Melissa Gorga confirms to Us Weekly that her first jewelry line, the Melissa Gorga Collection, will hit HSN in July.
"I have always loved fashion and styling with accessories. Since I was a girl, I would spend hours playing with my mother's jewelry," Gorga explains. "With this collection, I wanted to produce something fresh that was luxurious and bold, but accessible for stylish women at any age."
The line will be comprised of 24 items,such earrings, rings, bracelets and necklaces.
"I’ve always admired one-of-a-kind statement pieces so I wanted to create a collection of my own," the mother of three suas. "When designing the collection, I was looking to create those 'wow' pieces that people would stop you and say, 'Where did you get that?'"
The most expensive bauble will only cost $100.
Emphasizing the versatility, Gorga concludes:
"The collection is very versatile and features high-fashion statement pieces that are trendy and take you from day to night. The overall tone of the collection feels like a mix of sexy and sophisticated where you can wear a piece with a blazer or a black dress and a killer heel and rock it either way."
Remember a couple years ago when Scarlett Johansson literally made a federal out of Internet pervs seeing her naked? Well, it looks like these days she's feeling a lot less shy.
That's Scarlett going full frontal for the upcoming film Under the Skin.
We're guessing these photos will seriously hurt the movie's box office, as we can guarantee that this is the best part and you're seeing it for free right now.
We're a bit surprised to see ScarJo stripping down for a random sci-fi flick because when nude Scarlett Johansson photos leaked in 2011, she flipped the eff out and had the man responsible arrested.
Naturally, there's a big difference between getting nude for a dramatic role and someone stealing salacious selfies from your phone, but we always figured Scarlett would save herself for an Oscar bait presitge pic.
Not the case! After the jump, you can take it all in ...
Right from the opening seconds, where the camera eye climbs up subway stairs out into the stark, gritty streets of Brooklyn, the viewer immediately knows "99 Problems" is going to be a dizzying, intense experience.
Officially ten years old this month, the video for Jay-Z’s third single off The Black Album (aka his supposed, final album before retiring from recording to briefly run the Def Jam label) still crackles with jolting, frenetic imagery. The song itself, produced by Rick Rubin, who produced many a classic hip-hop track before becoming the behind-the-boards icon everyone from Johnny Cash to Justin Timberlake would go straight to, is just as jarring musically. For starters, it samples the opening, oft-sampled drum break from Billy Squier’s "The Big Beat," the two-chord guitar riff from a live version of Mountain’s "Long Red" and the jangly percussion from Wilson Pickett’s "Get Me Back on Time, Engine Number 9." Add to that Jay-Z picking up Ice-T’s chorus hook from his "99 Problems" ("If you’re having girl problems, I feel bad for you son/I got 99 problems and a bitch ain’t one") as he tells his own tales of inner-city blues, and you have a rap song that doubles as an aural assault.
The video is an assault on the senses (but in a good way), as famed video director Mark Romanek takes his first shot at helming a rap video. Jay, who originally wanted Quentin Tarantino to direct until Rubin advised him to give Romanek a try, wanted to make a hip-hop video that 1) showed the Brooklyn where he grew up and 2) looked like photographic art. Romanek, who’s always had a flair for creating videos that doled out artistic expression, whether it’s Nine Inch Nails’ grimy, disturbing freak show "Closer," Beck’s Truffaut-saluting "Devil’s Haircut," Johnny Cash’s sad-eyed tribute "Hurt" or Fiona Apple’s voyeuristic "Criminal," immediately thought of cribbing from the black-and-white noir photography of New York photojournalists like Weegee. But the visual, urban bluntness also brings to mind the work of late, black photographer (and Brooklyn resident) Roy DeCarava, who captured black-and-white shots of Harlem in the early 20th century.
Much like DeCarava’s photographs, Romanek gets shots of African-American life, one after the other, in "99 Problems," with Jay serving as a tour guide of sorts. First shown outside the famed Marcy Houses where he grew up, eventually making himself at home in one of the apartments as he raps about music-industry gripes, action goes on all around him as the video progresses and Jay walks around his city, telling his tales.
