Maybe Jake Bugg is a posturing brat, a product of the pop machine. Maybe the 19-year-old with the reedy wail is rock's savior. Right now, all he wants to talk about is time signatures.
Jake Bugg recently dated a supermodel. Jake Bugg has taken to wearing leather jackets and Prada shoes. Jake Bugg’s debut album, Jake Bugg, landed at the top of the British charts and went on to sell more than 450,000 copies. Jake Bugg likes to diss One Direction. Jake Bugg has been called “the East Midlands Bob Dylan.” Jake Bugg looks like a lost Gallagher brother. Jake Bugg is 19. Jake Bugg isn’t even Jake Bugg’s real name.
Jake Bugg performs during a date of his Autumn UK 2013 Tour the week before his 2nd album is set to be released at the 02 Academy Birminghm on November 10, 2013 in Birmingham, England. (Ollie Millington/WireImage)
In short, Jake Bugg should be a rather irritating character—a posturing rock brat, perhaps. And yet when I reach him in England one recent afternoon, all he wants to talk about is time signatures.
And Brittany Murphy may have been poisoned.
Taking candy from children, and then laughing at their tears—as Jimmy Kimmel has been doing for three years on his show—is morally not OK.
This story was originally posted on author Sam Harris’s blog.
Last Christmas, my friends Mark and Jessica spent the morning opening presents with their daughter, Rachel, who had just turned four. After a few hours of excitement, feelings of holiday lethargy and boredom descended on the family—until Mark suddenly had a brilliant idea for how they could have a lot more fun.
Jessica was reading on the couch while Rachel played with her new dolls on the living room carpet.
‘The League,’ whose Season 5 finale airs Wednesday on FXX, is the best comedy on TV you’ve never heard of. The show’s hilarious cast—Mark Duplass, Nick Kroll, Katie Aselton, Paul Scheer, and Steve Rannazzisi—sat down for a roundtable interview to discuss everything from what ‘Eskimo Brothers’ mean to Meryl Streep being a disappointing cameo.
Winnetka, Ill., population 12,370, is home to two overlooked gems deserving of your attention. The first is journeyman actor Bruce Dern, who delivers one of the year’s finest screen performances in the Alexander Payne film Nebraska. And the other is a hilarious improvisational comedy that airs on the newly minted FXX network, vying for your eyeballs amid an impossibly crowded TV landscape.
Mark Duplass as Pete, Stephen Rannazzisi as Kevin, Katie Aselton as Jenny, Nick Kroll as Ruxin, Jon Lajoie as Taco, Paul Scheer as Andre (Matthais Clamer/FXX )
Now in its fifth season, The League is, like station-mate It’s Always Sunny in Philadelphia, one of those fantastic TV shows that’s constantly overlooked by critics and awards voters. Created by Seinfeld and Curb Your Enthusiasm alum Jeff Schaffer and his wife, veteran film producer Jackie Schaffer, it centers on a group of six life-long friends competing for the Shiva trophy in their fantasy football league—which they will win by any means necessary.
The chances that you not only are in a commercial plane crash, but also are the single person to survive are a virtual impossibility. Yet this is the reality for 14 people living today.
Behind the swelling, bruises, and swaddling of head bandages, George Lamson, Jr. grinned widely. “I feel…just great,” he told reporters who swarmed his hospital bedside, press conferences, and talk show appearances. It was 1985, and Lamson, just 17 at the time, had survived a flight from Reno to Minneapolis that killed all 70 other passengers, including his father. When the pilot announced the plane was going down, he drew his legs up in front of his face, kicked through the wall as it hit the ground, and was thrown across the fiery ruins into the highway. He thought, he said later, that he had died and gone to heaven.
A scene from the documentary "Sole Survivior." (Yellow Wing Productions)
Today, he is one of only 14 people who are the lone survivors of the commercial plane crashes they endured. It’s an unimaginable—and almost statistically impossible—prospect: that you, singularly, survived a horrific accident by some miraculous means, while everyone else was killed. In these one-in-a-million cases, the survivors tend to be young and nimble, but mostly it’s just pure chance. In a new documentary called Sole Survivor, which aired at the DOC NYC festival on Friday, four of those miraculous stories are told by director Ky Dickens. The stories made international headlines at the time of the crashes, but have since faded from the spotlight. In addition to Lamson, there’s 14-year-old Bahia Bakari who, in 2009, clung to floating debris in the Indian Ocean for nine hours before being saved; Cecelia Cichan, who was just four years old in 1987 when she survived a crash that killed her mother, father, and brother en route to Arizona; and Jim Polehinke, first officer of a bungled take-off in 2006 that left him paralyzed and wracked with survivor’s guilt. “I wouldn’t wish this on my worst enemy,” he says.
Like Nintendo’s classic 'Super Mario 64,' 'Killzone: Shadow Falls' is a technical marvel, showcasing gorgeous graphics and the power of the PlayStation 4.
