Netflix’s The Witcher Will Have a Bathtub Scene

The Witcher showrunner Lauren Hissrich has confirmed that Netflix’s adaptation of the story of Geralt won’t draw from CDProjekt Red’s video games, but has hinted that there will be a scene that pays service to fans.

“There is a bathtub this season,” Hissrich told iO9, in reference to the fan favourite image of Geralt in a wooden tub from The Witcher 3. “I won’t tell you who’s in the bathtub, but there’s a bathtub.”

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Paris Scene: What’s New for Couture Season

Paris is on fire — and that’s not just temperature-wise. From new shops, restaurants, spas and art exhibitions, the city is a hotbed of newness. Here’s a selection of where to go during this summer’s couture season.
NEW LEGACY: The Hôtel Barrière Fouquet’s Paris has a new retail space, called Legacy. Set up by Bow Group and Sébastien Chapelle, who formerly headed the watches and high-tech offer at Colette, the space sells high-tech grooming tools from Dyson and Braun; exclusive watch models from labels such as Corum and Casio G-Shock; jewelry, and books by Rizzoli and Taschen. Interior decorator Jacques Garcia designed the plush space, which is tucked next to the Marta bar, with red moiré curtains and a purple carpet. — Mimosa Spencer
46 Avenue George V, 75008
Tel.: +33-1-40-69-60-00
Open Monday to Sunday, 9 a.m. to 8 p.m.
HITTING THE TOWN: An eighth-floor rooftop bar, an arty terrace and a former train station transformed into a colorful restaurant: This couture season, Paris is teeming with exciting new spots to let off steam in between shows.
After a bit of shopping at Parisian department store Galeries Lafayette, head to the eighth floor of the building to take in the spectacular panoramic view of the Opéra Garnier and the

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Paris Scene: New Haunts to Check Out During Couture Season

Here are some ideas of the latest places to shop, eat, view art and get pampered in the City of Light, in between couture shows that begin on Monday. 
DOWN THE MOUNTAIN: Rossignol has come down the mountains and planted its ski batons — and apparel to match — in the center of Paris. The new Left Bank store was designed by Luca Azzoni’s architecture firm with the sporty heritage of the label in mind and includes touches of the dark slate rock used at the company headquarters in the Alps. Spread over 1,000 square feet, the space offers a mix of technical gear and contemporary street fashion, reflecting the label’s push from ski stations into urban areas. A longstanding collaboration with Jean-Charles de Castelbajac has produced more playful pieces in the boutique. The store also offers click-and-collect services. — Mimosa Spencer
138 Boulevard Saint-Germain, 75006
Tel.: +33-1-42-01-18-72
Open Monday to Saturday, 10:30 a.m. to 7:30 p.m. Sunday, 11 a.m. to 7 p.m.
EATING OUT: Whether you’re looking to discover new cuisines, dine on the Seine or party the night away, these four new Parisian spots have got you covered during couture week.
In between shows in the Marais, head over to trendy Rue Charlot to sample

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Books of The Times: ‘Ninth Street Women’ Shines a Welcome New Light on New York’s Postwar Art Scene

Mary Gabriel moves from exalted art criticism to the seamiest gossip in her gratifying and generous group portrait of Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler.
NYT > Books


There’s Something About Mary Turns 20: Inside the Debate Over Cameron Diaz’s Infamous Hair Gel Scene

Cameron Diaz, There's Something About MaryIt was 1998. Bill Clinton was in the midst of a history-making scandal involving Monica Lewinsky. Jaden Smith had just been born. Shawn Mendes had not yet been born. Google was months away from…

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Paris Scene

SHOP TALK: Just in time for couture week, Isaac Reina has opened a second Paris store, this time on the city’s Left Bank, proposing an edited selection of his classic leather goods. Designed by Belgian architect Bernard Dubois, the decor, with its geometric lines, pays tribute to the Eighties aesthetics of Kazuo Shinohara. Quarter-circle and half-circle units are sheathed in natural leather. Reina also designs the accessories for the Calvin Klein 205W39NYC line.
A stone’s throw from the Arc de Triomphe, Renaud Pellegrino’s intimate new store is also a minimalist affair, with Carrara marble and precious wood. The designer has been making handbags since the early Eighties, with followers including Catherine Deneuve and Paloma Picasso.
The new boutique is showcasing a collection of handmade clutches created from mini mosaics. Drawing inspiration from antiquity, Pellegrino teamed with Farouk Nasraoui for a special edition of seven intricate handmade pieces inspired by a Roman site in Carthage. The collection has six portraits of women and one of the sea god Poseidon. The soft, khaki mosaics are punctuated with bright accents in blue, yellow and red.
Marking the opening of a new chapter, J.M. Weston on July 2 will debut its new Avenue des Champs-Élysées flagship. Designed by French architect

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Adam Driver Had No Problem with That Shirtless Scene in Star Wars: The Last Jedi: ‘He Knew He Looked Good’

Warning: SPOILERS ahead for those who have NOT yet seen Star Wars: The Last Jedi. Proceed with caution!

After 40 years of Star Wars films, the franchise’s loyal fanbase have come to expect and rely on seeing certain elements in each new film. Things like: lightsaber battles, The Force, cute creatures, Droids, etc.

One of the scenes that fans did not expect to see in Star Wars: The Last Jedi is what writer/director Rian Johnson calls its “beefcake” moment. i.e. when, during one of their surprisingly intimate, Force-enhanced, mind-over-matter-time-and-space conversations, Adam Driver‘s Kylo Ren surprises Daisy Ridley‘s Rey by appearing shirtless.

Rey’s startled reaction — a request that he cover himself with a towel or something — is as appropriate as it is hilarious, for the characters and the audience. But how did we get here, exactly? PEOPLE recently caught up with Johnson to ask him how that scene came to be and whether or not Driver was shy about that “beefcake” moment.


“It’s all about those Force connection scenes,” Johnson says. “The keyword being intimacy. And the idea that this was a way to just, why not step that up? The idea that, what’s even more uncomfortable having a conversation face to face with a person you don’t want to, is if they’re half-naked during it, while you’re having to do it. And so it was just another way of kind of disrobing Kylo literally and figuratively a little bit more, and pushing that sense of these conversations becoming increasingly more intimate.”

Not to mention the fact that by this point during filming, Driver’s physique was particularly photogenic.

“Adam looks so damn good because he’d been training hardcore for the past six months for those fight scenes. I’m like, ‘Eh. He looks so good. We should put him up there.’ ”

And how did Driver feel about his beefcake moment? Was he shy about it?

“No, no, he’s good. He’s great,” assures Johnson. “He knew he looked good.”

Star Wars: The Last Jedi is now playing in theaters everywhere.

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Ryan Murphy Says American Horror Story: Cult Mass Shooting Scene Edited After Las Vegas Tragedy

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‘Twin Peaks’ Star Kyle MacLachlan Doesn’t Know What Happened in That Last Scene Either

SPOILER ALERT: Do not read if you have not seen “Part 18,” Sept. 3 episode of “Twin Peaks: The Return.” “Twin Peaks: The Return” afforded Kyle MacLachlan the opportunity to interpret not just one lead character but several: Dougie Jones, “Mr. C’ (the evil, long-haired Cooper doppelgänger), and as the finale suggests, an entirely different… Read more »



Sharon Stone Shares a Sexy Scene from Her Basic Instinct Audition Tapes

The characters’ cat-and-mouse game was the prelude to a deadly love affair.

