Barnwell: Six ugly NFL free falls, and what they mean for 2019

Carolina has lost four straight and is on the outside looking in at the postseason race. Cam & Co. aren’t alone in falling apart down the stretch.
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What Saturday’s results mean for the College Football Playoff

What does Alabama’s epic win over Georgia mean? Did Ohio State do enough to leapfrog Oklahoma? We try to answer those questions and more before Sunday’s CFP Selection Show (noon ET, ESPN).
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They Might Be Mean, But PCAs Finalist Jimmy Kimmel’s ”Celebrity Mean Tweets” Skit Always Makes Us Laugh

Jimmy Kimmel, Celebrity Mean Tweets, Hip Hop Edition, EveJimmy Kimmel has a lot of great aspects to his show Jimmy Kimmel Live!, but one of our favorites is definitely “Celebrity Mean Tweets.”
As we all know, Twitter is a hard place to…

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Uncluttered Doesn’t Mean Empty: Lessons From a Décor Pro

In a 900-square-foot London apartment, an interior architect indulges his love of possessions but avoids visual chaos by following a few organizing principles.
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When the ‘Mean Girls’ Were Teen Girls

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SpongeBob and Mean Girls dominate Tony Award nominations

Stage adaptions of cartoon SpongeBob SquarePants and hit teen comedy Mean Girls lead the Tony Award nominations for best musical.
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‘Harry Potter’, ‘Mean Girls’, ‘SpongeBob’ Get Tony Nods

“Harry Potter and the Cursed Child” emerged as the frontrunner among plays at the Tony Awards, while musicals “Mean Girls” and “SpongeBob SquarePants” tied for the most nominations with 12.
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Live Briefing: 2018 Tony Award Nominations: ‘Mean Girls’ and ‘SpongeBob’ Lead the Pack

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Mean Girls the musical: Fetch or flawed?

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On the Runway: Men’s Wear Just Had a Huge Designer Reshuffle: What Does It Mean?

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Finding New Meaning in ‘Mean Girls’

The movie is beloved. But it also pits girls against girls. How, then, do you make a stage musical that satisfies fans and meets our cultural moment?
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Chicago, E.T., Forrest Gump, Grease, Lost and Mean Girls Leaving Netflix in January 2018

Mean GirlsThis isn’t very fetch.
Netflix announced Wednesday that Mean Girls and other popular films, including Chicago, E.T.: The Extra-Terrestrial, Forrest Gump, Free Willy, Grease, Miss…

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Will Harvey Weinstein’s Fall Mean the End of Bullying Bosses?

In an industry known for attracting its share of screamers, few raged as violently as Harvey Weinstein. “There was a lot of pounding his fists on the desk and a lot of yelling,” said one of his former employees. “There was an anger inside of him that was jarring and scary.” Another onetime staffer says […]

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Janis Ian From ‘Mean Girls’ Got Married And It Looked So Fetch

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So fetch! Meet the cast of the Broadway-bound Mean Girls musical

The new show, based on Tina Fey’s screenplay, will premiere in October.
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Donald Trump Asks World Leaders To Call Him On His Cell Phone. That Can Only Mean 1 Thing.

President Donald Trump is being gleefully mocked over his latest reported request to world leaders.

On Tuesday, The Associated Press reported that Trump was encouraging his global counterparts to call him directly on his cell phone if they wanted to talk to him.

Twitter users were initially keen to point out the problems it could pose:

Many, however, used the opportunity to poke fun at Trump, suggest he was channeling Canadian rapper Drake, who sings the line “call me on my cell phone” in his 2015 track “Hotline Bling.”

Some also referenced Trump’s parody performance of the song on “Saturday Night Live” in 2015:

Others thought Trump might have been listening to too much Carly Rae Jepsen’s 2012 hit “Call Me Maybe”:

 

And these tweeters just imagined how the leaders would use the number:

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You Can Soon Buy Tickets To The ‘Mean Girls’ Musical, You Pathetic Loser

Good news, people who were in high school in 2004 and still feel like they are in high school in 2017.

“Mean Girls,” Tina Fey’s classic comedy exploring the many creative ways young women torture one another to rise up on the food chain of popularity, is headed to Broadway.

But first, it’s stopping in D.C.

What is the 411? Tickets to #MeanGirlsDC go on sale on FRIDAY, APRIL 28! Sign up and we'll remind you. Link in bio.

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On April 28, tickets go on sale for the world premiere of the highly anticipated musical adaptation, which follows fresh blood Cady Heron who, after starting at a new school in Illinois, is seemingly adopted by a trio of popular girls called The Plastics. Spoiler alert: they aren’t very nice. 

The Broadway plot description sounds pretty familiar:

After years of living with her zoologist parents in Africa, Cady Heron moves to Illinois and must find where she fits in the social hierarchy. A sweet, naive newbie, Cady quickly attracts the attention of The Plastics, a trio of popular frenemies led by the vicious and calculating Regina George. When Cady devises a plan to end Regina’s reign, she learns that you can’t cross a Queen Bee without getting stung.

Thankfully, Fey herself adapted the “Mean Girls” screenplay for the stage, so it’s probably sticking true to the original. Jeff Richmond, the Emmy-winning composer with TV credits like “30 Rock” and “Unbreakable Kimmy Schmidt” under his belt (who’s also Fey’s husband), wrote the music, with lyrics by Tony Award nominee Nell Benjamin. 