The original Killzone was supposed to be Sony’s response to the Halo phenomenon that almost single-handedly made the Xbox brand successful. It wasn’t. Killzone 2 was supposed to feature graphics so brilliant that the world would stop spinning on its axis just to look at its splendor. It didn’t. Killzone 3…well, it had less to prove.
Image from "Killzone: Shadow Fall." (Sony Computer Entertainment Inc.)
But expectations rose once again for Killzone: Shadow Fall, the most recent entry in Guerilla Games’ first person shooter series. It was supposed to be the game to prove to everyone that the PlayStation 4, which it launched alongside, was the console to own. It was supposed to showcase just how powerful its system was and make a game that truly couldn’t have been put on last generation hardware.
Between 30,000 and 60,000 kids are born annually through sperm donation in the U.S. Dive into the stats behind Vince Vaughn’s new movie to explore fatherhood in America.
The actress says ‘Beetlejuice 2,’ the sequel to Tim Burton’s 1988 gonzo comedy, ‘might be happening’ with Burton, Ryder, and Michael Keaton onboard.
Now Winona Ryder has told The Daily Beast that she may be on board, too.
"I'm kind of sworn to secrecy," Ryder said Monday afternoon in Los Angeles. "But it sounds like it might be happening."
And Kanye West is a Harvard lecturer.
Justin Bieber charges $3 million penalty to party guests, workers who give insider details. The party had "naked girls everywhere" and was attended by the likes of Chris Brown and Floyd Merriweather. Apparently, the confidentiality agreements at previous Bieber parties have had $5 million penalties. New York Daily News
Sesame Street's very punny parody of The Hunger Games. "May the cookies be ever in your flavor." E! Online
I was recently whisked off to London to hang out with Simon Pegg and Nick Frost, best friends and stars of the apocalyptic comedy ‘The World’s End.’ Here’s what transpired.
It’s inherently odd to run a piece pegged to a film’s DVD/Blu-Ray release, but then again, the installments in the Cornetto trilogy—Shaun of the Dead, Hot Fuzz, and The World’s End—aren’t like most films. As Simon Pegg, the star of these genre-exploding films would later tell me, “We make cult films.” Indeed, they do. While the oeuvre of filmmaker Edgar Wright and duo Simon Pegg and Nick Frost doesn’t tend to break box office records, the films have a very long shelf life. Hot Fuzz, the second installment in the Cornetto trilogy, grossed close to $40 million on DVD. So when Focus Features, a subsidiary of Universal Pictures, offered to fly me to London to interview Pegg and Frost at a pub in London, I jumped at the chance.
For starters, I love The World’s End. It’s one of the two or three best comedy films of the year, alongside another apocalyptic comedy, This Is the End, and Jackass Presents: Bad Grandpa, so partiality wasn’t an issue. And, owing to a particularly cramped schedule, I’d neglected to give it the kudos it deserved during its theatrical run.
For the uninitiated, all three films in the Cornetto Trilogy were directed by Wright, written by Wright and Pegg, and star Pegg and Frost. The trilogy’s name was coined by a blogger for Imagine Games Network, who noted the inclusion of different Cornetto ice cream flavors in the first two films—strawberry in Shaun of the Dead, signifying blood and gore, and blue for Hot Fuzz, signifying the fuzz. The World’s End features mint chocolate chip, for the film’s alien/sci-fi elements. The film centers on Gary King (Pegg), a high school legend-turned-middle-aged alcoholic who vows to reclaim his glory years by tracking down his estranged crew and finishing the “Golden Mile,” a 12-pub crawl in their hometown of Newton Haven. Along the way, however, the old friends—Andy (Frost), Steven (Paddy Considine), Oliver (Martin Freeman), and Peter (Eddie Marsan)—encounter some otherworldly guests.
Five years after exiting the adult industry, the iconic Jenna Jameson is making a triumphant return. And this time it’s for the same reason she quit—her children.
“Honesty is key. I will never ever ever spread my legs again in this industry. Ever!”
That’s what Jenna Jameson said five years ago when presenting the AVN Crossover of the Year Award. I, much like everyone in the audience, was stunned. There was applause. There were boos. It was a slap in the face to an industry that had put her on the pedestal. And yet, even then I could understand what she was saying. She’d done her time, paid her dues, and she was officially moving on. The industry had already grown small in her rearview mirror. She had a bigger dream.
Then why is the 39-year-old mother of two coming back to porn?
Many call the new Italian film ‘The Great Beauty’ a reinvention of Fellini’s ‘La Dolce Vita’ for the 21st century, but there’s more to it than that.
In the final chapter of The History of the Decline and Fall of the Roman Empire, Gibbon tells us that in the early days of the Renaissance, before Rome was revived by a series of powerful popes, a brilliantly learned apostolic secretary (with sublime penmanship) and a ferocious book hunter by the name of Poggio Bracciolini grabbed a friend one day and hiked up the Capitoline Hill to carefully survey and record the ruins around them. Rome was in a bad way, and because Poggio had read all the books about the great city, he knew just how to mourn her former magnificence. The benches where senators once oversaw the empire’s finances and battled Caesars were now buried under a hill of dung. The forum, where citizens used to assemble for triumphs that brought back riches from the frontiers and to hear speeches that were transcribed for eternity, had become a farm that grew pot-herbs and raised pigs that were fed slops. “The place and the object gave ample scope for moralizing on the vicissitudes of fortune,” Gibbon writes in a famous passage, “which spares neither man nor the proudest of his works, which buries empires and cities in a common grave.”