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Nelsan Ellis Appreciation: ‘True Blood’ Actor Stood Out From Scene One

TV is plenty weird these days; surreal and jaw-dropping moments are not hard to find. But that was not necessarily the case in 2008, when “True Blood” debuted. It takes exceptional performers to ground the most fantastical storylines — actors like the late Nelsan Ellis, who died July 8 at 39. “True Blood” owes him… Read more »



NeNe Leakes Screams and Admits She’s “Scared of Bottles” During Hilarious Champagne Scene on The Abbey: Watch!

NeNe Leakes, What Happens at The AbbeyNeNe Leakes stops by The Abbey this Sunday!
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Los Angeles’ New Tech Scene Flourishes Downtown

Last fall, Portal A decided it needed to move. The digital content studio, best known for creating the annual YouTube Rewind video, had been in its first floor offices in the Los Angeles Times Building for a little more than a year, but it was already at capacity. On any given day, the 20 full-time… Read more »



Chad Michael Murray’s ‘Sun Records’ Nude Scene Is Reminiscent Of That ‘One Tree Hill’ Moment

One Tree Hill” lovers, unite! (Or if you’re a “Dawson’s Creek” or “Gilmore Girls” fan, that works, too.)

Our early-aughts crush Chad Michael Murray is giving us a treat on his new show, “Sun Records,” and stripping down to nothing but a towel (hanging from you-know-where) in a scene reminiscent of that “One Tree Hill” nothing-but-basketballs-down-the-high-school-hallway moment. 

“Everybody keeps saying, ‘Nothing but a towel or a basketball with a hole cut out in it,’ which, by the way, that’s how that scene actually went down. It was a foamy basketball, so it wasn’t a real basketball, but we tried that and trust me, it did not hide … the real one,” Murray told The Huffington Post of the “OTH” scene during a Build Series interview on Thursday, continuing, “So, we had to find a foam basketball and they cut a hole out in it so you could just [motions] … you get the gist. And that was, what, Episode 2 of ‘One Tree Hill,’ I think? My goodness, like, ‘Hey guys, when am I not going to be naked on set?’”

It was Season 1, Episode 3, when Lucas Scott does that infamous walk, but who’s keeping track?

As for why Murray decided to get in the buff for “Sun Records,” the actor said his character, the famous 1950s record executive Sam Phillips, was simply flirting with his next-door neighbor. 

“It’s done tastefully and it’s done beautifully and [it was] super uncomfortable,” Murray joked. “Our neighbor in the show is basically the Avon lady and I was like, ‘Gosh, this is such a good relationship, let’s make it something!’ I decided Sam has the biggest crush on her in the weirdest way, so every time Nadine comes to the house, I wanted to push the envelope, and this is where it came. That wasn’t what the scene initially was, but that’s what it became.”

Still, Murray said this naked moment was a little more embarrassing to do than the “OTH” one.

“We’re bringing it back but, you know, this is the dad-bod version of me.” 

Here’s the “Sun Records” scene:

”Sun Records” is on Thursdays at 10 p.m. ET on CMT. Watch Chad Michael Murray’s full Build Series interview below. 

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Julie Andrews Almost Died Filming The ‘Mary Poppins’ Umbrella Scene

Julie Andrews appeared on “The Late Show” Friday night, where she told Stephen Colbert about what it was like to actually film that memorable umbrella scene from the 1964 movie, “Mary Poppins.”

Andrews explained that to pull off that flying sequence, she actually performed the stunt herself while wearing a painful harness. But the supposedly load-bearing wires she was attached to high above the stage didn’t end up working as planned.

“There was a very dangerous day right at the end of filming when I was in this excruciatingly painful harness,” Andrews told Colbert, as she pointed upward. “And I was hanging around up there for the longest time with the umbrella.”

After floating in the sky for quite some time, Andrews sensed the wires giving out on her.

“I thought I felt the wire leave [and] drop about six inches … I was nervous,” Andrews recalled. “So, I called down and I said, ‘Excuse me, when you do let me down, could you let me down really gently, because I felt myself slip and I just don’t feel too safe up here.’”

The crew called back that they would be sure to bring her down very softly.

That’s not what ended up happening.

I plummeted to the stage
Julie Andrews

“I plummeted to the stage,” Andrews said. “And there was an awful silence for a minute and I did let fly with a few Anglo-Saxon four letter words, I have to admit.” The actress smiled at this polished admittance of crassness, much to the delight of the studio audience. 

Although Poppins takes flight a few times in the movie, you can likely see the scene Andrews is referring to in her first introduction to the children. Typically when Poppins is flying, the character is completely still (due to rudimentary special effects), but Andrews’ body is moving around while flying with the umbrella near the end of this clip:

— 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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Everything You Need To Know About The Baby Iguana Scene From ‘Planet Earth II’

Watching baby iguanas run for their lives across a beach looming with deadly snakes ― snakes that would love nothing more than to strangle the tiny hatchling bodies in a wildly violent display of team acrobatics ― is a startling experience.

Fans of nature documentaries like “Planet Earth” are familiar with the near-hopeless trots of sea turtles, who emerge from their eggs seconds before being ambushed by a predatory welcome party. Marine iguanas in the Galapagos, it turns out, face a similar fate. After a victorious battle through an eggshell and a few layers of sand, they are immediately met by a menagerie of natural “bad guys,” a gang of winged and land-dwelling monsters that just want a bite to eat.

Most sinister among them is the hefty population of snakes that moves together like slippery black tumbleweeds to nab a hatchling. “Planet Earth II” producer Liz White says the entangled groups of reptiles look like a “Medusa’s head of snakes,” simultaneously moving toward their desired prey while battling their neighbors in an up-down-and-all-around dance. It’s the sort of David-vs-Goliath scene that seems possible if only for some camera trickery or post-production TLC. Alas, it’s real. And David Attenborough’s team of wily nature filmmakers has documented the whole nightmarish thing.

The baby iguana saga is but one story in one episode of the BBC’s beloved “Planet Earth” follow-up series, “Planet Earth II,” narrated by Attenborough. The string of six episodes opens with “Islands,” directed by White and starring the fortuitous marine iguanas of the Galapagos, setting a high standard for the kind of heart-pumping storytelling and high-definition graphics that set the show apart from the rest.

Ahead of its American premiere on Saturday, The Huffington Post spoke to White about iguanas, anthropomorphized narratives, what’s it like to be a woman in a male-dominated field, and why you should be paying attention to the episode’s albatrosses, too.

So I want to start with that unforgettable iguana scene: How did you set up for a shoot like that?

For that one, I really wanted to do a story about marine iguanas. Well, I wanted to do a story about Galapagos, because you can’t make a show about islands and not mention Galapagos. I personally think marine iguanas are really cool because they look like little Godzillas and they swim and they’re so unique. So the twist for that was coming up with a story that was different, because we couldn’t just do a kind of revelation of, “You’ll never guess what. These marine iguanas can swim!” We wanted to show the iguanas swimming, but then the big thing was: What else can we say about them beyond that?