Tony Award winner Casey Nicholaw is directing and choreographing the show. Lorne Michaels is co-producing, because of course he is.

“Mean Girls” will premiere at the National Theatre in Washington, D.C., on Oct. 31, and travel to Broadway soon after. Our advice: Dress appropriately.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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With Hair Bows and Chores, YouTube Youth Take On Mean Girls

Newly signed to Nickelodeon, JoJo Siwa is leading an international online movement of kind behavior and demure dress. But not everyone approves.
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What Does It Really Mean To Win Best Picture?

Sunday’s Oscars loom in the shadow of Donald Trump’s fledgling presidency. As with every awards show this year, we can expect a night of equal-rights diatribes mounted in resistance to the regressive legislation and callow disregard for tradition that has defined the Trump administration’s debut.

But before arriving at the annual ritual, we will have already seen one of the most politically driven Best Picture debates unfurl in the media. This time, it’s personal.

Perhaps more than ever, the Best Picture contest seems to double as a referendum on our culture’s conscience. It’s bigger than the Oscars, just as Beyoncé losing Album of the Year to Adele was bigger than the Grammys. If movies are statements about the world around us, then one purpose of the Academy Awards is to adjudicate the year’s best cinematic manifestos. That’s complicated when titles from Obama’s America are being feted in Trump’s America. 

It’s especially complicated when considering the Oscars’ thorny political backdrop. Throughout its 89-year history, the event has, after all, become a shrine to Hollywood’s liberal values ― even when the movies themselves aren’t explicitly political. 

In 2014, “12 Years a Slave” director Steve McQueen ended his Best Picture acceptance speech by dedicating the award “to all the people who have endured slavery and the 21 million people who still suffer slavery today.” He then turned to the cast and crew surrounding him onstage and leapt into the air enthusiastically. 

In 2016, “Spotlight” producer Michael Sugar addressed his Best Picture acceptance speech to Pope Francis, saying he hopes the recognition will inspire “a choir that will resonate all the way to the Vatican.” He then turned and gave Michael Keaton a bear hug. 

In both cases, it would have been surprising not to hear rallying cries related to the human-rights transgressions depicted in these films. 

Sandwiched between the “12 Years a Slave” and “Spotlight” victories was “Birdman.” The closest that movie came to tackling social ills was something along the lines of “middle age = hard.” Yet director Alejandro González Iñárritu, a Mexico native, politicized his acceptance speech anyway, ending with a sweet pro-immigration sentiment. 

This all took place during Barack Obama’s tenure. In terms of Hollywood’s nerve center, it was a time of relative political ease.

But amid radical unrest, what does it mean to score popular culture’s most luminous prize?

If there’s one thing we know about the Oscars, it’s this: Even by subjective standards, the year’s best movie often doesn’t nab Best Picture. “The Greatest Show on Earth” beat “Singin’ in the Rain” because “Singin’ in the Rain” wasn’t even nominated. “How Green Was My Valley” topped “Citizen Kane,” frequently cited as the greatest film ever made. “Out of Africa” outpaced “The Color Purple.” “Dances with Wolves” stole the trophy from “Goodfellas.” Perhaps most infamously, voters preferred “Crash” over “Brokeback Mountain,” a groundbreaking masterpiece if we’ve ever seen one. Some would add “Birdman” to the list of failures, too ― it did compete against “Boyhood” and “Selma.”

Understanding that the minutiae of a Best Picture race has little to do with pure quality, any Oscar pundit will tell you this year’s front-runner is “La La Land,” a bubbly musical romance about an aspiring Los Angeles actress and a stubborn jazz purist. “Moonlight,” one of 2016’s most acclaimed releases, could unseat “La La Land” in an underdog triumph, partly because it’s a phenomenal movie and partly because of the important story it tells, about a black latchkey kid grappling with his sexuality in the Miami projects. But watch out for “Hidden Figures,” the charming box-office smash about three black women who were pivotal at NASA in the 1960s. “Hidden Figures” became a veritable threat to the “La La”-”Moonlight” two-hander when it won the Screen Actors Guild Awards’ top prize, a coveted Best Picture pacesetter.

(Apologies to the other six nominees: “Arrival,” “Fences,” “Hacksaw Ridge,” “Hell or High Water,” “Lion” and “Manchester by the Sea.” Thanks for playing.)

During awards season, that bastion of expensive politicking, offscreen narratives supersede art. This year’s narrative goes like this: “La La Land” is the escapist swoon needed to distract from Trump’s horror show, “Moonlight” is a socially vital tale not seen often enough, and “Hidden Figures” is a healthy blend of escapism and import.

Put another way, some journalists and Twitter objectors accuse “La La Land” of being a mansplain-y letdown with subpar dancers and a misguided homage to old-school musicals. They argue it’s simply not the movie Trump’s America needs, at least not when competing against stories about the very sorts of people our government would rather marginalize. The objectors’ objectors call them killjoys who fail to appreciate Damien Chazelle’s colorful flourishes and bittersweet enchantment. These arguments have occurred in countless think pieces since the moment “La La Land” opened. The New York Times’ arts writers, for instance, chimed in one by one on the musical’s merits, and lack thereof, last week.

