R&B Blossoms, With Hip-Hop in the Rear View

For nearly two decades, R&B took a back seat as rap grew into a cultural powerhouse. But a new class of singers devoted to the genre’s core principles is on the rise.
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Episode 295 Scott Adams: The Smokey View From My Side

Note: Recorded Friday, 11/09/2018 Posting delayed due to fire

Topics: 

  • Rosenstein praised Whitaker as a “perfect choice” to replace him
  • How to confirm we’re in a simulation
  • The new “angry Trump”, very entertaining
    • He tore into two white men at a press conference
    • Fake news focuses on 3 black women he also insulted
  • Will President Trump Federally legalize weed?
    • Prediction: Yes
  • Business model of the news industry is making people angry
    • Profits are being driven by the number of angry people
  • Persuasion is only legal because most people aren’t (yet) very good at it and it can’t be scientifically measured

I fund my Periscopes and podcasts via audience micro-donations on Patreon. I prefer this method over accepting advertisements or working for a “boss” somewhere because it keeps my voice independent. No one owns me, and that is rare. I’m trying in my own way to make the world a better place, and your contributions help me stay inspired to do that.

See all of my Periscope videos here.

Find my WhenHub Interface app here.

 

The post Episode 295 Scott Adams: The Smokey View From My Side appeared first on Dilbert Blog.


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Sir Paul Smith on Independence and Having a Point of View

For Sir Paul Smith, the secret to success is simple: just have a distinctive point of view.
Over the past four decades, the British fashion designer has created a successful business built on the premise of being “classic with a twist.”
In an entertaining and self-depreciating presentation, Smith showcased his colorful and quirky personality — traits that shine through in his clothes, as well.
One thing he’s perhaps most proud of, he said, is being independent. After being introduced as the chief executive officer of the Paul Smith brand, he said: “I didn’t know I was a ceo, I’ve always just been known as the boss. I have a tiny business in comparison to most of you guys out there. We do sell in over 70 countries, but the delicious thing about Paul Smith is we’re still independent. In the morning when I shave the only guy I have to answer to is the guy in the mirror.”
As a result of this independence, Smith said he can “be very spontaneous. I’m very happy to run a relatively small business.”
The magic behind that business begins in an office in Covent Garden that is jam-packed with so many knickknacks, toys, books and memorabilia that the

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Fans gather to view Aretha Franklin’s body in Detroit

LaTonya McIntyre made sure she was first in line outside the Charles H. Wright Museum of African American History in Detroit to say goodbye to Aretha Franklin.


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A Room with a View – James Ivory

James Ivory - A Room with a View  artwork

A Room with a View

James Ivory

Genre: Drama

Price: $ 9.99

Rental Price: $ 3.99

Release Date: March 7, 1986


Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with A Room with a View, the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent-minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit (Julian Sands) she meets on vacation in Florence and the priggish bookworm (Daniel Day-Lewis) to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast—including Simon Callow, Judi Dench, Denholm Elliott, Maggie Smith—and remains a touchstone of intelligent romantic cinema.

© © 1985 Goldcrest Films International.

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‘Billions’ and ‘Trust’ share jaded view of the ruthless rich

Not to say TV loves the eccentric lives of billionaires, but two dramas about them will air opposite each other Sunday: “Trust,” an FX series that’s the second iteration in the last four months of oil magnate J. Paul Getty’s life; and “Billions,” the Showtime series about a hedge fund manager at war with New York’s U.S. attorney.


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Margi Gad Launches Fierce + Regal Activewear With More of a Lifewear Point of View

NO TIMEOUTS: As a former private fine jeweler specializing in diamonds, Margi Gad brings a more gilded approach to activewear with her label Fierce + Regal.
A one-shouldered metallic taupe top, a platinum tunic, capri leggings with two zippers on the hip and a hooded blush-colored overthrow are among the styles. As for similarities between activewear and fine jewelry, Gad said, “Well, they both have a lot of gold. We use a lot of gold accents. This is sort of a gem of an activewear line. It is a glittering jewel in an overcrowded marketplace.”
Taking more of a lifewear approach, the collection relies on primarily Italian fabrics, aiming for more of a luxe touch. The neutral colored activewear can be interchanged with wardrobe pieces. The logo-free, minimalist chic collection lends itself to ready-to-wear, Gad said. “I really wanted something sophisticated.”
The company’s e-commerce business is up-and-running and Gad is committed to selectively building Fierce + Regal’s specialty store base. She connected with specialty stores during her first outing at the recent Active Collective at the Metropolitan Pavilion in Manhattan.
Gad said, “I have always really loved working out and being active, so this really came from a personal need. I found myself running to

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Our Point of View (feat. Lionel Loueke, Ambrose Akinmusire, Marcus Strickland, Kendrick Scott, Robert Glasper & Derrick Hodge) – Blue Note All-Stars

Blue Note All-Stars - Our Point of View (feat. Lionel Loueke, Ambrose Akinmusire, Marcus Strickland, Kendrick Scott, Robert Glasper & Derrick Hodge)  artwork

Our Point of View (feat. Lionel Loueke, Ambrose Akinmusire, Marcus Strickland, Kendrick Scott, Robert Glasper & Derrick Hodge)

Blue Note All-Stars

Genre: Jazz

Price: $ 9.99

Release Date: September 29, 2017

© Blue Note Records;℗2017 UMG Recordings, Inc.

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From a Certain Point of View (Star Wars) (Unabridged) – Renée Ahdieh, Meg Cabot, John Jackson Miller, Nnedi Okorafor & Sabaa Tahir

Renée Ahdieh, Meg Cabot, John Jackson Miller, Nnedi Okorafor & Sabaa Tahir - From a Certain Point of View (Star Wars) (Unabridged)  artwork

From a Certain Point of View (Star Wars) (Unabridged)

Renée Ahdieh, Meg Cabot, John Jackson Miller, Nnedi Okorafor & Sabaa Tahir

Genre: Sci Fi & Fantasy

Price: $ 26.95

Publish Date: October 3, 2017

© ℗ © 2017 Random House Audio

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Montia Sabbag Says Investigators View Her as Victim in Kevin Hart Extortion Case

[[tmz:video id=”0_wtuggpnw”]] Montia Sabbag spent 2 hours with law enforcement Monday and she fielded a slew of questions about who may have secretly recorded her sexual liaison with Kevin Hart and then tried extorting him. We were at Lisa Bloom’s law…

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Google Maps Is Upgrading Street View and You Can Help

Expect to see a new fleet of Google Street View cameras on the road. Their new images, and possibly yours, are helping the company’s artificial intelligence index the world’s places.
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‘A View From the Bridge’: Theater Review


Director of the moment Ivo van Hove’s stunning reappraisal of the 1956 Arthur Miller drama is led by a knockout performance from Mark Strong.

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Parallax View – Allan Leverone

Allan Leverone - Parallax View  artwork

Parallax View

Allan Leverone

Genre: Action & Adventure

Publish Date: November 12, 2013

Publisher: Allan Leverone

Seller: Draft2Digital, LLC


If you're a fan of Mitch Rapp, brought to life by the late Vince Flynn, or of the Brad Thor patriot Scot Harvath, meet your newest hero, Tracie Tanner: It's spring, 1987, late in the Cold War, and CIA clandestine operations agent Tracie Tanner is tasked with what should be a relatively simple mission: deliver a secret communique from Soviet General Secretary Mikhail Gorbachev to U.S. President Ronald Reagan. After smuggling the document out of East Germany, Tracie believes she is in the clear. She's wrong. A shadowy cabal is work, people who will stop at nothing to prevent the explosive information contained in the letter from reaching the White House. Soon, Tanner is knee-deep in airplane crashes and murder, paired up with a young Maine air traffic controller and on the run for their lives, unsure who she can trust at CIA, but committed to completing her mission, no matter the cost…

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Aisle View: ‘Dada’ in the Nursery

2015-11-09-1447106601-5615481-DadaWoof0072rCopy.jpg


John Benjamin Hickey and Patrick Breen
in
Dada Woof Papa Hot. Photo: Joan Marcus

Peter Parnell’s enigmatically-titled Dada Woof Papa Hot — the new Lincoln Center Theater production at the Mitzi Newhouse — turns out to be yet another one of those upper-middle-class-New-Yorkers-with-kids-in-preschool plays which turn up occasionally nowadays, one in which (no surprise) a parent from Couple A has an affair with a parent from Couple B. The difference, here, is that the four parents in question are all men.

“A topical gimmick?” you might ask, “just another variation on the same old tale?” Well, no; while a play of this sort could be contrived by taking a dusty comedy from thirty years back and changing the gender of the two moms, that is not what Parnell has done. The dynamics of the couples — as well as the actions and choices of the straying partners — are very different than they would be in one of those heterosexual-adultery plays. Thanks in part to an especially well-drawn central couple — and a typically excellent performance by John Benjamin Hickey in the main role — Parnell (of Romance Language) has given us a provocative and enjoyable topical comedy for today.

Struggling novelist Alan (Hickey) and breadwinner/psychiatrist Rob (Patrick Breen) — with their heard-but-not-seen three-year-old Nicola, offstage — find their social circle enlarged by parents of other preschoolers. The action begins as they have dinner with another such couple, corporate raider Scott (Stephen Plunkett) and painter Jason (Alex Hurt). While the friendship is child-based, there are clear undertones — from the start — of sex. This, naturally enough, plays out over the course of an hour-and-a-half. Parnell also gives us a third couple, Michael (John Pankow) and Serena (Kelli Overbey); Michael is a composer in a tailspin, having just suffered through a major Broadway flop. (How refreshing, and perhaps drawn from personal experience: Parnell’s one Broadway musical was the misguided, gender-mangled libretto for the 2011 Harry Connick, Jr. revisal of On a Clear Day You Can See Forever.)

Michael, on the heterosexual side, goes off to have an affair with yet another parent, TV actress Julia (Tammy Blanchard); her unseen photographer husband — not surprisingly, given the setup – -turns out to be gay. All through this, mind you, everybody keeps talking about their kids; you know how those upper-middle-class-New-Yorkers-with-kids-in-preschool are.

Parnell brings our attention to another, relatively new source of potential parental friction. There are plays by the dozens — or more likely hundreds — in which the husband thinks that he is not really the baby’s father, or knows that he is not really the baby’s father; or has been told he is not really the baby’s father when he actually is, or has been told that he is when he actually isn’t. In Dada Woof Papa Hot, Alan knows he is not the biological father, having been convinced that Rob likely had healthier genes. Parnell gives us a father who thus feels apart from his child — or more properly, feels that the child senses that he is not the real papa/dada. (“Dada woof papa hot” signify Nicola’s first words, which make sense from a toddler but don’t work quite so well as a play title). This adds yet another layer of confused anguish to Alan’s conundrum, one that is well illustrated by Mr. Hickey; and one that, he comes to realize, is in his mind, not the child’s.