I was batting around an idea with a cameraman who was going to shoot it. He said, “Well, you know, I filmed the [iguana] hatchlings. Did you know the hatchlings come out of the sand just like turtle hatchlings, because that’s the only place for the mother to lay the eggs?” He said nobody ever tells that story, and actually, [the hatchlings] get preyed upon by hawks and snakes ― all sorts of things come at them. Everyone does turtles, so we should do marine iguanas. And he showed me a clip of a single snake ambushing a marine iguana ― a baby. And I was like, “Oh, that’s cool … kind of grave. We could do something dramatic, high-speed.” That was the plan. And we were going to focus on all the other animals that sort of piggy-back. So the bottom line of that story was really going to be, “Hey, there are marine iguanas in Galapagos. They’re really successful, but these are all the other animals that benefit from them being so successful.”

We had no idea we were going to see that density of snakes we did. We expected to see like, single snakes. When we got there to the peninsula where we filmed it, we went to a number of different beaches. One area [had] such a high wall and almost a bottleneck at the end of the beach. In Galapagos, there are also some regulations. You can’t just run across the beach. You’ve got a park ranger with you. You’re not allowed to get too close to the animals. All this is so protected. We were literally standing at the top of the beach when a little hatchling ran toward the wall and this Medusa’s head of snakes poured out. It was not what we were expecting in terms of ambush, because the snakes were competing with each other so much they were having to pull out of the wall and chase. So that, for me, was like, wow. I’ve never seen snakes hunting fast like that. And I’ve never seen them in that sort of numbers. So then we just completely focused on that one part of the beach.

How long did it take to amass enough footage to cut together a chase sequence like you did?

We were filming it for about two weeks, just focusing on the iguana babies. We had to get the close-ups of the emergences. When you’re in the field, you don’t always know how good you’ve got, in the sense that it’s quite hard to actually see on a small camera monitor whether something is truly in focus. So sometimes, when you see an amazing event, you go, “Wow, that looks amazing.” But it’s only when you go back to the boat that night and look at the footage, that you go, “Do you know what? It’s really out of focus.” Or it just didn’t work or whatever. We think it took us about 12 to 14 days before we thought, “OK, I think we’ve got enough to be able to have an epic story.” If you look at it really closely ― some of that most epic chase is out of focus. But it’s subtle. Most of it is slowed down, because so much of it happens incredibly quickly. It’s a very challenging thing for the cameraman to film.

So, we did about three weeks [in Galapagos in total]. The team would be on the beach looking for baby iguanas, because you don’t know when they’re going to emerge and where from. A lot of time is spent just watching them, with pairs of binoculars, trolling up and down the beach, looking. But one of the cameramen could go off and film other bits. We also had to do all of the underwater [filming], which is itself a big thing. So, it was a solid three-and-a-half weeks to get the bulk of that footage and all the elements of that story.

Does a lot of the storytelling come together in editing? You know, you have this whole chase scene, and it appears like it’s one iguana throughout. Is it one iguana?

Predominantly one. I mean, we sometimes use big close-ups of faces that you can’t necessarily get at the time. You go with one event, but then things like the shots of the snakes crawling out ― some of those are picked off separately, because even with two cameramen you can’t cover [everything]. What was good with this shoot is we did have two cameramen. It’s obviously difficult to cut together action from different events. So you really want to, basically, follow one individual as much as you can. By having a long-lens cameraman who can get close-ups, in combination with a second cameraman who’s on a moving camera, that meant that we were going to be getting two eyes on the action. And then in the edit, you’ve got something to cut between.

Was the kind of research or storyboarding that went into planning that story similar to the kind of planning that went into other stories in the “Islands” episode?

It’s typical in so much that you go in knowing what a story is going to give you. You go to, say, film albatrosses. And that’s a story all about animals using islands as sanctuary. It was going to be a love story. It was going to be about an albatross waiting for its mate. So you sort of go in knowing what your story blocks are going to be. And roughly how you want to tell the story; the choice of perspective. We wanted the viewer to be in the animal’s world ― you have to be on their eye level. Sometimes we have shots that haven’t got an animal in them, but you feel like you’re the animal moving through that habitat. A lot of [shots] use low-to-the-ground, moving imagery that helps put you into that world. That was very much a stylistic choice for the whole series.

But yeah, you go in with your building blocks. But then when you’re there, you have to slightly work with the individual situations that you get. It’s nature, and it doesn’t always pan out exactly the way you expect it. You can’t storyboard to the very individual shot level. It’s like a unique kind of genre in filmmaking, because you borrow from drama in the way it’s told. But you’re using real observational documentary. My exec always says it’s almost like David Attenborough invented a genre that you really don’t see anywhere else.

One of the interesting things about the “Planet Earth” series is that it’s not just providing viewers with clips of nature in action, it’s providing viewers with these sort of anthropomorphized narratives. For example, we see penguins having families similar to our own, sloths falling in love.

The anthropomorphization is a tricky one. We very much try not to say anything that’s too anthropomorphic. We basically try and show images that people can relate to. Where people will intrinsically go, “Alright, I can imagine being in that situation. I would feel like this.” We’re trying to get people to bond with the animals. We’re trying to get people to empathize and say, “Oh, yeah, I get a better perspective on how that animal lives its life.” And a bit better respect, I guess, in a way.

But you have to very careful with the script, that you don’t say anything too anthropomorphic. For example, I think the most anthropomorphic-edged story in the “Islands” episode is the story of the albatross waiting for its mate. The reality is, we were working with a scientist who knows those birds. If one of those birds doesn’t come back, they won’t mate. They’re so monogamous that they will sit and wait. [The scientist] knows that pair has been together for five years or whatever it is. So we can use a line that says, “There are 3 million birds on the island, but only one matters to him.” Because that’s true. That bird does not care about any other individual on the island apart from his mate.

The storytelling in this series probably is softer, perhaps gentler, than some. The way it is written is probably, in many ways, more anthropomorphic, light touch than we’ve done before. I don’t know how much of that is the fact that there’s been so many women involved in the team ― there’s quite a few girls on the team. I do think it has quite a sensitivity to it.

Also, David [Attenborough] goes through everything. He won’t say anything he thinks is too anthropomorphic. He’ll only say things he thinks are factual. He very much ran with this idea that, we want to be in the animals’ world. We write it in a very gentle way which allows it to sort of be a bit more accessible to people who might not be so into natural history.

At the beginning of the series, David Attenborough mentions that many of the wildernesses celebrated in “Planet Earth II” have never been more fragile or precious than they are today. How do you see a series like “Planet Earth” contributing to contemporary discussions of climate change?

The thing is, the “Planet Earth” brand is all about wonder and revelation. It is not a hard-hitting conservation stance. There are other people doing hard-hitting conservation. The brand “Planet Earth” has always been about making people excited and showing people the wonder of the nature with the view that, if people get inspired by it, they’ll want to protect it. But often the actual fragility method hasn’t been in there at all. No, in this series, almost every single episode has got one story in it that is about why that habitat is fragile. So for “Islands,” it’s the invasive specials. In “Jungles,” we talk about trees getting cut down. Obviously in cities, it’s all about how some animals are thriving in cities, but most can’t. That’s the most thought-provoking in the lot. How can we make it ― not just as a city but as a planet ― more hospitable to life and us.