Such political undercurrents offer a narrow, though not necessarily unfair, rubric for an awards show long granted an inflated premium within our pop-culture landscape. But if politics haunt the Oscars, shouldn’t the recipients reflect the moment’s political mood? 

Maybe. History shows that honoring exemplary art has always been a mere slice of the Oscar pie.

When a coterie of Hollywood bigwigs created the Academy Awards, first held in 1929, they intended to harmonize the ballooning industry, which was facing labor disputes and struggling in the transition from silents to talkies. Within two years, subtle lobbying had started, with studios purchasing ads in trade magazines touting their candidates. In 1953, television broadcasts began, further romanticizing the event. As the years progressed, offscreen solicitations swelled. In 1979, the major studios reportedly spent a collective $ 1.8 million on Oscar campaigns. Two decades later, Miramax dropped an estimated $ 5 million on its successful “Shakespeare in Love” crusade alone. By that point, one has to wonder how much a movie’s quality even matters.

Mudslinging, strategic film-festival debuts, baby-kissing industry events and an endless parade of media appearances have become part and parcel of the months-long Oscar season, ultimately defining the derby in tandem with an onslaught of predictive precursor prizes and lingering mythology about who is “overdue” for a win. (See: Leonardo DiCaprio’s “Revenant” sweep.) The nearly 7,000-member Academy of Motion Picture Arts and Sciences is a persuadable, navel-gazing hive mind that, despite recent diversity initiatives, remains dominated by older white men ― the very group that decided “Crash” better reflects its values than “Brokeback Mountain.” 

It can’t be over-emphasized: No matter how many A-listers wax poetic about the power of great art on Oscar night, the Oscars are never really about great art, not exclusively at least.

Which is why a Trump-era victory for “Moonlight” or “Hidden Figures” would be more significant than any other socially relevant winner from the past, including Obama-era champs “Spotlight” and “12 Years a Slave.” Following two consecutive years without any acting nominees of color, we’re blessed with one of the most diverse Oscar rosters in history. Why, some ask, would voters select “La La Land,” in which a white dude mouths off about the death of jazz, an art form historically associated with African-Americans? 

Because it’s about Hollywood, of course. A Best Picture selection exemplifies the way the Academy wants to portray itself. In picking “La La Land,” the electorate advances the notion that movies are the dream ballets to which we all aspire. In opting for “Moonlight,” the Academy can confirm that art is inherently political, and that “Moonlight” is the film America needs to see now. “Hidden Figures,” again, combines the two value systems.

In every sense, there’s room for both styles of movies. Cinema does provide an escapism that has become woven into the fabric of our culture, and that’s perfectly fine. It also tackles hot-button issues in ways that shape how we see the world around us. There’s a reason Vietnam War epics “The Deer Hunter” and “Apocalypse Now” ― both Oscar winners ― were such important works in the 1970s, for example. 

As mass media has mushroomed throughout the Oscars’ history, so has our treatment of the Academy as a cultural figurehead. It means something ― it means a lot, in fact ― that so few filmmakers of color have been nominated, or that the Oscars have spotty credentials when it comes to stories about queer subjects. If these awards are America’s gold standard, people of all backgrounds deserve an invitation. 

But no matter the political jeremiads that flank Oscar night, the compulsion to gauge nominees based on the White House’s affairs has never been this frank. Just look at the past decade. Analyses of 2010’s campaigns indicated “The Hurt Locker” bested sci-fi behemoth “Avatar” because it staged a fierce dark-horse coup, not because it tackled the then-ongoing Iraq War. 2011’s titleholder, “The King’s Speech,” a typical Hollywood period piece, is one of the more divisive Best Picture upsets, largely because the moral ambiguity and topical timeliness of “The Social Network” made for a more progressive filmmaking style. Many chalk up the next two choices ― “The Artist” (over, say, “The Tree of Life”) and “Argo” (over “Lincoln”) ― as evidence of Hollywood’s love affair with itself. 

These competing codes ― potent campaigns, forward-thinking filmmaking, masturbatory interests ― create a hodgepodge of Best Picture history that hasn’t prepared us to agree that Trump’s election should determine the winner. It is only within the Oscars’ limited scope that “La La Land” and “Moonlight” ― movies with little in common ― are pitted against each other. And that’s where it helps to realize the Oscars create more phony narratives about popular culture than perhaps any other institution. Suddenly, you’re either a “Moonlight” fan or a “La La Land” fan, creating a false choice between supporting inclusivity or encouraging the same old Hollywood frolics.

But if there’s one consistent message the Academy sends, it’s that a Best Picture winner reflects the product Hollywood is proud to have made. Knowing the economic boon such a victory can bring to a movie, the Academy seems to say, “Go see this so we can make more like it.”

For many playing along at home, that theory leads to an easy answer: We’ve seen movies like “La La Land” before, and we’ll see them again. Instead, we must fight for movies like “Hidden Figures” and, especially, “Moonlight,” which would be the second-lowest-grossing winner in history after “The Hurt Locker.”

