Elvis Presley's last Cadillac car and a 1975 guitar are among the items going under the hammer at Graceland during the estate's annual Elvis Week. Every year, the rock and roll icon's legacy is celebrated at his former home in Memphis, Tennessee, and as part of the 10-day event, 72 of his personal items will be auctioned off next month (14Aug14).
Among the lots up for sale is a 1976 Cadillac Seville - the last one Presley purchased before his death in 1977 - a 1975 Martin D-28 guitar, a signed library card, the original script for his movie Love Me Tender, a 1969 Las Vegas show agreement, and the gemstone and diamond encrusted lion mask pendant and chain worn by the singer when he met U.S. President Richard Nixon at the White House in 1970.
Third-party collectors will also be auctioning off items, including a Bonhams sale at the Quail Lodge Auction in California on 15 August (14), which will feature Presley's Rolls-Royce Phantom V limousine. The luxury vehicle, which boasts a state-of-the-art radio, air-conditioning and a car phone, is expected to sell for an estimated $300,000 (£176,471).
Who knew there were so many ladies from the land down under on U.S. television? Well, we didn’t. That is, until we started to do some research on our favorite female TV leads and found out that many hailed from Australia. Color us surprised!
Sure, there were a few that we knew about — Rebel Wilson comes to mind — but there were some surprises, especially since all these ladies have seriously mastered their American accents; they had us fooled.
Through our research, we found out which of television’s leading ladies are from Australia, as well as how many of them have acted together before — it seems like everyone was on the Australian TV series, The Sleepover Club. We’ve compiled a list of our favorites, and added some cool pieces of trivia, so that everyone can be more knowledgable about the Australian actresses on U.S. television.
GALLERY: Our 10 Favorite Australian Ladies Currently on TV
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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It’s hard to believe there is actual innovation happening on television. There are constant remakes like Ironside or abuse of the public domain with shows like Sleepy Hollow and Once Upon a Time in Wonderland. However, a few seemingly random shows have managed to sneak through and change the face of television.
Here are some series that have created their own new genres.
Super Fun Night
Rebel Wilson is a genius. She has an understanding of comedy and entertainment few people can dare to grasp. She found success in America with Pitch Perfect and her small role in Bridesmaids. In Australia, she wrote and starred in her own series Bogan Pride. Her new show Super Fun Night focuses on the sadness and pathos of a group of single, socially awkward girls. Despite that downer, these gals have great spirit, good morals and strong bonds of friendship. This pathomedy or Sad-com is unique. It may not win over American audiences but it does allow room for the future for different types of characters like the "best friend" or "wacky neighbor" to be the lead of a television series.
Say what you will about Lena Dunham. Some believe she’s a shamelessly nude, entitled hack and others see her as the mouthpiece of her generation. Regardless of how you feel about her, she has created a whole new genre - the home theater of the grotesque. Even if you hate Girls, you can’t deny that it has created room in television to take it to the limit and break all the rules. Whether it show people doing lines of coke off toilet seats, eardrums ruptured with Q-tips, or Dunham’s breasts, nothing is too much for this series. This brazen honesty has trickled into the mainstream and allowed shows to delve into dark and uncomfortable places and still be funny.
Buffy the Vampire Slayer
Buffy was witty and chock full of action. It blended punchy dialogue with an evolving, twisting plot that developed over the series with Buffy eventually defeating "The Big Bad." This series has created the teen hero saga. You take a socially awkward or disenfranchised teen, give them something that sets them apart from their peers but makes them able to save lives, then set them up against a mysterious enemy for 22 episodes. It has changed the face of The CW’s line-up and influenced series like Veronica Mars, Smallville, The Vampire Diaries and The Tomorrow People.
Honorable Mention: The musical episode of Buffy, "Once More with Feeling," also reinvigorated attempts at musical television. Before this episode, Cop Rock was one of the only shows to try its hand at a musical TV series. Shows like Grey’s Anatomy and How I Met Your Mother went on to have musical episodes. Buffy also set the stage for musical TV series like Glee and Smash.
