For three decades, Colin Firth has been wowing us on stage and screen. With a résumé that spans everything from period dramas to action films, he’s proven that there is nothing he can’t do (including tackling ABBA songs in Mamma Mia). For his role in The King’s Speech, he became the worthy recipient of an Oscar for best actor (to add to his trio of SAG Awards, his two BAFTA awards, and his Golden Globe). Not many men have played two Mr Darcy’s quite so memorably, and Mr Firth definitely knows how to turn on the charm when it comes to his many outings as a romantic lead. Right now, he’s on cinema screens as the impossibly dapper Harry Hart in Kingsman: The Golden Circle, and he’s never looked better. Don’t believe us? Take a look back at his celebrity evolution, including some very memorable roles and red carpet appearances.
“Look What You Made Me Do”, the video that has made its director Twitter’s most active troll (ok, second-most active), has dominated conversations since it dropped due to whether or not it was a rip off of Beyoncé or whether its alleged targets, Kim Kardashian and Kanye West, even gave a fuck. It’s been two weeks, so Taylor Swift has to do something to keep her fans thirsty for more, so why not drop a totally authentic behind-the-scenes look at the making of the video.
It’s not even 20 seconds in, and Taylor somehow manages to slap on her signature shocked face. I threw my own shocked face on when she playfully chats up a rat on her plate and doesn’t deadpan, “I’m going to call you Karlie Kloss.” Just kidding, they’re TOTALLY still BFFs. She also talks about how she’s going to take the rat home, but I’m sure those master pussies Meredith Grey and Olivia Benson will be about as receptive to that as Taylor is to a night at Chili’s with Katy Perry.
The second video shows the making of the Real Housewives dinner fight scene she does with different iterations of herself in the human tower she totally ripped from Kylie Minogue’s “All The Lovers” video. Poor Kylie. Every young twerp these days is coming for her Aussie empire.
Taylor walks out to see all the body doubles and remarks, “This is the trippiest thing I’ve ever seen in my life!” Oh please, back in the day, she rolled over some mornings to John Mayer in her bed. Some extra in a Junior Jewels t-shirt is not that trippy. Speaking of Junior Jewels, Taylor closes the thing by showing off her “new and improved” Junior Jewels t-shirt. You know…the one WITHOUT Karlie’s name on it!!!
The third annual Invictus Games officially kick off in Toronto, Canada, on Sept. 23, but before we go any further, you might be wondering what the Invictus Games are all about. After serving in Afghanistan, Prince Harry was introduced to the Warrior Games during a trip to the US in 2013. He made it his mission to create an event similar to it that used sports to help aid the physical, psychological, and social recovery of active-duty soldiers and veterans, and as a result, Harry launched the seven-day sporting event in September 2014. The title comes from the Latin word «invictus,» meaning unconquered or undefeated, and the competition features more than 550 competitors from 17 nations and a dozen sports, including archery, cycling, golf, indoor rowing, and wheelchair basketball. Harry has already announced that the fourth Invictus Games will take place in Sydney, Australia, in October 2018.
To make matters even more exciting, Harry’s girlfriend, Meghan Markle, is rumored to attend the Games, which happen to be where Meghan and Harry first met. If Meghan does show up, the philanthropic event will mark the couple’s first public appearance since they first got together in 2016. Guess we’ll just have to wait and see.
In the wake of the Emmys, it’s a big deal that Big Little Lies dominated the winners list. The cast showed up to the award show in full force. It took away eight awards, including outstanding lead actress, best limited series, and best directing. On a grand level, it proves there’s a place for older women in Hollywood. With so much going for the show, it’s more clear than ever that a second season is all but imminent.
For months, the question of another chapter has been just that: a question. Is season two happening? Well, one of the most glaring problems is that season one was a pretty contained hit. There’s only one Big Little Lies book, and it was adapted in its entirety for the miniseries. For the show to move forward, author Liane Moriarty would have to continue the story herself.
Backstage at Sunday night’s Emmy Awards, one member of the press posed the question to the author, since she could potentially make or break the chances of a return. «I’m thinking about it,» Moriarty said in the press room. «Right now, it’s a beautiful possibility.» So, there you have it. The story could be stewing in Moriarty’s brain as you read this.
Jennifer Lawrence suffers for her craft. That’s just one of the many feelings you will probably have seeing Mother!, the latest creation from Darren Aronofsky, a director who previously tortured your eyes (and his actors) with films like Black Swan and Requiem For a Dream. But Lawrence goes the distance as the titular character on Aronofsky’s modern allegory, until her character is reduced to, well, that’s still up for debate.
