Twins Pitcher Ryan Pressly is Dating Former Cowboys Cheerleader Kat Rogers

Did you know Minnesota Twins reliever Ryan Pressly landed himself a Cowboys cheerleader? No? Neither did we (and we probably would’ve never found out) if former DCC Kat Rogers didn’t pop into our notifications after retweeting this fun old story about those dirty Twins announcers talking Ryan:

Kat was a Cowboys cheerleader during the 2015 season, which means she caught Tony Romo’s final games before the Panthers broke him for good. She also dabbles in acting and had minor roles on “Californication” and “Chuck”.

Not everyday you see a Twins player-Cowboys cheerleader union, but Ryan is from Dallas and a Cowboys guy so this works out quite well for him.


Sports Gossip, Sexy WAGs, NFL and Hot Cheerleaders: BustedCoverage

Open Post: Hosted By Steven Tyler As A Vision In White

Celebrity Fight Night Final Gala 2017

Look, I love a comfortable, loose fitting, crisp white v-neck shirt dress as much as the next guy. It’s elegant, yet understated, simple but classic. It quietly assures “I have money but I’m not going to rub it in your face.” It’s as appropriate at a red carpet event (think Diane Keaton at a Nancy Meyers movie premiere) as it is at a garden party in the Hamptons (think Diane Keaton at Nancy Meyers’ house).

But I’m here to tell you, Steven Tyler has got this classic look twisted. Steven showed up at the Celebrity Fight Night Final Gala 2017 at Cinecitta Studios (how does he get all the good invites?!?!) looking like Martha Stewart on the top, Dr. Frankenstein’s monster on the bottom with some sloppy black pants and chunky black shoes. Those sad, baggy black pants don’t even fit. And not one decorative scarf to tie this look together? I would have expected more out of Steven.

I will hand it to him though. The pockets (who doesn’t love a pocket!) and casually cuffed sleeve are divine, and Steven is doing an excellent job working his angles and finding the light. It’s just…I don’t want to see him flounce onto a cushy white couch clutching a paperback and a glass of pinot gris with those fucking clodhopper boots on!

Here’s some more of Steven in the outfit that was ALMOST perfect.

Pics: Wenn.com

Dlisted

29 Photos of Paul Walker and Vin Diesel That Will Break Your Heart in 2

Paul Walker was only 40 years old when he tragically died in a car crash in November 2013, but his legacy is being carried on by his family and friends. One of those friends is his Fast and Furious costar Vin Diesel, who often pays tribute to him at public events and on social media. Paul and Vin first met during a read-through for the first installment of the Fast and Furious franchise and quickly developed a friendship. In fact, Vin says Paul was like a brother to him and he even named one of his daughters after Paul. Today, we’re honoring Paul by taking a look back at his best moments with Vin.

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Patty Jenkins Is Now The Highest Paid Female Director Of All Time

The 45th AFI Life Achievement Award

So what if Wonder Woman isn’t really helping women in your mind, James Cameron. You know what is? Cold. Hard. MOOLAH!

Wonder Woman has raked in $ 816 million worldwide, and now it’s time to pony up the Benjis to keep that success rolling since, well, it was one of the few things anyone went and saw in theaters this summer. Gal Gadot is back for the sequel, and original Wonder Woman (and mail-order contacts maven of my childhood!) Lynda Carter has signed on. So it only makes sense to keep the sisterhood alive and well. Variety reports director Patty Jenkins has closed a deal to return for the sequel, which should come out sometime in December 2019.

Deets on the payday haven’t been released, but sources say it’s close to $ 8 million for Patty to write, produce, and direct Wonder Woman 2. If true, this gives her the biggest female director pay day in history. Let’s hear it for the boooooys….er – giiiiiiirls!

Patty will also reportedly get a big chunk of the film’s profits, which means that $ 8 million is really just a starting point. To put everything into perspective, Patty was reportedly paid $ 1 million for the first Wonder Woman. According to The Hollywood Reporter, sources claim the previous record holder was Nancy Meyers with somewhere in the neighborhood of $ 5 million at her peak.

I really hope Patty uses some of these dollars to get a Bentley with the license plate “FMNIZM.” And maybe also that she makes a point of parking it in grouchy old James Cameron’s parking spot at SoHo House or whatever lair he goes to when he needs to ruminate on single-handedly saving the female species. Girl power!

