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‘Survivor: One World’ Is Kim’s Game To Lose

Posted on April 26, 2012 by Benny Hollywood| Leave a comment

Troyzan goes and Kim falters in the latest episode, and MTV News is back with former player Rob Cesternino to recap it all. By Josh Wigler Kim Spradlin during the immunity challenge on “Survivor: One World” Photo: CBS Few people would have predicted Greg “Tarzan” Smith to be the last man standing on “Survivor: One World,” but that’s exactly what’s happened now that his similarly named competitor Troyzan is no longer in the game. After an astonishing drop in likability paired with an equally stunning win last week, Troyzan redeemed himself (to a degree) on a personal level in the latest episode, at the expense of his life in the game. Now, six women remain: wishy-washy Christina, foul-mouthed Alicia, dim-witted Kat, savvy Sabrina, the seemingly unbeatable Kim and her partner-in-crime Chelsea — with only Tarzan representing the men of “One World,” poop pants and all. As the season moves toward the end game, it’s bridal shop owner Kim who remains the player to beat. Not only the dominant strategist in her alliance, Kim also proved herself a serious challenge threat this week by winning both reward and immunity with little to no competition. Still, not even Kim is infallible: She made a controversial choice to share her reward with her clear-cut ally Chelsea, leaving another member of her alliance, Kat, feeling insecure about her place in the grand scheme of things. Will Kim’s biggest blunder to date come back to bite her down the line, or is it much ado about nothing? MTV News once again paired up with two-time “Survivor” contestant Rob Cesternino to cover the latest episode of “One World,” including the fall of Troyzan and Kim’s continued warpath. MTV : We were hard on Troyzan last week, understandably so. This week, even though he was voted off, I feel a lot better about the guy. He did what he could to survive without being overly obnoxious. What was your take on Troy this week? Rob Cesternino : He sort of went through the five stages of grief over the last two weeks. Last week was anger and denial. This week, he moved onto bargaining and acceptance. He had a really good week this week. I really wanted to believe — and maybe I’m like Kat, and I just want to believe — but I hoped that Troyzan would pull it off this week. But I kept doing the math in my head: He still needs one more vote. Who’s going to vote with him? The math just didn’t work out that way. MTV : Part of me thought that maybe, finally, Christina’s time was up. Somehow, she gets to survive another day. Cesternino : I don’t understand why people keep trying to take her out, though. Even for Troyzan, if he could have swung the vote against Christina, it wouldn’t have been a power move. It wouldn’t have changed anything. MTV : Well, in fairness, it would’ve changed a lot for Troyzan. Cesternino : Sure, for Troyzan, it’s important. But it’s basically just cutting the tail off the snake [for anybody else]. Nothing really fundamentally changes if she’s voted off. She’s not a part of anybody’s alliance, so getting rid of her wouldn’t have been a power move for anybody else in this game. I think she’s next though, and that’s good for Kim — it keeps up the status quo, and gives her another week before she has to start making hard decisions. It’s not looking good for Christina at all. MTV : Why Christina over Tarzan? He’s the last man on the beach, which makes him an easy vote. Cesternino : I don’t think they have a very strong preference either way between those two. They’re both pretty expendable to the overall plan. I actually think Tarzan has now become someone who could win the game, if you have a bitter jury of men saying, “Well, at least he has a penis!” MTV : Fair point! [Laughs] Sticking with Christina for a minute, I can’t believe Sabrina just flat-out told Christina that she was getting votes that night. Cesternino : It was so bizarre, Sabrina telling her, “We’re putting votes on Troyzan, and we’re also putting votes on you. Hope you’re on board with this plan!” And Christina was pretty much on board. And then she goes, “You know, I don’t know if I can trust the girls 100 percent.” Well, they just said they’re putting two votes on you! I don’t know what kind of wakeup call she really needs in this game, because, come on! MTV : You and I have been on the Kimsanity train for a while now, but she screwed up this week, picking Chelsea over Kat to come with her at the reward challenge. Cesternino : She really did make a big blunder. It reminded me of “Survivor: Nicaragua,” when Sash did the same thing with Fabio; he didn’t let Fabio see his mom. He got a very similar reaction. Also, for future reference, anytime they show you two people [striking a deal] before a reward challenge, you know that one of those two people is going to win, and they’re not going to do what they just said they’d do. It’s “Survivor” foreshadowing. MTV : How bad was Kim’s blunder? What kind of damage is that going to do down the line? Cesternino : On a scale of 1 to 10, with 1 being no big deal and 10 being Erik Reichenbach giving his immunity necklace away on “Fans vs. Favorites,” I’d give it about a 3. It’s not a big deal. Kat’s a little upset, but what’s Kat going to do? MTV : Kat was clearly very upset, though. Now she has those Russell seeds in there; she wants to be a power player. Cesternino : I think this whole episode was about perception and reality. For Kat, when she was confronted with what reality is and how different it is from what her perception of the game is — how people really see her — she really did need to wake up and smell the coffee. I don’t know which show Kat thinks she’s on, where she’s been the dominant player all season long, but I would like to watch that show. MTV : That show exists in the same universe where Kat has never failed at anything in her life. Cesternino : Right! [Laughs] This is so hard for her. She’s never failed at anything. It’s unfathomable! MTV : Troyzan tried to make it look like Kim, Chelsea and Alicia were the top dogs based on the results of the reward challenge. Do you think that’s the actual final three? Cesternino : With final threes instead of final twos now in place on “Survivor,” I think that everybody left really thinks that they’re in the final three with Kim. It’s like what Boston Rob was able to do a couple of seasons ago on “Redemption Island.” Alicia thinks she’s in the finals with Kim and Chelsea, Sabrina thinks she’s in the finals with Kim and Chelsea, and Kat thinks she’s in there too. We may not see how things really shake out until the final five, because you have all these people who think they’ll be in that third spot. Plus, somebody’s still working with Tarzan. Somebody’s telling him what he wants to hear to keep him from voting with Troyzan. And nobody tells Christina anything; she’ll vote however they want her to. But what’s going to happen is, these people on the bottom are going to scratch and claw their way for the top three. No one’s going to get together and take out Kim, saying, “We can be the new top three. Forget Kim and Chelsea.” If Alicia and Christina could just stop bickering with each other, they could do something. Troyzan laid it out so obviously: With seven people left in the game, it could very easily be Kat, Christina, Alicia and Tarzan as the final four of the game — but that’s not going to happen. MTV : Certainly not with Troyzan gone. Will you miss having him on the show? Cesternino : It’s sad to see him go, because it felt like he was the only one left who could give Kim a run for her money. It’s really just Kim and a bunch of also-rans now. We’ll see if a bitter jury just doesn’t give Kim her money. MTV : I would like to believe you’re right, because I want to see Kim win the game. But there’s an argument to be made for Chelsea, too. She’s playing a solid game: She’s vocal, she’s strong in challenges. I think Chelsea could beat Kim. Cesternino : Absolutely. Just like last season, where Coach dominated the game, brought his alliance to the finals, told everybody what they wanted to hear to get to that point, and the jury gave the money to Coach’s loyal sidekick who was more blunt, honest and won challenges. It could easily go down the same way. I think Kim is savvier about the game than Coach is, but you have a voting block on the jury of five guys who want to blame somebody for what happened to them. Will they blame Kim and not give her the win because they look at her as the person who engineered the idea to get the men out of the game? We’ll see. MTV : Kim said that winning the reward challenge was the worst thing to happen to her in the game so far. I have a feeling she’ll have worse days coming up. Cesternino : Wah, wah, wah. [Laughs] If your worst day on “Survivor,” you win a reward challenge and an immunity challenge, then you’re doing pretty damn good out there. Let’s start a new hashtag: #winnerproblems. Get more of Rob’s thoughts on “Survivor” by following him on Twitter . Previously on MTV’s “Survivor” coverage …