2015-11-09-1447106667-5807029-DadaWoof0025rCopy.jpg

Alex Hurt, John Benjamin Hickey, Stephen Plunkett and Patrick Breen
in
Dada Woof Papa Hot. Photo: Joan Marcus

Hickey — a Tony winner for The Normal Heart — is paired with Breen (who also appeared in The Normal Heart) as the more fatherly of the couple. Standing out among the others is Pankow, as the normal (i.e. straight), philandering musical comedy composer. Scott Ellis, a Roundabout regular, does his most impressive job of direction since Twelve Angry Men back in 2004. There is also a highly effective set — consisting of many moving parts, on interlocking platforms which slide on and off in different wedge-like combinations — by John Lee Beatty.

In Dada Woof Papa Hot, Parnell combines characters we know pretty well — and a situation we know pretty well — in a manner which makes it all seem fresh, involving and convincing. And enjoyable.

Dada Woof Papa Hot opened November 9, 2015 and continues through January 3, 2016 at Lincoln Center Theater’s Mitzi E. Newhouse

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Thousands Sign Petition to Oust Raven-Symone as Co-Host of The View

In the most recent news of Raven-Symone’s controversial career on The View, there is now a petition circulating to remove her as co-host of the daytime talk show. The petition has received over 100,000 signatures…


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'I'm at a loss for words' — the sideline view of Michigan State's miracle win

'I'm at a loss for words' — the sideline view of Michigan State's miracle win
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Raven-Symoné Clarifies Controversial Comments From The View, Swears She ”Never Discriminated Against a Name”

Raven-Symoné is trying to explain herself after recent comments on The View spurred some serious backlash towards the star.

In a Facebook post shared Sunday evening, the…


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London Aisle View: Kidman and Rylance, Stage Door Neighbors

2015-10-10-1444516529-9547497-NicoleKidmanRosalindFranklinbyJohanPersson.jpg

Nicole Kidman in Photograph 51. Photo: Johan Persson

Rosalind Franklin (1920-1958) was a British crystallographer who, in a laboratory at King’s College in London, was able to capture the key to DNA on an x-ray. This led directly to the discovery of the double helix and, ultimately, a Nobel Prize. But not for Franklin; it seems that the telltale x-ray (“Photograph 51”) was more or less pilfered by Franklin’s research partner Maurice Wilkins. He ultimately shared the Nobel with James Watson and Francis Crick, while the contribution of Franklin–who by that point had died of ovarian cancer–was more or less left in the dust.

The second-biggest surprise of Anna Ziegler’s new play, Photograph 51, is that Ziegler has managed to take this drily historic tale and turn it into an engrossing scientific whodunit, or rather who’lldoit. Ziegler is an American playwright, whose A Delicate Ship was well-received in August in an off-Broadway production by the Playwrights Realm. In Photograph 51–produced and directed by Michael Grandage, of Frost/Nixon and Red–the drama more or less bristles.

Franklin’s failing, in Ziegler’s telling, was not so much that she was Jewish and she was a woman, but that she didn’t play well with others; said others being white male Christians who see no impropriety in taking the fruits of her labor and would think nothing of sending her to the back of the lab to make a pot of tea.

The biggest surprise in Photograph 51, though, is the performance of Nicole Kidman as the fair Rosalind. Kidman has had an impressive film career, including a 2003 Oscar for “The Hours,” but I–not having seen her on stage (and, literally, in the flesh) since David Hare’s overhyped but underwhelming Blue Room in 1998–was not prepared for the Kidman now on the stage of the Noël Coward. She carries the play, seemingly effortlessly; Rosalind–as drawn by Ziegler–stands out as the victor in a world of men, and Kidman does the same. We never, for a moment, doubt the character’s strength; and Kidman’s great strength in Photograph 51 is that we see and believe in Franklin all through without the distraction that can intrude when–in mid-performance–the folks in the audience remember that that’s a movie star up there.

Grandage’s compelling work is no surprise, nor are the contributions of his frequent designer Christopher Oram (of Frost/Nixon, Red and Wolf Hall). Stephen Campbell Moore makes a perfect foil as Rosalind’s lab partner Wilkins, with amusing turns by Will Attenborough as Watson (with upstanding hair that looks like it was permanently jolted over in the electrics lab) and Patrick Kennedy (as a young colleague from America). But it’s Kidman who brings life to Ziegler’s Photograph 51.

. . .

2015-10-10-1444518115-7723292-MarkRylancePhilippeVinFarinelliandtheKing.PhotographybySimonAnnandCustom.jpg.jpg

Mark Rylance in Farinelli and the King. Photo: Simon Annand

Another electric performance is on view down the block at the Duke of York’s. No present-day theatergoer will be surprised by this; given that it’s Mark Rylance on the boards, the surprise would be if the performance were not commanding.

Renaissance music expert Claire van Kampen might not be familiar by name, although anyone who attended Rylance’s 2013 Twelfth Night/Richard III at the Belasco will attest to her abilities as composer and musical director. She is a long-time artistic associate of Rylance, and wife as well. Her musical interests no doubt brought her attention to the strange tale of King Philippe V of Spain–grandson of the Sun King, Louis XIV of France–and the internationally-famous Italian castrato, Farinelli (Carlo Broschi). In 1737, Farinelli visited the court of the bipolar Philippe, and his golden voice seemed to lift the King out of his depression. So much so, that the singer spent an extended period with Philippe in Madrid and the Spanish countryside.

Van Kampen has turned the tale into a full-scale drama, loaded with selections by Handel. In Philippe–who begins the action infirmly sprawled on his bed, fishing for goldfish in a fishbowl–she has contrived a perfect role for Rylance. He is well matched by Sam Crane as Farinelli and Melody Grove as Philippe’s Queen Isabella. The three stars are joined by Iestyn Davies, who sings the role of Farinelli. Van Kampen and Dove simply have him stand onstage beside Crane, in identical costume, and sing like a falsetto canary–and this works extremely well.

2015-10-10-1444518320-6178510-IestynDaviesFarinellisingerMarkRylancePhilippeVandSamCraneFarinelliinFarinelliandtheKing.PhotographybySimonAnnandCustom.jpg.jpg

Iestyn Davies, Mark Rylance and Sam Crane in Farinelli and the King.
Photo: Simon Annand

At times, the triangle and all that music make us think that van Kampen was somehow thinking–consciously or un–of Peter Shaffer’s Amadeus. There are also moments, I’m afraid, where you might feel maybe you’d rather be watching Rylance in Shaffer’s Amadeus.

Even so, van Kampen and Rylance have given us a juicy, bounteously musical evening. John Dove has directed the production, which originated at Shakespeare’s Globe, and it is sumptuously designed by Jonathan Fensom. The musicians adorn a balcony overlooking the action; a couple dozen ticketbuyers are seated in onstage boxes; and the action spills out into the auditorium. There is also an arresting sequence in which the singing Farinelli flies, in this historic playhouse which hosted the original 1904 production of Peter Pan.

.

Photograph 51, by Anna Ziegler, opened September 14, 2015 and continues through November 21 at the Noël Coward Theatre. Farinelli and the King, by Claire van Kampen, opened September 29, 2015 and continues through December 5 at the Duke of York’s Theatre

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The Purple Bough: A Bisexual’s View of an Interfaith Conference

As a divorced bisexual man now remarried, I am — to borrow the words of writing guru Robert McKee — a “recovering Catholic.”

Don’t get me wrong: I’ve always had respect for other people’s faith, regardless of their religion. Well before I had an opinion on the matter, I was baptized in the name of the sixth century Irish hermit — Kevin. By the time I’d received first communion and was confirmed, I had a hat-trick of saints’ names in total. Sunday mass was an obligation, not an option. And to this day, my mother, a devout believer, still drops what she’s doing to say rosaries for loved ones and people in need.

Thanks to my parents’ sacrifices, I had the good fortune to study under Jesuits in high school. And again later, I ran into their unique brand of education while earning my Master’s degree at Boston College. Ironically, those men of faith taught me how to think critically and examine my world objectively — effectively giving me the tools to question everything I was taught and inspiring me to choose my own path in life. Over time, I found my personal beliefs moving away from some of those the Catholic Church taught, especially when it came to matters surrounding sexual orientation and gender identification. As a result, the people I turned to for support when I was outed were mostly those of the bisexual community, not any faith-based congregation.

So I was taken by surprise when a few days after attending the 2015 White House Bisexual Community Policy Briefing, I received an invitation from Kimberly Konkel, Associate Director for Health at the Department of Health and Human Services, to the second annual meeting of “Building Resilient Communities Through Trauma-Informed Congregations.”

At the White House, Kimberly and I had spoken briefly about my backstory and the work I’m doing to heal stigma. Still, I had to check with her when I saw the invite. Kimberly assured me that since the stigma surrounding many traumas is often what keeps people from seeking help, my input would be appreciated.

A week later, I found myself sitting in the rooftop conference room of the Hubert H. Humphrey building in Washington D.C., along with approximately 50 other attendees.

As the only invited bi+ leader, this experience was markedly different from my last visit to our nation’s capital, when I’d been part of a large group of like-minded individuals with similar motivations for attending. This time, as far as I could tell, the majority of the attendees were religious leaders of various faiths. Other than Kimberly, I didn’t see a single familiar face. To say that I felt out of place would be an understatement.

The meeting kicked off with attendees saying a few words about themselves and their communities. The first half-dozen people to speak were pastors, priests, ministers and other religious leaders representing a variety of congregations.

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Group photo, Building Resilient Communities Through Trauma-Informed Congregations, 2nd Annual Meeting. Image courtesy of the U.S. Department of Health and Human Services.

I listened to one after another speak sincerely about helping those most vulnerable. And instead of feeling more out of place, I came to understand why Kimberly had invited exactly this mix of people to this discussion. Due precisely to our diversity, each of us was a trusted leader in our respective communities. And because of that trust, we were all first responders to trauma.

When my turn came, I proudly introduced myself as a board member of the Bisexual Resource Center and member of the Bisexual Leadership Roundtable. I shared the sad truth that things don’t necessarily get better for bisexuals as they grow older, since they suffer higher rates of suicide and attempted suicide than their heterosexual, gay and lesbian peers. Finally, I stated my reason for attending the meeting: “I’m here to save lives.”