Seinfeld will be forever remembered as "a show about nothing." Many people scoff at the series finale finding the four leads in prison. What they don’t realize is that the four main characters were self-centered, rutheless and generally bad people. This spawned the Despicable We genre. The entire cast is filled with generally unlikable characters that get into awkward and zany hi-jinks. This helped lead to the success of shows like Will & Grace with their constant insults and self-absorbed issues. It also reached a crescendo in Don't Trust The B**ch in Apartment 23, where Krysten Ritter shone as one of the most likeable, yet despicable, characters on television.
Two & A Half Men
Chuck Lorre seems obsessed with addiction. Two and a Half Men started with the mother of all addicts, Charlie Sheen, playing Charlie Harper, a heavy-drinking, sex-addicted lothario, taking in his high-strung brother and precocious nephew. It became a huge metaphor for life with an alcoholic. His follow-up Mike & Molly began with two characters finding love at a Overeaters Anonymous meeting. The new series Mom finds a mother (Allison Janney) and daughter (Anna Faris) going to Alcoholics Anonymous. This series also made room for a show like Go On, about grief-counseling, to get on the air.
Golden Girls influenced every show featuring four female leads in the nearly 30 years since it premiered in 1985. It was a show about four aged women but manages to resonate with people of all ages. It created a new genre of the quartet comedy. Now ever series with four female leads seems to have the snarky leader, the slutty one, the innocent one and the outspoken one. It influenced shows like Sex and the City, Hot in Clevleand, and even Girls.
Today was a big day for fall TV, as NBC picked up Revolution, Go On (or, as Ryan Lochte would say, Goon), and The New Normal for the back nine, and Boardwalk Empire was renewed for a fourth season. The news wasn't as bright for The Mob Doctor and Partners, which both brought in some abysmal ratings last night. But we're going to take a break from all that and focus on the future, as plenty of casting scoop was also revealed during this brutally hot Hollywood Tuesday. Let's goon, shall well?
Patton gets Justified: Ratatouille is coming to Harlan! Patton Oswalt will recur in Justified's fourth season as Bob Sweeney, a former high school football superstar who now spends his days as a constable, watching over Arlo Givens. Call us biased, but this one sounds like a match made in hick heaven. [TVLine]
Richard Alpert is a Psycho: A&E's upcoming Psycho prequel Bates Motel has officially nabbed Lost's ageless wonder, Nestor Carbonell, and Pan Am survivor Mike Vogel — both in starring roles. Carbonell will play Sheriff Royce Romero, with Vogel as his Deputy, Zach Shelby. The words "sinister" and "sociopath" pop up in their character descriptions, so we can't help but wonder who the heck we're going to root for on this show. [Deadline]
Another Bluth Reunion: NBC's Up All Night has not made a huge mistake — instead, they've nabbed Arrested Development's (and Veep's) Tony Hale for a guest spot. Hale will appear alongside his past and present TV brother Will Arnett as Dr. Welborn, Reagan's flirty dentist. Arnett's Chris won't be happy with Welborn's workplace code of ethics, but hey — at least he never went after Marta. [TVGuide.com]
South Park Mocks Honey Boo Boo: It was only a matter of time. South Park, a show that has always been known for A — riffing on pop culture, and B — producing episodes last minute, will take on current pop culture topic du jour, Here Comes Honey Boo Boo. The episode, titled "Raising the Bar," will air Wednesday night on Comedy Central. [EW]
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[PHOTO CREDIT: TLC]
TV Tidbits: 'S.H.I.E.L.D.' Gets Characters, Ryan Murphy Wants More
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TV Tidbits: The CW Nabs Another Gold Medalist, 'OUAT' Finds a New Pack Leader
The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
The two icons will produce the docu-drama Silver Ghost, which chronicles the lives of Charles Rolls and Henry Royce.