The Italian director Paolo Sorrentino has now given us a lush and pensive poetizing of Gibbon’s great decline and fall. Of course his new film, The Great Beauty, in all its symbolic representation of Italy, has become the country’s official entry to the 2014 Academy Awards for Best Foreign Film, and it has already been nominated for five European film awards.
The Great Beauty begins on April 20, Rome’s birthday, on a hill similar to the one Poggio ascended, but on the other side of the Tiber, at the Fontana dell’Acqua Paola. Canon charges are fired in celebration. The film’s very first shot is just that, a shot: the camera peers down the barrel and backs off just before the explosion. Sorrentino launches us into orbit—or is it a violent birth?—and the camera soars and glides around the Janiculum Hill in an almost wordless prologue. We are introduced to Rome reborn, ancient and eternal but all the more potent. That’s unfortunate for a Japanese tourist who’s taking pictures under the bronze sun, because he just drops dead without warning. Sorrentino gives no explanation, but we know the reason: Rome is so beautiful, it kills.
While the Governor isn’t such a villain anymore—he doesn’t hold grudges against Rick and Michonne—actor David Morrissey says he’s still a lady killer.
The Governor is back! And he’s…nicer than ever?
In “Live Bait,” we get to see what The Walking Dead’s one-eyed villain has been up to since Season Three’s finale, when he shot down his own people and drove off with loyal lackeys Martinez and Shumpert. While Rick was off growing runner beans and raising piglets, the Governor was wandering around Georgia in a self-hating, half-suicidal daze. The deaths of Milton, Merle, and Andrea (not to mention the Woodburians and a few unlucky National Guard soldiers) weigh heavily on his mind—and for the first time, we see regret all over the Governor’s now gnarly-bearded face.
“He has shame, guilt, remorse and I think he’s deeply, deeply troubled about what he’s done,” says David Morrissey, who plays The Walking Dead baddie. Despite the Governor’s past, Morrissey says he believes his character can still go back to who he was before the apocalypse hit: devoted family man Philip Blake. “I believe in redemption for the human race. I’ve seen it happen,” he says. “There’s people who’ve done terrible things and whose lives have been completely devastated by their own actions, so I certainly believe in redemption with the Governor.”
Everyone’s favorite Fame Monster tried her best to impress as host and performer on this weekend’s ‘SNL.’ But subpar writing and silly sketches failed to earn her the applause.
Lady Gaga is here for the applause. Good lord, has the ARTPOP pop artist made that epically clear. Pulling double duty as host and musical guest on this weekend’s episode of Saturday Night Live, she even confessed she’s not afraid to pander to get it, and pander she did. If only it worked more often.
Lady Gaga performs on Saturday Night Live. (Dana Edelson/NBC)
“There are two kinds of applause: the kind you earn, and the kind you get by pandering to the audience and saying things like, ‘Give it up for New York,’” the singer explained in her opening monologue. “I am a fan of both.”
Despite the lovable human and robot crime-fighting duo, Fox’s 'Almost Human' fails to deliver any revolutionary science fiction.
In 2048, Los Angeles has been flooded with unknown weapons and drugs. Crime has risen 400 percent. The LAPD can’t keep up with the rate at which science and technology evolve—the cops are outnumbered and overwhelmed. But there is a solution: Every officer is partnered with a MX-43, which is “an advanced, combat-model android.”
This is the storyline of Almost Human, Fox and J.J. Abrams's odd-couple police drama. The network has had a hard time launching sci-fi television series. Alcatraz and Terra Nova did not live past 13 episodes and Fringe had to fight to make to it to five seasons. This fall, the network launched two: Sleepy Hollow and Almost Human. The former has surprised viewers and critics alike by how well it’s doing. If you can get past the feeling that Almost Human is a rehash of sci-fi stories from TV and movies, this show may actually have a future.
In this dystopian future we’re not subjected to gratuitous amounts of exposition and terrible “as you know” lines since this is all explained with on-screen text read by a robotic female voice. When the pilot begins, we find LAPD Detective John Kennex (Star Trek’s Karl Urban) and his squad ambushed by a criminal organization called “The Syndicate.” The show’s writers waste no time showing us that Kennex hates the MX-43s and violates protocol quite regularly. While attempting to save a wounded squad mate, the Syndicate detonates a grenade, killing one officer, and leaving Kennex missing a leg and in a coma.
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Former stockbroker Jordan Belfort once had sex on $3 million in cash. Check out more stats about the man behind Leo DiCaprio’s leading role in Martin Scorsese’s latest.