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Brit Marling on Sound of My Voice, Guerrilla Filmmaking, and Not Waiting for Permission

Posted on April 25, 2012 by Benny Hollywood| Leave a comment

Sundance ’11 darling Brit Marling is now a year and change removed from the stunning festival debut that made her one to watch thanks to two films she co-wrote, produced, and starred in: The moody sci-fi drama Another Earth , released last summer, and the mesmerizing Sound of My Voice . The latter film finally hits theaters this week, giving audiences a chance to see a different side of Marling: Earthy, enigmatic, dangerously charismatic, and — as the leader of a cult amassing members in a basement in the Valley — possibly from the future. Movieline spoke with Marling last year about Sound of My Voice , in which a would-be documentarian and his girlfriend (Christopher Denham and Nicole Vicius) find themselves falling deeper under the spell of Marling’s Maggie as she prepares her followers for an unknown event. As with Another Earth , which was co-written and directed by Mike Cahill , Marling penned the script for Sound of My Voice with director Zal Batmanglij (who is currently at work on his SOMV follow-up The East , a drama centered around an anarchist group starring Ellen Page , Alexander Skarsgard , Julia Ormond , Patricia Clarkson , and Marling). Marling herself has since filmed the dramatic thriller Arbitrage with Richard Gere and Susan Sarandon and will be seen in Robert Redford ‘s The Company You Keep . In Movieline’s chat she discusses the borderline illegal guerrilla filmmaking tricks that made Sound of My Voice possible, her thoughts on taking professional risks, her dream director list, and how to avoid the “morally-corrupt swamp” that is Hollywood. (A longer version of this interview was previously published here .) Sundance was a huge coming out event for you. How did you process the sudden attention of being named a Sundance darling in your first major festival appearance? To be perfectly honest, it’s a little weird. It’s weird because, I guess, you’re working for so long in a vacuum — writing this work, making this work — and you’re doing it really on your own. It hasn’t met up with the world, and you’re totally sustained by just making the work. So it’s a completely different experience for it to enter the world and to get responses and reactions. And of course, the Sundance experience was amazing. I’m incredibly moved by the programmers of that festival — that they would search out these films that are so small, handmade, truly outside of the system of filmmaking, and that they would bring these movies that were made in little caves in Silverlake and take them and bring them into the light. It’s pretty amazing. Not only that, you also got to bring two films to Sundance with two of your close collaborators, Mike Cahill and Zal Batmanglij. You were all three roommates once upon a time, right? For a long time in L.A. the three of us lived together and we were kind of each others’ family in L.A., in a way. We’d all left family on the East Coast and come out to the West Coast, and L.A. can be a very isolating city. Doing this kind of work is really extreme work. I think we were really lucky that we had each other and could encourage each other, because there was quite a bit of time before we were able to make these movies. And of course you’re filled with doubt; can you really do this? So it’s nice to have each other for encouragement, to keep going. Otherwise I’m not sure. Maybe I would have ended up doing something else. What would you be doing instead? When I think about what I would be doing if I wasn’t an actor… maybe an environmental activist? An eco-terrorist of some kind? I don’t know. [Laughs] Take us back to your days at Georgetown. How did you meet Zal and Mike in the first place? I was a freshman and they were seniors and there was a film festival at Georgetown, which is really odd because everyone there is going to work on Capitol Hill or at an investment bank. But they had a festival, and it was the first year they’d had one, and the films were all horrible. I mean, the worst student filmmaking ever. And then there was this film that came on at the end, and it was colorful and poetic and it was digital filmmaking like you’d never seen before. It had all this breadth to it, really beautiful imagery, the rhythm of it, an interesting story. I remember it won first place and I just popped up and led the standing ovation for the film. The filmmakers came onstage to get the award and it was Mike and Zal, and I saw them and I was like, “Okay. I have to be friends with these people.” And the three of us started making movies together. That was an amazing time; I don’t think we thought we would ever end up making movies that way later. We came out to L.A. and assumed we’d learn to make films properly, whatever that means, but because of the recession, because of the way filmmaking and technology has changed, we pretty much ended up making movies in the same sort of completely illegal guerrilla fashion that we’d been using to do stuff at Georgetown. You folks still talk, and openly so, about the semi-legit hustle of getting Sound of My Voice made… Like returning our Mac every 14 days! It was actually really hard; we would pull up, I would put on the emergency lights and Zal would run in with this heavy computer. Tamara Meem, the editor, had to reinstall the Final Cut software every time. It was an intense way to go about it but it was also the