Though lots of moviegoers will surely be interested in seeing the mysterious Mother! when it comes out this weekend, I’m sure there are many people who are either too scared to see it, or simply just curious to find out what happens in the movie. (Or maybe you’ve seen it but you’re here because you watched the movie behind your hands and want to know what was going on). Either way, this is your last spoiler warning!
Mother! is an allegory for the bible and the way we treat the world we were given, and the narrative thread follows a young couple (played by Lawrence and Javier Bardem) living in a beautiful old house out in the middle of nowhere). Their uncomplicated life — she restores the house while he, a poet, struggles to write — is interrupted when uninvited guests (played by Michelle Pfeiffer and Ed Harris) come over and make themselves at home, setting off an avalanche of unpleasantness ranging from property damage to murder. Their sons (real-life brothers Domhnall and Brian Gleeson) also come to the home, and fight until one of them beats the other to death . . . right in the guest room. Lawrence’s character is horrified, then abandoned and left to clean up the bloody mess herself. This whole thing loosely follows the Book of Genesis (for more on that, click here). Meanwhile, she’s having unexplained spells that she treats with a mysterious tincture.
So what happens to mother after the initial invasion? So much awfulness. After Pfeiffer and Harris’s characters (and a houseload of people they bring over) finally depart, mother wakes up the next morning and realizes she’s pregnant. She and her poet husband are overjoyed. We fast forward a few months later, and she’s at the end of her pregnancy and in full nesting mode. Her condition has been a huge inspiration to her husband, and he has published his most celebrated work. It’s apparently so successful that a handful of press comes directly to their house. This is when sh*t gets real.
The strangers start streaming in to their house, using the bathrooms and eating their food. Her husband’s publicist (Kristen Wiig) shows up and couldn’t be happier at the turn of events. The invaders go from making themselves at home to breaking things, and even though mother is screaming at them to get out, no one ever listens. Her husband is intoxicated by the admiration, and the visitors start worshipping him, and making shrines in his home, then camps so they can stay. She calls the cops.
Mother gets pushed around room by room, and the party turns extremely violent. Someone forces a pill down her throat. She walks into a room where Wiig’s character starts shooting people, execution-style. Wiig says mother is next, and an explosion goes off — cops and a SWAT team is there, and they start using force indiscriminately. Mother and her husband take pepper spray right to the face. Around them people are getting trampled, shot, and killed in different ways, so of course this is when mother realizes she’s about to give birth. Ignoring her pleas to take her outside, away from the house, Bardem’s character takes her upstairs to his study, where he gets her inside and barricades the door.
Mother gives birth in the study, and even after the ordeal she has just been through (and the madness raging outside), she’s momentarily peaceful looking at her newborn son’s face. The moment is fleeting, and as soon as he can, her husband asks to hold the child. She refuses, and his face darkens. He begs. She denies. She doesn’t trust him, and for good reason. She asks him to make the people go away, and he won’t — he says everyone wants to see the baby. When she finally dozes off despite her best efforts, she wakes up to find her arms empty. She races downstairs, and to her dread, she sees her husband toting their son into the mad crowd. (This is the scene that made Jennifer Lawrence say she wouldn’t do another movie like Mother! again).
Things only get worse: before mother can reach her child, she hears a snap, and he stops crying, and she knows he’s dead. You see a grotesque carcass on the table, and see the crazy followers eating bits of flesh (this is probably why Lawrence told her director boyfriend he had psychological issues!). Mother finally loses it and starts fighting back, slashing and stabbing into the crowd, the bloodthirstiness consuming her now, too. The crowd fights back and gets her on the ground, beating the life out of her while calling her a whore (sigh). Somehow, her husband is able to pull her out of the melee, but she’s not done. Finding the lighter that belonged to Harris’s character earlier in the film, mother races down into the basement to the furnace and lights a gas spill. The place blows.
One would hope that was the last of Lawrence’s torture, but don’t worry — there’s more! Both she and Bardem are badly burned, and though her husband gently places her on a table, he still needs more from her: her heart. He pulls it out of her chest, crushes it until it’s a small crystal, and then he starts the whole cycle over again.
Robert Griffin has done enough in his career to warrant an invite to the NBA’s Celebrity All-Star Game, right? We only ask because RG3 has been busy channeling his inner-Carmelo Anthony in Estonia as he rides out Hurricane Irma.
The guy runs a textbook fastbreak (as you can see above), and apparently has a serviceable mid and long range game to boot. I can see this guy trying to steal the MVP award ESPN always gives to Kevin Hart:
Suffice it to say that 27-year-old RG3 hooping in Estonia in the middle of September is not how we saw this guy’s career playing out.
