There are two things that will never not be a reliable comfort in this world. Doritos will always be delicious, and aging rock stars will always get with a model half their age. According to The Sun, 51-year-old father of four Gavin Rossdale is dating 27-year-old German model Sophia Thomalla.
A post shared by S O P H I A T H O M A L L A (@sophiathomalla) on
Fun facts about Sophia: she’s one year younger than Gavin’s daughter Daisy Lowe, her mother is the same age as Gavin, and based on her Instagram, she loves Justin Bieber. Dealbreaker! Although to be fair, Sophia would have been 20 when Baby was released….nope, that’s still too old to be into Bieber.
A source tells The Sun that it’s still early on in their relationship, but that Gavin is “really taken” by Sophia.
“There’s plenty of chemistry. They’re having fun and the relationship has the potential to turn serious if that continues.”
The source goes on to say that Sophia’s type is musicians. She married a guy in a Norwegian electronic band last March, a few weeks after ending a five-year relationship with the lead growler of Rammstein.
Gavin reportedly met Sophia while touring. But did he really meet her? Several months ago we were told Gavin had been on a date with Elin Nordegren. Gavin later clarified that he had never met her, only texted her a couple of times. So far there’s no evidence they met on Sophia’s social media, which is odd for such a committed groupie. Gavin, is this another Elin situation? I won’t believe this is a real relationship until I see a picture of Gavin posing with Sophia and a copy of that day’s newspaper.
The cast of Buffy the Vampire Slayer reunited in the pages of Entertainment Weekly to celebrate the show’s 20th anniversary. That reunion made a whole lot of fans of the show wonder: “Where in the hell are Giles and Faith? Did they get lost on the way to the reunion? Are they hiding behind a prop grave?” Sarah Michelle Gellarexplained that Giles (Anthony Head) was doing a play in London. But no one had a reason for why Eliza Dushku was absent.
As you can see, many past Buffy cast members showed up for the reunion, so it was a little weird that she was missing.
Eliza appeared in 20 episodes of Buffy, including the series finale. Her character also popped up in six episodes of Angel. You’d think a cross-over appearance would have guaranteed her a spot in that reunion photo. Eliza responded to the questions of her whereabouts on Twitter where she let everyone know why she was MIA. Apparently Faith wasn’t considered a series regular, which meant no reunion invite for Eliza.
Meanwhile, arguably the most annoying character on Buffy, Dawn Summers, seemed to receive a reunion invitation. Sometimes the Universe just isn’t fair.
If enough people were bummed that Eliza Dushku was missing, then that tells me Entertainment Weekly sort of dropped the ball. Of course, EW could always atone for their sins by giving Eliza her own cover to celebrate the 20th anniversary of Dollhouse. Listen to me – as if they needed a reason to celebrate the amazing low-budget cheesiness of Dollhouse.
If you know Chad Johnson, you know this dude lives for McDonald’s. How we haven’t seen him in a Mickey D’s commercial yet is beyond me. If watched Hard Knocks back when the Bengals were featured, you know he hit the drive thru before practice every morning.
I don’t think we ever saw him eating on the field, though. Now he’s taking it to the next level. Burning calories with a workout and refueling with some fries all at the same time.
With Ghost in the Shell out this weekend, friend of the site Angie Han takes aim at all the bullshit excuses Hollywood uses to justify racially insensitive casting. (Mashable)
These really are some beautiful magazine covers. I haven’t purchased an ACTUAL hard-copy magazine in years. If that subscriber one was for sale on newsstands, I think I would have to buy it. — (GFY)
Watching Alex P. Keaton age and show up on the cover of AARP Magazine is a slight kick in the gut. Dammit, TIME, stop moving forward! I need my heartthrobs from my teen years to still be too young to get the Early Bird Special at Denny’s, thankyouverymuch! — (Celebitchy)
OHHHH, that introduction is AWK-WAAAAARD! Yikes. The Beek handled himself well, but oh, I can only imagine that he was seething inside. — (Dlisted)
Kendrick Lamar released («dropped» if you use the parlance of The Youths) a new song and video last night. I don’t know anything about Big Sean, or Kendrick and Drake, but according to this, Twitter has thoughts about that. I DO know that this is a great looking video and I like the song on one or two listens. I need to listen to it some more. — (Lainey)
This commercial is AMAZING! It’s funny, because it’s true. No, wait, it’s funny because it’s obnoxiously bullshittingly sad! — (PopSugar)
This made me giggle like an idiot! It also made me wonder if any of my jerkass pets would even qualify for «Employee of the Quarter». Doubtful. — (Laughing Squid)
WHY DOES CANADA GET THE BOOZY ICE CREAM AND WE DON’T? I say we invade them! — (The Impulsive Buy)
NPR’s book concierge has never steered LadyStardust wrong. China Mieville’s short story collection, Three Moments of an Explosion, might be her favorite so far. She warns that the collection may not be for everyone. The stories go to dark places, but the ones that work, "really hit and leave their unique images behind with you." Have you read the leading author of the New Weird movement? (Cannonball Read 9)
The sunny weather is coming (even though the skies in NYC today are less than ideal) and it’s time to grab a new pair of shades. Get out into the sunshine with a new pair of Ray-Bans during Nordstrom Rack’s sale. With some pairs discounted over 60%, you’ll be able to find some that work for you. Just hurry up, because…
Mandy Moore sure is shaping up to be the queen of Throwback Thursday. Just a week after blessing us with this braces and perm combo from her childhood, Mandy celebrated the unofficial Instagram holiday with a snap of her and Justin Timberlake circa 1999. «Summer of 1999. Abercrombie tshirts and bucket hats. Opening for this guy and his band. Look at my nervous smile!» she captioned the photo. Mandy, who broke onto the scene with her debut hit, «Candy,» opened for *NSYNC that Summer and toured with the Backstreet Boys later that year. We’d venture to say that both of them have gone on to do big things since this photo was taken; Mandy is keeping our tear ducts busy on This Is Us, and Justin Timberlake is . . . Justin Timberlake.