only way we could afford to do it. [Laughs] Yeah, we were pulling a lot of tricks like that. You have to think that somewhere out there, aspiring filmmakers are hearing these stories and thinking to themselves, “Brilliant idea!” Yeah, I think one of the things we realized is that sometimes in life when you’re doing your craft, you’re often waiting for permission — for someone to give you money, for someone to read a script and say yes, you can go do it. And I think at some point I was like, “I don’t want to wait for permission anymore.” Let’s just do this, let’s make these movies for whatever money we can raise, we’ll figure it out. And it’s kind of cool because there ends up being as much creativity in the execution of figuring out how to make a movie with limited resources as there is in the screenwriting or in the acting. You multi-task with your films, acting, producing, writing — but you studied a very different field. At what point did you decide to go full-force into filmmaking? I had done plays and studied acting a bit in high school, and I think when I was graduating a lot of my friends were going to theater school. I really wanted to act, but I felt like I knew a lot about plays, about Shakespeare and Chekhov and plays, but not enough about being a human being in the world. I didn’t understand how you could be an actor if you didn’t also study philosophy and study political science, astronomy. And also just go out and live life and have experiences. These are all somehow part of being able to bring something to Chekhov, or bring something to any play or any story. Or just merely having something to say. Yes! And at the time I decided that I was going to get a broader liberal arts education and also just go live some life, because the drama world felt small and a bit self-referential. Not a lot from the outside was coming in. I ended up studying economics — I don’t know exactly how all of that happened — and I ended up working in an investment bank for a while, then I think at some point I just decided that I didn’t want to be afraid. I think when you decide you’re going to go act in L.A. it’s just an overwhelming wave of fears: I’ll never make any money, I won’t survive, I’ll waste all this time in my life that I could have used pursuing another direction, I’ll fall behind… the feelings of illegitimacy, of struggling for so long and not getting to do the work you want to do. Everybody’s writing you off as another young girl who’s gone off to L.A. It’s a huge risk. And I guess I finally came to a point when I was working at this bank and studying econ when it didn’t feel like a risk anymore because I was so not living the life I wanted to live. And that felt like its own kind of death. So at some point you realize that your life is not just going to start one day in the future, that you’re living it. You are nothing more than the sum of the small choices you make on a daily basis, so if you choose to study economics or you choose to be a banker, this is going to be who you are. It gave me more courage to go be an actor, because the more time I spent acting the more I liked who I was. I feel like I’m a much better person when I’m developing my imagination and my innocence and my vulnerability. I like that version of me better than the version where I’m just working on my analytical mind. Since moving to L.A. have you been doing the regular aspiring actor thing, sending out head shots and resumes and hitting auditions? It’s funny, right when I got out to L.A. I realized pretty quickly that one, it’s just difficult to go on auditions as a young unknown. And then even if you can get an audition, what you’re auditioning for is probably garbage. I mean, it’s just horror films, the torture porn genre, or it’s just bad comedies, girlfriend characters, girl in bikini running from man with chainsaw. I thought to myself, “Oh my gosh, I don’t know how I can do this stuff.” People said to me you just have to start somewhere, everybody’s got this kind of work, the skeletons in their closet, and eventually you’ll get to the other side and you’ll get to do substantive work. I remember thinking to myself, nobody says to an aspiring heart surgeon, “One day you’ll get to operate on patients at Cedars-Sinai — but for now, come over to this back alley and remove kidneys illegally and sell them on the black market.” Nobody asks that of any other profession, that you wade through this morally-corrupt swamp. Also what I felt really strongly about was that I didn’t want to play these roles where women are constantly in these submissive positions or being sexually abused or harassed or just sexual objects. I did not want to do that. I didn’t want to be responsible for putting storytelling into the world that other young girls would watch and think, that’s what it means to be a woman. Hell no. So writing became a way to get to act in things that I thought were meaningful, and hopefully write stronger roles for other women. The Lorna character, to write [ SOMV character] Carol Briggs, to create work for other women that wasn’t like the stuff I was reading. Speaking of strong female characters, Maggie in Sound of My Voice is mesmerizing, manipulative, transfixing. There is an amazing power to her that’s almost inhuman. Where did that magnetism and power come from in your performance, and where did you draw her characteristics from when you were writing her? In the beginning when we wrote this, Maggie for a while was a bit of a blank placeholder. She was there, but we had a hard time