HBO releases a 15-minute featurette on the new season of its sprawling, Emmy-winning drama, featuring interviews, new footage, and lots of dragons.
Forgot that whole "winter is coming" nonsense. Have you been outside? Winter is still here, folks. Oh, is it so depressingly still here. So bless HBO for heating things up a bit with the release of an epic 15-minute trailer for the fourth season of Game of Thrones.
Featuring scattered flashes of footage from the upcoming season and behind-the-scenes interviews with cast and crew, the featurette, titled "Ice and Fire: Foreshadowing," attempts to answer the question: how the hell is this show going to ever top the Red Wedding? As Gwendoline Christie (who plays Brienne) says in the video, "I knew it was coming and it ripped me up inside. I cried." But remember: Game of Thrones asked the same question after the beheading of Ned Stark season one. And after the Battle of Blackwater in season 2.
Even with a critical dud like ‘The Monuments Men,’ the silver fox remains unsinkable. Clooney's passion for film, politics, and old-fashioned fun makes him Hollywood's best player.
The charm is simple, natural, free-flowing. And yes, he is as good-looking in real life. If he wasn't so damned nice, so damned hot, engaging and intelligent, it would be easy to resent, envy and wish hailstorms of frogs on George Clooney. But there's no point. The frogs would rain down on him, land with a plop, gaze up at his smile and become princes.
When I interviewed him in 2012 for The London Times, it was on the eve of that year's Oscars. Clooney was up for Best Actor for his role in The Descendants as a harried father, struggling to cope with his children as his wife lay in a coma. But it was to be the year of Jean Dujardin and The Artist. Two years on, Dujardin is starring in Clooney's latest film, The Monuments Men, which Clooney directed, co-wrote and co-produced, and starred in and which is turning out to be that rare thing: a Clooney dud, a misstep.
The 33-page New York Supreme Court decision from Woody Allen’s 1992 custody suit against Mia Farrow sheds light on the Woody Allen-Dylan Farrow back-and-forth.
It is, quite frankly, incredible how the Dylan Farrow-Woody Allen saga has played out in the public discourse. But, for all the fiery op-eds by journalists on the child sexual abuse allegations levied by Farrow against Allen, and the subsequent firestorm of controversy, few have sat down and analyzed the 33-page decision from New York Supreme Court Justice Elliott Wilk in Woody Allen’s 1992 custody suit against his former partner, Mia Farrow (Farrow would later go on to name one of her adopted children, Thaddeus Wilk Farrow, after the judge).
The decision, dated June 7, 1993, begins: “On August 13, 1992, seven days after he learned that his seven-year-old daughter Dylan had accused him of sexual abuse, Woody Allen began this action against Mia Farrow to obtain custody of Dylan, their five-year-old son Satchel, and their fifteen-year-old son Moses… what follows are my findings of fact. Where statements or observations are attributable to witnesses, they are adopted by me as findings of fact.”
‘The Walking Dead’ returns, and immediately has to deal with the problem of what to do with Rick Grimes. Plus, Michonne's backstory is finally revealed. Warning: Spoiler alert!
Admit it: You’ve always wondered what The Walking Dead would be like without Rick Grimes. In the middle of solving everyone’s problems, or his biweekly speech on What Makes a Good Leader, you secretly thought to yourself, What if—what if—Rick just keeled over dead right now? Would people scream? Would the show go on?
Frank Ockenfels 3/AMC
In Sunday night’s midseason premiere, “After,” we at least found out how Carl would deal with the maybe-death of his father. He’d say a lot of mean stuff about him then climb a roof and consume 112 ounces of chocolate pudding.
Having David Bowie play your space alien would make any sci fi movie a classic, but ‘The Man Who Fell to Earth’ works even without him—just check out the great novel that inspired the film.