As I looked around the room, I could tell that my words had greatly touched others. I’d voiced what I suspect the overwhelming majority had on their minds. Every life we lose to violence, intolerance, addiction or suicide is one too many, no matter what god that person worshipped; no matter the color of his or her skin; no matter his or her sexual orientation or gender.

As it turned out, I wasn’t the only non-religious leader there. I had the pleasure of meeting Mark Charles of 5 Small Loaves, a Native American leader advocating for racial reconciliation, as well as Tim Kelly of the Survivors of Torture Program at the Office of Refugee Resettlement, HHS. I was also pleased to meet Rainbow Youth Alliance founder Stephanie Kreps, who spoke eloquently of the ongoing necessity of providing safe spaces and support for our LGBTQ youth.

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Kevin Hogan, Stephanie Kreps and Kimberly Konkel. Image copyright: Kevin Hogan.

What I learned in those few short hours was incredibly important: across our nation, communities and congregations are in dire need of successful strategies to combat poverty, addiction, abuse, violence, sex trafficking, mental health issues and toxic stress, to name but a few. The stigma that surrounds each of these matters is oftentimes a hurdle in getting the individuals who need it the help they deserve.

Logically, if leaders aren’t trained to recognize and treat trauma, their own community members won’t receive appropriate support. Instead of healing, they could very likely become retraumatized. By establishing a team consisting of diverse community leaders, Associate Director of Health Kimberly Konkel has effectively created an interfaith, cross-cultural network aimed at sharing information and developing best practices for recognizing and treating trauma and its associated problems in a humane, respectful and holistic manner.

At the end of the day, I was struck by an important realization: empathy that extends to all communities is the most important factor in creating a trauma-informed society. And that’s why, in the year ahead, I’m honored to collaborate with all of the leaders I met that day, religious or not, to create resilient, trauma-informed communities that work together to better serve those who need it most.

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View from the Top – Eric Wald & Bruno Barreto

Eric Wald & Bruno Barreto - View from the Top  artwork

View from the Top

Eric Wald & Bruno Barreto

Genre: Comedy

Price: $ 9.99

Rental Price: $ 2.99

Release Date: February 9, 2003


Academy Award-winning actress Gwyneth Paltrow (SHAKESPEARE IN LOVE, Best Actress, 1998; SHALLOW HAL) stars in this hilarious comedy, about a small-town girl who's about to get a taste of the big-time world! No one thought Donna (Paltrow) would go very far. But when she sets her sights on becoming a first-class international flight attendant, Donna throws caution to the wind and takes off in pursuit of her dream! The ride is anything but smooth, however, and Donna's laugh-packed journey of a lifetime is rocked by more turbulence than she bargained for! Also starring Christina Applegate (TV's "Married With Children"), Rob Lowe (AUSTIN POWERS TRILOGY, TOMMY BOY), Kelly Preston (WHAT A GIRL WANTS, JERRY MAGUIRE) and Candice Bergen (SWEET HOME ALABAMA, MISS CONGENIALITY), this charmingly funny treat will send your spirits soaring!

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I Was Divorced By 30 And It Totally Changed My View On Marriage

2015-09-25-1443204316-422753-AloneonSwing.jpg

When I was younger, I always pictured that I would get married, have a nice house, raise a few kids and retire with some money in the bank. I vowed that if I did get married I would never let it end in divorce. I assumed that I would marry someone who would always reciprocate my love and together we would take on the world, trusting that neither of us would ever dare hurt the other. I saw marriage as a magical venue full of hope and growing, a partnership intertwining friendship and intimacy. I believed that marriage truly would bind two souls together and hold them tight through even the wildest storms.

And now, after battling the storm and finding out that some bindings just don’t hold as tight, I find myself drenched in conflicting emotion and drowning in contradictions. A part of my naïve heart wants to keep believing in the dreams of marriage I had before, but the divorced part of my mind insists on cynicism. It’s a battle I struggle with often and I try to be an optimist and see marriage in the positive light I used to but sometimes it’s hard. Sometimes it just doesn’t make sense to me like it once did.

My views on marriage have changed drastically in the past year, not specifically on the institution itself, as I still see the value that many religions place upon it as well as the non-religious benefits of sharing such a deep union with another person. I still respect marriage and the people close to me who choose to take that path. Never would I tell someone that marriage is not the right choice, because as previously mentioned, my heart still remains hopelessly in love with love.

But it has a different meaning now. It no longer means ’til death do us part. Marriage no longer feels like it could be forever and in turn, feels cursory. The wedding, the ring, the vows, the spectacle — I did it, I believed in it, and it let me down so I have begun to place my hope in strong relationships instead of the idea of marriage itself. The wedding industry plays tricks on people’s minds and makes us believe we need to get married to secure our relationship. We need a white dress and a diamond to add significance to what should already be a strong union. Yes, I did the big hurrah and it was an amazing day, but would I do it again? Most likely not.

Because what getting divorced at such a young age has taught me is that the relationship you have with someone matters more than the actual wedding and the marriage that follows. My views have shifted from needing a marriage to fulfill the life I pictured in my younger years to knowing that a piece of paper and an exchange of vows doesn’t change much of anything. You still wake up the next day and everything feels the same.

I try to view my change of heart in a positive light and consider it a lesson learned. My belief in marriage and my views on such a union have definitely been tainted and as much as I say I would never get married again, I know that I can’t predict the future. I know that if love happened for me once more, I would consider marriage but in a completely different light than the first time around.

The thing I want most if I do end up married again is a solid foundation. A relationship that can weather any storm, whether there’s a formal wedding involved, a simple ceremony at city hall, or maybe no legal binding at all. My views on marriage have shifted from superficial to entirely sensible. I believe that people can technically be married even though there are no documents to prove it. I believe that serious relationships that are strong and cohesive are just as meaningful as those that include marriage. I believe that people need to stop putting so much emphasis on buying or receiving a ring and instead put that energy into bettering themselves and their partnership. At the end of the day, I respect every single couple’s choice of how they want to solidify their partnership but I encourage everyone to include love, trust, and respect in their union no matter what path they choose.

I’ll continue on my own path, edging the line of hopefulness and cynicism, knowing one thing for sure: My divorce changed me in a way I could have never predicted and in a way I know some can’t understand. But realizing that my beliefs are able to shift and adjust as I continue to grow proves that I am maturing; and, in reality, that is what I really hoped for when I was younger.

If you divorced in your 20s and learned a lot about love, life and yourself in the process, we’d love to hear your story for our series, Divorced By 30. Send us a 500-800-word essay or an idea for a blog post to divorcedby30@huffingtonpost.com

Also on HuffPost:

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Tyler Thomas Evades Cali Madness On New Birds I View EP [LISTEN/DOWNLOAD]

Like we told you beforehand, Tyler Thomas is lyrically inclined but still cool enough to rock a party with a blunt behind his ear. The Los Angeles Hip-Hopper’s formal debut in the form of the Birds I View EP.

Over the course nine tracks produced by The Stereotypes, the curious Cali kid brings listeners into his world that juggles life through a cloudy mind and punching the clock on an insatiable paper chase quest.

The ode to his neighborhood–“Lincoln Ave”–doubles as the project’s opener and its coinciding video also dropped today as well.

Listen and download Thomas’ Birds I View EP down below and check out his official site to peep all the videos he’s released thus far.

tyler-thomas-birds-i-view-front
tyler-thomas-birds-i-view-back


Photo: Instagram / Tyler Thomas

The post Tyler Thomas Evades Cali Madness On New Birds I View EP [LISTEN/DOWNLOAD] appeared first on Hip-Hop Wired.

Hip-Hop Wired

Take a ‘View’ of Elisabeth Hasselbeck’s picture-perfect Connecticut colonial

“The View” alum Elisabeth Hasselbeck has listed her seven-bedroom colonial in Greenwich, Connecticut, for $ 4.8 million. It includes a pool.


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Cracked Rear View – Hootie & The Blowfish

Hootie & The Blowfish - Cracked Rear View  artwork

Cracked Rear View

Hootie & The Blowfish

Genre: Pop

Price: $ 9.99

Release Date: July 1, 1994

© ℗ 1994 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. All Rights Reserved. Made in U.S.A. Warning: Unauthorized reproduction of this recording is prohibited by Federal law and subject to criminal prosecution. 82613-2

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New Photo: The Rear View on Allison Williams’ Wedding Dress Is Everything

If you were freaking out over the front of Allison Williams’ wedding dress, just wait ’til you see the rear view. Four days after marrying College Humor founder Ricky Van Veen in a top-secret ranch…


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“Everest” Is a Stunning View of Man vs the Elements

Movie Review – Jackie K Cooper
“Everest” (Universal Pictures)

“Everest” is a movie of grandeur and beauty. This is because cinematographer Salvatore Totino made the mountains of Nepal his star and created one breathtaking sweeping shot after another. If ever a movie justifies the large screen, 3-D experience this one does, for this is a visual film from beginning to end. Because of this emphasis on the scenic the depth of the characters’ stories are trimmed, but it doesn’t matter. You still have a totally visceral experience due to the majesty of the mountain.

The story is based on the true experience of two teams of mountain climbers who head to the top of Mount Everest in the early months of 1966. Leading the teams are Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal), two men who have a lot of experience making this climb. The film focuses on the initial meetings with the climbers and continues through the descent from the top of Everest. In between there is a lot of drama and death.

Even though there is not a lot of depth to Clarke’s character this is his breakout role. He is the leading man of this movie and you never forget it. He has been circling stardom for some time now and this movie is where he gets that one big break. As his wife Jan, Keira Knightley brings an emotional clout to the story another less talented actress might have squandered.

There is a rich, supporting cast in this film. Robin Wright is a cold, standoffish wife, Josh Brolin is a brash Texas moneyman, Emily Watson is the business person behind the climb, and Michael Kelly is Jon Krakauer, the man who wrote a book about the climb. Gyllenhaal is touted as being one of the stars but his too is mainly a supporting role.

The film raises the question as to why people would attempt such a wild adventure as climbing Everest. They certainly aren’t kids off on a fling as they all appear to be over forty. But the answer is never found or shown. The mountain is just there and it is the highest point in the world. And as one character gloomily reflects, “The mountain always gets the last word”.

The film is rated PG-13 for violence.

“Everest” is worth seeing because of the visual beauty and daring camerawork involved. The story itself is a downer and makes the folly of such a trek the idea you remember most. If you do decide to see it make sure you get the 3-D, large screen treatment. It is so involving you leave the theater checking for frostbite.