determining her character. For a while she read pretty one-dimensionally, and then she started to flesh out the moment that we came up with the scene between her and Peter [Christopher Denham], where she kind of pressures Peter about his past and gets him to throw up, physically and emotionally. I think that scene gave us as writers insight into her character, in that she’s deeply intuitive, really compassionate on one hand, but on the other hand there’s a scorpion- or viper-like quality to her. If she feels dismissed or threatened, or if she feels someone accusing her of being a fraud, she will attack and it will be fearless and aggressive and very dangerous. I think that seed from that scene gave birth to this girl who’s at once potentially magical — is she a time traveler, is there something ethereal, or is she ordinary? And look, even if she is a time traveler, which I’m not going to answer, but if she is a time traveler, a time traveler is just a person from the future who comes back in time. She can be sort of an ordinary girl who, like, smokes menthol cigarettes and is kind of crass in the future and travels back in time. That ordinariness doesn’t leave her. I think we liked the idea of that juxtaposition, that she’s telling people the future and smoking softpack menthol cigarettes and has really badly chipped nail polish on her fingernails. [MILD SPOILERS] About that ending; you don’t have to tell us the answer, but is there an answer? Yeah. And that’s what’s amazing about this; this was actually conceived as the first part of a larger story. Oh my gosh, there are hours of storytelling that could be had. Whether or not that’s a trilogy of films or a TV show or a miniseries, it doesn’t matter — there is an ending that you come to between Peter and Maggie that is so, I think, beautiful and complicated. A really great love story. And I hope that we get a chance to tell that, because right now only Zal and I and another person know that ending. [END SPOILERS] It might just drive people crazy to know that more story is out there, even if it only exists in your minds. [Laughs] We’d love a chance to share it. Maggie’s a character that I think there’s still a lot to mine, in who she is. After Sundance, you signed with an agency. Did Sundance completely change things for you in terms of career opportunities, and what kind of roles have you been approached with since? It’s a very cool thing to begin to have the opportunity to read really great scripts, to actually go in and meet the people who are making those stories and really be in a position to be a part of them. That is awesome. But so far I haven’t been approached with anything similar. You do have to be careful of that, but because these films haven’t fully entered the world yet people still don’t really know. Absolutely, I don’t want to do another role that’s similar to Maggie or similar to Rhoda; I think as an actor once you’ve explored that territory it becomes safe and you begin seeking out the dangerous territory, something new that you feel you maybe cannot do. So I’m looking for that, and it obviously becomes much easier when you have an agent and managers and people supporting you that believe in your work and your ability to do it. As far as studio vs. independent films, I’m interested in any story that’s good and a lot of the great stories that I watch are huge studio films. I love 12 Monkeys , it’s one of my favorite movies of all time. I love The Princess Bride , I love The Fugitive . I also love Dogville and Edge of Heaven and I Am Love . So it doesn’t really matter to me, the budget or how it’s being made. It’s really a question of the story and the people behind it. The common thread in many of those films seems to be that they’re made by iconoclastic directors with very strong visions . Yeah, and I think that’s what interests me the most about being an actor. You have to surrender. You have to really trust the director and the way that they see things, and how can you surrender to anyone who doesn’t move you deeply and whom you don’t trust? I’m excited to meet those other directors and writers that will move me so much that I’m like, “Take me on the journey with you.” I will do my homework and know this human being that I’m playing inside and out and I’ll trust you to keep me safe. You have to be willing to make yourself really vulnerable. Who are some directors you can name who have inspired you that you’d like to work with as an actor? Oh, gosh. Ryan Fleck and Anna Boden; I love their work and Half Nelson is, I think, the most stunning film that’s come out of our generation. Fatih Akin blows my mind. Luca Guadagnino. So many people. In terms of directors working closely with their actors as you have in your films, Guadagnino developed I Am Love over a long period of time with Tilda Swinton. And her performance in it is transcendental! She’s speaking Italian with a Russian accent and then Russian? It blows my mind. Also Elegy , directed by Isabel Coixet. Beautiful film based on the Philip Roth novel. For whatever reason it came out at the same time as Vicky Cristina Barcelona and it got sort of got buried, but it is an amazing movie and she is a stunning director. A female director who also camera operates, which I think is so cool. Oh my gosh, there are so many directors I look forward to getting to know. Sound of My Voice opens in limited release Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Brit Marling on Sound of My Voice, Guerrilla Filmmaking, and Not Waiting for Permission