So it is about the wonder of nature and the celebration of these beautiful wildernesses and the animals who live there. But, with a very … not a somber, but a pragmatic reminder that these wilderness are fragile. And some people would say we didn’t go far enough and we should have made it more conservation-y. Other people, I think, really got the message very strongly. Like, “Oh my gosh, I really think this is the last time I’m ever going to see this unless we do something to protect it.” So it is subtle. And it’s debatable ― all the different ways you can do it. But I think our reasoning on this has always been: Don’t go in there being negative. If you tell people the whole planet is screwed, what hope have they got? If you go in there and say, “Look at these wonderful things we still have. And we can protect them and we must remember these things are fragile,” then it’s a more empowering message.

It’s interesting, because we obviously spend a lot of time out in the field with scientists and almost all of them say, “I am doing this job because I used to watch David Attenborough shows as a kid and I was inspired by nature, and now I’m a conservationist.” So you see it from the other way, that you might not feel like you’re making an immediate difference, but if any of one of the kids go on to become a politician who goes on to make a big difference, we’ve made a difference.

Earlier you mentioned the role of women in the making of “Planet Earth II.” Obviously, the filmmaking industry in general isn’t exactly a bastion of gender parity. Do you feel like there’s a growing presence of women in the realm of nature documentarians?

Yeah, very much. I think women are brilliant storytellers and I think they’ve got a lot of sensitivity. They’re not going to go in there and just want the kind of the brutal fight scenes. They’re going to want to tell some of the more subtle stories. And certainly on this team, there were a huge number of female directors. Women are not breaking into camerawork as quickly as you might want. There are only about three or four women regularly working [behind the camera] in my network. But we did have female camerawomen in this series. There aren’t many to choose from, to be honest.

But what is amazing is the number of female researchers, directors, producers. It is an industry that women can do really well in. Women can be very good biologists, they’re really good in the field, they’re really resilient. The island we filmed the penguin scene ―  that was a team of eight, three of whom were women. Me as the director, a very experienced female film assistant who’s done 12 seasons in Antarctica, and one of the skippers handling the boat through the roughest ocean on the planet ― female skipper. So there is quite a good girl presence in the natural history industry. Women are brilliant storytellers, so there’s nothing to stop women from succeeding in that sort of world.

There are certainly some places it would be easier to work than others. I did a shoot on an oil platform a few years ago and that is such a male-dominated environment it was one of the toughest shoots I’ve ever done, because they found it quite difficult to deal with me as a woman. But that is unusual. Most of the time people are really accepting of you. I think men quite like having women in the field. They have a lot of respect, if they see you muck in as a woman and get on with things. Often, you might be the only woman there. But it doesn’t stop you from doing a good job.

What motivated you personally to move from being a research biologist to working in documentary?

I wanted to do something more creative. My background is: I did art and photography things in school. I love storytelling. My parents said, “Get a proper degree.” You know, “Go and do science and get a proper job.” And I was fascinated by biology. I went down the biology route and found myself doing marine stuff, because I really loved that. I always wanted to stay away from doing lab stuff. I wanted to do something a bit more creative ― and communicative. Women are great communicators; women like telling stories. So I started going more into public communication of science rather than writing papers. I just found it more satisfying. You know, I did two school talks yesterday afternoon. After you show them pictures of the nature world ― you show them pictures of penguins and amazing places ― they’ve got eyes like saucers and they ask the most amazing questions. That’s really satisfying.

What has been a high point for you in your career in filmmaking?

Oh, this series was amazing to work on. For some of the trips, going to places where you think, “Gosh, I never imagined I’d get to go there.” And, for me, I love the camaraderie of working in a team, working in a small team where you’re all working for a common goal. But the other series I really loved doing was “Frozen Planet” because I’ve always loved penguins. And again, to be a girl and get to go to those locations ― my mom never got to go to Antarctica, because that was 40 years ago and women never got to go and do those things. And yet, for me, I can go in and film killer whales and penguins and polar bears. Seeing wilderness places, and the reminder that you’ve still got these amazing places that are still out there, it’s beautiful.

Last question: what is the most perilous environment you’ve been in?

For me, probably crossing the Southern Ocean to go and do the penguin filming and go down to the Antarctic peninsula. That’s a rough ocean; anywhere in the Southern Ocean is kind of dangerous in that sense. But you always work with amazing skippers ― you have to work with people you trust.

But I should say that I am massively risk-averse. Like, you would never get me jumping from a plane or bungee jumping. I don’t massively like jungles because I don’t really like snakes and spiders! [Laughs] I would much rather be on a boat in the Southern Ocean that be hanging off a tree in the jungle.

“Planet Earth II” premieres Saturday, Feb. 18, at 9 p.m. ET, simulcasting across BBC America, AMC and SundanceTV. The remaining episodes of the season will air Saturdays at the same time on BBC America. 

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Khloe Kardashian Sets Revenge Body Contestant Up With Reading From Tyler Henry: Watch the Emotional Scene!

Revenge Body, Tyler Henry, LaurenTyler Henry is helping one contestant connect with her late dad.
On Thursday’s Revenge Body With Khloe Kardashian, contestant Lauren meets with the Hollywood Medium star after Khloe…

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Shenzhen Fashion Scene Emerges From Factory Capital

HONG KONG — It may have been her hometown, but when Charlex Lin came back to Shenzhen four years ago, she felt out of place. Freshly graduated with a degree in fashion design from the U.K., she’d wound up back in the southern Chinese city — a place known for being the factory floor of the world, not a launching pad for young designers.
“At first, I thought the city is too commercial, and I was lost for a while because I couldn’t find anyone who was creative with a similar background,” Lin said.
Fast forward two years, however, and Lin had launched her own women’s wear brand Alias, and she was organizing a series of underground fashion events called Carpe Diem. At one of them, she took out a floor in a vacant building, bringing 32 local designers together to stage a fashion show. The after party in the industrial park could’ve been mistaken for something out of Peckham in London or Berlin’s Kreuzberg, and it was followed by a pop-up market that ran for several days.
RELATED STORY: Chinese Luxury Consumers Seen Returning in 2017
“Actually Shenzhen has some very cool kids here,” Lin said. “After meeting them, I tried to get myself to get out more.

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Mariah Carey Moved to Tears While Meeting Superfan: Watch the Emotional Mariah’s World Scene!

Mariah Carey, Mariah's World, Mariah's World 104One man just made Mariah Carey cry!
In this emotional scene from Sunday’s Mariah’s World, Mariah meets a superfan who tells her how much she means to him and how much of an impact…

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Let’s Talk About The Best Scene In ‘Jackie’

One week after John F. Kennedy’s 1963 assassination, Jacqueline Kennedy planted a seed that revolutionized the image of her husband’s three-year presidency. During an interview with Life magazine at the Kennedys’ Cape Cod compound, the 34-year-old widow likened her family’s time in the White House to Camelot, the idyllic castle where King Arthur reigned.

