still — in two films here, James Marsh’s Shadow Dancer and Ursula Meier’s Sister . In Shadow Dancer , a thriller set in early-‘90s Belfast, she’s a British secret-service officer who squares off against a colleague (played by Clive Owen). In Sister , she’s the well-heeled patron of a tony Swiss ski resort — and a mom — who befriends a young thief and rapscallion who barely knows what it means to be a child. Anderson hasn’t really been in hiding. She was one of the best things — perhaps the only good thing — in last year’s Johnny English Reborn , and she recently played Miss Havisham in the British TV adaptation of Great Expectations . She chooses her roles carefully and doesn’t seem particularly attracted to big Hollywood vehicles — though it’s more likely that Hollywood isn’t particularly interested in her, which is certainly its loss. There are plenty of movies to parse and examine here at the Berlinale, but at dinner last night with some colleagues (who happened to be guys), Anderson came up in the conversation, and we just looked at one another: “Gosh! Isn’t she something?” is the gist of what we said. Perhaps we love her more because she shows up so infrequently and so fleetingly, like a ginger comet. Her role in Shadow Dancer is small and tokenlike, but it’s interesting for its metallic coldness, not a quality we usually associate with Anderson. Then again, maybe it’s really just a mirror angle of the clinical skepticism she brought to the role of Dana Scully in The X-Files : She’s good at playing characters who can turn the warmth off when it gets in the way of the goal at hand, and in Shadow Dancer , she plays a character who’s all about goals. In Sister , Anderson isn’t strawberry blonde but truly blonde, and the first glimpse we get of her is a mane of glorious, rich-girl hair. At first I could see only the oblique planes of her face and, not knowing she was in the movie, I thought to myself, “Could it be…?” Her role is small but potent: Her character, skiing at the resort with her own kids, meets the young thief Simon (played, beautifully, by a kid actor named Kacey Mottet Klein), and the two are immediately charmed by each other. He pretends to be a the son of the resort’s owner, when really he’s a mighty mite of a hustler who scrambles to make a living for himself and his sister (Léa Seydoux). Anderson scrutinizes his face as he advertises this fanciful false background — you can see, in this tiny but potent scene, that she’s amused by him and yet somehow, instinctively, she also feels protective. It’s not that she doesn’t believe his tale (she seems to buy it all); it’s that her better judgment tells her that this kid is in need of something, and though she can’t be the one to provide it, she grants him the kindest gift she can: She takes him seriously, reacting to him as if he were the miniature adult he’s trying so desperately to be, meeting him on his own scrappy turf. That’s a lot to pack into a few small scenes, and it’s a bit frustrating that her character’s role in the drama isn’t better worked out — her final encounter with Simon doesn’t feel true to the woman we met earlier. On the whole, the picture is unevenly worked out, but it’s ultimately touching, thanks to the bittersweet grace notes scattered throughout. Anderson is one of those grace notes; her presence is as subtle as a sigh, but it’s the kind that sticks with you long after the credits roll. Read more of Movieline’s Berlinale coverage here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Surely no one saw this coming: Uggie, the Jack Russell terrier and Artist wonder dog on whose behalf the Consider Uggie awards campaign has surged ever onward for nearly three months now , won the top prize Monday at the inaugural Golden Collar Awards. That’s really all I have to say about that, deferring instead to Uggie’s trainer Omar Von Muller, who put the purpose of the whole phenomenon in perspective while accepting the trophy with his winning pooch: Von Muller said the award was “overwhelming” adding: “He has been my buddy forever and is a great performer and great family member.” He also thanked award organizers DogNewsDaily.com saying: “This is very important for all the trainers in the movie industry, because we have never been recognized before, and people just don’t understand that it takes hundreds and even thousands of hours to train a dog.” Exactly . Respect! [ BBC ; photo via WireImage]