It’s encouraging to know the Academy has proven increasingly capable of crowning films that aren’t the box-office bonanzas so cherished in a mercurial industry. Look no further than the little-seen “Birdman” conquering the lucrative “American Sniper,” or the fact that “Spotlight” was every bit as worthy as “Mad Max: Fury Road.” Despite rapacious business models, money isn’t the only form of profit. To coronate low performers is to risk seeming out of touch with common moviegoers, but the Oscars were never designed to be populist anyway.

That timeworn tug-of-war is on display again this year. The box-office success of “La La Land” and “Hidden Figures” make them far more popular, and arguably more relevant as a result. Yet despite initially positive reviews, “La La Land” does not mean to its fans what “Moonlight” means to its admirers, especially considering the latter’s smaller marketing budget. Few will leave “La La Land” thinking, “Finally, my story is being told.” And anyway, “La La” and “Hidden Figures” did not muster the volume of critical enthusiasm that “Moonlight” enjoyed. 

What, then, makes one deserving of Best Picture over another? The weight of Hollywood’s future.

For a final example, let’s turn to the most glaring anecdote: In 1995, the edgy oddity “Pulp Fiction” lost to “Forrest Gump,” a box-office medalist drenched in conventional bathos. It’s an indisputable travesty, as “Pulp Fiction” is superior by every rubric except revenue. Critics knew it then, and just about everyone knows it now. Moreover, there would be ample “Forrest Gumps,” aka fables about heterosexual white men overcoming adversity in fantastical ways. Less reliable was the assumption that mainstream moviegoers in the mid-’90s would turn the next “Pulp Fiction” into a notable hit, thereby encouraging studios to invest in more like it ― and that’s a big part of why the Academy made a mistake. (Case in point: Quentin Tarantino’s next film, “Jackie Brown,” grossed one-third of what “Pulp Fiction” made domestically.) It’s not that there isn’t room for movies like “Forrest Gump.” But they do not boast the same flash-in-the-pan singularity of “Pulp Fiction,” just like “La La Land” does not carry the same dynamic originality of “Moonlight.”

At some point, the Academy has to decide for itself what the future of moviegoing must look like. What should people want to see? What should filmmakers aspire to? Dream ballets or mirrors held up to a knotty world? In other words, will voters pick more of the same or blaze a fresh frontier? With so much of the Obama administration’s progress in flux, our democracy awaits the answer. 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Transcript: President Obama on What Books Mean to Him

Michiko Kakutani, our chief book critic, met with Mr. Obama to discuss the books and writers that have influenced his life and presidency.
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What Do Gilmore Girls’ Jaw-Dropping Final Four Words Mean for Rory?

SPOILER WARNING: For those who haven’t watched Gilmore Girls: A Year in the Life, plot details will be revealed below.

Gilmore Girls‘ final four words left even Lorelai Gilmore in shock.

At the wrap of Netflix four-part revival series, which brought together the beloved cast of the original CW series, creator Amy Sherman-Palladino was finally able to have her two main characters — Lorelai (Lauren Graham) and Rory Gilmore (Alexis Bledel) — complete the dramedy the way that she originally intended it to be wrapped.

After audiences watched Lorelai and Luke (Scott Patterson) finally tie the knot in the center of Stars Hollow after being longtime lovers for nine years, the mother-daughter duo sat until the wee hours of the morning, sipping champagne on the steps of the iconic gazebo as they watched the sun come up.

As Lorelai reflected on saying “I do” to the Luke’s Diner owner in the “Fall” episode, she asked her daughter, who is deep in thought, “Hey, what’s going on in there?” to which Rory responds, “I want to remember it all. Every detail” and paves the way for the final four words.

“Mom,” Rory says to her mother as the two wait for the sun to come up behind their two-story home that they overlook in the near distance.

“Yeah?” Lorelai responds.

“I’m pregnant,” Rory reveals.

Jaw. Dropper.

As audiences watch the conversation unfold, the cameras capture Lorelai’s stunned reaction — an open mouth and wide eyes — before the camera transitions to the credits.

Throughout the revival, Gilmore Girls diehards eagerly watched to see who Rory ends up with at the end of the series. But perhaps to many viewers’ dismay, she doesn’t specifically end up with anyone — although she is forever tied to one of her past beaus because of the baby.

Let’s break it down in order of her boyfriends on the series.

DeanDean (Jared Padalecki) was Rory’s high school boyfriend, whom she later hooked up with while in college when he was married to Lindsay. But after the two finally called it quits during Rory’s early college years, Dean was no longer a contender in her love life. (Sorry, Team Dean, it’s true.)

In the revival, Rory bumps into Dean in the supermarket during the last and final episode (“Summer”), where he worked in high school and where much of their early romance bloomed. After physically running into one another, it’s revealed that Dean is married to Jenny, who is pregnant with the couple’s fourth child: their first daughter.

Rory proceeds to ask Dean’s permission to write about him in her Gilmore Girls book. “What are you gonna say?” Dean asks. “That you were the greatest boyfriend alive. That you were generous and protective and kind and strong. That as much as I wish we’d met when I was older and more mature, I know that if I hadn’t had you with me when I id, I wouldn’t be the person I am today. That you taught me what safe feels like,” Rory responds. As Rory says goodbye to Dean, the question of her ever ending up with him is laid to rest.