Pic: Wenn.com

Dlisted

Buy This Philadelphia Eagles Tailgate Bus — $3,000

via Craigslist

You can’t look at the custom Philadelphia Eagles paint job above and tell me that this bus is going to last on the open market another week. It just isn’t happening after Carson Wentz got Eagles fans all hyped up with his impressive Week 1 against the Redskins.

According to the owner, he’s invested $ 10,000 in this bus (hardwood floors, custom paint, appliances, etc.) but apparently doesn’t have the time to enjoy Wentz’s rise. Sad. Anyway, this is your opportunity to pounce and get this thing before the next week’s home opener against the Giants — $ 3,000 and it’s yours.

via Craigslist

It’s actually pretty nice inside:

Details from the Craigslist ad:

Eagles tailgating bus, custom inside and out, comes with everything in picture but tv and refrigerator! Over 10k invested in the bus just don’t have time to tailgate like before! Bus has sat since last season but just put 2 new batteries and just needs a good wash and it’ll be ready!

[Craigslist]

via Craigslist

via Craigslist

via Craigslist


Sports Gossip, Sexy WAGs, NFL and Hot Cheerleaders: BustedCoverage

Can You Believe Almost Half of Brad and Angelina’s Kids Are Teenagers?

Angelina with Maddox and Pax at the 2017 Toronto Film Festival. Image Source: Getty / George Pimentel

It seems like no time has passed since Angelina Jolie and Brad Pitt started their family together, but it’s actually been more than 10 years! The two, who are in the middle of a divorce, are parents to their six kids, Maddox, Pax, Zahara, Shiloh, and twins Vivienne and Knox. While we still remember them as adorable little ones, they’ve really grown up into mature young adults. Maddox, 16, was born on Aug. 5, 2001, and is the oldest of the bunch, while Pax, 13, was born on Nov. 29, 2003. Zahara’s birthday is Jan. 8, 2005, which means she’s 12, and Shiloh is 11, with her birthday falling on May 27, 2006. Twins Vivienne and Knox are the youngest of the brood and recently celebrated their ninth birthdays on July 12. Whoa, where did the time go?

Angelina with Vivienne, Shiloh, Knox, and Zahara at the 2017 Toronto Film Festival. Image Source: Getty / George Pimentel

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The Charlie Sheen 9/11 Movie Is—You Guessed It—Exploitative Trash

Last weekend saw the release of a movie centered around a scary demon who occasionally masquerades as a clown. That would be 9/11, starring erstwhile sitcom actor and incessant dicktweezer (and 9/11 truther!) Charlie Sheen.

Also, It came out.

Hey-ohhhhhhhh!

Forgive the bad joke — I need them to get through writing about Martin Guigui’s 9/11. Seeing it was the most «fuck this movie!» I’ve felt since I watched A Dog’s Purpose. That one was a dog snuff film. 9/11 is, essentially, a 9/11 snuff film masquerading as a sensitive tribute to the human spirit or whatever the fuck.

It’s not. «Sensitive» or «a tribute to the human spirit» or anything. This movie made me supremely uncomfortable, and not just because of its bewildering insistence on using shakycam despite the fact that 70 percent of it takes place in an elevator.

WHY ARE YOU USING SHAKYCAM IN AN ELEVATOR???!?!?! There’s no room to shake! Stop that!

Stuck in this elevator are five people from diverse backgrounds meant to represent a cross-section of New York City. Charlie Sheen is workaholic tycoon Jeffrey, who’s gone to the North Tower of the WTC for a meeting that will finalize his divorce from wife Eve (Gina Gershon), whom he’s consistently neglected over the years. Luis Guzmán is affable janitor Eddie. Olga Fonda is Tina, whose put-together Young Professional appearance belies some serious anxiety issues; she’s on her way to break up with her boyfriend/sugar daddy when the attack happens. Wood Harris plays bike messenger Michael, whose daughter is celebrating her birthday that day, of course. 9/11 is chock full of «wink wink nudge nudge, isn’t it significant?» moments like this; early on in the film, a chipper security guard tells the soon-to-be-trapped quintet that there’s «not a cloud in the sky! Have a good day, everyone.»