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Olivia Munn A ‘Voyeur’ On The ‘Magic Mike’ Set

Posted on April 20, 2012 by Benny Hollywood| Leave a comment

Munn especially loved co-star Matt Bomer’s bum: ‘I just want to make wishes on it, it’s so beautiful.’ By Jocelyn Vena, with reporting by Kelly Marino Olivia Munn Photo: MTV News There’s so much man meat in the “Magic Mike” trailer that it’s easy to forget that there are actual ladies in the June film. Sure, “Mike” stars Channing Tatum, Matt Bomer, Matthew McConaughey, Alex Pettyfer and Joe Manganiello — we know, you need a second to catch your breath — but the Steven Soderbergh-directed flick also boasts some talented ladies, including Olivia Munn. When MTV News caught up with the actress — who was being honored by Us Weekly as a “sexy tomboy” at the mag’s Hot Hollywood event — she opened up about being around all those guys and loving each and every minute of it. “I think on set, with all these guys, I’m not a sexy tomboy; I’m not a tomboy; I’m not anything,” she said. “I’m just a voyeur, watching them.” She then recalled hitting the set long before her call time just to gawk at the studs. “I’m on set when I’m not even working for, like, four hours, but I heard they’re dancing and they’re going to be naked, so I’m gonna be here early watching. So that’s what I am on set: more the voyeur watching.” As for all the smooth moves, she shared that the film’s star — Magic Mike himself, Channing Tatum — might be the smoothest. “He’s truly, truly talented, and he’s so fun to watch, and it’s so sexy as well,” she said. “And then the person I was really impressed with was Matt Bomer, ’cause I didn’t know he could dance. He’s got this juicy butt. Like, I just want to make wishes on it, it’s so beautiful.” Check out everything we’ve got on “Magic Mike.” For young Hollywood news, fashion and “Twilight” updates around the clock, visit HollywoodCrush.MTV.com .

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Olivia Munn A ‘Voyeur’ On The ‘Magic Mike’ Set

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One Directioner Niall Horan’s Half-Eaten Toast Sells For $100K

Posted on April 12, 2012 by Benny Hollywood| Leave a comment

From Bieber’s lovely locks to ScarJo’s used tissue, MTV News looks back at the most outrageous celebrity auctions so far. By John Mitchell One Direction’s Niall Horan Photo: Getty Images Wondering just how big One Direction madness has gotten? Well, a half-eaten piece of toast left by the British boy band’s Niall Horan on an Australian talk show has attracted almost $100,000 in online bids. That’s Justin Bieber big, y’all! Digital Spy reports the toast was put up for auction on eBay by the Australian broadcaster behind the morning program “Sunrise.” The One Direction guys visited the show yesterday and were asked to try some traditional Down Under cuisine, including the country’s famous Vegemite spread. Horan was not a big fan and did not finish his toast, so the broadcaster decided to let the leftovers benefit the Australian charity Youngcare. Bidding opened at $0.99, though a quick succession of bids saw the price of the — we repeat — half-eaten piece of toast rise to $1,000. Within a few hours the price had risen to $15,000, which is when a serious shopper stepped into the mix, putting forth a $50,000 bid. The same bidder continued to make outrageous offers on the toast as other astute 1D fans got in the game, first bidding $80,000, then $85,000, $90,000 and eventually $99,999. That price was matched, meaning that even if the bidder who drove the price up so high was a fraud, there is another person out there willing to pay nearly $100,000 for a piece of half-eaten toast. Curiously, this is not the first time people have gotten all worked up on eBay over curious celeb castoffs. In other toast-related news, during the heyday of ‘NSYNC, a Z-100 DJ auctioned off a piece of French toast that Justin Timberlake took one bite of for a reported $3,154. The toast was purchased by a 19-year-old fan, who reportedly said that she would “probably freeze-dry it, then seal it … then put it on my dresser.” Yep. Justin Bieber gave Ellen DeGeneres a lock of his hair during an appearance on her talk show last year and she decided to put the hair up for auction to benefit the Gentle Barn Foundation, a California-based animal rights organization. Bieber’s luscious locks drew 98 bids and collected $40,688 for the charity. That’s about the cost of tuition at Amherst College. Though it brought in much less cash, a tissue used by Scarlett Johansson on “The Tonight Show With Jay Leno” still managed to bring in $5,300 for the charity, USA Harvest and online casino GoldenPalace paid $530 for, ahem, “A jar containing air exhaled by Brad Pitt and Angelina Jolie.” Oh, and for “one piece of gum chewed and spat out by the pop princess.” The princess: Britney Spears. The year: 2004. We call dibs on the half-drank bottle of water left by whichever Jonas Brother stops through next. How much would you pay for Niall Horan’s half-eaten toast? Let us know in the comment below! Related Videos MTV News Extended Play: One Direction Related Photos One Direction Light Up The ‘Today’ Show Related Artists One Direction