The Camelot analogy resurfaces in the new movie “Jackie,” a haunting psychodrama that chronicles JFK’s murder from the first lady’s perspective. Before concluding her lengthy conversation with the Life reporter (Billy Crudup), Jackie (Natalie Portman) asks to say one last thing. Revealing that she and JFK would often listen to the Broadway musical “Camelot” before bed, Jackie recounts the lyrics of the titular song, her husband’s favorite. “For one brief, shining moment, there was a Camelot,” and it was the Kennedy White House, drenched in elegance. “There won’t be another Camelot,” she says in the film. “Not another Camelot.” This rare interview from the notoriously press-averse Jackie Kennedy reverberated throughout a grieving America, prompting a new mythos about the dazzling political dynasty to take hold.

Jackie’s Arthurian allegory remains synonymous with Kennedy folklore. It also plays a role in the best scene from Pablo Larraín’s masterful film. In the midst of deciding whether JFK’s funeral will entail a grand procession through the streets of Washington, à la Abraham Lincoln’s, Jackie spends an evening popping pills and sipping vodka. She puts on the song “Camelot,” which insists “there’s simply not a more congenial spot for happily-ever-aftering.” Pacing through the White House chambers as Richard Burton croons about Camelot’s perfection, Jackie tries on a series of designer outfits in quick succession. Pouring more alcohol, she strolls from room to room, testing her mournful march with pearls and gowns. How about fire-engine red? Peach? Perhaps a pale teal? Gold brocade? 

This sequence was not part of Noah Oppenheim’s original script. Larraín, a Chilean unfamiliar with the Kennedys’ Camelot affiliation, felt we needed to see Jackie ponder that “brief, shining moment” before feeding it to the Life reporter in the film’s finale. Larraín conceptualized a ravaged Jackie imbibing substances and traipsing through the White House’s private residence, where she and JFK slept in separate bedrooms. That expression of grief mirrors the public’s campy infatuation with Jackie’s appearance.

“To me, she was trying to find her own identity,” Larraín said of the scene. As the director sees it, the first lady and well-documented style icon had spent years dressing to be paraded about as JFK’s pageant queen. Finally, she could dress for herself ― but ultimately, “she just wears a black dress and says, ‘Let’s go to bed,’” Larraín said. She can’t yet flee the persona of a politician’s wife.

Larraín filmed the sequence in long tracking shots, with Portman calibrating Jackie’s emotions as the gowns grow more somber and the intoxicants more anesthetizing. When editor Sebastián Sepúlveda put the scene together, he spliced it up so the dresses change along with the rhythm of Alan Jay Lerner and Frederick Lowe’s song. (Fun fact: Lerner was JFK’s college classmate.) Not wanting to emulate one of those clichéd movie montages where a teen girl tries on outfits to the sounds of a rowdy pop song, Sepúlveda edited the spectacle so its frenzy unfolds in one continuous crescendo. 

I thought it was like a ghost story in this part of the movie because she’s alone in the White House and she’s trying to live in that space, to give [the clothes] life,” Sepúlveda said. “It was like a complex dance of a mind that’s really starving. It’s not that she puts on her clothes because she’s happy. She’s trying to be the Jackie that all the people remember, the Jackie with the beautiful clothes. But she can’t be that. She’s not that anymore. That was a very beautiful journey because you have to do it in a playful way at the same time.”

The scene marks the first of only two instances in which “Jackie” features music other than Mica Levi’s nightmarish score. Jackie firing up that record becomes a wake-up call. It’s also one of the few times she is alone, removed from the prying gaze of cameras and advisers and crowds. For one brief, shining moment, she is an aching wife instead of a political dignitary, even if she is walking the corridors of the White House (constructed with intricate detail on a set in Paris). When the song ends and Jackie is left crying at JFK’s desk, we feel ravaged by the emotional excess. 

The scene invokes the duality of the Kennedys: the intimacy Jackie and John shared while listening to “Camelot” before bed, juxtaposed with the frosty notion of her closing the door to her conjoining room and climbing into a different bed after its conclusion. It summons the impermanence of life inside the White House, where Jackie’s inevitable eviction notice arrived earlier than expected. It forces us to consider the calculations of the complicated, unknowable Jacqueline Kennedy.

“If you look at Jackie Kennedy in photos or in videos, she could be telling you what she thinks and feels about whatever is around her,” Larraín said. “But you look at her and you say, ‘What is going on inside?’ And this movie is her point of view.”

“Jackie” is now playing in select theaters.

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Bernardo Bertolucci Finally Commented on the Last Tango Rape Scene He Directed

“Maria knew everything because she had read the script.”

Lifestyle – Esquire


5.5″ Retro Musical Halloween TV with Rotating Scene

5.5″ Retro Musical Halloween TV with Rotating Scene

From the Halloween Decor Collection Item #35983 This retro television display features a three-dimensional, rotating halloween scene with a spooky house and halloween figures Convenient on/off switch is one of the TV’s control knobs When switched on, TV is illuminated and plays spooky halloween music Requires (3) “AAA” batteries (not included) Haunted TV comes gift-boxed Dimensions: 10″H x 4.5″W x 3.875″D Material(s): resin, wood, metal
List Price: $ 94.99
Price: $ 94.99

Watch 2 Guinea Pigs Recreate Iconic ‘Lady And The Tramp’ Spaghetti Scene

Sharing is caring, and these guinea pig sisters care about each other in the most adorable way. 

Guinea pigs Grace and Suzie were caught on camera sharing a single blade of grass. The teeny meal eventually results in a friendly game of tug-of-war, filmed in slow motion. 

The video, which was shared on Facebook earlier this month, has taken the Interwebs by storm. It’s racked up more than 40 million views as of Wednesday afternoon. But how could you not completely melt after seeing these two munch on their piece of grass? 

Just watch as Grace and Suzie civilly snack on their respective ends of grass. When they reach the middle, however, their meal becomes a harrowing quest for the last bit of grass, intensified by the slo-mo effect. Don’t worry, though! After the two split the food, they back to politely nomming on their snack like nothing ever happened.

The clip is pretty darn cute, and some social media users have even compared it to the spaghetti scene from “Lady and the Tramp.” 

These guinea pigs are so precious that we totally understand if, after seeing the video, you have a hankering to get one of your own. But if you do choose to get a teeny furry friend, check out some of your local shelters and rescue organizations — many of which have rescue guinea pigs in need of a forever home. Petfinder is also a good place to start looking for that adorable grass-munching critter. 


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Mr. Christmas Holiday Animated and Musical Box with Village Scene Decoration #14885

Mr. Christmas Holiday Animated and Musical Box with Village Scene Decoration #14885

From the Mr. Christmas Collection Item# 14885 Behind the five glass windows look upon ice skating figures The animated, illuminated scene depicts a hand painted village with with a town gazebo Plays 25 Christmas carols and 25 year-round classics Convenient on/off switch Volume dial Switch on the back lets you pick between Christmas carols or year-round songs UL listed adapter included Dimensions: 6″H x 10.5″W x 10.5″D Material(s): wood/plastic/metal/glass Note: Item does not open, key is for decorative purposes only
List Price: $ 197.99
Price: $ 197.99

Batman The Dark Knight Gotham City Thug Crime Scene Evidence Action Figure

Batman The Dark Knight Gotham City Thug Crime Scene Evidence Action Figure

Batman The Dark Knight Gotham City Thug Crime Scene Evidence Action Figure Based On Christopher Nolan’s Batman Film. 5.5 Inch Posable Figure. Comes With Crime Scene Evidence Mask. Recommended Age: 4 Years & Up. Model: P4717
List Price: $ 39.99
Price: $ 39.99

Kittens Make Epic Fight Scene From ‘The Lion King’ So Much Better

Question: How do you improve on an epic scene from a classic Disney movie?