The new teaser trailer for the third film called Fifty Shades Freed is out, and once again it looks like it’s NOT about a kinky couple bumping uglies in the paint swatch samples aisle at Home Depot.
Not to humble brag or anything, but I don’t really follow these films, nor did I read any of the books. But like any other red-blooded American woman, a certain amount of knowledge has, without my consent, slipped into my subconscious. So I guess I know the basics. The first one was all “I’m an A-type ugly duckling who needs to get laid, damn who’s this sexy manipulator?” and the second one was all “I got my back blown out by a billionaire and now it’s my turn to hold the whip.” According to this teaser trailer, I guess this third one is all “let me go ahead and marry this dude cuz I got rich bitch shit to do, oh no did I just get kidnapped by some other dude I wanna fuck?”
This is just the teaser for a film that will no doubt bring in a ton of cash. People are already frothing at the mouth over it on Twitter. The actual trailer doesn’t come out until November, and the movie isn’t out until Valentine’s Day.
I never want to be one of those people who yucks somebody else’s yum. It’s great that there’s socially-acceptable soft-core porn out there for your weird Christian (NO PUN) cousin, or your “sassy” aunt to gag over while sharing a novelty size giant glass of Chablis with their best girlfriends in the old upstairs guest room she converted to a Pinterest perfect She Shed.
I would also not hesitate to take a tennis racquet to the caboose from hot piece Jamie Dornan. And Dakota Fanning, I mean Elle Fanning, I mean Dakota Johnson, has reddish hair in this one. So here, with my own tagline, “Because Valentine’s Day can’t cum soon enough,” is the teaser trailer for Fifty Shades Freed.
SPOILER ALERT! Plot spoilers for Mother! follow.
Mother!, starring Jennifer Lawrence, is poised to be one of the most-talked about films of Fall. Director Darren Aronofsky has delivered a provocative — if head-scratching — think-piece, and though the marketing campaign has been all about mystery, once audiences see the film, there will be many conversations and interpretations of what the film means. If, however, you want to hear what the director himself has said the movie means, keep reading — or turn back now if you haven’t seen Mother! yet and don’t want to be spoiled.
In Mother!, Lawrence plays the young wife of a poet (Javier Bardem), living in a huge house in the middle of nowhere, a house she has painstakingly renovated herself. When a strange man (Ed Harris) comes to their home, the husband (known as «Him») invites him to stay. Then the man’s wife (Michelle Pfeiffer) shows up too, and little by little, the «guests» disturb, pick at, break, and generally destroy the house — and the quiet. More people show up. More destruction ensues. Lawrence’s character screams over and over for people to stop, for everyone to get out — but no one listens to her, and finally, everything she loves is destroyed. She is destroyed.
As much as this could be horror movie about how terrible it is to have houseguests, Aronofsky describes this film as an allegory. At the Q&A at the film’s Toronto International Film Festival premiere, Aronofsky explained, «I wanted to make a film from the point of view of our mother, and I don’t think the story of our journey with our mother is over yet, so this is very much a cautionary tale as well as reflection.» He noted that he had gotten a text that day about how ironic it was that Hurricane Irma had touched down on the same night Mother! premiered at Toronto. «We’re seeing this all around us, so I was inspired to use my passion of what I feel about that.»
Once you know that, it all falls into place, and it’s easy to see how the bible and the Book of Genesis, God, Mother Nature, and the planet are all represented. The characters’ names become dead giveaways: Bardem’s character is «Him,» which makes him God. Lawrence, then, is not just the mother in this film, but the «mother» of us all — and she and the house are the gift of the planet/home we have been given, which we continually destroy without thought. The movie explicitly gives us the perspective of mother (the camera is almost always on Lawrence’s face or showing what she’s seeing), so we are feeling the annihilation of her home — our home. Lawrence brought that into her performance, saying, «I found the biggest tool for me was the connection, the idea that the house and I were the same organism.»
Though the allegorical nature of the film has been hidden from Mother!‘s marketing campaign, Aronofsky said that his stars knew what was going on. «Everyone was aware of the allegory, the actors were, but there was also a real story going on, which I wanted to ground the audience.» Harris and Pfeiffer are meant to be the Adam and Eve in the story (though they are credited as «Man» and «Woman»), and their portrayal is far from flattering. They «take, and take, and take,» the same way Pfeiffer describes what children do to you. Of course, their intentions start out somewhat positive, but it’s what they bring into the house that lead to its destruction. The director said that that helped inform Pfeiffer’s acting: «I thought about Adam and Eve, and what was Eve? Eve was mischievous. And that’s kind of where she started and sort of took it that way.» Adam and Eve even have two unnamed sons who are at each others’ throats — the Cain and Abel of the story.