JessJess (Milo Ventimiglia) is Luke’s nephew and the bad-boy boyfriend that Rory fell for while still dating Dean. Shortly after breaking up with her first boyfriend, she quickly got together with Jess. The two shared numerous common interests — and the chemistry was apparent — but Jess was too immature at the time to be in a serious relationship. Although Jess attempted to win Rory back during her time at Yale, she refused his pursuit.

In the revival, Jess first returns in the third episode (“Summer”) when he visits Rory in her new position as editor of the Stars Hollow Gazette. While sitting together at her desk, Jess encourages Rory to write a book about her and her mother’s story. It is later revealed that Rory took Jess’ advice and she penned the first three chapters of her book, Gilmore Girls.

In the last episode (“Fall”), Jess makes a return for Luke and Lorelai’s wedding. As he leaves to stay with his mom the day before Luke and Lorelai’s wedding, Rory shows him the first three chapters of the book. “Jess, Jess, look! The first three chapters!” she says to him. Luke witnesses the exchange between the two and asks his nephew, “A work thing, huh? So then you’re over that, right?” to which Jess responds, “Yep, long over.” But as Jess leaves the house, viewers watch as he stares back at Rory through the window with admiring eyes. Clearly, he’s not over her. (Team Jess, there’s still hope!)

LoganLogan (Matt Czuchry) was Rory’s third and final boyfriend in the original CW series. Although the couple had an up-and-down relationship during their time at Yale, the show concluded with Logan proposing to Rory after graduation and her denying his offer. But in the revival, Logan is the first ex-boyfriend to make an appearance, only this time he’s no longer an ex — the two are reconnected lovers.

Logan appears in all four episodes of A Year in the Life, and it’s evident that Rory is still hung up on him. Every time she travels to London, she stays at his flat — regardless of the fact that she has a boyfriend, Paul, of two years and he is engaged to French heiress Odette — calls him when she’s having a crisis or needs a listening ear, and is the only man that audiences see her intimate with (aside from a one-night stand that she has in the “Spring” episode). After Rory attempts to call it quits with Logan in the summer, he makes a charming return in the fourth episode (“Fall) and whisks her away for the night before she says goodbye for good the next morning. But now that she’s pregnant with Logan’s child, can she really say goodbye, and does she want to?

With a book in the works, her and Logan’s baby on the way, her commitment to the Stars Hollow Gazette, and two men that are are still clearly in love with Rory, the youngest Gilmore appears to be closely resembling her mother’s footsteps.

What are your predictions? Do you think Rory would get together with Logan or Jess?

Gilmore Girls: A Year in the Life is now streaming on Netflix.


PEOPLE.com

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There was a lot of buzz surrounding Justin Bieber's performance of "What Do You Mean?" at the MTV Video Music Awards (mostly because some, uh, tears were shed…), but that's not all: The singer also…


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Take Your Love Life Into the Woods (And I Don’t Just Mean Sex Outdoors)

2015-08-21-1440186047-1294493-ID10073595.jpgIs your love life the romantic equivalent of a suburb? All plotted and predictable bits of grass and shrubbery; quiet, controlled, and so boring you want to blow your brains out? Time to leave the suburbs—and head into the woods.

This lesson comes to you by way of an unlikely source: Stephen Sondheim’s musical “Into the Woods.” The main story line is this: a childless baker and his wife, in a land far far away, are sent into the woods by a witch who promises to lift the childless curse she put on them if they bring back a few ingredients. Sort of like a very dramatic, life-or-death errand run. And it will require bravery, brains, and a little trickery to get it done.

The baker is a nice enough guy, but he’s a victim—of a spell, of circumstance (none of this is his ‘fault,’ etc.). Not the manliest of men. But all of that changes when he heads into the woods, which, here and in every other fairy tale, represent all that is dangerous and risky and unpredictable about the world and ourselves.

The baker’s wife follows her husband into the woods and is struck by what she sees. She sings in “It Takes Two”:

You’ve changed.
You’re daring.
You’re different in the woods.
More sure.
More sharing.
You’re getting us through the woods.

You’ve changed.
You’re thriving.
There’s something about the woods.
Not just
Surviving.
You’re blossoming in the woods.

She’s getting hot for him again, plain and simple. Not only because he’s being decisive and exhibiting a stronger, more manly appeal, but because, well, they’re not where they were. They’re not stuck in their little hovel with their same old worries and habits and flaws. They have risen to a new occasion.

At home I’d fear
We’d stay the same forever.
And then out here—
You’re passionate
Charming,
Considerate,
Clever…

The woods has tested their relationship, and revived it. Then, together they go and rip off poor Jack by trading him five magic beans for his aging cow. But that’s another story.

My point is this: We spend so much time seeking comfort, order, predictable assurance in our lives and our relationships that we mistakenly beat back what remains of the woods with a lawnmower and call it adulthood.

In her fantastic book Mating in Captivity, Esther Perel tells us that “the challenge for modern couples lies in reconciling the need for what’s safe and predictable with the wish to pursue what’s exciting, mysterious, and awe-inspiring.”

We expose the deliciously dark shadows of mystery and domesticate every last bit of wild within us. Responsibility. Maturity. And with it goes our wilder, untamed, but undeniably exciting nature, our lustiness, our sensuality, and our passion.