Back in December, a runoff campaign for the Louisiana Senate caught the attention of desperate progressives, who hurled money at Democratic candidate Foster Campbell despite the long odds against him in a deep-red state. In Georgia’s sixth congressional district, a wealthy suburban district that has been held by a…
One hot millisecond after it was announced that non-Asian Scarlett Johansson was cast as Major Motoko Kusanagi in the live-action movie version of Ghost in the Shell, many were rightfully pissed that Hollywood had whitewashed yet another Asian character. When ScarJo was asked about the controversy earlier this year, she Crisco’d up her arm and dug deep into her ass to pull out an explanation. ScarJo could’ve kept it real and just said, “I LOVE MONAY!“, but she instead said she took the role in the name of feminism since Ghost in the Shell is a big action movie lead by a female protagonist.
The makers of Ghost in the Shell (including the director of the original anime adaptation) explained ScarJo’s casting the same way Tilda Swintonexplained her casting in Doctor Strange. They said it’s not whitewashing since the character ain’t even human, let alone white. If anything, the robots should be protesting about a human taking one of their roles since ScarJo’s character is a cyborg. So basically, the Talking ScarJo Robot Doll got robbed.
ScarJo is doing the rounds to whore out Ghost in the Shell, and during an interview with Good Morning America, she echoed what the makers said.
“I think this character is living a unique experience, in that she is a human brain in an entirely machinate body. She’s essentially identity-less. I would never attempt to play a person of a different race, obviously. Hopefully any question that comes up of my casting will hopefully be answered by audiences when they see the film.”
Well, some critics who have seen the movie say that it’s still guilty of whitewashing and the filmmakers attempt to cover themselves is a failure. (SPOILER ALERT) In the movie, the brain of a Japanese woman is put into a cyborg (ScarJo) and becomes Mira Killian. MESS. Asian Brain in the White Shell currently has a 46% on Rotten Tomatoes and it’s probably going to come in second or third at the box office this weekend.
It looks like Hollywood has found a new explanation for whitewashing. Disney has already said that they’re going to cast an Asian woman in their live-action Mulan, but they could cast Elle Fanning and explain it like this:
Calm down, everyone. You see, in this new version, Mulan dies and her soul possesses a hollow department store mannequin that just so happens to look like Elle Fanning. Mannequins don’t technically have a race, so it’s okay!
And here’s ScarJo serving Dollar Tree Brigitte Nielsen at the Ghost in the Shell premiere in NYC on Wednesday night.
I’ve been struggling with something for a good number of years, and I think it’s about time I came out and admitted it to you all. It’s for my own good, really. The first step to recovery is admitting that you have a problem.
Here it goes…
I have a capitalism addic-…Monica Bellucci fixa-…problem with movie trailers!
I have a problem with movie trailers.
Yeah, I’ve talked about it before, so what, wanna fight about it?
In short: Trailers—I don’t like ’em, but I can’t stop watching ’em.