I scored “Everest” an icy 7 out of 10.

Jackie K Cooper
www.jackiekcooper.com

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‘The View’ — Big Advertisers Pull the Plug After ‘Nurse’ Comments

“The View” may need a nurse to stop the bleeding, because TMZ has learned 2 major advertisers have cut the cord after the women went off on the nursing profession. Johnson & Johnson and Eggland’s Best are pulling ads from…

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Raven-Symoné Hosts Epic That’s So Raven Reunion at The View, Teases Exciting Project With the Disney Cast

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A Room with a View – E. M. Forster

E. M. Forster - A Room with a View  artwork

A Room with a View

E. M. Forster

Genre: Classics

Price: $ 0.99

Publish Date: April 22, 2014

Publisher: Open Road Media Romance

Seller: OpenRoad Integrated Media, LLC


One of English literature’s most inspiring love stories Lucy Honeychurch is a young woman torn between the opposing values of gray old England and vibrant Italy in this unforgettable story of romance and rebellion. On a trip to Florence with her older cousin and chaperone, Lucy becomes enchanted by a freedom unlike any she has known at home. The excitement she feels when she is with George Emerson, a fellow boarder at the Pension Bertolini, is as exhilarating as it is confusing, and their intoxicating kiss in a field of violets threatens to turn her whole world upside down. Back at Windy Corner, her family’s Surrey estate, Lucy must finally decide if the power of passion is greater than the force of expectation. Widely recognized as one of the finest novels of the twentieth century, A Room with a View is E. M. Forster’s most hopeful work and a truly timeless romance. This ebook has been professionally proofread to ensure accuracy and readability on all devices. “E. M. Forster is for me the only living novelist who can be read again and again and who, after each reading, gives me what few writers can give us after our first days of novel-reading, the sensation of having learned something.” —Lionel Trilling Edward Morgan Forster (1879–1970) was born in London and attended the Tonbridge School and King’s College, Cambridge. A substantial inheritance from his aunt gave Forster the freedom to pursue a literary career and travel extensively, and he wrote some of the finest novels of the twentieth century, including A Room with a View , A Passage to India , and Howards End . Queen Elizabeth II awarded him the Order of Merit in 1969. 

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Aisle View: Fall from Grace

2015-07-16-1437069781-4940349-3759.jpg

Josh Young in Amazing Grace. Photo: Joan Marcus

Let us start by enumerating the positive aspects of Amazing Grace, the new Broadway musical at the Nederlander. The authors and producers seem to be very much in earnest in this anti-slavery, pro-faith tale of the mid-18th century. They provide something of a history lesson, based on the life, adventures and religious conversion of slave trader John Newton (1725-1807).

Josh Young, best known hereabouts for his appearance as Judas in the 2012 revival of Jesus Christ Superstar, gives an admirable-under-the-circumstances performance as the cruel and vicious hero. Erin Mackey (Chaplin), in the underwritten role of Mary Catlett, The Girl Who Loves Him Anyway, is even better; whenever she comes on, the proceedings brighten. The most impressive performances come from Chuck Cooper (a Tony-winner for The Life) and Laiona Michelle. Both play faithful servants, from childhood, of John and Mary; both, in the second act, find themselves stripped of their genteel respectability and brutally treated as the slaves they are. This gives them the chance to sing big, grand solos that would stop most other shows.

At the press preview attended, both numbers received a standing ovation–from one audience member. This fellow–an investor or one of the creators, perhaps?–offered the same response four times over the course of the evening. I’ve seen many a play, from either side of the footlights, but never a performance which received four, one-man standing ovations. The late Charles Lowe regularly enhanced ovations when Mrs. Lowe (AKA Carol Channing) was onstage, but he never comprised a cheering section of one.

2015-07-16-1437069720-6055696-3765.jpg

Erin Mackey in Amazing Grace. Photo: Joan Marcus

The 18th century costumes come from Toni-Leslie James, frequent collaborator of director George C. Wolfe, and they might be the most successful element of the evening. The shipboard scenery by Eugene Lee and Edward Pierce is stunning at times, although it suffers from the fate of many such unit sets; no matter where we are–in genteel England, in a living room, in the African jungle–it always seems like they are acting on deck. The first act finale, which represents an underwater rescue, offers a remarkably good effect from the set designers, lighting designers Ken Billington and Paul Miller (who also contribute to some effective nautical vistas), and director Gabriel Barre.

On the other hand, alas, we have the rest of it. Amazing Grace earns a place right alongside the Aimee Semple McPherson musical, Scandalous, and the Shroud of Turin musical, Into the Light; not because of the faith-based subject matter, but due to the overall effect. There is nothing wrong with bringing to Broadway a new musical written by a newcomer; both The Music Man and 1776 came from first-timers, although both were professional musicians with pop song hits to their credit (and both had composed incidental music for Broadway plays). In this case, the program bio of Christopher Smith–“the concept creator, composer, lyricist and co-author of the book”–proudly states that this is his “first work of professional writing.” While there is indeed a lightning strike on the stage of Nederlander, it comes courtesy of the electrician.

The big song in the show, if you wish to consider it as such, is “Amazing Grace,” which was written by Mr. Newton in 1779. Well, not precisely; Newton wrote the words in 1779. The hymn was apparently first published with music in 1808, after Newton’s death. The musical setting in use today seems not to have been devised until 1835, in good ol’ Kentucky. The plot itself is not especially accurate, although there’s no reason it need be; let it be noted that while Newton did indeed have a spiritual conversion after his rescue from African savages (don’t ask) in 1748, he continued as a slave ship captain until 1754. Newton didn’t renounce slavery until 1788, when he was 63–a good thirty years after the events onstage.

The “Amazing Grace” song is used as epilogue and curtain call, serving to insistently urge the audience to stand, raise their hands, and sing along. That might indeed be the general reaction to show and song at some performances; in front of a preview audience at the Nederlander the other night, though, a fair portion of the people standing at the end were not singing but streaming towards the exit. One also wonders about the advisability of staging a scene–depicting seven black slaves chained in a cage so small that they can’t sit upright–by cramming seven black Actors’ Equity members into an actual cage. This gets the point across, yes, but I found myself concerned less about the characters and more about the performers.

2015-07-16-1437069661-1972728-3748.jpg

Chuck Cooper in Amazing Grace. Photo: Joan Marcus

In speaking of faith-based musicals, it was often stated–and universally proven–that you don’t have to be Jewish to love Fiddler on the Roof. I don’t expect the producers of Amazing Grace will find a happy parallel.
.

Amazing Grace opened July 16, 2015 at the Nederlander Theatre

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A Photographer’s View of New York Men’s Fashion Week

Erik Madigan Heck collaborated with 16 designers on an exhibit that highlights the ultility and texture of menswear.
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Raven-Symone Gets Owned On Air By By ‘The View’ Co-Host

Raven was talking about taking pictures with fans instead of signing autographs when her co-host asks her if she’s ‘that famous’.

The ownage happens :45 into the video.

Filed under: Trending, Videos Tagged: owned, Raven Symone, The View
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Rosie Perez Is (Really) Leaving ‘The View’

Rosie Perez is leaving ABC’s “The View” — apparently for real this time.

ABC News reports that the Oscar-nominated actress will not be returning to the talk show next season. The 50-year-old, who joined “The View” last September, is said to be leaving the program to pursue “her love for acting” full-time. She’s currently starring in Larry David’s Broadway play “Fish in the Dark.”

“Stepping into the role of talk show host at the same time she has been starring on Broadway has been incredibly impressive,” Executive Producer Bill Wolff said in an email to staff, per ABC. “And beyond being an enormously talented performer, Rosie is a dedicated advocate who has brought passion and insight to the panel every day … [She] will always be a part of ‘The View’ family, and we will welcome her back as a guest anytime to catch up.”

This isn’t the first time that reports have surfaced about Perez’s impending departure from the show. In January, Variety reported that Perez had been fired from “The View” after ABC executives determined that she wasn’t the “right fit.” However, ABC is said to have “backpedaled on the plan,” and Perez stayed on the air.

It remains unclear who will be filling Perez’s seat on the show. Her last day will be in August.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



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8 Facts That’ll Change How You View ‘How I Met Your Mother,’ According To Alyson Hannigan

For everyone who thinks they know everything about “How I Met Your Mother,” prepare to be lawyered.

Alyson Hannigan, otherwise known as Lily Aldrin, has been busy since the show ended a little more than a year ago. She’s had her hands full with being a mom, has a role in a new film called “Modern Love” and she’s even working with Ball Park’s Finest hot dogs, which she did admit, though she “usually” doesn’t try to brag, looked so good after she cooked them over a campfire that they wouldn’t even need a filter on Instagram.

During a short reprieve from her busy schedule, Hannigan took some time to chat with The Huffington Post about some behind-the-scenes stories from “HIMYM.” Prepare yourself: they might change the whole way you look at the show.

1. The cast talked about having an intervention for all of their puns.

Image: Netflix

When asked if the cast had any interventions that didn’t make the show, Hannigan said, “We talked about needing an intervention for ourselves to stop making so many puns. We would just pun for hours and hours and hours. It was great, but we were like, ‘We might have a problem,’ but we enjoyed it.”

The puns all started when a guest star mentioned the magazine Cat Fancy, Hannigan added: “We started having cat puns, and we had an afternoon of punning anything about cats. Fancy that!”

2. Alyson Hannigan’s real kid was fired from the show.



One of Hannigan’s kids was slated to play Lily and Marshall’s second child, but then she got some disappointing news. “They fired my kid from that role. She was gonna be the baby, but [producer] Carter Bays was like, ‘Nope. She’s too old,’ and she got replaced,” Hannigan said.

“I was like, ‘You fired my child. First of all that’s ageism. I don’t think you’re allowed to fire her because she’s too old,'” she joked.

3. The Cockamouse was real.

Image: PopSugar

The Cockamouse was the mysterious hybrid creature that Marshall and Lily found in their apartment, and though it seems like something someone made up, like the “South Park” monster ManBearPig, it turns out this was based on a real story.

“Yes, that is based on a story that happened to [producer] Kourtney Kang in New York in an apartment she lived in,” says Hannigan. She continued, “They were not sure if it was a cockroach or a mouse. And they’re pretty convinced it must’ve been both and it did fly away.”

To that, HuffPost responded, “Are you freaking kidding me?” Hannigan said, “I don’t think it flew out of the window, but it flew.”