The movie ends with the mother’s death, and the house annihilated, hence the cautionary tale Aronofsky has written. The director posted a pointed tweet the day after the film’s premiere, referencing The Giving Tree.
— darren aronofsky (@DarrenAronofsky) September 11, 2017
Aronofsky’s film may be a little heavy-handed once you know what his intention is, but whatever you think of Mother!, it’s certainly a film that’s fun to unravel. The movie opens on Sept. 15.
In 1986, Stephen King released the behemoth novel for It, the story of a demonic, shape-shifting entity that terrorizes a small town and faces the wrath of seven brave kids. Of course, the page count reaches well over 1,000 in total, meaning it’s a lot more complicated than just a clown monster and a group of kids. With such a complex story, It has proven to be a tough story to bring to the screen. In 1990, a two-part TV miniseries attempted to take on the story. Even though it clocked in 192 minutes, it still didn’t quite do justice to the source material. Flash forward to 2017, when horror director director Andy Muschietti took another shot at an onscreen depiction of the book.
Muschietti’s blockbuster attempt at It was a calculated risk. In the book, we jump back and forth between two different eras with our «Losers Club.» One storyline follows them as children, chronicling their first attempt to defeat the horrible monster. The second occurs 27 years later, when It returns and the same group reunites to rid the town of evil once and for all. The latest adaptation focuses only on the story of all the Losers as kids; hoping for a sequel, Muschietti planned to tackle the adult story in a second movie. Luckily for all of us, it looks like chapter two is a go. Wondering what exactly happens in this second chunk of the story? Let’s lay it all out.
Twenty-seven years after their first encounter, It returns to the terrifying town of Derry once more. Only one of the seven Losers remains in town: Mike Hanlon has stayed behind and become the town librarian. As soon as he suspects the return of It — he hears murmurs of a clown sighting associated with a recent murder — he calls the rest of his friends to honor the pact they made as kids. They had all promised to kill It for good if It ever returned.
In their adult lives, the Losers have spiraled off into all sorts of directions. Bill is an established horror writer who’s living in England and dating a famous actress named Audra. Beverly is a fashion designer in Chicago who is married to an abusive man named Tom. Eddie runs a limousine rental company in NYC. Richie is a disc jockey in LA, Ben is an architect in Nebraska, and Stan is a wealthy accountant in Georgia. Mike calls each of his friends to beg them to return to Derry. All reluctantly agree except for Stan, who instead chooses to slit his wrists and end his life rather than face It again.
Once they’re back in Derry, the Losers go around town trying to remember everything they went through 27 years before. I don’t want to get into too many spoilers about the plot, but three additional people join the Losers in town: Bev’s abusive husband Tom, Bill’s wife Audra, and childhood bully Henry Bowers, who is very much alive and has been locked up in a mental institution since the first face-off with Pennywise. A bunch of intense things happen that eventually drive everyone into the sewers, where they face off with It one last time. And, well, maybe I’ll just leave it at that.
All things considered, there’s one huge and interesting aspect of the book that Muschietti has omitted entirely. The thing is, It sort of lives in a different dimension, a kind of metaphysical plane. The kids have to learn a special ritual (called the Ritual of the Chüd) to ultimately win. This is something they experience as children and then fully realize as adults, but it’s noticeably and entirely missing from the 2017 adaptation.
In a recent interview with Yahoo!, Muschietti confirmed that the second part of the story will incorporate this component. «Getting in to that other dimension — the other side — was something that we could introduce in the second part,» he explained. «I didn’t want to get in trouble with that ‘going into the macroverse’ or that ‘transdimensional’ stuff . . . there’s another movie to expand into that. Also, there’s a physical truth that it’s a movie that has a budget. And I didn’t want to get into a depiction of a realm that f*cks up our budget, the creation of a world that will basically suck up half of our budget, and would have to sacrifice a lot of things.»
Sounds like It: Chapter 2 is going to be a wild, mind-melting, multidimensional ride.
Outlander‘s Caitriona Balfe doesn’t say much in interviews and on social media when it comes to her personal relationships. While she has dated a couple of people during the last decade or so, there are only two men we can really verify as being linked to the Irish actress. She dated musician Dave Milone when she first started her modeling career in the early 2000s, and in the past couple years, she’s been linked to Tony McGill, who does not appear to be in the entertainment industry. And while many Outlander fans want there to be a real-life relationship between her and her costar Sam Heughan, both of them maintain that the two are just friends.