‘Why is Knava thinking about this now?’ I hear you clamour breathlessly. Well, because of this:
As you can see, that’s the latest trailer for the final part of the new Planet Of The Apes trilogy. That trilogy began with 2011’s Rise Of The Planet Of The Apes and continued with 2014’s Dawn Of The Planet Of The Apes (because apes always rise before dawn. Planet.) Rotten Tomatoes has Rise at 81% and Dawn at 90%. Very healthy numbers. Numbers full of lies. I’ve seen both movies, and they’re okay. They have some elements that rise (*snigger*) above okay—Andy Serkis’ Caesar being a genuinely impressive achievement—but for the most part they’re just fine. The trailers, though? Man, I love those trailers. They’re compelling, they set your mind a-buzzing with some quite big questions, and they let your imagination create a story. And then the movies buckle under the weight of those questions and fail to live up to the narrative expectations.
In no way is that a phenomenon unique to the Apes movies.
Because that’s the key word here isn’t it: expectations. That’s what trailers are all about. They’re designed to create expectations. Positive ones. That’s their job and that’s what they gotta do; I’m no fool, dreaming of a trailer-less utopia; I know they’re not going away or changing form.
I mean, shit, it would be great if they could all be like this careful, restrained trailer for Gareth Edwards’s fantastic debut, Monsters:
But that’s just not gonna happen very often. Certainly not for the big tentpole productions on which mountain-sized stacks of cash are spent and so much risk hangs. For those movies, we know what to expect from their trailers: too many of the story beats to be fleshed out, a bunch of the best jokes ruined, some of the big spectacle shots telegraphed. But precisely because you expect that from those trailers you can learn to avoid them. I certainly have. Usually when it comes to a ‘big’ movie that I’m looking forward to I will check out the first teaser, and maybe the first proper trailer. The former is often a relatively safe bet—it’ll show some visuals and hint at the tone—while the latter can be a riskier proposition—maybe it’ll err on the side of restraint, or maybe it’ll blow its load. Pot luck. Enter at your own risk.
But sometimes, sometimes it does something even worse.
Here’s one of the best trailers for anything in a long time:
Yeah. We all went cock-a-hoop over that one didn’t we? How could we not? I mean, yes, Johnny Cash’s ‘Hurt’ is like a cheat code designed to crack open your heart, but still, even without it that trailer is dynamite. Emotional and raw, it tells some quite incredible stories in its margins. It reaches into the viewer’s brain and causes sparks to flare. ‘I gotta see that thing,’ it makes you think. ‘I’ve projected a story onto this, but it’s got gaps in it. I need those gaps filled.’
And herein lies the rub.
I saw Logan just under two weeks ago. It’s taken almost that entire time for me to realise how much I liked the movie. The blame for that lies squarely at the foot of that beguiling trailer. No, it did not misrepresent the tone of the film (one of the other sins most commonly committed by movie trailers); on the contrary it was remarkably faithful to it. But I loved that trailer so damn much, and my brain conjured up so many infinite ways that the story could go, that when I saw the movie I was initially disappointed with the actual story being told. And this was not a judgement of the quality of the finished product—the abundance of which was pretty clearly and immediately obvious—rather it was simply the disconnect between the narrative that my trailer-stoked febrile imagination conjured up, and the one the filmmakers ended up delivering.
The differences between My Idealised Logan and Actual Logan, to be honest, were not even that great. I would probably not be able to describe them without some serious thought. That’s because they never solidified into any proper form. All they ever were was a series of briefly illuminated corners, glimpses of shapes of a larger, unseen whole—but they gave me a feeling. When the movie then failed to mirror this feeling my subconscious judged it as a partial failure. It’s only now, two weeks later, that Actual Logan has had enough time to settle in and make a home in my mind that I accept it as the Definitive Logan. Now I can see it for what it is: Not a hypothetical, ill-defined work of personalised perfection, but a real, warts-and-all actuality. The only one that matters because it’s the only one that happened.
The thing is, I would have loved that acceptance to have been immediate.
Here’s the bit where I would love to point a finger and decry. But the truth is I can’t. The makers of that Logan trailer did their job fantastically. It made me want to see the movie; it didn’t misrepresent the tone; and it didn’t give too much away. Shit, that’s three for three. Well done! The only thing I can really attribute blame to here is my own imagination. Because the same thing happened with another big Event movie, Captain America: Civil War.
Again the trailer was three for three. And again I dig the movie, now. But at the time, when I walked out of it a part of me was somewhat deflated. Because my imagination, in the space of a minute or two, wrote and directed my perfect Civil War movie, which the Russo Brothers then somehow didn’t give me. The bastards.
I have come to the point of acceptance where I recognise that I may have to adopt and adapt what I call the Coen Brothers Maneuever. The Maneuever goes thus: ‘Oh, the Coen Brothers have a movie out? What’s it called—don’t care. What’s it about—don’t care. When’s it out—I’m there!’
Well, maybe that’s a bit of an extreme to adopt for the majority of cinema.
But I could certainly try giving trailers of any sort an even wider berth from now on.