The characters, like the dialogue, are ham-fisted. 9/11 is based on a play, and you can tell; aside from brief cutaways, the bulk of the action takes place either in the elevator or in the elevator command station, where elevator dispatcher Metzie (Whoopie Goldberg) is the group’s only connection to the outside world. As a result, the film is very talk-y, with proceedings crawling along at a snail’s pace as writers Guigui and Steven James Golebiowski attempt to tease out—with all the grace and subtlety of a crowbar-wielding serial killer—the nuance of this group of disparate individuals, who have no other choice but to bond as they await their probable deaths. Eddie has a gambling problem. Tycoon Jeffrey is made #relatable by the fact that he tells bad jokes, which is supposed to be… funny…? (To Michael: «Did you ever hear the one about the billionaire who hired the bike messenger?» «No.» «You just did.») Michael, on the other hand, is a racist, angrily referring to the «Paki» cab driver who injured him in an accident and calling Eddie «Eduardo,» even though that’s not his name. (Do you get it? He’s a black guy, but he’s also racist! That can happen!!! It’s a very incisive point about… something. My God, this movie is so intellectual.)

The biggest «swing and a miss» moment in terms of the myriad attempts to pad the «you are there» horror of the September 11th attacks with social commentary comes when working-class Michael compares his situation to Jeffrey’s, calling out the latter’s status as a rich white man. Cue the defensive monologue from Eve, who berates Michael for dismissing Jeffrey’s accomplishments. How dare you! He was the son of a poor man who worked his way to the top! He hopped on a bus to NYC with only $ 60 in his pockets! Bootstraps! Bootstraps! Bootstraps! Michael, properly chastised, never again brings up Jeffrey’s white privilege… though that’s a good thing, really, as you get the sense that Guigui and company are in no way equipped to handle it as a topic. Instead, Eve’s impassioned defense of Jeffrey is used to help reconcile the estranged couple.

Adding to the list of things handled poorly in this movie—script, characters, camerawork—we have the acting! Which is really just embarrassingly bad. The whole thing amounts to a high school drama production, except worse, as if the football team was forced to write, produce and act in a 9/11 play while the theatre kids with legitimate talent stand facepalming in the wings.

With nothing much happening in this film—the plot is ostensibly our elevator group attempting to find a way out of the elevator into safety, but the action is so stretched thin and beset by stop-and-go pacing that it kills all sense of momentum—and no compelling characters to root for, what we’re left with is the uncomfortable reality of… just watching 9/11 happen in close to real time from inside the North Tower. There’s no point to it, unless the point is to make one vaguely sick to one’s stomach. Sheen’s character is the only one to die: the final shot is the building coming down on him and a firefighter before an abrupt cut to black, a look of beatific self-sacrifice on Sheen’s face that approaches (this movie’s conception of) the messianic. All the same, throughout the movie’s 90-minute runtime (it feels twice as long), we’re watching these five characters who are probably going to die. Or at least they think they will. It’s a supremely uncomfortable experience. At one point, talking about how the elevator cable may snap, plummeting them some 40-odd floors, Jeffrey «jokes»: «They say it’s not the fall that kills you. It’s the sudden stop at the end.» People were jumping off buildings to avoid burning to death, you fucking assholes! And we see TV screen footage of the plane hitting the South Tower one… two… three times. 9/11‘s attempt at unflinching realism is tone-deaf, exploitative, and disgusting at worst, and at best….

…no, it’s tone-deaf, exploitative, and disgusting. From the Charlie Sheen 9/11 movie. Who knew?

Pajiba

Good Luck Getting Through These Pictures of Insecure’s Dro Without Passing the F*ck Out

The second season of Insecure gave us a few new catchphrases (like «wine down»), a fire soundtrack, an emotional finale, and some of the finest eye candy to grace our screen all year (bare butts, anyone?). One particularly handsome introduction to the show was Sarunas J. Jackson, who plays Dro, a smokin’ hot childhood friend of Molly (Yvonne Orji) who basically dropped our jaws from the second he appeared on screen. In real life, Sarunas happens to be both extremely tall (6’8″, to be exact) and super hot — and we’ve rounded up 28 photos of him that will turn you into a sopping wet mess. Keep reading at your own risk.

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Meet Isabela Gallego – Sergio Dipp’s Girlfriend

I have bad news for the ladies out there who were hoping to steal Sergio Dipp’s heart after developing a soft spot for the ESPN sideline reporter via his disaster/legendary performance during the Chargers-Broncos game. Sergio Dipp has a girlfriend and her name is Isabela Gallego.

By now you know that Dipp is the new 29-year-old heartthrob that ladies on the internet have so much sympathy for because he was speaking English on-air via ESPN for the first time. What do we know about Gallego? Next to nothing. These two have been dating for at least three years, according to his IG. They do the entire catalog of ESPN parties, events, social gatherings, etc. Dipp isn’t some rookie to the U.S., the NFL or social media. The guy has been around.