“The novel on the cutting room floor”
They are literature’s cold cases, the Missing and Presumed Dead. They are the unlucky novels and stories that inspired movies so successful that they eclipsed the originals almost completely. Some books weather a subsequent movie’s success. Gone With the Wind survives as a classic film and a classic novel. But how many people know that before it was a movie, The Birds was a very good novella by Daphne Du Maurier, or that Forrest Gump is based on the novel Forrest Gump?
Good fiction deserves a better fate. By way of a modest corrective, this series seeks out and showcases those obscured, forgotten novels and stories that gave their lives that movies might live, stories that were always at least as good as the well-known films they inspired and in more than a few instances, a lot better.
False memories come from investigators asking leading questions, therapists trying to uncover hidden truths, and yes, distraught parents engaged in acrimonious divorce proceedings.
Is it possible to create false memories? Many may wonder this, partly because of the accusations of abuse made by Dylan Farrow against Woody Allen. Of course, I cannot speak to the truth of these accusations. What I can do, however, is provide some background on how and why researchers like me give people memories for events that never happened. And in truth, it is a shockingly easy thing to do.
In the real world false memories can result from well-meaning investigators asking leading questions, from therapists trying to uncover hidden truths, and yes, from distraught parents engaged in acrimonious divorce proceedings. But just because false memories are possible in all of these circumstances (and many other, more everyday situations), it doesn’t mean that a particular memory that exists in any of these circumstances is necessarily false.
What makes 'A Field in England' such a visceral, mind-bending and ultimately indelible movie isn't the plotting—it's the bewildering, beautiful oddness that binds the action together.
How best to describe Ben Wheatley's new film A Field in England, which arrived in U.S. theaters on Friday?
A FIELD IN ENGLAND, Reece Shearsmith, 2013. (Dean Rogers/Drafthouse, via Everett )
You could say it's a trip, which would be true in nearly every sense of the word. "Something that is crazy, chaotic, or cool." "A journey that takes you to another reality." "The state of acting whack." And, perhaps most accurately, "a single complete experience of using a powerful hallucinogenic drug."
On February 9, 1964, The Beatles walked onto the stage of the Ed Sullivan Show and changed rock history. Nik Cohn was around to watch their ascendancy, and he didn’t miss much.
“If the Beatles meant a lot in England, they meant very much more in America,” wrote Nik Cohn in his brisk, entertaining history of Rock ‘n’ Roll, Awopbopaloopbop Alopbamboom: Pop from the Beginning. “They changed everything. They happened at a time when American pop was bossed by trash, by dance crazes and slop ballads, and they let all of that bad air out. They were foreign, they talked strange. They played harsh, unsickly, and they weren’t phoney. Just as they’d done in England, they brought back reality.”
The Beatles, Great Britain's Rock and Roll singing sensations, are shown during their first performance on the Ed Sullivan TV show, February 9th. (Bettmann/Corbis)
Cohn spent 7 weeks in the spring of 1968 writing his tour de force of pop music. He had just turned 22. “My purpose was simple,” he remembered years later, “to catch the feel, the pulse of rock, as I had lived through it. Nobody, to my knowledge, had ever written a serious book on the subject, so I had no exemplars to inhibit me. Nor did I have any reference books or research to hand. I simply wrote off the top of my head, whatever and however the spirit moved me. Accuracy didn’t seem of prime importance (and the book, as a result, is rife with factual errors). What I was after was guts, and flash, and energy, and speed. Those were the things I’d treasured in the rock I’d loved.”
In a ‘New York Times’ op-ed, Woody Allen finally responded to his adopted daughter Dylan Farrow’s allegations of sexual abuse. Now, Dylan Farrow has fired back at Allen’s self-defense.
On Friday evening at approximately 9 p.m. ET, filmmaker Woody Allen published a lengthy op-ed in the Opinion section of The New York Times defending himself against allegations of child sexual abuse levied by his adopted daughter, Dylan Farrow. Just a few hours after Allen’s defense went online, Dylan Farrow responded to it in a letter posted to The Hollywood Reporter.
