Remember when Latoya Jackson did Playboy….That was interesting…. One of the first naughty movies I could jerk off to that I stole on VHS years ago was her Playboy video…She was weird looking, then, weirder looking now, and I’m even conviced she doesn’t actually exist, but that she’s just a host body for Michael to make the transition into womanhood without having anyone ask questions…you know – get the robot in Playboy, make her seem real, so people don’t question when MJ dies to live a normal life as her…. So these pics of MJ in a tight dress showing off his fake, plastic surgery tits are for you MJ fans…and believers that this is in face MJ….and all you naysayers need to be reminded of all the weirder shit dude did than make a female host body for his brain….like rape little kids by luring them in with his own petting zoo and amusment park… Think about….
Justin Bieber wears a robot glove! … Photo: Courtesy of Justin Bieber's Instagram. What the WHAT? We just peeped Justin Bieber 's Instagram, and were greeted with, um, this. The Biebs. Wearing a robot arm. And spiky hair. … Read more here: Justin Bieber Sports Robot Arm, Reminds Us Of Beyonce's 'Single …
[ picks up the phone, dials ] “Chuck. Chuck! It’s Marvin – your cousin, Marvin Berry . You know that new sound you’re looking for? Well, listen to this !” [ holds the receiver out , plays this YouTube video ] “That’s nothing like what I’m looking for, Marvin.” “Fuck you, Chuck. I’m just trying to help.” ( Via Gorilla Mask ) Broadcasting platform : YouTube Source : Topless Robot Discovery Date : 21/09/2011 15:00 Number of articles : 2
You’ve already seen the first trailer for Martin Scorsese’s 3-D adaptation of Brian Selznick’s The Invention of Hugo Cabret , and now Paramount has released the first official photo from the movie that will give Jason Segel’s Muppets reboot a run for its money (maybe) this Thanksgiving. Click ahead to check out the artwork and more importantly, rate the creepiness of the robot that holds Asa Butterfield and Chloë Moretz’s attention.
Well! That was fast: Comic-Con 2011 came and went with the quickness, but not such quickness that Team Movieline couldn’t keep up with all the panels, appearances, news developments and cosplayer awesomeness accompanying the annual San Diego powwow. And no worries if you happened to miss it: Find herewith a digest featuring everything you need to know from the ‘Con. (Hint: Those panel live-blogs? Must-reads .)
Bradley Cooper has portrayed a variety of sinful characters in his career but the Hangover star will embody pure evil next year when playing Lucifer in the 3-D adaptation of John Milton’s Paradise Lost . After premiering the first concept artwork for the film — which will be directed by Alex Proyas ( I, Robot , Knowing ) — at Comic-Con, Legendary has unleashed the teaser image onto the Internet. Click ahead to see what Cooper could look like as the Devil himself.
It’s another new Batman: Arkham City trailer, this one based on the Riddler, who appears to have hidden his riddles all through Gotham much as he did Arkham Asylum . It also appears that there are some more dire consequences involved in solving the puzzles this time, or maybe its just another exceedingly well don trailer, or maybe I’m just so excited for this game I’m making shit up. Anything’s possible… Broadcasting platform : YouTube Source : Topless Robot Discovery Date : 11/07/2011 20:00 Number of articles : 2
Chris Marrs Piliero explains the video’s ‘Half Baked’ and ‘Terminator’ homages, but what about those elusive seashells? By Kara Warner Britney Spears in her “I Wanna Go” music video Photo: Jive Britney Spears’ video for “I Wanna Go” — a dream-sequence-y, pop-culture-reference-packed tongue-in-cheek attack on the paparazzi — is so fun, it’s quickly becoming one of our favorites. And because we can’t get enough of it, MTV News sought out the vid’s creative mastermind, director Chris Marrs Piliero (who also directed Ke$ha’s “Blow”), to explain it to us, frame by frame. “This opening scene poked fun at the ridiculous rumors that surround Britney,” Piliero said of the clip’s opening press conference, during which Britney tells off a room of reporters. “That is our homage to ‘Half Baked.’ I was really stoked that we were able to include that little parody homage in the video and that Guillermo Diaz, who is the guy [in the scene] giving the thumbs up, is from the movie.” After strutting out of the press conference and squeezing the butt of an autograph-seeking fan (played by one of her dancers), Spears strolls down the street, passing by a baby in a stroller who whistles at her. “We were actually going to have three babies,” Piliero revealed. “But the other two were just crying and crying. and I was like ‘F— it, get ’em outta there,’ and the one baby, he ruled and was super cute, so we went with him.” Spears’ next saucy move is to flash a bunch of guys on the street: a young boy, his dad, a male driver getting a ticket and the cop writing it. “That little kid was awesome,” Piliero said of the young redheaded boy. “If you look closely, he’s actually squeezing his juice box all over this shirt. The cop is another one of Britney’s dancers. You might recognize him from the ‘Hold It Against Me’ video, he had blue hair.” Next up, Spears encounters a paparazzo on the street and grabs his camera and throws it to the ground. “That was a very genuine performance from Britney,” Piliero said of the scene. “I felt like she was letting out her inner emotion toward paparazzi. It was also really cold. I think she just went for it.” Cut to Spears on top of a taxi, microphone in hand with a long cord, which she uses to take out the various photographers who have surrounded her. “A lot of people think this was inspired by ‘Kill Bill,’ because I’m a huge Quentin Tarantino fan. I would totally own up to that if it was true,” he admitted. “But I actually intended for her to always having her performance with the microphone [throughout the video] for her performance setup, so I thought that was a good way to tie it all together and I didn’t want to give her a real weapon.” But Piliero was making an intentional pop-culture reference with the wording on the movie theater marquee in the background of the scene that reads “Crossroads 2: Cross Harder.” “I’ve always thought that ‘Die Hard 2: Die Harder’ is one of the most ridiculously awesome titles for a sequel ,” he said. “And I needed to put something in the marquee, and I thought it would be a really fun Easter egg for fans.” Now something odd happens with the paparazzi who’ve been hit by Spears’ microphone weapon — they are revealed to be robots or androids. “I love pop culture and this whole video is kind of a dream sequence,” Piliero said. “I think it’s natural to have fantasies and dreams with stuff inspired by pop culture, so that’s why the robot guys kind of have a ‘Terminator’-ish feel.” Before the “Terminator” ‘bots can move in on Spears, Diaz drives up in a sports car and whisks her away, where he celebrates by pouring a carton of milk all over himself. “Guillermo kills it in the scene with the milk, he’s hilarious,” Piliero enthused. “And I love Britney’s reaction there; both her reactions where she’s laughing are so good. A lot of people ask about the milk and what the deal with it is, a lot of people have theories too, I don’t need to say what the point is, because I love hearing what people say, so I’ll leave it at that. Same goes with the seashells too.” Cut to the final scene, where we realize that it was all a dream. Spears is at the press conference, shaken out of a daze when Guillermo steps in and tells the reporters, “No more questions,” then hands Spears a handful of those seashells that Piliero won’t explain. He looks back at the camera at the last moment and we see his eyes are robot red, an obvious nod to Michael Jackson’s zombie-green eyes in the last shot of “Thriller.” ” ‘Thriller is one of my favorite music videos ever,” Piliero said. “I remember watching it when I was five, that was what inspired me to become a music video director so I wanted to pay homage to it.” What do you think the milk and the seashells signify in “I Wanna Go”? Share your theories in the comments below. Related Videos Britney Spears’ ‘I Wanna Go’: Frame By Frame Pop References In Britney Spears’ ‘I Wanna Go’ Video Related Photos Britney Spears’ ‘I Wanna Go’ Video: Pop References Related Artists Britney Spears
Finally, a clip of the doomed Wonder Woman TV series longer than a half-second has crawled onto the interwebs for me to share with you. It’s the very beginning of the big fight scene at the end, where Wonder Woman illegally breaks into evil Veronica Cale’s evil drug factory, which is guarded by the group of ridiculously steroid-ridden thugs you see above. Now, three things: 1) The effects weren’t… Broadcasting platform : YouTube Source : Topless Robot Discovery Date : 23/06/2011 22:25 Number of articles : 3