Answer: Swap out the animated characters for live kittens. Keep all the action the same, just with kittens.

Here’s an example, using the climactic fight scene from “The Lion King.”

Grown-up Simba? Bam! He’s a kitten now. Scar? DONE. Kitten-ized.

We can’t imagine how long it took for YouTuber Pasdidée to wrestle his actors into line, but it’s truly a work of art.

It is not, however, the only time someone recreated “The Lion King” with kittens.

H/T Time

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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.


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Oklahoma KFC Shows Sex Scene

An Oklahoma family who went to KFC for dinner was willing to pay good money to see some thighs and breasts. But they didn’t expect to see those parts wiggling in sexual congress.

That’s what happened last Thursday to Gerald and April Whalen when they ate at a KFC in Edmond, Oklahoma with their six-year-old twin boys and saw an explicit sex scene on an overhead TV.

“I was flabbergasted,” Gerald Whalen told KOCO TV. “I looked up from my plate, and we’re talking full nudity.”

In order to avoid arousing the interest of the twins, the parents tried not to react to the kinky footage. That was hard to do because of the moaning and heavy breathing emanating from the screen.

The Whalens initially thought there was a pornographic film on the TV, but it was later identified as merely a sexually explicit scene from the racy Starz show, Outlander, according to

Gerald Whalen filmed the x-rated video with his phone while another customer griped to employees.

“The manager came running out and flipped the TV off really quick,” Gerald Whalen told KDVR. “I think she actually unplugged it.”

The corporate headquarters of the fried chicken giant apologized in a statement to TV station KOCO.

“We apologize for any negative dining experiences. This was an isolated incident, and we are taking measures to ensure programming like this cannot be accessed in the future.”

The KFC location that showed the offending clip has also promised to restrict sure certain channels won’t be able to be accessed again.

Gerald Whalen told that he hopes no one gets fired job over the unseemly mixup.

WATCH: Sex Scene At KFC

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This Lego Remake Of ‘The Matrix’ Lobby Scene Changes The Entire Trilogy

The lobby shootout scene in “The Matrix” is one of the most iconic sequences in the Wachowskis’ 1999 film. There are endless guns, one-armed handstands and Trinity crawling up walls like a boss. YouTube user Snooperking decided to create a shot-for-shot Lego remake of the entire scene, and the results are nothing short of awesome.

Snooperking, who also did a Lego remake of the “Star Wars: The Force Awakens” trailer last November, said on Reddit that the entire “Matrix” project took about 160 hours total over three months. He also made two behind-the-scenes videos, revealing that one six-second shot took him “over an hour and a half to film and [edit in] Photoshop.”

The Lego remake is spot-on, but Snooperking throws in a huge surprise at the end. We’ll just say that it changes everything about “The Matrix” franchise (for the better?). Watch Neo and Trinity shoot up the lobby Lego-style above and the original scene below.

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Dusting off the Wurlitzers: The Theatre Organ Scene in Indianapolis, Part I

Virtually anyone who grew up in Indianapolis in the 1980s has at least a vague recollection of the Paramount Music Palace, even if it was only through their tuneful commercial on early morning local news. For those of us who experienced it firsthand, I’m willing to venture those memories remain crystal clear, two decades after the establishment closed. I don’t imagine I visited the Music Palace more than a half dozen times (probably less), but I can remember the snakelike lines for both ordering the pizza and entering the Palace, while a potpourri of tone colors reverberated their way out the front door.

When I was older, I reflected on the PMP and how, because it was such a smoothly put-together concept (and, yes, a bit of a gimmick), it must have been a chain. But it wasn’t. It was an Indy original. And the 42-rank Wurlitzer (originally from the Paramount Theatre in Oakland, California had such a lasting influence on young people who grew up with it that it elevated Indy to one of the county’s leading cities for perpetuating the culture of the beloved but often neglected theatre organ — the pop-culture counterpart to pipe organs’ highbrow, ecclesiastical bent. These vintage instruments aren’t generally that easy to find, but a small cadre of devotees are doing their most to ensure they don’t pass into oblivion. And Indy has its fair share.

“There is rarely a time when I play pre-show… inevitably whenever it’s a pretty decent-sized crowd, someone will come up to me and talk to me about, ‘oh, is that the organ from Paramount Music Palace?'” Justin Stahl told me while sitting at a theater organ at the Warren Performing Arts Center, on the east side of the city, where he performs and practices regularly. “It’s got almost a cult following in the depths of the city’s history.” Like many other Indianapolis-based theatre organists — and the city has spun out a remarkable array of talent for its modest size — Stahl saw the Palace, which operated from 1978 to 1995, just a few miles away from Warren High School, as an inspiration for developing his craft at the instrument.


Organist Justin Stahl performs at the theater organ (from the Barton Company) at the Warren Performing Arts Center, part of the eastside high school’s auditorium.

In fact, the Central Indiana Chapter of the American Theatre Organ Society (ATOS) is among the most vibrant in the country, using its strong network to attract national conferences to the city, where both local and non-local talent test their mettle on various instruments across town. Mark Herman, who based his variegated creative talents in Indianapolis until recently (and now lives in Pasadena, California) agreed with Stahl’s assessment: “The Paramount Music Palace… helped the ATOS chapter here grow… We still present usually about four concerts each year,” he observed. “The group has installed several organs, all of which are extremely fine installations.” Herman attests that the Paramount Music Palace was one of the best “at putting the general public and the theatre organ in contact with one another.”

It has been an uphill battle for the small but close-knit community of theatre organ aficionados, a coterie that includes performers, collectors and hobbyists, all unified most powerfully through the ATOS. Indianapolis enjoys a particularly prominent dot on the map because of localized efforts to restore and preserve particular theatre organs, where Anderson native Carlton Smith is one of just a few in the nation who has devoted his life to the craft. Tucked away in the Stutz building, Carlton Smith Pipe Organ Restorations features, at any given time, a half-dozen instruments in various stages of completion, with several more in storage awaiting his deft touch. It would be easy to say he saves them from their demise, but in many cases they’re already dead. Smith resuscitates them, sometimes for old picture palaces that have enjoyed a concurrent renewal, but often in private residences.


A Barton theatre organ in the later stages of restoration at Carlton Smith’s offices in the Stutz Building.

“A sizable theatre organ — 13 ranks and up — will take us two to three years to restore,” Smith observed. “Of course, we still have smaller jobs, just components that someone might send us to rebuild. I primarily started my recognition in the theatre organ world by restoration of consoles [the apparatus at which the organist sits and operates to make the sounds]… sometimes we electrify them now instead of rebuilding the wind action.” Smith noted that he and his small team have to accommodate what the auditoriums want, and his fine arts background makes him widely sought after by purists because of his strong attention to restoration of the ornamentation on the instrument.