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One Directioner Niall Horan’s Half-Eaten Toast Sells For $100K

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Whitney Houston 911 Call: Released, Tragic

Posted on April 11, 2012 by Benny Hollywood| Leave a comment

The 911 call placed moments after Whitney Houston’s body was found in a bathtub at the Beverly Hilton hotel on February 11 has just been released. A member of the hotel security team is the person who made the call, informing the 911 operator about a “46-year-old female found in the bathroom.” The caller says he was alerted to the situation by an “irate” woman who called security from the room, but couldn’t get much information from her. A woman who first dialed security kept hanging up for whatever reason, preventing the dispatcher from giving potentially life-saving instructions faster. Listen to the Whitney Houston 911 call below: Whitney Houston 911 Call “I’m not sure if she fell or if she was in the bathroom with the water,” the hotel security employee says of Whitney Houston, who he never identifies by name. The security team member was under the impression she was not breathing, and the 911 dispatcher sent emergency personnel there immediately. Too late, as it turned out, as the star couldn’t be revived. Whitney’s official cause of death is listed as “accidental drowning,” with foul play ruled out . Heart disease and cocaine use were contributing factors, according to Houston’s autopsy report , and the legendary singer may well have overdosed. The L.A. County Coroner said Whitney’s chronic use of drugs caused a narrowing of her arteries, which resulted in a cardiac event before her death.

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Whitney Houston 911 Call: Released, Tragic

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Emily Ratajkowski in Lingerie for Frederick’s of Hollywood of the Day

Posted on April 9, 2012 by Benny Hollywood| Leave a comment

Emily Ratajkowski may have some immigrant pussy name…one that makes you think she was pulled out of communist rubble in the 90s by some enterprising talent agent, or model scout, looking for low income, bitches in dirty clothes, ready to be trained into being supermodels…and if they ever acted up, they’d be shown pictures of their family saying “if you ever want to see them alive, learn how to walk the runway bitch”……at least that how I imagine these hard but hot women coming to America goes down….run the same in the mail order bride trade, the child sex trade and the fashion industy…. Well, it turns out she’s America and I guess her family were immigrated to give her a good life and the only remnant of the person or people they were is some hard to pronounce name and the fact they eat some communist meal once a year for the grand parents…virtually raising americanized bitches more spoiled than 10 generation Americans…cuz that’s how immigrants work… And who cares, she’s 19 and has insane tits that some low level Victoria’s Secret has got half naked and photoshopped….she is also some character named Tasha on some kids show called iCarly, that I’ve never heard of, but that I assume your perver ass knows every episode by hard, cuz you play it out while masturbating in a pair of barbie panties you stole from your 10 year old neighbor when you were there for dinner….You like to fell like a pretty little girl discovering herself don’t you. Weirdo. Here she is naked for some magazine called Treats…hiding her nipples that I want to see….. I approve of this message: LIKE US ON FACEBOOK EVEN IF YOU DON’T LIKE US

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Emily Ratajkowski in Lingerie for Frederick’s of Hollywood of the Day

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REVIEW: Geeks Take the Day in Pleasant-Enough Comic-Con Episode IV: A Fan’s Hope