Romanek takes off in several different directions throughout the video, zooming right into people’s face one minute, slowing down the whole momentum of one scene the next. But thanks to exemplary editing from longtime Romanek editor Robert Duffy, the video maintains a rhythmic pulse. It’s literally never out of step. But, just as Jay raps about the problems he’s had in his life—music-industry drama, almost getting caught by police with drugs in his trunk, having to go toe-to-toe with an idiot—"Problems" visually breaks down the problems that have plagued Brooklyn and inner-city America in general. As much as Romanek shows celebrations randomly popping off (whaddup, dude in Viking hat!), he counters it with bleak shots of black men in jail (completely naked, at one point, as they’re showered down) and old men prematurely mourning their loved ones in funeral homes.
As the video shows everything from a guy aiming a gun out an apartment window, pointing it to unsuspecting passersby, to street performers and step teams literally dancing in the street, it’s obvious that Jay and Romanek are both out to show Brooklyn as a land of contradictions. Good things can happen, but really, really bad things can happen, too. (In a New York Times piece on the video, Jeffrey Rotter said, "’99 Problems’ is a celebration and a disparagement of Brooklyn iconography.") And, yet, as Romanek captures it all with cinematographer Joaquin Baca-Asay, who would later work with James Gray on We Own the Night and Two Lovers, there’s a striking, visual poetry to it.
Romanek also saw the humor. He had Rubin walk around Brooklyn as well, wearing a cowboy hat and a fur coat. (Romanek said he wanted Rubin to look like "a rabbinical pimp.") In one, odd instance, he’s seen walking down the sidewalk with, of all people, Vincent Gallo! Romanek also plays hip-hop misogyny for laughs. Whenever Jay uses "bitch" in "Problems," he’s actually referring to everything but a girl. In the first verse, that’s what he calls the music-industry BS he goes through. In the second verse, it’s a female, drug-sniffing dog. In the final verse, it’s a silly-ass dude looking for a fight. But as Jay uses "bitch" in different ways, Romanek uses it ironically, as standard-issue, bikini-clad, big-booty video girls ridiculously grace the screen the second Jay says the word.
As those shots of butt-nekkid black dudes show, the video also isn’t afraid to be startling in a sensational, controversial manner. Shots of gunplay (or, in Jay’s case, pretending to hold a gun with his hand) were excised from the original cut when it played on MTV (The shots were replaced by a hand obscuring the camera lens.) And, of course, there’s the climactic moment where Jay himself gets shot up with bullets, as his arms flay around in slow motion—a rather violent reminder that Jay was done with rap at the time. The moment scared MTV to the point where it regularly played the video at night, with a pre-video disclaimer attached to it. It’s worth noting that, in the video for his last single, "Dirt Off Your Shoulder," he simply got in a limo at the end and rode off into the sunset. If "Dirt" was his John Ford-ish sayonara, "Problems" was him saying bye-bye, Peckinpah-style.
"99 Problems" still remains immensely watchable, like nearly all of Romanek’s videos. One of those rare hip-hop videos that eschewed—even mocked—rap-video clichés and actually packs a cinematic punch, the video would go on to win a well-deserved, Video Music Award (back when those meant something, of course) for Best Rap Video, as well as moon-men statues in directing, editing and cinematography.
Back when it began making the MTV and BET rounds ten years ago, Armond White wrote in a New York Press essay, "’99 Problems’ shows a young black man’s New York as it has never been seen before. Jay-Z spins a tale of common aimlessness and selfish survival… His delivery is terse yet eloquent –swingsong, but the world he walks through is ferocious." No matter how much of a hipster playground Brooklyn becomes, "99 Problems" will forever be an energetic, musical snapshot of the borough at its most down-and-dirty.
Under its new Chinese owner, Fisker might be back to selling its plug-in hybrid luxury sedans by next year.