Smith is among many who recognize that ATOS largely emerged when the future of the instrument was seriously threatened. Tim Needler, chair of the Central Indiana chapter of the ATOS and an accomplished organist himself (though rarely before the public), recognized that they fell into neglect by the dawn of World War II, then shortly thereafter were scrapped. “Most theatre organs were either left in the theatres or junked when air conditioning came in because those chambers became a great place to put the equipment. Then, of course, the Second World War… there’s materials there for the war effort,” Needler recalled. The others fell into desuetude, so that today, according to Needler, “There’s probably fewer than a thousand. When you figure that every town had a theater of some sort, and almost every theater had an organ, so there were thousands and thousands.” Even a city like Indianapolis — not very big in 1930 — probably had close to 100 theater organs.

But their reign was remarkably short. Big names like Barton, Möller, Kimball and of course Wurlitzer innovated like gangbusters to enhance the silent film experience. “1926 to ’28, I would say, were the boom years,” Carlton Smith told me. “The boom years for the musicians, too. In a big theater, at a local level, they were rockstars. They had cult followings. Fans wrote them letters. The girls swooned over the guys.” But Al Jolson’s The Jazz Singer (1927) kicked off the era of the talkies — a technological advancement that soon became the status quo for movies and rendered the theater organ a dowdy curiosity.

The second half of this article will explore how different local theatre organists are seeking new methods of keeping the instrument relevant. All photos taken by the author.
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Josh Brolin Recalls James Gandolfini’s Willingness To Mortify Himself For A Scene

Eighteen months after James Gandolfini’s death, Hollywood is still reminiscing about the “Sopranos” star’s contributions to entertainment. In an exclusive clip from the Best Supporting Actor roundtable airing Monday night on Epix, “Inherent Vice” actor Josh Brolin recounts a story about Gandolfini imitating a chicken before takes on the HBO series in order to ensure he’d mortified himself enough offscreen so that nothing onscreen could intimidate him.

“You take your technique — it’s like golfing — and then you work on it, work on it, work on it, and the one time that you don’t think about anything is when you actually swing,” Brolin says after detailing Gandolfini’s penchant.

Best Supporting Actor marks Epix’s third Oscar roundtable, part of its ongoing “Hollywood Sessions” series, produced alongside the Los Angeles Times. Brolin is joined by Edward Norton (“Birdman”), Mark Ruffalo (“Foxcatcher”), J.K. Simmons (“Whiplash”) and Christoph Waltz (“Big Eyes”). The full roundtable airs at 8 p.m.

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Directing Brad Pitt In A Sex Scene ‘Wasn’t That Hard’ For Angelina Jolie

Angelina Jolie just finished directing her third movie (after “In the Land of Blood and Honey” and the forthcoming “Unbroken”). Titled “By the Sea,” it’s a romantic drama starring her and Brad Pitt as a couple making last-ditch efforts to save their marriage. (Life doesn’t always imitate art, right?)

The last time Jolie and Pitt shared the screen was 2005’s “Mr. and Mrs. Smith,” where their romance first bloomed. Now, nine years into their own relationship, Jolie is tasked with directing her real-life hubby in a sex scene.

“I was the other person in the love scene, so it wasn’t that hard,” she told MTV News in a new interview with Josh Horowitz. “And he knows what I need. He’s always known.”

Well, well, well! “By the Sea” has wrapped, so it seems we can rest easy knowing the movie’s plot hasn’t spilled over to real life. Jolie knows people will compare the film to her actual relationship, but she’s prepared.

“Yes, we spent our honeymoon playing two people in a terrible marriage,” Jolie told The Hollywood Reporter. “I’m sure a therapist would have a field day analyzing the films I choose to do. But it’s been 10 years since Brad and I have worked together. It felt like it was time.”

Watch Jolie discuss the film:

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The Kingdom of Dreams and Madness Movie CLIP – The Last Scene (2014) – Studio Ghibli Documentary HD

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The Kingdom of Dreams and Madness Movie CLIP – The Last Scene (2014) – Studio Ghibli Documentary HD

Granted near-unfettered access to the notoriously insular Studio Ghibli, director Mami Sunada follows the three men who are the lifeblood of Ghibli – the eminent director Hayao Miyazaki, the producer Toshio Suzuki, and the elusive and influential “other director” Isao Takahata – over the course of a year as the studio rushes to complete two films, Miyazaki’s The Wind Rises and Takahata’s The Tale of The Princess Kaguya. The result is a rare “fly on the wall” glimpse of the inner workings of one of the world’s most celebrated animation studios, and an insight into the dreams, passion and singular dedication of these remarkable creators.

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Here’s What The Most Controversial ‘Game Of Thrones’ Season 5 Scene Could Be About

“Game of Thrones” star Sophie Turner has said before that there will be “big changes” for her character, Sansa, in Season 5, and now she has discussed one scene that has been the center of months of speculation. In a red carpet interview at the British Independent Film Awards, Turner told a reporter about her favorite scene from the upcoming Season 5, which turned out to be a very intense one. “There was one scene that I did do which was super, super traumatic, and I love doing those scenes,” Turner said. “It was just really kind of horrible for everyone to be on set and watch.”

Besides hinting at the “darker direction” the new season will take, Turner wouldn’t reveal anything more about the scene. But it may be a contentious Sansa chapter in George R.R. Martin’s upcoming The Winds of Winter book, which Vulture hinted at last year.

Fans of the books have devoted numerous threads to discussing the chapter, and now with Turner’s interview, they are theorizing even more on Reddit. Here’s what fans are speculating:

WARNING: Serious book spoilers lie ahead.

Will Littlefinger rape Sansa?

This is one of the main theories fans have been speculating about since the reveal of the controversial chapter. When we last left off with Littlefinger in “Game of Thrones” Season 4, he had given Sansa a creepy kiss and then killed Lysa. He’s overly protective of and obsessive with Sansa, so a forced sexual encounter could make sense for his character. This is also highly likely since Turner previously said that one of her favorite scenes from “GoT” was when Sansa “nearly got raped” in Season 2.

Will Sansa kill Littlefinger?

This theory could go multiple ways. One is that Sansa could kill Littlefinger if the previous theory is true, and he attempts to rape her. Another is that Sansa could use powers of seduction to kill him, as Redditor Eitjr suggests. A third reason for Sansa to kill Littlefinger is, of course, if she discovers how he betrayed her father.

Will Sansa kill Robin Arryn?

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This is another very popular fan theory and also supports Turner’s description of a “super traumatic” scene. Near the end of A Feast For Crows, Robin Arryn becomes very close to Sansa (she turns into a motherly figure after his mother’s death). Littlefinger also arranges a marriage between Sansa (who is living under an alias in the books) and Harry the Heir. The theory proposes that once Sansa marries Harry, she will have reason to get rid of Robin so that her new husband can rule the Vale with her by his side. Redditor ManiyaNights also suggested ways that Sansa could kill Robin secretly, so as to possibly make Littlefinger look guilty, and thus rid of him too. We’ve already seen Sansa release some frustration toward Sweetrobin last season with that epic slap, and the killing of a child would definitely be hard to watch, even by “GoT” standards.

Will Sansa take on Lady Stoneheart’s vengeance streak?