Dylan wrote, “Once again, Woody Allen is attacking me and my family in an effort to discredit and silence me—but nothing he says or writes can change the truth. For 20 years, I have never wavered in describing what he did to me. I will carry the memories of surviving these experiences for the rest of my life.”
From Zombies and Rob Ford to lugers in slow motion, watch our countdown of this week’s buzziest videos.
5. Wild Russian Driving
Should parallel parking be the newest Olympic sport? This driver would definitely earn a perfect 10 for this jaw-dropping technique. (While this video is all over the Internet, its authenticity has not been confirmed.)
The film ‘Love & Air Sex,’ now playing in theaters, centers on pals who enter into the Air Sex Championships. Chris Trew, who tours the country hosting the Air Sex Championships, explains the “air sex” phenomenon.
Hello, Internet. My name is Chris Trew. Since 2008, I’ve been hosting what I’ve deemed the most important sporting event in the history of the world: the Air Sex Championships. It’s like air guitar, but replace the invisible guitar with a person. Then, instead of strumming the pretend strings, you’re fucking that person. Or object. Or multiple people and objects. Really, whatever you want… as long as it’s invisible. You show us as much as you want, from meeting your partner to the climax. Oh, and your climax has to be simulated. That’s one of only a few rules in the Air Sex Championships.
Sara Paxton in "Love &Air Sex" distributed by Tribeca Film. (Ryan Green/Tribeca Film)
This show started as a one-off joke at the Alamo Drafthouse in 2007 after viewing this. Tim League (American Hero and owner of the Alamo Drafthouse) organized the first competition, held at his amazing movie theater in Austin, Texas. I developed the show to what it is today, which is very far removed from the previous Japanorama clip. The contestants aren’t all lonely, straight men, and the audience isn’t seated, bored, and waiting for a movie to start. The Air Sex Championships has the energy of a sporting event, the atmosphere of a comedy show, and most importantly, it feels good (like actual sex for most of us).
Though the show’s entire premise is based on losing tons of weight in a short period of time, America was shocked when Rachel Frederickson glided on stage 155 pounds lighter.
When it comes to their bodies, women can’t win. That’s the takeaway from this week’s finale of The Biggest Loser when Rachel Frederickson glided on stage 155 pounds lighter than when she began the contest. Though the show’s entire premise is based on losing an extreme amount of weight in a short period of time, the American public was shocked—shocked!— when one of those contestants actually managed to do exactly that.
Paul Drinkwater/NBC; Trae Patton/NBC
As she floated on stage, social media erupted with accusations of eating disorders, mental illness, and bad judgment on the part of the show’s producers. Two of the show’s trainers Bob Harper and Jillian Michaels’ reactions (Michaels was literally agog when Frederickson appeared) were analyzed as being “mortified” by viewers.
Built by a mad king and copied by Disney, Neuschwanstein Castle held Hitler’s stash of priceless artworks—until the true-life Monuments Men liberated the stolen collection.
High in the Bavarian Alps, a white castle with soaring turrets overlays a scene of rolling green meadows and snow-capped mountains straight out of a storybook watercolor. The setting is so idyllic it served as Walt Disney’s inspiration for Sleeping Beauty’s castle.
But the world-famous Neuschwanstein Castle, nearly straddling the German-Austrian border, once played host to something more sinister than the fairytale setting it inspired. During World War II, the Nazis, aiming to amass a world-class art collection for Hitler’s dream of a “Führermuseum,” stashed thousands of paintings inside the castle. When the war ended, it also closed a 12-year period now recognized as history’s largest art heist—raking in priceless masterpieces from the likes of Michelangelo, da Vinci and Vermeer—and the recovery efforts were tasked to an allied unit known as the Monuments Men.
Aaron Carter Spills Love for Duff
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Isaiah Washington Back on ‘Grey’s’
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CLOSE YOUR EYES!
Nude Bieber Video to Be Released
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John Travolta: ‘Let It Go!'
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