The company plans to resume selling its high-priced luxury sedan, which will be followed by a station-wagon version called the Surf in 2016. Once both of those products are out, the company might launch the long-discussed and lower cost Atlantic, Fisker President Roger Brown told the Detroit News.
Before that can happen, the company needs to overcome several hurdles. It isn’t clear if the vehicles will be built in a plant Fisker owns in Delaware or somewhere else. Brown says Fisker will also need to hire roughly 200 people to get the company up and running again.
Last week, a tentative settlement shifted ownership of Fisker from Chinese billionaire Richard Lee to auto parts manufacturer Wanxiang.
Fisker stopped producing cars in 2012 to save cash. The batteries used to produce the Karma proved to be problematic and directed negative media attention to the company. Those batteries came from Michigan-based A123 Systems, a company also acquired by Wanxiang.
But James Franco said on The View this week that not only is he invited to the festivities in France... Kanye asked him and Seth Rogen to perform their "Bound 3" parody video the night before his big day!
"Two weeks ago we got a call from Kanye,” Franco said. “Seth and I were on the phone and we thought he was going to let us have it, but he loved [the video]... and I think I can say it now because I'm pretty sure it's not going to happen, he wanted us to perform it live the night before his wedding in Versailles."
So, will this actually happen?
Will Franco and Rogen entertain wedding guests with their half-naked mockery of Kim and Kanye's Bound 2 music video?
"I think it would have been awesome for about 10 seconds and then there would be Seth with his shirt off in front of all of the Kardashians," Franco said.
Set to take place on May 24, Kim and Kanye’s wedding will likely be held in Paris and will include an influx of A-Listers.
Franco and Rogen, meanwhile, have perfected the art of mocking this famous couple.
They are among many, for example, who inserted themselves on to the cover of Kim and Kanye's Vogue issue. See who else took this funny step now:
CRC have a new competition LiPo battery available in the form of the Rocket Fuel 2S 6000mAh saddle pack. Built from high-performance 65C cells the ROAR-approved battery comes in an orange colour hardcase and including jumper wire and balance lead.
Actavis - the drug company responsible for the codeine-rich cough syrup used to make "sizzurp" - announced today that they will no longer manufacture the famous serum, which has become the alleged drug of choice for celebs like Justin Bieber and 2 Chainz.
Bieber was reportedly busted drinking sizzurp in March of this year and countless rappers have had run-ins with the law and near-death experiences as a result of the so-called "purple drank."
Now, Actavis says it's putting an end to the days of negative media reports about the sizzurp-related antics of rappers and wannabe-thug pop stars.
"Actavis has made the bold and unprecedented attention to cease all production and sales of its Promethazine Codeine product," says a statement from the company. "[Media] attention has glamorized the unlawful and dangerous use of the product."
The ban will reportedly be taking effect immediately, so if you're a purple drank enthusiast, you may want to get out there and stock up while you can.
Sizzurp first gained prominence when rappers began mentioning it in songs in the late 90s.
The drink usually consists of a combination of alcohol, sugary sodas and hard candy...but of course, Actavis cough syrup is the key ingredient.
We're sure this is a day of mourning for many in the rap game.
"I love watching Lindsay Lohan sort through clothes. It's strangely soothing, like sitting on the bed watching your older sister prepare for a date. Lindsay sorts through boxes of things, her ciggie dangling, stopping once in a while to put on a jacket, moving her shoulders forward and smoothing down the front. She shifts her body to make it work. Her face has focus and when she observes a piece on her terse little frame, she is usually pleased. A pro smoker, she talks through her cigarettes, keeping those cancer sticks clenched in her teeth. “This is good.” She smirks. She almost laughs. Those laughs come liberally throughout the day, throaty laughs with hard-earned miles on them. When you hear that laugh, she isn’t your older sister anymore; she’s your hot divorced aunt, the one who lets you smoke pot in the basement."