Redditor HGSIOUHGIR put forth a very crazy theory that suggests the show’s writers will give Lady Stoneheart’s role to Sansa. Book readers, and those who follow Reddit and forums closely, will know that Lady Stoneheart is Catelyn Stark resurrected from the dead. At the end of A Storm of Swords, Lady Stoneheart goes on a killing spree against anyone and everyone who betrayed her and Robb. This would mean that if the show decided to not bring back Michelle Fairley’s Catelyn, perhaps they would have Sansa enact Lady Stoneheart’s vengeance instead, hence possibly the trauma Turner mentioned. While this sounds awesome, it also seems like a rather unlikely choice by the writers.

“Game of Thrones” will return in 2015.
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SonReal And What It’s Like Being A White Rapper In A Post-Macklemore Hip-Hop Scene

It isn’t very often that weird humor and hip-hop mix. The Beasties Boys and The Fat Boys were two of the first to embrace comedy hip-hop in the 1980s, a conceit that was picked up by Eminem in the ’90s, and current acts like Childish Gambino, Macklemore, Odd Future and Lil Dicky within the last decade.

But one of the most recent artists to throw his silly hat into the ring is Canada’s SonReal. Releasing his “Everywhere We Go” music video just over a year ago, the Juno-nominated rapper seems to pay homage to the uncomfortable awkwardness and absurd nerdy stylings of “Napoleon Dynamite.” Accumulating nearly 1.5 million views on YouTube — “One million views in Canada is more like 100 million in the States” — comedy feels like a natural fit for SonReal. But with mixtapes hailing back to 2006, this goofy tone is actually a first.

“I think we created a whole new side to my personality with that video,” SonReal told The Huffington Post. “A lot of people didn’t even really think I was funny before that. A lot of my stuff was a little more serious, maybe some people would categorize it as emo.”

The video for “Believe,” off his most recent free album, “One Long Day,” was purposefully released after “Everywhere We Go” to remind both new and old fans of his more serious side. (SonReal was aware that an art piece wouldn’t go viral.) While the majority of the album floats in this space of self-examination and outreach, SonReal’s latest video for his new track, “Preach,” brings on another wacky, stoic production, shot in 57 different locations throughout the United States.

Born as Aaron Hoffman and raised in Vernon, British Columbia, a small town with a population of 60,000, SonReal grew up expecting to follow in the footsteps of the town’s working populace.

“A lot of the people where I’m from go up north and work on rigs,” he said. “It’s these small town dreams, which is to have a family and try to be rich. That’s what successful is there. There are no rappers around my way, so I really had to break the mold. When I first started, people around me didn’t take me seriously — and so they shouldn’t have, I was horrible at it. But it was definitely harder for me, I think, than somebody growing up in a big city because there was no one within 500 miles of me that had done what I was trying to do.”

Introduced to hip-hop through skateboarding, he fell in love with albums like Nas’ “Illmatic,” Method Man’s “Judgement Day” and Mobb Deep’s “The Infamous.” On his first mixtape, “Trapped In The Streets,” SonReal emulated these artists, rapping about selling drugs and killing people. While he understands he was just trying to find his place in hip-hop, SonReal is thankful that little beyond the music was documented. “I’m so happy I didn’t have a YouTube account at the time because I would have so many videos that are so bad,” he said.

“It takes time to find out what you want to say and who you want to be,” SonReal continued. “At the end of the day is just comes back to ‘do you.’ I have always said I want to be around for a long time, so we’ve taken our time with things and made sure they’re perfect. One thing about me is that I’ve never been really amazing right off the jump. I’m not someone who just comes out with a smash album right at the start. I’m consistently working to get better at my music. ‘One Long Day’ is my best work today, but my new stuff is already turning out to be way more energetic. I’m excited about it.”

As SonReal continues to rise — and headlines his first tours throughout the United States — the comparisons to Macklemore feel unfortunately inevitable. In addition to both men being white rappers, they share a goofy-sincere sensibility. But for those willing to really listen, SonReal’s work exudes its own unique talent. In fact, it’s what many of his fans know already: SonReal has his own flow, his own style, his own message. And he’s pretty damn good at it.

before the beat drops

Before The Beat Drops is an artist introduction series dedicated to bringing you the rising acts before they make their break. Our unlimited access to music of all kinds is both amazing and overwhelming. Keeping your playlists fresh, we’ll be doing the leg work to help you discover your next favorite artist.
Arts – The Huffington Post
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The Death of Meriwether Lewis: A Historic Crime Scene Investigation

The Death of Meriwether Lewis: A Historic Crime Scene Investigation

Even after more than two centuries, mystery continues to surround Meriwether Lewis’s death—did the famous explorer commit suicide or was he murdered? Recently revealed truths and deconstructed myths are woven together in this fascinating account to form an unforgettable tale of political corruption, assassins, forged documents, and skeletal remains. New research implicating General James Wilkinson—commanding general of the U.S. Army and coconspirator of Aaron Burr—as the assassin is thoroughly discussed, while riveting testimony from 13 leading experts in wound ballistics, forensic anthropology, suicide psychology, grave-site exhumation, and handwriting analysis offers new insight into what Lewis’s exhumed remains might reveal. The new evidence not only destroys the foundation of suicide arguments by proving the primary evidence is a forgery, it also proves the Indian Agent escorting Lewis lied about his activities on the day of Lewis’s death. The book also contains evidence of a previously unknown plot by Aaron Burr to seize New Orleans and invade Mexico in 1809, a repeat of his 1806 plot. It explains why Lewis suddenly changed his plans to travel to Washington, DC, by boat, and instead chose to go overland on the Natchez Trace, where he met his untimely death on October 11, 1809, at age 35.

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Allison Janney, Octavia Spencer Square Off In Hilarious ‘Mom’ Scene

Allison Janney has been killing it this fall between her heartbreaking dramatic work on “Masters of Sex” and her rib-splitting scene-stealing on “Mom.” This CBS sitcom is quickly becoming “The Allison Janney Show,” and this week provided the funniest scene yet. Janney was helped by an equally brilliant Octavia Spencer, who’s guest stint on this show is so strong we’re kind of rooting against that “Murder, She Wrote” reboot. Make her a regular cast member here, instead.

As Regina, Spencer has proven the perfect comic foil for Janney’s Bonnie. The two women do not like one another, and yet they keep finding themselves together. This week, Bonnie fell completely off the wagon after losing her apartment, job and car — the last she just can’t find. Christy enlisted the aid of Regina and Marjorie to help Bonnie sober up, but they couldn’t keep up with her. Wracked with guilt, Bonnie decided to help Christy with her burden.

This meant a hung-over and simply awful looking Bonnie showing up at the restaurant, where she literally tried to take over Christy’s job. She sweetly introduced herself to a table and when she couldn’t find them bread, she brought them an extra candle instead. Then, Marjorie and Regina caught up, but it was Regina’s impressive tackle of Bonnie that finally ended her ill-conceived attempt to help.

Allison Janney is making a strong case for “funniest woman on television,” and Octavia Spencer is proving a brilliant comedic partner. Here’s hoping the two share as many scenes as possible as “Mom” continues every Monday at 9:30 p.m. EST on CBS.
Comedy – The Huffington Post
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