4. The cast originally wanted Victoria to be the mom.
himym

“Early on, I wanted Victoria to be the mom,” Hannigan said. “I guess Carter later said had we got canceled she would’ve been the mom. But, you know, somebody great would come on [the show] and we would be like, ‘Yeah, we want her to be the mom,’ so it was sort of just like whoever was on for a long period of time. We’re like, ‘Let her be the mom. Let her.’ We just loved everybody.”

5. Some of the cast knew early on that the mom would die.

Image: Giphy

Actor Josh Radnor was told about the major “HIMYM” finale twist during Season 1 of the show and Hannigan actually found out early as well. They had to film a lot of reactions for Ted Mosby’s kids early in the series that would then air in later seasons, the actress said, and after that some “whisperings” started getting out that the series would end with the mom’s death.

“I knew that was the case,” said Hannigan. “I didn’t know who the mom was going to be, but I did know that the reason he was telling all these stories is because she passed away, which was very sweet.”

6. Producers were worried Alyson Hannigan and Cristin Milioti looked too similar.
180792549

Hannigan says the whole process of finding the right actress to play the mom was “very secretive” and caused some suspicion around set when trailers that would “never be locked” suddenly were. Hannigan says she first met the mother, Cristin Milioti, in a makeup trailer because producers wanted to see how the pair looked side by side.

“They wanted to look at us next to each other to see if they were going change her hair or something because they were a little worried that we looked similar, so I had to go stand next to her and we had some people look at us together,” she said.

7. Alyson Hannigan was the reason Lily never had a musical number.

Image: Giphy

Each of the main cast members on “HIMYM” had a musical number except for Lily — and it turns out there was a good reason for that.

“I begged them not to make me,” said Hannigan. “Yeah, singing has never been something that I wanted to do publicly. It’s actually like a phobia. I know it sounds weird, but it has always been that way. And then I find myself in these shows that want to do musicals, and I’m like, ‘Noooooo!'”

Hannigan says she has gotten better when it comes to singing, but she’s “not gonna be dropping an album anytime soon.”

8. If it was up to Jason Segel, “HIMYM” would have a Hanukkah reunion show.

A photo posted by Jason Segel (@jasonsegel) on



The actress told HuffPost she’d definitely be into a “HIMYM” reunion and that Jason Segel was actually coming up with some ideas during the finale.

“Jason was pitching some really funny specials, like a Hanukkah special and all these things with Carter. It was quite funny… Carter said we could do eight Hanukkah specials. One for each night. I’d be up for it,” she said.

In the words of Barney Stinson, that sounds pretty legen …

Image: Mtvnn

All images courtesy of CBS unless otherwise noted.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



Entertainment – The Huffington Post
Entertainment News-Visit Adults Playland today for the hottest adult entertainment online!

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8 Facts That’ll Change How You View ‘How I Met Your Mother,’ According To Alyson Hannigan

For everyone who thinks they know everything about “How I Met Your Mother,” prepare to be lawyered.

Alyson Hannigan, otherwise known as Lily Aldrin, has been busy since the show ended a little more than a year ago. She’s had her hands full with being a mom, has a role in a new film called “Modern Love” and she’s even working with Ball Park’s Finest hot dogs, which she did admit, though she “usually” doesn’t try to brag, looked so good after she cooked them over a campfire that they wouldn’t even need a filter on Instagram.

During a short reprieve from her busy schedule, Hannigan took some time to chat with The Huffington Post about some behind-the-scenes stories from “HIMYM.” Prepare yourself: they might change the whole way you look at the show.

1. The cast talked about having an intervention for all of their puns.

Image: Netflix

When asked if the cast had any interventions that didn’t make the show, Hannigan said, “We talked about needing an intervention for ourselves to stop making so many puns. We would just pun for hours and hours and hours. It was great, but we were like, ‘We might have a problem,’ but we enjoyed it.”

The puns all started when a guest star mentioned the magazine Cat Fancy, Hannigan added: “We started having cat puns, and we had an afternoon of punning anything about cats. Fancy that!”

2. Alyson Hannigan’s real kid was fired from the show.



One of Hannigan’s kids was slated to play Lily and Marshall’s second child, but then she got some disappointing news. “They fired my kid from that role. She was gonna be the baby, but [producer] Carter Bays was like, ‘Nope. She’s too old,’ and she got replaced,” Hannigan said.

“I was like, ‘You fired my child. First of all that’s ageism. I don’t think you’re allowed to fire her because she’s too old,'” she joked.

3. The Cockamouse was real.

Image: PopSugar

The Cockamouse was the mysterious hybrid creature that Marshall and Lily found in their apartment, and though it seems like something someone made up, like the “South Park” monster ManBearPig, it turns out this was based on a real story.

“Yes, that is based on a story that happened to [producer] Kourtney Kang in New York in an apartment she lived in,” says Hannigan. She continued, “They were not sure if it was a cockroach or a mouse. And they’re pretty convinced it must’ve been both and it did fly away.”

To that, HuffPost responded, “Are you freaking kidding me?” Hannigan said, “I don’t think it flew out of the window, but it flew.”

4. The cast originally wanted Victoria to be the mom.
himym

“Early on, I wanted Victoria to be the mom,” Hannigan said. “I guess Carter later said had we got canceled she would’ve been the mom. But, you know, somebody great would come on [the show] and we would be like, ‘Yeah, we want her to be the mom,’ so it was sort of just like whoever was on for a long period of time. We’re like, ‘Let her be the mom. Let her.’ We just loved everybody.”

5. Some of the cast knew early on that the mom would die.

Image: Giphy

Actor Josh Radnor was told about the major “HIMYM” finale twist during Season 1 of the show and Hannigan actually found out early as well. They had to film a lot of reactions for Ted Mosby’s kids early in the series that would then air in later seasons, the actress said, and after that some “whisperings” started getting out that the series would end with the mom’s death.

“I knew that was the case,” said Hannigan. “I didn’t know who the mom was going to be, but I did know that the reason he was telling all these stories is because she passed away, which was very sweet.”

6. Producers were worried Alyson Hannigan and Cristin Milioti looked too similar.
180792549

Hannigan says the whole process of finding the right actress to play the mom was “very secretive” and caused some suspicion around set when trailers that would “never be locked” suddenly were. Hannigan says she first met the mother, Cristin Milioti, in a makeup trailer because producers wanted to see how the pair looked side by side.

“They wanted to look at us next to each other to see if they were going change her hair or something because they were a little worried that we looked similar, so I had to go stand next to her and we had some people look at us together,” she said.

7. Alyson Hannigan was the reason Lily never had a musical number.

Image: Giphy

Each of the main cast members on “HIMYM” had a musical number except for Lily — and it turns out there was a good reason for that.

“I begged them not to make me,” said Hannigan. “Yeah, singing has never been something that I wanted to do publicly. It’s actually like a phobia. I know it sounds weird, but it has always been that way. And then I find myself in these shows that want to do musicals, and I’m like, ‘Noooooo!'”

Hannigan says she has gotten better when it comes to singing, but she’s “not gonna be dropping an album anytime soon.”

8. If it was up to Jason Segel, “HIMYM” would have a Hanukkah reunion show.

A photo posted by Jason Segel (@jasonsegel) on



The actress told HuffPost she’d definitely be into a “HIMYM” reunion and that Jason Segel was actually coming up with some ideas during the finale.

“Jason was pitching some really funny specials, like a Hanukkah special and all these things with Carter. It was quite funny… Carter said we could do eight Hanukkah specials. One for each night. I’d be up for it,” she said.

In the words of Barney Stinson, that sounds pretty legen …

Image: Mtvnn

All images courtesy of CBS unless otherwise noted.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



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Odd Mom Out Stars Jill Kargman and KK Glick Tour Brooklyn From a Manhattan Chick’s Point of View

Bravo's witty Odd Mom Out has given us a hilarious (semifictional) look inside the lives of Upper East Side Manhattan moms, but what happens when you transplant them into the Brooklyn hipster scene? Tonight on…


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Morning View – Incubus

Incubus - Morning View  artwork

Morning View

Incubus

Genre: Alternative

Price: $ 5.99

Release Date: October 15, 2001

© ℗ 2001 Sony Music Enterainment Inc.

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Lexington Steele’s Lex’s Point Of View #3 / Lexington Steele’s Lex’s Point Of View #3 – Video 4

Lexington Steele's Lex's Point Of View #3 – Video 4

Hard-core legend Lexington Steele lets his enormous black cock take the starring role in his new first-person blowout.

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Lexington Steele’s Lex’s Point Of View #3

Lexington Steele's Lex's Point Of View #3

Hard-core legend Lexington Steele lets his enormous black cock take the starring role in his new first-person blowout.

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Aisle View: Writer’s Block à la Russe

2015-06-15-1434387437-5181519-_KCF3079caption.jpg

Nikki M. James, Gabriel Ebert Or Matias and Chris Sarandon
in
Preludes by Dave Malloy. Photo: Kyle Froman

As a long-time admirer of the work of Sergei Rachmaninoff (specifically the Piano Concertos and Symphonies) and as a recent admirer of Dave Malloy (who wrote the score and book of Natasha, Pierre and the Great Comet of 1812), Preludes — Malloy’s new biographical play-with-music about Rachmaninoff — sounded almost irresistible. The play itself, an LCT3 offering at Lincoln Center Theater’s Claire Tow playhouse, turns out to be an intriguing, challenging evening of theatre.

Malloy and director/co-conceiver Rachel Chavkin (also from The Great Comet) have used events of more than one hundred years ago to examine creativity, psyche and the artistic mind. The artistic mind both past and present, that is. The play centers on the writer’s block that the composer suffered in the final years of the nineteenth century. Rachmaninoff (1873-1943) gained instant fame in 1892, at the age of nineteen, with his still-powerful Prelude in C-sharp Minor. (Even today you’d recognize those crashing chords.) His First Symphony — which I find to be pretty nifty — was devastatingly received in 1897, so much so that the still-young composer went into a full-scale depression which lasted three years.

Preludes starts and ends with Rachmaninoff’s pioneering treatment by psychiatrist Nikolai Dahl. While the sessions occurred in 1900, Malloy takes us earlier and later; much later in some cases, as there’s a song about the subway and even an exchange which seems to be a conversation between Rachmaninoff and Malloy himself. (The unnamed character describes growing up listening to his parents’ LP of Van Cliburn playing the Second Piano Concerto, thus imparting to the artist that whatever his problems, his work will indeed be remembered.) With the time period variable, Malloy uses wild anachronisms to make Sergei’s predicament more immediate to current-day audiences.