Posted on April 5, 2012 by Benny Hollywood| Leave a comment

Morgan Spurlock’s latest documentary  Comic-Con Episode IV: A Fan’s Hope plants a sloppy, moist kiss on the sweaty brow of geek culture’s premiere event. Where it stops short from also getting on its knees and offering a different sort of sloppy, moist service to the four-day San Diego affair is in the sight of one of the film’s subjects weeping in the audience of a panel entitled “Breaking into Comics the Marvel Way.”  Comic-Con Episode IV is indulgent to a fault about everything that happens on the convention floor, but Spurlock makes the smart decision to shape the film primarily around subjects who have an economic stake in the goings-on. The doc makes sure to peek into the many different corners of the con, from the studio previews in massive Hall H to the cosplayers’ Masquerade to the toy collector sales to the portfolio reviews of would-be artists to the comic book dealers fretting over their fading profile, but the tangible goals being pursued by the main characters add a needed sense of urgency. Comic-Con may be heaven on Earth for fanboys and fangirls (“I want to die and go to Comic-Con,” insists one man), but that doesn’t mean everyone’s going to be able to make a living there. The concept of fandom gets a tough workout in  Comic-Con Episode IV , which breaks up its exploration of the 2010 San Diego Comic-Con with interviews against a white backdrop with attendees both famous and not. Some of those interviewees were also involved in the making of the movie — the always charming Joss Whedon co-wrote the film, and also produced it alongside Stan Lee and Ain’t It Cool News’s Harry Knowles, ensuring its geek bona fides. While the love of all things convention-related gets directly addressed, with Seth Rogen confessing to toy collecting and Eli Roth addressing how it’s become acceptable to continue to treasure your favorite childhood franchises into adulthood, the time the film spends with subjects who are there solely as fans — James Darling, who intends to propose to his girlfriend Se Young Hang during the Q&A at the Kevin Smith panel — is actually its most grating. The codependent couple spend their entire days in Hall H, as the guy tries unsuccessfully to get a few minutes to himself to surreptitiously go pick up the ring he had made by a jeweler who’s also in attendance. (The proposal, when it does happen, is admittedly sweet.) It’s through Chuck Rozanski, the owner of Mile High Comics, that  Comic-Con Episode IV gets at one of the major changes to the event, which is that its shifted away from its comic book foundations to a become a major marketing tent-pole for blockbusters and video games. Chuck’s been coming for 38 years (the comic book panel-inspired interstitial graphics designate him “The Survivor”) and has watched the crowds slowly drift away from his booth. This year, he’s brought along his prized copy of “Red Raven #1,” an incredibly rare comic that he hopes (and may need) to sell for $500,000. (“There’s three billion women on the planet and not a lot of good comics,” he explains to his protege about how romance should never come between a man and his collection.) The quiet distress with which Chuck acknowledges his initial low sales is palpable — there are downsides to having your business and your passion been one and the same. The same goes for Skip Harvey and Eric Henson, who tote portfolios of their art to different publishers hoping to be contracted for work — the two have very different expectations of what will happen, and one is pleasantly surprised while the other is heartbroken. Spurlock knows his way around a pop doc, and Comic-Con Episode IV moves limberly between subjects and areas of the convention and its history, an entertaining watch even as it feels a little unnecessary in documenting one of the year’s most photographed, liveblogged, tweeted about and videotaped cultural gatherings. It’s the urge to create that ends up proving more interesting than the one to collect or to observe — seen not just in Skip and Eric’s stories, but in the work of Holly Conrad, who with her friends has designed insanely intricate costumes based on Mass Effect 2 , hoping that the attention they’ll get will lead to paid work. They’ve constructed in their basement an animatronic head for the person dressed as the alien Urdnot Wrex that could be professional quality, and the crowd is adoringly appreciative of their efforts. It’s not until the credits are rolling that  Comic-Con Episode IV  touches on any real negatives of the convention, and even that’s done in the most genial way (“It’s real, the stink is real!”). While the film deserves credit for not taking the fond freak-show route of many docs about subcultures — though can Comic-Con really be seen as such anymore? — it’s really a slow softball pitch. There’s little delving into the rise of the Twilight  fandom and none into the hostility they’ve faced, or into the other competitive and regressive aspects that are part of the dark side of geek culture. No,  Comic-Con Episode IV is a valentine to an event and a group of people so in ascension they don’t really need it, but it’s still a pleasant thing to watch. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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Jennifer Lopez: Kinky with Casper Smart!

Posted on April 2, 2012 by Benny Hollywood| Leave a comment

In a recent interview, Jennifer Lopez described boyfriend Casper Smart as a ” good egg .” But the 24-year old backup dancer gets down, dirty and totally bad – in the best kind of way – in a pair of new promotional photos! In two images from her upcoming music video (for the track ” Dance Again “) J. Lo poses with her young, shirtless man, as the couple blindfolds each other with a black cloth that reads “Love is blind.” The official video drops this Thursday during American Idol and, based on these pictures, it’s safe to say both genders now have a reason to tune in…

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Jennifer Lopez: Kinky with Casper Smart!

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Demi Lovato Unveils "Give Your Heart a Break" Music Video

Posted on April 2, 2012 by Benny Hollywood| Leave a comment

No more music video teases from Demi Lovato. The young superstar has come out with the real, full thing. The 19-year is actually make-up free in the following video for “Give Your Heart a Break,” which is a track included on her hit album, “Unbroken.” How come? “I want to put it out there and show that women can be independent on their own,” she tells E! News, which debuted the video. “I think that’s the best lesson that I’ve learned – to love myself before any other person.” It’s a lesson we all can heed. Do so now as you check out Demi’s latest video below: Demi Lovato – “Give Your Heart a Break” (Official Music Video)

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REVIEW: Mirror Mirror Dazzles with Color, Wit and Just the Right Amount of Wickedness