"Beyond their bond as the co-creators and stars of the IFC seriesPortlandia, Fred Armisen and Carrie Brownstein share something else in common: They both started their careers in music, Brownstein as part of Sleater-Kinney, Armisen most notably as drummer for the post-hardcore band Trenchmouth. Although Armisen left his music career behind in favor of pursuing a career in acting, which he achieved through his lengthy stint as a cast member onSaturday Night Live, he recently returned to his roots, taking on the additional responsibility of serving as bandleader for NBC’s Late Night With Seth Meyers. "
"Aaron Sorkin Wants To Apologize To Everyone About 'The Newsroom' is the headline on Buzzfeed's widely blogged story. Since I do feel that he owes me an apology for The Newsroom, I was very curious to see exactly what he feels he needs to be sorry for -- and as anyone who's familiar not just with his oeuvre but his public persona might predict, it's not so much that he's sorry as sorry not sorry. This fucking guy."
From our very own RogerEbert.com editor-in-chief Matt Zoller Seitz:
"'Top Gun' was terrible when it came out and it's still terrible. Every time somebody online tries to stick up for it as some sort of American pop classic, I just roll my eyes. It's a burp from the Reagan era, no more worthy of serious consideration than "Rambo: First Blood Part II.""
"Every Friday night, no matter what is going on in the world, a slate of new films gets released in theaters. And like clockwork, the companies who make and distribute these movies cross their fingers and hope people show up in droves.
If the actors are popular enough, if the director has some critical cache, if the marketing campaign hits its stride, maybe, just maybe, one of these movies becomes a hit. Everyone lives another day and the Hollywood machine keeps on rolling.
So why does it seem like the buzz around movies is duller than it has ever been? Forget the pomp and circumstance at award shows, the paparazzi and the rosy spin Hollywood puts on its business."
Around 3 million people visit Istiklâl Caddesi, Istanbul’s most iconic avenue, daily. Pretty buildings, mainly from the late Ottoman era, flank the bookstores, cafés and nightclubs along this pedestrian street. However, in April each year, these spots cede the majority of public attention to the cinemas on Istiklâl. In this month, the city plays host to Turkey’s biggest and oldest international film festival. Organized by the Istanbul Foundation for Culture and Arts, the festival is the world’s best platform and showcase for Turkish films, new and old.
Only the most naïve cinemagoer would assume that Nuri Bilge Ceylan is all there is to Turkish cinema. As the recently concluded 33rd Istanbul Film Festival (April 5-20) proved, the country is producing exciting, fresh and challenging films. It is an interesting time for Turkey, a fact impossible to ignore while attending the festival. After all, the event headquarters are merely two minutes away from Taksim Square and Gezi Park, the birthplace of the anti-government protests that captured the world’s attention a year ago.
However, there hasn’t been much cinema devoted to this turmoil, unlike, say, in Egypt. It’s too soon to tackle such topics, some filmmakers believe. Hüseyin Karabey, whose feature “Come to My Voice” was in the National Competition, thinks there is a need to develop some perspective and distance before artists can approach those issues. His own film, which won the People’s Choice Award, deals with the hardships faced by Kurdish immigrants in Turkey. It begins with all of the men in a village taken into custody by the gendarmerie on suspicion of carrying arms. Their families are informed that they will remain arrested unless these arms are handed over. So, 65-year old Berfé sets out on a journey—her granddaughter in tow—to find a gun she can hand over for rescuing her son.
"Come to My Voice" is ostensibly a fable. Framed as a tale narrated by three blind bards, the film lovingly but truthfully sketches a portrait of a tough life, lived in extremely tough conditions. The authorities are painted in unflattering light; the gendarmes are cruel, unsympathetic brutes and the two leads must rely on elements residing on the fringes of society for completing their mission. (No wonder the film doesn’t have state funding.) "Voice" hinges on the relationship between Berfé and her granddaughter; its solid foundation is the reason the film works. Feride Gezer, who plays Berfé, imbues her character with the world-weariness and fatigue that can only come from putting up with unrelenting pain for decades. By the time the credits roll on a superb, rousing folk song (the film was also a joint winner of the festival’s Best Music Award), one is spent but satisfied. This was my favorite film from the lineup by far.