2015-06-15-1434387546-5478853-_KCF3789caption.jpg

Gabriel Ebert and Eisa Davis in Preludes by Dave Malloy. Photo: Kyle Froman

If all of this sound interesting but slightly archaic, that is indeed the case. Malloy and Chavkin — working here with their Great Comet designers Mimi Lien (sets), Paloma Young (costumes) and Bradley King (lights) — weave a wondrous world for us. There are at least three sequences in which music, drama and design combine for stunningly dazzling theatre, using sections of the first theme from the first movement of the 2nd Piano Concerto; the second movement of Beethoven’s Sixth; and the second theme from the first movement of the 2nd Piano Concerto. These are almost astonishingly moving, displaying the full potential of Malloy & Chavkin’s vision. These segments are countered, though, by some stretches that are not quite so inviting.

Preludes combines Rachmaninoff’s psychiatric sessions with Dahl (Eisa Davis); his courtship of first cousin Natalya (Nikki M. James), leading to a scene in which they receive dispensation from the Czar to marry; interactions with his pal, the singer Chaliapin (Joseph Keckler); and visits with fellow artists Chekhov, Tchaikovsky, Tolstoy and Glazunov (all played with a crotchety-old-Russian twinkle by Chris Sarandon). James — well-remembered as Neutrogena, or whatever her name was, in The Book of Mormon — is a supportive but strong presence, providing some pristine singing along the way (including a glorious “Vocalise”). Davis, who played the mother in Passing Strange, is an unlikely choice as the nineteenth century Russian psychiatrist. I suppose, though, this sort of thing is to be expected from Malloy and Chavkin. As it turns out, their instincts are spot-on; Davis-as-analyst brings us right into Rachmaninoff’s story, makes matters clear for us twenty-first centuryites and does a fine job with her songs.

Presiding over it all is Gabriel Ebert, giving an impressively rich performance in the complicated portrayal of the troubled artist. Ebert — who appeared opposite Mary Louise Wilson in the early LCT3 offering 4000 Miles — also did a memorable job as the rubber-legged candy vendor in Brief Encounter, and garnered himself a Tony Award as the brashly objectionable father of poor Matilda. Based on these four bravura and very different performances, one wonders just how wide Ebert’s talent is.

(It is uncommon to find two musical comedy Tony winners like Ebert and James in a non-musical, off off-Broadway play; but, then, Preludes falls under the classification uncommon.)

2015-06-15-1434387611-199374-_KCF3119caption.jpg

Or Matias, Nikki M. James and Gabriel Ebert
in
Preludes by Dave Malloy. Photo: Kyle Froman

Spread throughout are patches of musical excerpts from Rachmaninoff, balanced by contemporary songs by Malloy (some derived from themes by the former, including one called “Natalya” stunningly performed by James). Malloy solves the piano-playing problem by having a second Rachmaninoff — identically dressed, but much shorter — share the stage with Ebert. This is Or Mathias, who was musical director of The Great Comet and turns out to be one helluva piano player on the center-stage Yamaha. He is accompanied by two musicians on synthesizers.

Compelling? Yes. Entirely successful as a play, or as a musical whatnot? Not quite. But Preludes is an exciting experiment, buoyed by Malloy & Chavkin’s unique vision; Ebert’s masterful performance; Orr’s piano playing; and all that Rachmaninoff roaring through the intimate playhouse on the roof of the Vivian Beaumont. Given LCT3’s standard ticket price of $ 30, Preludes earns a high recommendation. Surely, you’re unlikely to see anything quite like it.

.

Preludes, by Dave Malloy (inspired by the music of Sergei Rachmaninoff), opened June 15, 2015 and continues through July 19 at the Claire Tow Theater

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Cock is very much the king in this brief, two-scene homage to the male member. Whether its sucking the life out of a thick, meaty shaft or taking every inch of a dick up your arse, the mighty phallus is definitely to be adored!

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Cock is very much the king in this brief, two-scene homage to the male member. Whether it’s sucking the life out of a thick, meaty shaft or taking every inch of a dick up your arse, the mighty phallus is definitely to be adored!

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Is the Derriere the New Décolleté? How Beyoncé, Kim Kardashian West, and More Made the Case for the Rear View

Beyoncé

Perhaps the most memorable moment of tonight’s Met Gala arrivals occurred when Kanye West stopped to appreciate Jennifer Lopez and Kim Kardashian Wests sheer dresses from behind as they made their way into the “China: Through the Looking Glass” exhibition. Kardashian West, in a strategically beaded white Roberto Cavalli gown, and Lopez, in an embellished red Atelier Versace dress, were nearly identical in the exposure of their famous assets. Minutes later, Beyoncé Instagrammed a snapshot of her sequined Givenchy sheath, which, from behind, also revealed the curve of her Internet-breaking backside. If this year’s Oscars red carpet was a moment for low-cut dresses, tonight’s gala hinted at pop culture’s recent obsession with the butt. And if it’s any indication of where fashion is headed, we’d suggest adding lunges to your workout routine.

 

André Leon Talley talks to Kim Kardashian West on the red carpet:

 

The post Is the Derriere the New Décolleté? How Beyoncé, Kim Kardashian West, and More Made the Case for the Rear View appeared first on Vogue.

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White God: A Dog-Eat-Dog View of Custody

Custody kids may just be the metaphor for societies’ underdogs.

The new feature film White God, is a parable about Europe’s challenging immigration issues told through the emotional lens of a messy coming-of-age custody story. Think of a sequel to last year’s, What Maisie Knew. Could this be part of a larger genre?

In my work as a therapist in Los Angeles, California, I consistently advocate for the right of children of custody to have A-rated parenting even as they shuttle between two different households and the cultures which require code-switching between them. My message is clear: Childhood should not be compromised by parental separation or divorce.

From its opening chilly scenes in late winter, White God contradicts my bias for a child-focused approach to custody issues. The story opens with a poorly planned exchange of a ‘tween girl, an only child, Lili (Zsófia Psotta) and her mutt, Hagen, from mother’s care to father’s home. Whether mother was reasonable or not, it could be argued she was presumptuous to assume it would be acceptable that Lili could take her dog, while she was away at a professional conference with her new husband, for three months.

Lili’s burdens are accentuated by parents who clearly have problems communicating. The father, a quality-control inspector at a slaughterhouse, is humorless and emotionally blunted. Frugal, rigid and stingy, he is slow to adapt. Portrayed as a loner and single, he is in desperate need of parenting education to help him understand, first of all that Lili is growing and is no longer a toddler.

The larger context of White God are the political and cultural tensions around assimilation — or lack of it — sweeping contemporary Europe when young Lili (Zsófia Psotta) is forced to give up her beloved mongrel because Hagen’s mixed-breed heritage is deemed “unfit” by “the state.” A hefty fine must be paid in order to keep him, which the father refuses to pay.

Heartbroken, she and the dog Hagen begin a treacherous journey back towards each other, just as Lili eventually does with her father. Meanwhile the unwanted and so-called “unfit” dogs form a pack and rise up under a new leader, Hagen, who has learned in his journey through the streets, underground fighting circuits, and animal control centers how to bite the hand that beats him. After the dogs seize an opportunity to escape and revolt against mankind, courageous Lili may be the only person who can halt this unexpected war between man and pup.

Upset and distraught, Lili rebels and suffers from lack of parental supervision and insensitivity (her mother never even calls), as the dogs suffer horrible indignities. Have quiet bystanders to immigration issues become like the mother with her blasé attitude. Have many of us unwittingly become colluders with the dominant culture?

Mother may have not forgotten how out of touch with his feelings father had been as a spouse in their marriage, but she may have given him too much credit for being able to step up his parenting and tune into the child. Father is only minimally present. There is no one to keep tabs on the extent to which he has hardened and shrunk with the passage of time even as the mother’s life moved onto a better place.

Co-parents are routinely encouraged to rise to the occasion and trust that their co-parent will make sound decisions when the kid they share is in the other’s care. The good news is father finally comes through by the end of the movie. In the spirit of giving the benefit of the doubt to her co-parent, mother may have overrode her fears by hoping for the best, but was she too cavalier?

Every stage of parenting has its challenges, but custody kids are at greater risk for being over-exposed to adversity. Custody kids routinely grow up too fast because of lack of parental alignment. Parenting from latency to adolescence is hard enough under the best of circumstances. Blunders are to be expected.

Leaving father and daughter to their own devices in this drama, results in a number of short-term disasters. In this battle of flesh and spirit, punctuated by a junior orchestra prepping for a spring recital of the score to Richard Wagner’s, “Tannhauser,” and scenes that remind me of Alfred Hitchcock’s The Birds, matters devolve from bad to worse for the dog’s and Lili’s predicaments before turning around.

Lili’s and Hagen’s neglect that borders on abuse finally steers back to a place of grace. With stunningly choreographed scenes featuring a cast of over 200 canine rescues, all of whom were eventually adopted into good homes, White God is a thrilling and visceral fairy tale.

In this universe custody kids are at risk. White God is a grim view, reminding me of the realistic science fiction of Margaret Atwood, of our world to come in which indignities are routinely visited upon animals and each other by supposed “human superiors” including parents.

White God can be so difficult at times to watch that I don’t consider it a spoiler alert to say be patient and stay with it to the finish. Hungarian director Kornél Mundruczó presents a masterful work, at times brutal and harrowing, but deeply thought provoking. By the end this dystopic allegory pays off, delivering on many levels.
Divorce – The Huffington Post

Need to File for a Divorce!

White God: A Dog-Eat-Dog View of Custody

Custody kids may just be the metaphor for societies’ underdogs.

The new feature film White God, is a parable about Europe’s challenging immigration issues told through the emotional lens of a messy coming-of-age custody story. Think of a sequel to last year’s, What Maisie Knew. Could this be part of a larger genre?

In my work as a therapist in Los Angeles, California, I consistently advocate for the right of children of custody to have A-rated parenting even as they shuttle between two different households and the cultures which require code-switching between them. My message is clear: Childhood should not be compromised by parental separation or divorce.

From its opening chilly scenes in late winter, White God contradicts my bias for a child-focused approach to custody issues. The story opens with a poorly planned exchange of a ‘tween girl, an only child, Lili (Zsófia Psotta) and her mutt, Hagen, from mother’s care to father’s home. Whether mother was reasonable or not, it could be argued she was presumptuous to assume it would be acceptable that Lili could take her dog, while she was away at a professional conference with her new husband, for three months.

Lili’s burdens are accentuated by parents who clearly have problems communicating. The father, a quality-control inspector at a slaughterhouse, is humorless and emotionally blunted. Frugal, rigid and stingy, he is slow to adapt. Portrayed as a loner and single, he is in desperate need of parenting education to help him understand, first of all that Lili is growing and is no longer a toddler.