Posted on March 29, 2012 by Benny Hollywood| Leave a comment

There’s plenty of spectacle in movies these days; it’s delight that’s in short supply, and Tarsem Singh ’s Mirror Mirror offers plenty of it, shimmering like a school of minnows in a reflective pond. The picture is gorgeous to look at: There are fairytale castles topped with minarets of fluted gold, interior marble archways that look as if they might have been carved by Alfonse Mucha, ball gowns that take their inspiration from the rock-star effrontery of peacock feathers. But the story is a delight, too, a modernized — but not too modernized — retelling of the Brothers’ Grimm Snow White peopled with actors who polish the material to a bright glow rather than a high gloss. Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much — it’s never too taken by its own reflection. The picture opens with a beautifully animated prologue that’s a little Brothers Quay, a little Bjork-era Michel Gondry: A king and queen give birth to a daughter, but the queen dies, leaving her grieving spouse to raise the adored child on his own. He remarries, but makes the wrong choice — and you know the rest. Except Mirror Mirror — which was written by Melissa Wallack and Jason Keller — follows its own merry breadcrumb path through the traditional story. With its loose-jointed colloquialisms and gold-tipped touches of romance, the picture is somewhat reminiscent of The Princess Bride , though not nearly as woolly. Lily Collins — who played Sandra Bullock’s daughter in The Blind Side — stars as the impossibly lovely Snow White, who has just reached her 18th birthday after a youth of de facto imprisonment at the hands of her stepmother, Julia Roberts’ wicked Queen. Snow’s father, as that prologue told us, disappeared into the forest soon after his remarriage — he has not been seen since. Now that Snow has blossomed into a real looker, the Queen has more reason than ever to fear her, particularly since her spending habits have caused some financial troubles: She needs to remarry, fast. Conveniently, the criminally handsome Prince Alcott (Armie Hammer) shows up at her castle – he’s just been mugged by merry outfit of seven you-know-whats, who have handily stripped him of most of his clothes. The Queen is dazzled by this dual vision of dollar signs and pecs, not knowing that Snow and Prince Alcott have already met in the forest and, of course, fallen instantly in love. The Queen sends Snow out into the forest with her chief lackey Brighton (a typically winsome Nathan Lane), who has orders to kill the girl. Instead, he urges her to run, which is how she lands in that commune of bandit dwarves. And what dwarves they are! Singh, somehow, manages to make each one reasonably distinct, though their ensemble muttering is also part of their charm. When Snow tries to tell them how wicked her stepmother is, their overlapping chatter indicates that this is old news to them: “She is evil! ” “She’s a bitch!” “Remember that time?” The most charming of the dwarves, Half Pint (played by Mark Povinelli, who also appeared in Water for Elephants ), has a crush on Snow and doesn’t bother to hide it, occasioning much teasing from his cohorts. But even the grumpiest one — his name is Butcher, and he’s played by Martin Klebba — grows to like her, and in one of the movie’s liveliest scenes, he and his pals school her in the art of swordplay, Kill Bill -style, as well as in various other modes of cunning and trickery: They whirl around her like seven little Pai Mei’s. Singh previously directed last year’s surprise crowd-pleaser Immortals , as well as the 2000 Jennifer Lopez vehicle The Cell ; on the basis of those movies, you might not have expected anything this fanciful or this sure-footed, but Singh pulls it off. The able cast he’s assembled sure doesn’t hurt: Hammer makes a stunning, long-legged prince – he’s so absurdly good-looking you almost can’t look at him without laughing. Collins, with those extraordinarily present eyebrows, looks a little like P.J. Harvey and a little like Jennifer Connolly, though she emerges victoriously as her own singular, strong presence. Lane delivers every gag with just the right degree of Borscht Belt ridiculosity. Roberts is the only one who perhaps gets a tad more screen time than she should: When you put Julia Roberts in a really big dress, a little goes a long way. Still, she’s game for anything, and she’s more than willing to cede the spotlight to her younger, and relatively unknown, co-star. Plus, her extravagant pre-party beauty treatment consists of just the kind of ewkiness kids like: A parakeet-poop facial masque, a bee-sting lip plumper, a fish-nibble manicure. (The last, unbelievably, is sort of a real thing .) The color palette of Mirror Mirror is dazzling, a pinwheel of tones that are wonderfully bright and yet always a little “off” — cobalt snuggles up against orange; deep maroons are balanced with just the right amount of gold. (The picture was shot by Brendan Galvin, with production design by Tom Foden.) The costumes, in particular, are so stunning that I’m feeling a hankering to see the movie again, just to get a better handle on their opulent genius. They come to us courtesy of Japanese designer Eiko Ishioka , who died in January at age 73 — I doubt we’ll see finer costuming this year. In one scene, Snow wears a big marigold cloak that falls about her person in lavish folds — I couldn’t tell if it was made of the heaviest duchesse silk or the softest lamb leather, but either way, it’s something to behold. That’s just one measure of the playful inventiveness that has gone into Mirror Mirror . To call the movie an updating of a fairy tale may be a misnomer — don’t all fairy tales take place in the here and now of the imagination? In any event, Mirror Mirror is bold, modern and fun — if not the fairest of all, it is certainly much fairer than most. See a slideshow of Ishioka’s Mirror Mirror costumes here. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: Mirror Mirror Dazzles with Color, Wit and Just the Right Amount of Wickedness

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