The festival also highlights Turkish cinema from the past year. In this category, outside competition, I discovered "The Impeccables." Director Ramin Matin casts his attention on another problem plaguing Turkey for long: the fight between modernity and tradition. The film opens with a svelte body swaying in the water. It belongs to Yasmine, a vivacious young woman who has come to the coastal town of Çesme for a summer retreat with her shy sister Lale. The two have been distant for long, and the vacation is not just to recharge their batteries but also to reignite their relationship. The sun’s out and the breeze is constant, but a cold air hangs over them and the tension is palpable.
I was glad to see "The Impeccables" because it is a modest story, efficiently told. It proves that no action sequence can be as gripping as a conversation between two people. The sibling relationship is filled with nuances cherry picked from real life, yet some details seem specific to just Turkish society. The psychological rivalry between the two is essayed with acuteness, and the revelation of what exactly drove them apart provides a satisfactory payoff. Ipek Türktan Kaynak, who plays Lale, carries her character through various vicissitudes effortlessly.
Unfortunately, not all films about the gentry are as well done. "Things I Cannot Tell," another entry in the National Competition, falters where the aforementioned films succeed: having strong roots. The first film by Esra Saydam and Nisan Dag, "Things" narrates the story of Damla, a successful New Yorker who misses her Turkish hometown. Six months pregnant, Damla returns to Turkey with her American husband, Kevin, and runs into a former lover, Burak, with whom she had an acrimonious split. Secrets from her past tumble out awkwardly, and all her relationships are put to the test.
"Things" is glossy and pleasant to look at, but hollow to the core. This kind of film could belong to any country or culture; it’s so empty it comes from nowhere. There is no connection to the extremely real pains of immigration, culture shock or homesickness in the film apart from superficial acknowledgments. The film’s portrayal of Kevin is laughably amateur and smacks of ethnocentrism. He isn’t as street smart as Burak; he can’t handle his drinks; he isn’t good at football and has no redeeming quality to him except being nice…ish. Apart from bursting with clichés straight out of an American indie, "Things" suffers from a rather rare problem: being overly and overtly sympathetic to its female protagonist. Damla, by any metric, is an extremely unpleasant person. She lies without abandon or reason, puts her husband through the wringer unfairly and is the cause of nearly all the strife in the plot. Yet, the drama rests on us rooting for her—a nigh impossible task. Ironically, there are very few things Damla actually cannot tell; it’s just that the film would end in five minutes if she did.
The festival experience in Istanbul is not limited to just films. There are a series of Masterclasses and panel discussions open for all. A session by Iranian auteur Asghar Farhadi, President of this year’s Jury, was especially enlightening. He chose the occasion to elaborate on his writing process, and delved into sequences from his oeuvre for anecdotes.
On the festival circuit, Istanbul is undeniably a Tier C member. Nevertheless, it has a unique place of importance because of the light it sheds on Turkish cinema every year. Through the features and documentaries in its lineup, one can gauge what is motivating the artists of this country at this particular time.
Hollywood has a bit of a Peter Pan complex sometimes never wanting its child actors to grow up. But grow up they must as people do.
Occasionally, the actors and actresses we love as children make the transition to adult stars...sometimes making a pitstop as amateur porn stars...before going on to transition successfully into adult actors known for more than just their childhood roles.
Sometimes those transitions are less successful and we spend their infamous adulthoods wondering what happened?
(Drugs and alcohol happened, that's what. Looking at you, Lindsay Lohan.)
Others, like second-time mama Drew Barrymore, go through seriously rough growing pains and emerge on the other side bigger and better than anyone could have imagined. Maybe there's hope for LiLo yet.
And then there's Leonardo DiCaprio who just gets better and better with age. Seriously. He's a fine wine.
Take a look at these 21 child actors who grew up and stayed famous. Or infamous.