Here’s how to get back into the woods:

Embrace uncertainty. One of my colleagues, Matthew Walker, coach and author of Adventure in Everything, teaches this concept in his workshops. He says that what we endeavor to do in our lives, careers, and relationships is made that much more rewarding if it has an uncertain outcome. Meaning: When you only go after what has a certain, predictable result, you don’t get a fraction of the fulfillment from it. If you’re single, it means throwing yourself in the dating wilderness and seeing it not as a chore or a dreaded, horrible thing, but as an adventure.

Explore fantasy. This is what Fifty Shades of Grey did for hundreds of thousands of wives (and husbands, too). It didn’t have to be a literary masterpiece to do what it did: Lured people into the woods of their erotic imaginations. Sure it felt a little wrong—that’s why it worked. Erotica is one way to do it, but even more fun is talking about your own darker urges, and possibly trying them out for real.

Go somewhere a little risky. Skip the tame pool-side excursion and opt for an adrenaline-inspired adventure (whether it’s literally hiking thru the woods, or rock climbing, etc.). You need to be somewhere vastly different than you’ve been. You may bring the partner you have known, but he (or she) may look a little different on the journey. A friend of mine goes away with her husband to far-flung places like Egypt and Peru every year. Seeing him in unfamiliar settings and sharing adventures keeps their relationship alive. If you’re single, take a solo trip. The sheer adventure of travel opens you up to all kinds of romantic interludes.

Create some distance. Perel writes, “There’s a powerful tendency in long-term relationships to favor the predictable over the unpredictable. Yet eroticism thrives on the unpredictable.” Do something out of character. Get dressed up, wear a new perfume, change your hair—whatever. Tell your partner you have plans, but be vague. Or, have him meet you at a restaurant where you haven’t been. Allow some silence, distance, mystery, and you reintroduce a little of the initial chase you had when you were first courting. Let him guess what you’re up to. Be coy. Sly. Inviting. As opposed to, say, peeing with the door open. Start acting like the person you were before you had a partner—the very person he or she was attracted to. Put yourself somewhere where he has to come find you. It’s hard to long for someone when they’re sitting right there. Make him follow you into the woods.

“The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” – Proust

Visit territrespicio.com for more content like this + to sign up for my newsletter and receive a free copy of my e-book “Take the WORK Out of Networking,” about how to make better connections in business and in life (it totally works for dating, too).

Photo courtesy of dan / freedigitalphotos.net

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Bill Nye Reading Mean Tweets Is His Greatest Experiment Yet

Bill Nye taught us a lot about chemical reactions over the years, but none of that comes close to the Science Guy’s reactions to mean tweets

Nye recently read some unflattering tweets in support of a Kickstarter campaign for a documentary about him, which, to be honest, we kind of hope just turns out to be two more hours of tweets.

Mean tweets are a staple on “Jimmy Kimmel Live!” but what happens when Nye’s science and reason meet the incoherent ramblings of the Internet? You get gold, people. Pure gold. 

Also on HuffPost:

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Smiles Mean Money in France, But Hidden Benefits Are Even More Enriching

“A person who smiles a lot is either a fool or an American.”
— Russian adage

The French government has launched a new  campaign  to make its citizens smile in an effort to promote a more welcoming environment for tourists. But science tells us that French authorities will be beating their heads against the wall if they really think they can coax aloof Parisians to put on a happy face.

Because, well, there’s no smiling in France.

Or so say psychologists from the University of Wisconsin-Madison, who have found that the most expressive nations —  those with citizens who are quickest to crack a smile – are those with heavy immigrant populations. That puts the homogeneous France near the bottom of the list with Russia and Japan. Among the leaders: Canada, Brazil and the good ol’ U.S.A.

So, what is it about living in the world’s melting pots that puts smiles on the faces of their citizenry? Simply put, a smile is the mother tongue. It bridges language barriers, predicts trust and signals friendly intentions among people of disparate origin.

And conversely, it is a lack of smiles, among other things, that has given France a reputation for being a difficult place to visit, especially if you don’t speak the language.

This isn’t the first time the French have tried to legislate smiles to convey warmth to tourists. The current effort is similar to campaigns in  2003  and 2009 , when the tourism board set up “smile ambassadors” at the nation’s most-visited spots. But by all accounts, the efforts of the police du sourire fell flat. Those smiles turned – or stayed – upside down.

What Happens to Our Brains When We Smile

There is fascinating research about the power of an upturned mouth. Smiling activates the release of neurotransmitters, including dopamine and serotonin, that help  fight off stress. Having  too little of these brain chemicals has been linked to depression. When we smile, we also trigger the release of “happy hormones,” including  endorphins, the same chemicals that give us that “runner’s high” after exercising. Even aping a smile can spark a feeling of  happiness  and  reduce stress. Charles Darwin was the first to suggest that one’s emotions could be enhanced by one’s expressions, positing that just the  act  of smiling produces positive emotion.

Fast forward more than 100 years and “positive emotion” leads off renowned positive psychologist Martin Seligman’s five-sided PERMA model of the traits that foster well-being. According to Seligman, there are two kinds of smiles, the “Duchenne smile” and the “Pan American” smile. The Duchenne smile (named for neurologist Guillaume Duchenne) is involuntary and genuine. It is a broad smile that forms wrinkles on the outer edges of the eyes (i.e. crow’s feet). On the other hand, the Pan Am smile (the forced smile of flight attendants from the long-defunct airline), is inauthentic. It involves only the muscles of the mouth. (To see if you can spot the fake from the real smile,  take this quiz  from the BBC.)