Announcing the project to Variety, Scorsese says, "When I read the story of Silver Ghost, I was mesmerised. I immediately thought, 'This is a picture that has to be made.'
"And when I was asked to come aboard as a producer alongside Richard Attenborough and Anthony Haas, I didn't hesitate a moment."
The film will be set in turn-of-the-century England and feature scandalous revelations about Rolls and Royce's romances and family secrets.
The second-in-line to the British throne and his longterm sweetheart became husband and wife in a traditional ceremony at London's Westminster Abbey.
The couple, who began dating in 2003 after they met while studying at university, married in front of a hushed congregation of 1,900 guests, including Britain's royal family, 50 foreign heads of state from across the world, and an array of close friends and showbiz pals.
Outside the abbey, an estimated one million royal-watchers gathered on the streets of London to join in the celebrations. Two billion people are thought to have watched the event live on television around the world.
The groom, wearing the famous red tunic of the Irish Guards and a garter sash of the Royal Air Force, and his best man, brother Prince Harry - in his Blues & Royals army officer's uniform - arrived at the venue in a two-car convoy at 10.18am local time, some 25 minutes ahead of their father, Charles, Prince of Wales and his wife Camilla, Duchess of Cornwall, and 30 minutes before Queen Elizabeth II and Prince Philip, Duke of Edinburgh.
The bride arrived at the venue by chauffeur-driven Rolls-Royce Phantom VI, with her father Michael, at 11am.
Wearing a dress by Sarah Burton for Alexander McQueen, and the late Queen Mother's halo tiara, she walked up the aisle to the coronation anthem, "I was glad", trailed by her Maid of Honour - sister Philippa Middleton - bridesmaids Lady Louise Windsor, seven, The Honourable Margarita Armstrong-Jones, eight, and three year olds Eliza Lopes and Grace van Cutsem, along with page boys William Lowther-Pinkerton, 10, and Tom Pettifer, eight.
The royal couple chose the Series One (1966) Book of Common Prayer ceremony, and the occasion was soundtracked by classical compositions by Elgar, Britten and Vaughan Williams, as well as the hymns Jerusalem and Guide me, O Thou Great Redeemer, and the English melody Greensleeves.
During the service, conducted by the Archbishop of Canterbury, Rowan Williams, the couple said "I will", vowing to "love, comfort, honour and keep" each other, as the official witnesses - Prince William's father and stepmother, Prince Harry, the bride's parents Carole and Michael Middleton, her sister Philippa and brother James - looked on.
James Middleton then gave The Lesson, reading Romans 12: 1-2, 9-18 before an address by the Bishop of London, the Right Reverend Dr Richard John Carew Chartres, a recital of the Lord's Prayer, and the blessing of the marriage by the Dean of Westminster. The 50-minute ceremony was concluded with a rendition of the National Anthem and the signing of the marriage register.
As the newlyweds - now officially the Duke and Duchess of Cambridge - left the abbey hand-in-hand to be greeted by thousands of cheering, flag-waving fans, two groups of 12 military personnel lined their route as they headed to the horse-drawn 1902 State Landau carriage.
The open-top carriage - escorted by the Household Cavalry and followed by the Queen's procession with a sovereign's escort - will then make its way along Parliament Square and Whitehall, through Horse Guards Arch into Horse Guards Parade and then along The Mall to Buckingham Palace.
Tens of thousands of onlookers lined the entire route, cheering, applauding, waving flags, and shouting their best wishes to the beaming couple, who responded by smiling and waving at the assembled crowds.
On arrival at the palace, the band of the Welsh Guards will play the British National Anthem before the royal couple is expected to appear with Queen Elizabeth II on the palace balcony to greet their adoring public. A fly-past by the Royal Air Force and Battle of Britain Memorial Flight will take place before the Queen hosts a private lunchtime reception for selected guests.
On Friday evening, the groom's father Charles will host a private dinner at Buckingham Palace before the newlyweds relax with 650 family and friends.