With their new film set to premiere at midnight, Bigger Than the Sound looks back at the Beasties’ authentic but odd history. By James Montgomery Danny McBride, Seth Rogen and Elijah Wood in the Beastie Boys’ “Fight For Your Right Revisted” video Photo: Capitol Back in the summer of 1992, I wasn’t really concerned with the Beastie Boys’ legacy. I wasn’t aware of the seismic shift they had undergone with Check Your Head or the to-the-brink-and-back journey they’d taken just to make the album. Instead, I was focused on getting my Dickies to sag just so and tracking down a pom-pom beanie like MCA wore on the album’s cover. So deep was my Beastie-mania that I was willing to wear a knit cap and khakis in July. In Florida. And I wasn’t alone (at least not in my high school). Because in 1992, everyone I knew lived and breathed the Beastie Boys, and their fantastically rattling comeback album Check Your Head. Of course, at the time, none of us really knew it was a comeback album; we just thought it was the coolest thing we’d ever heard — a fuzzy, funky think that sounded like nothing else on the radio — and, by proxy, the Beasties were the coolest guys on the planet (or, at least, the coolest guys in suburban Orlando). They dressed like skaters, they were obsessed with the ABA and creaky badasses like Richard Holmes and the Ohio Players, and they channeled the swagger of everyone from Columbo to Dolemite. They were, whether they knew it or not, the underground railroad of hip. If you wanted to know what was cool, and you wanted to know before anyone else, you went to the Beastie Boys. It’s only years later that I realize that prescient coolness is what has made the Beastie Boys what they are today: a band whose career rivals any other. They have been together in their current incarnation for nearly 30 years and have released a slew of albums, the overwhelming majority of which are very good (their latest, The Hot Sauce Committee Part Two, is due May 3), but it’s not their longevity or their back catalog that have earned them respect; it’s their unerring ability to continuously reinvent themselves, seemingly at will, and without ever getting snagged the way so many of their contemporaries have. In 1986, with License to Ill, they were party-hearty terrors. On 1989’s epochal Paul’s Boutique, they were stony sample-meisters. Check Your Head saw them zigging at a time when others were zagging; rather than join the debate over just how the ’90s would sound, they decided to head back to the ’70s ( Head remains a decidedly lo-fi thing to this day). Sure, 1994’s Ill Communication was in the same vein, but there also emerged a newfound consciousness, one they’d explore more fully with their series of Tibetan Freedom Concerts. In ’98, with Hello Nasty (and the accompanying “Intergalactic” video), they got a jump on the Kid Robot “designer toy” fetish that broke through to the mainstream late in the 2000s. And on 2004’s To the 5 Boroughs, they returned to their hip-hop roots and celebrated the city in which they live (though, to be honest, the less said about this album the better). In between all that, they released EPs that saw them dabble in hardcore punk and jazzy instrumentals (to name just a few), but never once did anyone bring up the question of authenticity. And there’s a reason for that — the same reason they’ve become the revered act they are today. No matter how they reimagined themselves, it always came from the same place: the heart. There is an unquestionable authenticity to everything the Beastie Boys do, because they’re not doing it to be contrary or successful; they’re doing it because it’s what they want to do. And it’s only now that people seem to realize just how influential that authenticity really is. At midnight Wednesday — on MTV2, mtvU, VH1 Classic and Palladia — they’ll premiere “Fight for Your Right Revisited,” a short film/ career retrospective that includes plenty of nods to their past — it tells the wholly imagined story of what happened after 1987’s legendary “(You Gotta) Fight for Your Right (To Party)” video — but also features cameos by a whole lot of “f— it, let’s do something funny” actors like Will Ferrell and Danny McBride, who were 19 and 11, respectively, when the original video premiered and probably couldn’t help but have been influenced by its sublimely stoopid sentiments, not to mention everything that came after. So, in a lot of ways, Ferrell and McBride are a lot like you or I. They were drawn to the Beastie Boys because they sensed in them something revelatory and real, and they stuck around because neither of those things ever changed. Of course, leave it to the Beasties to turn the convention of career retrospection on its ear. Rather than release some deluxe edition of License, they’ve instead made an incredibly insular short film that rewrites history with each frame. It’s deceptively brilliant, really. And the same can be said for the B-Boys themselves. Without really trying, they’ve fashioned the kind of anti-career that many aspire to, yet few ever attain. And no matter where they go from here, you’ll know it’ll be someplace else entirely. Even if they’re just doing it for themselves. Don’t miss “Fight for Your Right Revisisted” on Wednesday at midnight on MTV2, mtvU, VH1 Classic and Palladia.