But back to our poker-faced friends around the world: In the UW-Madison study, researchers examined the psychology of smiling in 726 people from nine countries and compared the results for each country with its immigration numbers. Participants were asked what constituted a good reason to smile, with options like, “is a happy man,” “to sell you something,” or “feels inferior to you.”

The results? Countries with more immigration over the last 500 years were more likely to interpret the smile as a happy or friendly gesture.

In countries with less diverse pasts, such as France, Russia and Japan, the act of  smiling  is more complex. Japanese people will grin to  mask negative feelings. The Japanese tend to control their expression of emotion so much so that people there have been  given instruction in the art of the smile. Meanwhile, the French are so notorious for not smiling that the British tourism group VisitBritain released a guidebook with tips for U.K. hoteliers to avoid offending guests from other nations. “Don’t exchange a smile or make eye contact with anyone from France who you do not know,” the guidebook states.

But can we equate the act of smiling with true happiness? In a paper called “The French Unhappiness Puzzle,” economist Claudia Senik argues that France’s “cultural mentality” makes the French far less happy than their wealth and lifestyle would predict. Senik’s research suggests that French unhappiness is due in large part to “multi-dimensional” dissatisfaction and a low level of trust in other people. She says policies to address unhappiness in France should start in early childhood.

A smile, real or fake, is a good starting point, and the bigger the grin, the better. Researchers at  Wayne State University analyzed the smiles of 230 Major League Baseball players culled from their 1952 trading cards to test how positive emotions affect longevity. The intensity of the players’ smiles was compared with life data for the men, controlling for body mass index, education, career length and other factors. As it turned out, the players with the broadest smiles lived seven years longer.

The Big Picture

The UW-Madison researchers believe there are public policy implications that come with exposure to, and understanding of, diverse cultures living within the same borders. For example, said lead author Paula Niedenthal, citizens “may be more or less willing to pay for universal healthcare, because they empathize differently with in-group and out-group members.”

So let’s hope the French Smile Revolution is a winner this time around. It’ll build trust among tourists and natives alike, and lift moods all around. Personally, I hope the friendly efforts penetrate deeper than a superficial strategy aimed at fiscal gain, because we don’t have to excavate ancient history to see how the smile has been  used as a  propaganda  tool.

Here in the free world, I highly recommend smiling. And go all the way. You can fake it ’til you make it, but the Duchenne smile is a  more powerful mood changer  than the perfunctory one flashed at the Pan Am jet-setters.

Jason Powers, M.D., is chief medical officer at Promises Austin drug rehabilitation center and The Right Step network of addiction treatment programs in Texas. He is an addiction blogger and the pioneer of Positive Recovery, an approach to addiction treatment that helps people discover meaning and purpose in their lives.

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GPS for the Soul – The Huffington Post
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Skirt-and-Shirt Combos for Bridesmaids Might Mean the End of “I’ll NEVER Wear This Again”

Most bridesmaid dresses are fine. Just…fine. Not what you’d pick if you were a guest at the wedding but something you buy because it’s sort of considered the price of admission for standing up front…


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Do Your Squats Eat Your Veggies Wear Red Lipstick And Dont Let Boys Be Mean To You

Do Your Squats Eat Your Veggies Wear Red Lipstick And Dont Let Boys Be Mean To You


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Does This Photo Mean Emma Stone & Andrew Garfield Are Dating Again?

Andrew Garfield and Emma Stone did what people who aren’t together rarely do … grocery shop.

Andrew and Emma were at Ralphs in Malibu Saturday lookin’ all domestic. It’s the first time they’ve been seen together since their heavily-rumored breakup back in March.

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Entertainment – The Huffington Post
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Deleted ‘Mean Girls’ Scene Is So, So Fetch

This deleted “Mean Girls” scene is so fetch. (Yes, we’re still trying to make fetch happen).

In the clip, available as an extra when you purchase the film on iTunes, Cady (Lindsay Lohan) encounters Regina (Rachel McAdams) in the bathroom at the school dance just before Spring Fling King and Queen are announced.

“I had this really expensive dollhouse from Germany,” Regina tells Cady in a childhood anecdote that’s really an apology about Aaron. “But I never played with it, so my mom wanted to give it to my cousin. But even though I didn’t want it … “

“You begged your mom to let you keep it?” Cady asks.

“No, I threw it down the stairs,” Regina says.

It’s a sweet, emotional scene with a brief, hilarious cameo by Amy Poehler.