The larger context of White God are the political and cultural tensions around assimilation — or lack of it — sweeping contemporary Europe when young Lili (Zsófia Psotta) is forced to give up her beloved mongrel because Hagen’s mixed-breed heritage is deemed “unfit” by “the state.” A hefty fine must be paid in order to keep him, which the father refuses to pay.

Heartbroken, she and the dog Hagen begin a treacherous journey back towards each other, just as Lili eventually does with her father. Meanwhile the unwanted and so-called “unfit” dogs form a pack and rise up under a new leader, Hagen, who has learned in his journey through the streets, underground fighting circuits, and animal control centers how to bite the hand that beats him. After the dogs seize an opportunity to escape and revolt against mankind, courageous Lili may be the only person who can halt this unexpected war between man and pup.

Upset and distraught, Lili rebels and suffers from lack of parental supervision and insensitivity (her mother never even calls), as the dogs suffer horrible indignities. Have quiet bystanders to immigration issues become like the mother with her blasé attitude. Have many of us unwittingly become colluders with the dominant culture?

Mother may have not forgotten how out of touch with his feelings father had been as a spouse in their marriage, but she may have given him too much credit for being able to step up his parenting and tune into the child. Father is only minimally present. There is no one to keep tabs on the extent to which he has hardened and shrunk with the passage of time even as the mother’s life moved onto a better place.

Co-parents are routinely encouraged to rise to the occasion and trust that their co-parent will make sound decisions when the kid they share is in the other’s care. The good news is father finally comes through by the end of the movie. In the spirit of giving the benefit of the doubt to her co-parent, mother may have overrode her fears by hoping for the best, but was she too cavalier?

Every stage of parenting has its challenges, but custody kids are at greater risk for being over-exposed to adversity. Custody kids routinely grow up too fast because of lack of parental alignment. Parenting from latency to adolescence is hard enough under the best of circumstances. Blunders are to be expected.

Leaving father and daughter to their own devices in this drama, results in a number of short-term disasters. In this battle of flesh and spirit, punctuated by a junior orchestra prepping for a spring recital of the score to Richard Wagner’s, “Tannhauser,” and scenes that remind me of Alfred Hitchcock’s The Birds, matters devolve from bad to worse for the dog’s and Lili’s predicaments before turning around.

Lili’s and Hagen’s neglect that borders on abuse finally steers back to a place of grace. With stunningly choreographed scenes featuring a cast of over 200 canine rescues, all of whom were eventually adopted into good homes, White God is a thrilling and visceral fairy tale.

In this universe custody kids are at risk. White God is a grim view, reminding me of the realistic science fiction of Margaret Atwood, of our world to come in which indignities are routinely visited upon animals and each other by supposed “human superiors” including parents.

White God can be so difficult at times to watch that I don’t consider it a spoiler alert to say be patient and stay with it to the finish. Hungarian director Kornél Mundruczó presents a masterful work, at times brutal and harrowing, but deeply thought provoking. By the end this dystopic allegory pays off, delivering on many levels.
Divorce – The Huffington Post

Need to File for a Divorce!

“007” teaser trailer offers fans view of “Spectre”

New trailer offers peak at upcoming James Bond flick, “Spectre.” Rough cut (no reporter narration)


Reuters Video: Entertainment

Find your Soulmate Live webcam chat!

“007” teaser trailer offers fans view of “Spectre”

New trailer offers peak at upcoming James Bond flick, “Spectre.” Rough cut (no reporter narration)


Reuters Video: Entertainment

Find your Soulmate Live webcam chat!

8 Facts That’ll Change How You View ‘The Breakfast Club,’ According To The Cast

In the same way that people are more than just a brain, an athlete, a basket case, a princess or a criminal, “The Breakfast Club” is more than just a movie. Released 30 years ago last month, John Hughes’ classic film transcends generations and continues to reach new fans today. In fact, because of its popularity, it was recently rereleased in theaters and given a newly restored DVD and BluRay, providing the cast with an opportunity to reminisce about their time on set.

Though the movie has been around almost a third of a century now, there are still a lot of things about it that fans don’t know. In honor of “The Breakfast Club’s” 30th anniversary, HuffPost Entertainment talked to cast members Ally Sheedy, aka Allison Reynolds, and John Kapelos, aka janitor Carl Reed, about behind-the-scenes moments and stories that have never quite been told in full detail.

She’s the basket case, he’s the eyes and ears of the institution, and these are eight facts you might not know:

1. Judd Nelson wasn’t almost fired JUST for picking on Molly Ringwald. He also couldn’t stay in the shots.

By now you may have heard that Nelson, who played the volatile John Bender, was nearly let go from the film. Though his picking on Ringwald was a large part of that, Sheedy explained to HuffPost Entertainment that there was more to the story.

“Judd kind of does this very free-ranging thing with his body. You can see it in the movie,” said Sheedy. “He’s not great at hitting marks, and he wanted to move around and stuff, and I think they were having trouble keeping him in shot.”

The story goes that the cast went to Hughes and pleaded with him to keep Nelson on the project. They also talked to Nelson about how he could help himself out. “If I remember correctly, we all talked to him. The four of us. And I think my thing about it was just focus, just focus, just focus,” said Sheedy.

2. The topless scene wasn’t the only scandalous moment removed. There was also a risque scene involving “MILFs.”


Image: Giphy

Sheedy confirmed that a topless scene involving a swimming teacher was cut out of the film, saying: “I think John [Hughes] didn’t want to have it in the movie. I think he thought it didn’t really work for him.”

Kapelos later added to the story, telling HuffPost that there was more to the scandalous moment. “I think there was also a scene with a bunch of MILFs or middle-aged cougar women who were doing an aerobics class in the gym and were really letting it go. I think there was a lascivious moment there,” he said. “But you know… it’s like putting a bow on an elephant. It just doesn’t belong there.”

3. Rick Moranis, who was originally cast as the janitor, didn’t just play the part as a Russian. He was also doing something suggestive with his keys.

56481227

Moranis, who’d appeared in “Ghostbusters” the year before, was originally cast to play the janitor in “The Breakfast Club,” and Sheedy even says she was “a little star struck” by him while filming. Things didn’t work out, of course, and Moranis was soon replaced by Kapelos.

According to the script, the janitor is meant to be a former student of the high school, as indicated by his picture in the case at the beginning of the film. But when it came to Moranis’ portrayal, Kapelos said the actor and producers didn’t have “a meeting of the creative minds at that moment.”


Kapelos pictured (middle) at the beginning of the film. (Image: MentalFloss)

“From what I was told,” said Kapelos, “he wanted to play the character as a Russian with gold teeth and keys between his legs, playing with it provocatively… and so it’s like, it wasn’t organic, I guess is putting it politely and correctly.”

4. No, Ally Sheedy did not really use her dandruff as an art project.

tv show gifs
Image: MakeAGif/MTV

Though it’s reported that many scenes in the film were improvised, the scene where Allison Reynolds draws in the library isn’t one of them.

Sheedy explains the scene was always in the film, and though she doesn’t know who actually drew the picture, she did set the record straight on one detail. The actress explained that dandruff she scratched out of her hair wasn’t actually dandruff or even Parmesan cheese as previously thought. “I think it was potato flakes of some kind,” Sheedy said.

5. There’s a dark answer to Judd Nelson’s question, “How does one become a janitor?”


Image: Giphy

A memorable moment happens when John Bender asks Kapelos’ character “how one becomes a janitor.” Though it’s clear Bender is just doing it to irk him, it turns out there was an answer to the question after all.

“Really? You want to know?” laughed Kapelos when HuffPost Entertainment repeated Bender’s question. The actor then went into his character’s dark history, saying: “You have to have your heart broken by your teenage sweetheart in your third year of university when you’re doing a great football scholarship. Drop out. Lose her heart. Lose her affection. Make sure her father hates you even more and will never include you in his future plans. Even if you try to make up to her. And then you get a job at your old high school as a janitor, and you try to lick your wounds. That’s how you become a janitor. That’s Carl’s pathetic backstory.”

6. A cut scene shows that Allison wasn’t smoking pot with the others because she was actually off somewhere singing.

A variety of scenes from the movie were cut from the final film, and Sheedy recalled one that was a big moment for her character.

“John [Hughes] let me shoot something with Allison alone in the audiovisual tiny room, singing a capella,” she told HuffPost. “That was something I just came up with. Singing a little song to herself. And that was, for me, the emotional transition that was when they were smoking pot.”

“She sang the song to herself and then she walked out of the room and just joined the group,” Sheedy went on. “So that wasn’t in the script, and he actually let me shoot it. He shot it twice, and then afterwards said that everybody sort of thought it was a little bit too weird.”

7. Principal Vernon’s anger was totally real.


Image: BavaTuesdays

Hughes allowed a lot of improvisation in the movie, and one moment that made it into the film was the conversation between Carl and Paul Gleason’s character, Principal Richard Vernon, after the janitor catches Vernon going through confidential files.

“John Hughes just told me before the take, ‘Cut him off and ask him for 50 bucks.’ So I did,” said Kapelos. “And if you see the movie again, take a look at Paul’s reaction, because it’s real. He was really [ticked off]. And after John Hughes yelled ‘cut,’ it got a little funky for a bit. He was like, ‘Really?’ He got annoyed. We got the take on that one.”

8. Kapelos told Emilio Estevez that if he’d been present for Martin Sheen’s 1977 heart attack, he would have just let it happen… not knowing that Sheen was Estevez’s father.

carl

Though he explained that no one has really told the story correctly, Kapelos says that one day on set he did call out Estevez and Nelson for goofing off while he was shooting a scene. He told HuffPost: “I’m on a movie set, and I’m scared, you know, shitless. I want to do well. They’re trying to make me crack up. They’re goofing off.”

To get Estevez and Nelson to stop, Kapelos told them: “You guys would’ve been great if you were on the set of ‘Apocalypse Now’ with Martin Sheen, and he goes in front of you and starts having his heart attack, and you’re not believing he’s in trouble, and he’s just wincing and moaning in pain and ripping at his chest and you guys would just sit there and let him have his heart attack, right?”

“In other words,” Kapelos told HuffPost, “I was saying, ‘Hey, I’m up here struggling. I’m in pain, and you guys are just letting me wither on the vine.'”

That’s not how Estevez took it, though. “All of a sudden Emilio’s face goes white. Like, I’m telling you, expressionless and white. And everybody’s looking at me like I just shot the pope.” Hughes told Kapelos that Estevez was Sheen’s son, and though Kapelos was “flummoxed” and apologetic, it was too late. Estevez never accepted an apology. “The garage door was going down,” said Kapelos. “That’s all Emilio wrote.”