Normally an ESPN Deportes reporter, Dipp was pulled into ESPN’s broadcast because of some ‘diversity’ initiative.

Now the guy will forever be remembered for this:


Sports Gossip, Sexy WAGs, NFL and Hot Cheerleaders: BustedCoverage

TIFF Review: Matt Damon Gets Small in Alexander Payne’s High-Concept ‘Downsizing’

The procedure is unveiled in Istanbul, at a lecture concerning «Human Scale and Sustainability,» presented as the only «reasonable solution» for overpopulation and overconsumption. It’s called cellular reduction, and simply put, it shrinks you — to roughly .0364% of your current size, where you’ll take up a fraction of the space for a fraction of your living cost, and create a fraction of your current environmental footprint. I can’t speak to the scientific accuracy of the cellular reduction process, but as it’s presented in Alexander Payne’s new film Downsizing, it’s at least convincing, and that’s all that matters. (The vernacular shorthand for the process is «get small,» a touch that Steve Martin fans will appreciate.)

This is a pretty high concept for a filmmaker usually preoccupied with the lives and struggles of the ordinary, but Payne and his regular co-writer Jim Taylor think this thing through, working out all its complications and ramifications — and the logistics of such a procedure once it becomes your typical, streamlined medical process (dental work, hair removal, and, um, «irrigation»). The thrust of the story takes place ten years after that Istanbul lecture, and the filmmakers convincingly imagine how «getting small» would work its way into daily life, becoming not only normalized, but corporatized. When Paul Safranek (Matt Damon) and wife Audrey (Kristen Wiig) visit «LeisureLand,» a mini-city for shrunken people, all they see is snazzy presentations and amenities. They’ll live, for all intents and purposes, in dollhouses — but they’re sold as the last chance to grasp at a lost suburban American Dream. And it’s already become a world filled with the same shitty chain restaurants and McMansions they’re ostensibly escaping.

That’s not all Paul’s trying to fix; he’s got a mild case of midlife dissatisfaction, and much to his disappointment (and thanks to no small confluence of outside events), the cellular reduction only exacerbates it. But he turns it around, somewhat, via a convoluted chain of events that starts with his rowdy upstairs neighbor (Christoph Waltz, sporting a cat-that-ate-the-canary grin and an outrageous accent) and ends at the «original colony» in Norway.

Any more than that is best discovered yourself. Downsizing is a refreshing left-turn in the Payne filmography, starting in familiar territory (his hometown of Omaha, Nebraska, with Damon in the Omaha middle-aged man uniform of untucked button-up shirt and khaki shorts) and with brief appearances by alums (including Election and About Schmidt‘s Phil Reeves and Paris je t’aime‘s Margo Martindale). But he couples the fanciful premise with his most overt social commentary since debut film Citizen Ruth; a tipsy guy at Paul and Audrey’s goin- away party asks, «Do you think you should still have the same rights as us normal people,» and even in this rebooted civilization, the menial jobs are still filled by minorities, who are shuttled back to their slums at the end of the work day.

So Payne’s created a mixture of mid-life crisis comedy, sci-fi parable, and class commentary, with a last-minute helping of eco-drama to boot. This, as you might imagine, makes for a peculiar mishmash of tones, and much of Downsizing is spent walking a fine line between oddness and earnestness. The success of the execution is questionable; there are entire scenes and subplots that don’t land at all. But there’s no denying or dismissing the picture’s ambition, and it’s honestly a little shocking that a major studio is releasing it in this form, since it’s chock full of red flags for notes and interference.

By the picture’s conclusion, it’s hard to guess exactly what Payne is going for, and he ends up grasping at emotions that are, sad to say, just out of reach. But I was consistently engaged by Downsizing, and appreciate its subversions of norms and expectations. Towards its end, Damon does one of those «If somebody would have told me ten years ago…» speeches, which makes for a funny, momentary reminder of just how weird this movie’s become. But there’s another frame around that moment; if somebody would have told me ten years ago that Alexander Payne would make this movie today, I wouldn’t have believed them. And that counts for something.

Jason Bailey is film editor at Flavorwire. His first book, Pulp Fiction: The Complete Story of Quentin Tarantino’s Masterpiece, was published last fall by Voyageur Press. His writing has also appeared at The Atlantic, Slate, Salon, and The Village Voice, among others. Follow him on Twitter.

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