We’ll be watching it on repeat to tide us over until the upcoming musical arrives.

meangirlsdancegif

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Style – The Huffington Post
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21 Century Clothing FROW Fashion Week Anna Wintour Mean Girls: You Can’t Sit With Us Men’s T-Shirt

21 Century Clothing FROW Fashion Week Anna Wintour Mean Girls: You Can’t Sit With Us Men’s T-Shirt


This 21 Century Clothing tee is a must have for fashion followers from New York, to Paris, London, Milan, Tokyo and beyond. Pay homage to the exclusive A-List fash pack on the frow and every girl’s favourite chick flick, Lindsay Lohan’s movie Mean Girls. The print features a photo of celebrities on the front row of a runway catwalk show during fashion week, amongst whom is icon and American Vogue editor Anna Wintour wearing her signature sunglasses and bob, and fashion legend Andre Leon Talley. Over the photograph a quote reads ‘You can’t sit with us’ just one of the now famous lines uttered by Regina George, Cady Heron, Gretchen Weener, or written in the Burn Book. This witty and original design is going to be big on the blogs, all over Tumblr and Instagram, trending on Twitter and a favourite with bloggers: we think it should make it into the September Issue! This T-Shirt is high quality made of 100% cotton and printed using our signature digital direct to garment print technology which allows us to create brighter and sharper prints than silk screening without using tacky transfers, so our prints won’t crack, peel, or come out in the wash. This means that this product is not just for fashion week! The tshirt is currently available in white, black, burgundy and grey although please ask for other possible colour ways. We offer you the choice of a loose fitting unisex style t-shirt or a fitted women’s style, and by fitted we mean fitted, so check the sizes when you buy! The design is also available on the full range of our products, from vests, bags, sweats, hoods, baseball tops etc. 100% Cotton, Machine Washable at 40, Do not tumble dry

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Virginia Tech Coach Buzz Williams Is A Good Sport About Reading Mean Tweets

Buzz Williams may have lost 22 games in his first season as the basketball coach at Virginia Tech, but he certainly didn’t lose his sense of humor.

In a video he posted Monday, Williams takes a page from “Jimmy Kimmel Live!” and reads “mean tweets” about himself.

Some are mean, all right: “He’s got the fattest neck I’ve ever seen.”

“All my stress goes to my neck,” he jokingly replies.

Anyway, props to Williams for being a good sport.

H/T Washington Post

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More TV Time May Mean Higher Diabetes Risk, Study Finds

People with prediabetes were 3.4 percent more prone to get full-blown disease for every hour watched daily
healthfinder.gov Daily News
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John Boehner, Nancy Pelosi, Kevin McCarthy & Bernie Sanders Read ‘Mean Tweets’

What does Speaker of the House John Boehner have to promise his constituents to keep getting reelected? What new job should House Minority Leader Nancy Pelosi try? Who does Sen. Bernie Sanders most resemble? And what does Rep. Kevin McCarthy really need to do?

In the spirit of late night host Jimmy Kimmel’s recurring “Mean Tweets” segment, some of the nation’s top lawmakers read mean tweets about themselves for the 2015 Radio & Television Correspondents Association Dinner, held Wednesday night — and the results are priceless.

Check it out in the clip above.
Comedy – The Huffington Post
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Smog Plus Pollen May Mean Even More Sneezing

Higher levels of airborne ozone, nitrogen dioxide might boost potency of birch tree allergen: study
healthfinder.gov Daily News
SPECIAL NEWS BULLETIN!-http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News-
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President Obama Reading Mean Tweets Is Your American Dream Come True

Hail to the tweets.

President Barack Obama kicked off his appearance on “Jimmy Kimmel Live” Thursday by reading his very own mean tweets.

Kimmel’s announcement this week that the president would be stopping by the show was obviously huge news for the late night host, but the commander-in-chief’s decision to participate in this popular sketch took things to a whole new level. During the segment, Obama was confronted with all kinds of crazy criticisms, and the stakes seemed even higher than the waistband on his jeans.

It’s fitting that Obama now joins Katy Perry as a “Mean Tweets” alum because this appearance was straight up fireworks.

“Jimmy Kimmel Live” airs weeknights at 11:35 p.m. ET on ABC.

Comedy – The Huffington Post
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Jimmy Kimmel’s Celebrities Read Mean Tweets #8 Is All The Laughs, Per Usual

Jimmy Kimmel’s always hilarious Celebrities Read Mean Tweets series returned with an eighth edition Thursday night. “Modern Family” star Ty Burrell and Britney Spears were teased as some of the A-list participants in this round and, well, they did not disappoint.

Watch above as the stars read those nasty 140-character comments about them. Keep on keeping on, Twitter!
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Daniel Franzese, Mean Girls Star, Releases Hilarious Sam Smith Spoof Featuring San Francisco Gay Men’s Chorus (VIDEO)

Mean Girls star (and Internet-meme master of all time) Daniel Franzese has taken his “Bye, Felicia” routine to new heights today with the release of “Please Go Home,” a parody of Sam Smith‘s meteoric hit from earlier this year, “Stay With Me.”

The spoof stars Franzese and actor Adrian Anchondo, with cameos from all kinds of San Francisco queers, including the San Francisco Gay Men’s Chorus.

Daniel Franzese made headlines in April when he officially came out publicly as gay, and then again in August when it was announced that he would be joining the cast of HBO’s Looking for its second season.

For more on Daniel Franzese, visit his YouTube channel or follow him on Twitter and Facebook.

For more on Logan Lynn, visit his website or follow him on Facebook.
Comedy – The Huffington Post
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A Good Night’s Sleep May Mean a Good Day’s Work

Too much, too little slumber linked to raised number of sick days, researchers say
healthfinder.gov Daily News
SPECIAL NEWS BULLETIN!-http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News-
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Fasting doesnt mean eating fast food. Greeting Card

Fasting doesnt mean eating fast food. Greeting Card


7 x 5 Paper Greeting Card
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