Bonus trivia: Ally Sheedy doesn’t actually eat breakfast.


Image: Giphy

She’s a member of “The Breakfast Club,” but Sheedy says breakfast isn’t actually her thing. “I never, ever eat it. Ever,” she told HuffPost. “I really just like to get that caffeine going in the morning and just have that buzz as long as possible.”

Happy anniversary, “Breakfast Club.” Here’s to another 30 years!

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Image: Giphy

Comedy – The Huffington Post
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‘Better Call Saul’ Recap: Room With a View

Move over, Sesame Street: Better Call Saul just taught us more about the power of shapes than Elmo ever could. Scan tonight’s episode with your DVR’s fast-forward feature and just check out the geometric variety on display. Look at Jimmy and Mike in the police precinct, dwarfed by a massive…
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Rosie O’Donnell Is Leaving ‘The View’ After Split From Wife

Rosie O’Donnell is leaving ABC’s “The View,” after a split from her wife Michelle Rounds.

O’Donnell’s spokesperson Cindi Berger confirmed to HuffPost that next week will be O’Donnell’s last on the daytime talk show. It would be the second time she left the program.

ABC also confirmed her departure.

“Rosie is an immensely talented star who comes in each and every morning brimming with ideas, excitement and passion for the show,” ABC’s statement said. “When she told us she wanted to exit ‘The View,’ we respected and understood her desire to put her well-being and her family first. We’re delighted she’s still part of the ABC family with upcoming guest appearances on ‘The Fosters,’ and we know she’ll return to ‘The View’ often with her unique point of view and updates on her work and her family.”

O’Donnell returned to “The View” in September 2014, having previously been a co-host in the 2006-2007 season. Her latest departure was in order to concentrate on her family’s well-being, following her separation from Rounds.

Sources close to O’Donnell told the New York Post’s PageSix that O’Donnell and Rounds had been living apart for months before their separation was announced on Friday night. PageSix, who was first to report the news, said that O’Donnell felt she had to leave the show to be with her five children.

“I can confirm that Rosie and her wife Michelle split in November. Rosie has teens and an infant at home that need her attention. This has been a very stressful situation. She is putting her personal health and family first,” O’Donnell’s spokesperson told HuffPost.

O’Donnell, 52, married Rounds in June 2012, her second marriage. In 2013, they adopted a daughter, who joined O’Donnell’s four other children.

In 2014, “The View” brought on O’Donnell, Rosie Perez, and Nicolle Wallace, in hopes of rejuvenating the show. But ratings continued to struggle, and there have been reports of tension amongst O’Donnell and co-host Whoopi Goldberg, according to The Hollywood Reporter.

On Valentine’s Day, HBO will debut a documentary about O’Donnell’s heart attack in 2012.
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Lexington Steele’s Lex’s Point Of View #2

Lexington Steele's Lex's Point Of View #2

Suave, hugely hung African-American pornographer Lexington Steele's two specialties — directing and performing hard-core sex — come together.

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Study Suggests Men And Women May View Cheating Very Differently

The idea that men are from Mars and women are from Venus may feel outdated or even downright sexist, but a recent study suggests that there may be some truth to that notion — at least when it comes to the way men and women tend to view cheating.

The new research suggests that, within heterosexual couples, the average male is more likely to be upset by sexual infidelity, while the average female is much more likely to be bothered by emotional infidelity. The study, recently published in the journal Archives of Sexual Behavior, was based on a survey of 63,894 gay, lesbian, bisexual and heterosexual participants who visited msnbc.com back in 2007.

The crux of the survey was this prompt: “Take a moment to imagine which of the following situations would be MOST upsetting or distressing to you.” Respondents could then choose between two options: “You found out that your partner is having a sexual relationship with someone else (but has not fallen in love with this person)” or “You found out that your partner has fallen in love with someone else (but is not having a sexual relationship with this person).”

Here’s where the Mars and Venus bit comes in. For heterosexuals, men were more likely than women to be upset by sexual infidelity over emotional infidelity (54 percent versus 35 percent). This was true across income levels, relationship status, parenthood and even infidelity history. Previous studies have found this to be the case, but this study found something new: While over half of heterosexual men were more troubled by sexual infidelity, only about 30 percent of all the other gender and sexuality groups felt the same way — heterosexual women, gay men, lesbian women and bisexuals were much more concerned with an emotional affair than a sexual one.

So what sets heterosexual men apart? According to evolutionary psychologists, paternal uncertainty is to blame. Men can’t always be certain if they’re truly the father of their partner’s offspring, yet they can potentially invest a lot of time and resources into bringing up children. So all of that sexual jealousy may be a protective measure — rather than risk wasting energy on someone else’s offspring, men’s jealousy can trigger responses to make sure their partner produces offspring with their genes. A jealous man may respond to a threat by intimidating potential sexual rivals or wooing his partner and being more loving and affectionate if he thinks she might cheat.

Heterosexual women, on the other hand, may be more concerned with an emotional affair, because that may put the future of her offspring at risk. From an evolutionary perspective, women have many obligatory costs associated with childrearing, from the nine-month pregnancy to concern with the emotional outcomes of children. If a father is in love with a new partner, he may leave his family and devote emotional and material resources to the new woman, leaving his child at risk.

Of course, these perspectives are just hypotheses and reflect the average man or woman; even David Frederick, an Assistant Professor of Psychology at Chapman University and co-author of the study, said that social environments can manipulate these evolved mental systems and humans are much more nuanced than survey results can suggest. That said, the gender difference on infidelity seems to be pretty robust across the cultures that have been studied thus far.

Anecdotally, Robert Weiss, a social worker and director of intimacy and sexual disorders programs for the Elements Behavioral Health treatment center, told The Huffington Post that these findings are in line with what he’s seen in his clinical practice. Men, he said, tend to take sexual and emotional affairs as a bruise to their ego, while women look at infidelity more holistically.

“For women, if a guy goes out and has an emotional affair with somebody, it puts her whole life in jeopardy,” Weiss said. “She’s thinking about their kids, their family, their wedding, their home, their finances — she’s thinking in the biggest and broadest sense How can I protect my family and myself?

It’s important to emphasize that there were plenty of men in the study who were more upset by emotional infidelity and plenty of women who were more upset by sexual infidelity. Rather than making any sweeping generalities and casting away your partner to a different emotional planet, it may best to simply take these findings as an entry way to empathy in your relationship.

“Just keep in mind that the aspect of infidelity that might be most upsetting to you if you had suffered it might not be what your partner is most upset by,” Frederick said.

Keep in touch! Check out HuffPost Divorce on Facebook and Twitter.

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Find Out Where You Can View “The Interview”

Sony Studios has been fighting an uphill battle since announcing that the Seth Rogen/James Franco comedy The Interview would be pulled from theatres following threats and criticism from North Korea, who weren’t pleased with their leader being assassinated in the film.

Changing their decision, the film will once again be released on Christmas Day. Only available in select theatres, take a look below to find out where it can be viewed.

[Also Read: Sony will release The Interview on Christmas Day]

 

Alabama:

Edge 12 – Birmingham

Arizona:
Harkins Theatres – Phoenix

Arkansas:
Riverdale 10 – Little Rock

California:
Agoura Hills Stadium 8 – Agoura Hills
Cinefamily – Los Angeles
Cinémas Palme D’Or – Coachella Valley
Commerce 14 – City of Commerce
Crest Westwood – Los Angeles
East Hills Mall – Bakersfield
Foothill Cinema Stadium 10 – Azusa
Fontana 8 – Fontana
Granada Hills 9 – Granada Hills
Janss Marketplace 9 – Thousand Oaks
Jurupa 14 – Jurupa
Los Feliz 3 – Los Angeles
Laemmle’s North Hollywood 7 – Los Angeles (as of Dec. 31)
Mission Grove Theaters – Riverside
Perris 10 – Perris
Santa Paula 7 – Santa Paula
Sterling 6 – San Bernardino
Van Nuys Plant 16 – Van Nuys
University Village 10 – Riverside
Westminster 10 – Westminster

Colorado:
Alamo – Littleton
Lyric Cinema Cafe – Ft. Collins

Delaware:
Penn Cinemas Riverfront – Wilmington
Rehoboth Beach’s Movies at Midway – Lewes
Westown Movies – Middletown

Florida:
Sun-Ray Cinema – Jacksonville

Georgia:
The Plaza Atlanta – Atlanta

Illinois:
Art Theater Co-Op – Champaign
Hollywood Blvd Cinema – Woodridge

Indiana:
Jasper 8 Theatres – Jasper

Louisiana:
Chalmette Movies – Chalmette
The Robinson Film Center – Shreveport

Maryland:
Eastpoint Movies 10 – Baltimore

Massachusetts
AppleCinemas – Cambridge

Michigan:
Alamo – Kalamazoo
The Michigan Theater – Ann Arbor

Missouri:
Alamo Main Street – Kansas City
MX Movies – St. Louis

New York:
Alamo – Yonkers
Cinemopalis – Ithaca
Cinema Arts Centre – Huntington
Dipson Flix 10 Stadium – Lancaster (Dec 26)
Dipson Lakewood Cinema – Lakewood  (Dec 26)
Island Cinemas – Mastic

Ohio:
Tower City Cinema – Cleveland
Gateway Film Center – Columbus

Oregon:
The Fox Theater – Dallas

Pennsylvania:
Southside Works Cinema – Pittsburgh

Puerto Rico:
Caribbean Cinemas – Puerto Rico

Rhode Island:
Cable Car Cinema – Providence

South Carolina
Terrace Theatre – Charleston

Tennessee
Belcourt Theatre – Nashville
Franklin Theatre – Franklin

Texas:
Alamo Lakeline – Austin
Alamo Slaughter – Austin
Alamo South Lamar – Austin
Alamo Ritz – Austin
Alamo – Richardson
Alamo Vintage Park – Houston
Alamo Mason Park – Katy
Alamo – Lubbock
Alamo Marketplace – New Braunfels
Alamo Park North – San Antonio
Alamo Westlakes – San Antonio
City Base Cinema – San Antonio

Vermont:
Merril’s Roxy – Burlington

Virginia:
Alamo Loudoun – Ashburn

Filed under: News Tagged: ALAMO, james franco, MOVIE THEATRES FOR THE INTERVIEW, N.KOREA, North Korea, Seth Rogen, SONY FILMS, Sony Pictures, SONY STUDIOS
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