Just-premiered clip includes plenty of imagery from the best-selling book series to tide fans over until film’s release. By John Mitchell, with reporting by Sway Calloway Taylor Swift Photo: MTV News Talking exclusively to MTV News following the premiere of her new video for “Safe & Sound” from “The Hunger Games,” Taylor Swift revealed that the clip contains several references to the best-selling YA book series that fans should recognize. “I felt like I was really needing to pay tribute to this movie and tell this story,” Swift said. “There’s this moment in the music video where I find this mockingjay pin and hold it up.” For those who have not read the books, the mockingjay pin is one of the most iconic symbols from the series. It was given to the main character, Katniss Everdeen (played in the film by Jennifer Lawrence), as a token to take into the arena to remind her of her home district — District 12. The mockingjay and the pin itself are both symbols of rebellion in the books. The mockingjay is a species of bird inadvertently bred when the Capitol released “jabberjays” throughout the nation of Panem in an attempt to spy on its citizens. After the mission failed and the citizens of Panem learned how to feed lies to Capitol spies through the jabberjays, the Capitol ended the project but the birds bred with mockingbirds in the wild, creating the mockingjay, which the Capitol was never able to eradicate. We won’t spoil the rest, but the third book in the series is titled “Mockingjay,” and that isn’t just a reference to the bird or the pin anymore. “Having a music video with that much symbolism in it is something I’m not used to,” Swift continued. “Everyone who is a ‘Hunger Games’ fans knows what it means when there’s fire in the trees and they know what it means for the house to be burnt and they know what it means for the ‘Hunger Games’ pin to be covered in rust and old. Everybody can take their own meaning away from it, but it all goes back to the symbolism of the book.” To avoid spoiling the books and film, the only bit here that we’ll address are the burning trees, which can be seen throughout Swift’s video and briefly in the film’s second trailer. In the arena, the Gamesmakers use fire to keep the tributes from hiding in trees and to push groups of them into the same area so they can fight to the death for all to see. Swift’s “Safe & Sound” video has us psyched for the release of “The Hunger Games,” due March 23. “I’m now sort of like an infomercial for it,” Swift, a fan of the books, joked to MTV News about the series. Stick with MTV News as we roll out more from our exclusive interview with Taylor Swift about her “Hunger Games” soundtrack song! Related Videos MTV First: Taylor Swift Related Artists Taylor Swift
‘How Will I Know,’ ‘The Greatest Love of All’ among Houston’s most iconic videos. By Gil Kaufman Whitney Houston in her “I Wanna Dance With Somebody” video Photo: Arista Records Long before Lady Gaga rolled around nearly naked in viscous goo, Rihanna showed off her S&M fetish, Christina squeezed into leather peek-a-boo chaps or Nicki Minaj dressed up like a male fantasy Barbie, Whitney Houston proved you could make a fuss without making a spectacle. The legendary R&B singer, who died Saturday at age 48 after reportedly consuming prescription drugs and alcohol on the eve of the 54th annual Grammy Awards , became one of the most important artists of the early music-video era by taking the road less traveled. While such fellow trailblazers as Michael Jackson and Madonna created video fantasy worlds full of monsters, gangsters, street-fighting men and naughty brides, Houston mostly skipped the drama and stood front and center in her most iconic clips doing the thing that she did best: singing her heart out. With her model-worthy looks and luminous smile, Houston knew exactly how to telegraph her charm through the TV — and later on the big screen in “The Bodyguard” and three other starring roles — which may explain why most of her most notable videos involve just a bit of perfunctory storyline and focus on her performance. Here are some of our favorite Houston video moments: “I Will Always Love You” : Is it even possible to come up with a concept for a clip that could match the grandeur and emotional heft of the breakout single from “The Bodyguard” soundtrack? It is, and smartly, that big idea was to focus on an elegantly suited up, forlorn-looking Houston sitting in an empty theater and staring into the distance as she watched clips from the movie scroll by. Houston blasted into the song’s towering finale via a quick zoom to her face, eyes closed, and then popping open as she hit the money note. How bad was Houston? She perfectly delivered the titanically tear-jerking drama of the song without ever once getting up from her chair. “I Wanna Dance With Somebody (Who Loves Me)” : Whitney did ballads like nobody’s business, but she also knew how to throw down, as she did in the “Dance” video, the first single from her second album, Whitney . Dressed in a body-hugging purple dress, towering curly wig and colorful dangly earrings, Houston again focused on singing directly into the camera while a series of dancers showed off their moves in wide-shot cutaways. When it was Houston’s time to shine, though, the camera pulled in close to capture that sparkle in her eye and that 1,000-watt beam as she changed through a series of going-to-the-club outfits and mostly shimmied adorably in place. “How Will I Know” : The third single from Houston’s debut album was the one that changed everything. The clip helped introduce the singer to a wider audience when it became one of the first videos by a black female singer to earn heavy rotation on MTV. The concept was simple: Whitney in another of her trusty big hair bows and sexy minidresses sang right at the lens while dancers high-kicked and sashayed through a rainbow-paint-splashed maze of a set. All Houston had to do was walk, sing and smile and the rest was history. We’re still not sure, though, what was up with that dude in the half-suit, half-wedding dress. “Greatest Love of All” : The final single released from Houston’s debut album helped cement the M.O. for the classic Whitney video. Standing on yet another stage in an empty theater, Houston, wearing one of her beloved leather jackets, belts the big ballad with vigor as stage hands work around her, seemingly oblivious to the fact that the star of the show is crushing it right in front of them. While there appears to be some backstory involving Houston making her stage debut as a child, once Whit changes into that beaded white dress and matching chunky earrings to do her slinky saunter to center stage for the big finale … forget about it. “I’m Your Baby Tonight” : The title track from Houston’s third album, released in 1990, is what passed for a high-concept clip from the singer. Dressed in a white suit, with matching bowler and cane, Houston hip-swayed through a Cotton Club-type nightspot before transporting into a Manhattan penthouse. She walked through another mirror into a third scene where she was all three members of a Supremes-style girl group and finally ended up in a beatnik club, her haired pulled back as she rocked chopped bangs. As always, the focus was on images of Houston lip-synching the song’s lyrics with attitude as the camera lingered on her luminous skin and smile. Share your condolences with Whitney’s family and friends on our Facebook page. Related Videos Whitney Houston: Life And Music Of An Icon Related Photos Whitney Houston: A Life In Photos Related Artists Whitney Houston
One of the major obstacles Disney is currently facing with their massive blockbuster John Carter is explaining how and why this movie, which looks so similar to so many others, was made at all. It’s based on an Edgar Rice Burroughs novel, first published in 1917, that has become so engrained in the popular conscious Broadcasting platform : YouTube Source : /Film Discovery Date : 13/02/2012 18:02 Number of articles : 2
‘I’ve been writing this story for a long time,’ rapper tells Ryan Seacrest of her alter ego Roman Zolanski. By Jocelyn Vena Nicki Minaj performs at the 54th Annual Grammy Awards Photo: Kevin Winter/ Getty Images Nicki Minaj nearly stole the show at the 2012 Grammy Awards when she performed her frenetic Pink Friday: Roman Reloaded track, “Roman Holiday.” Rife with religious symbolism, the performance welcomed her alter-ego Roman Zolanski to the Grammy stage for the first time. On Monday (February 13), Minaj called into Ryan Seacrest’s radio show to give her take on the red-hot performance. “Well, [that religious character I walked the carpet with] is a major part of the story and the movie that I’m writing about one of my alter egos; his name is Roman,” she said. “Basically, the religious figure is there because he was called on by Roman’s mom [Martha] to rehabilitate him. I wasn’t going to do the red carpet, so you know I was backstage prepared … my people wanted me to do it. I had this amazing robe made for me by Versace sent from Milan and I said, ‘I have to wear this.’ They were so generous, and I was going to originally wear it in the performance, but then when I got it, it was a little heavy for the performance. “I had this vision for Roman. I had this vision for him to be sort of exorcised … people around tell him he’s not good enough because he’s not normal. So his mother is scared and the people around him are afraid. He wanted to show that not only is he amazing, but he’s never going to be exorcised, even when they throw holy water on him, he still rises above.” In fact, when MTV News caught up with Minaj in late 2011, she shared the origins of this particular plotline. “Well, he was there [in Moscow] secretly because [alter ego] Martha wanted him to go there,” she said. “So they put him in this thing with monks and nuns; they were trying to rehabilitate him.” Minaj told Seacrest that she feels the performance, choreographed by Laurieann Gibson and directed by Hype Williams, was a success. “It’s funny because it was the most comfortable I’ve been in my entire life,” she said. “The Grammys chose ‘Roman Holiday.’ They heard ‘Roman Holiday’ and I could not play them another record after that. I have to stay true to what I’m doing … my fanbase, they understand every single thing. Roman was created two years ago. I’ve been writing the story for a long time and yesterday was his coming-out party. It just was very literal and streamlined if you know who Roman is and if you don’t know the Roman character, you have to digest it. While she has no plans to recreate that Grammy performance, she has made it clear several times to MTV News that this April will kick off the era of Roman. In a previous interview with Minaj, she explained that Roman is definitely her favorite alter-ego. “[He’s] bad. That’s why I like Roman,” she said. “I think I started liking Roman more because everybody else starting like Roman, so he became my favorite. People are expecting him to do some real craziness on the next album.” The over-the-top spectacle was, in part, inspired by her Super Bowl performance with Madonna. “Meeting Madonna changed my life. This performance was it, and this is the first performance I’m proud of in my whole life. Madonna was the first person in history who was able to make me change my wig,” she said of the Queen of Pop’s undeniable influence over her. “When you see her vision, it’s like, ‘Oh, OK. If someone this talented and this rich is still giving it this much [then I should too].’ ” And, she explained that she cares so much for Madge as an artist that she felt “disappointment” over M.I.A.’s headline-grabbing middle finger salute . “Even though I’m a coo-coo lady too, I would never be able to do it off the strength of Madonna,” she said. “We’re kind of all firecrackers.” What did you think of Nicki’s alter ego Roman? Leave your comment below! Related Videos 2012 Grammy Awards Show Highlights Related Photos 2012 Grammy Awards: After Parties 2012 Grammy Awards: Backstage And Audience 2012 Grammy Awards: Main Show 2012 Grammy Awards: Press Room 2012 Grammys Red Carpet Photos Related Artists Nicki Minaj
written by @itsthecaptain The TV world truly wasn’t ready for a man like Arsenio Hall ! Perhaps that was the gift and the curse of it all. Before Arsenio, of course, you were allowed on Jay Leno or Letterman…but obviously you were an entertainer being interviewed. Although being ridiculed for “being too proper” and having a majority white audience yet also being told by his network his show was “too black” in his height of fame, Arsenio stayed true to himself and his cause and broke a very important barrier for not only television but for black history! Let’s really dig deep into exactly why. Arsenio came into the industry as an X Factor black entertainer. He wasn’t know for raunchy comedy or “hood certified black jokes”, he was a representation of the talented black man who used his skill and his networking to propel himself to a new height of black entertainment that has still yet to be duplicated. Arsenio The Ghostbuster – One of the most popular cartoons and movies of the 80′s is Ghostbusters although Arsenio didn’t make the movie he was the voice of “Winston Zeddemore” of the cartoon series. Why is this important? Because Winston was the smartest Ghostbuster. An Ex Marine with a PHD. Most cartoons [black specifically] were to be comedy relief, side shows or irrelevant to the process. Arsenio Hall Eddie Murphy’s Friend – Although he received a lot of flack for being Eddies Boy or Robin Arsenio Hall’s relationship with Eddie Murphy earned him a very prominent role in what is considered one of the greatest comedy movies of all time “Coming To America”. It gave Arsenio a chance to show his acting skills as well as different characters that himself and Eddie created for the film. He was also in Harlem Nights which was a cult classic along side Murphy, and comedy legends Richard Pryor and Redd Foxx. Strong vulgar language in the video clip Arsenio The Night Show Host – Along with the highlights above Arsenio truly paid dues in the world of entertainment and it was finally time for him to shine in a way that many had never seen before. After Taking over “The Late Show” which Fox first Piloted with Joan Rivers, Arsenio’s success in that time got him his “big break” with the aptly titled. “Arsenio Hall Show”. This made Arsenio the first black late night show host but also to this day still the most innovative and successful! From his suits, his Dog Pound to his guest truly Arsenio Hall was a depiction of Black Entertainment that wasn’t seen nor deemed as profitable during its time. His guest included Michael Jordan, Horror Film Star Jason Voorhies, Friends Eddie Murphy and at that time Presidential candidate Bill Clinton. This is also the show that rap star Bow Wow was seen for the very first time on national syndicated television! Arsenio Hall in very controversial TV moment with “Queer Nation” Arsenio The Activist – At the height of his career Arsenio Hall felt the need to give back and he did in major ways. Arsenio was an Ambassador for D.A.R.E [Drug Abuse Resistance Education] which was designed to education children and teens on the dangers of drug usage and what to do if you are ever under peer pressure to use or sell drugs. Arsenio also gave an assist to NBA Legend Magic Johnson in an effort to educate the world on the topic of HIV and AIDS through a Film called “Time Out” which was after Magic was diagnosed with the disease. At the time HIV/AIDS was considered a “Gay disease” but it was also rising in alarming rates in the black communities. Aresnio Hall was truly a man of many entertainment hats. All of those hats have given black entertainment a new look to not only ourselves but to America as a whole. So I salute Arsenio Hall as he worked hard to give us a new black entertainment
