The color blue is typically associated with pleasant things like babbling brooks or fluffy, cloud-filled skies. The instant that color touches a woman's eyelids, however, something snaps — the world gets dark, and a devestating chill runs through those with good taste. In this, the year 2013, blue eye shadow should be used in three — yes, only three — situations. First, if your hair is crimped, your sleeves are puffy, and you're going to an '80s dance party. Two, if you’re a make-up artist and you’re either creating an unbelievably realistic-looking bruise or a dramatic peacock-inspired look. Three, if you’re bats**t crazy.
In Melissa McCarthy’s latest cinematic adventure, Identity Thief, she plays a identity-stealing sociopath who would much rather scam the life savings from an innocent bystander (Jason Bateman) than work for an honest living. Her loud clothing and paint-splattered make-up are only the tip of the outrageous iceberg that is hiding within McCarthy’s erractic, yet eventually loveable character.
This wacky movie has sparked an ephipahny in our pop culture-loving minds. The craziest of characters always seem to have one thing in common: outrageously obnoxious bright blue eyelids. Don't believe us? Check it out! In honor of all the crazies, we’ve put together our top ten examples of how blue eye shadow should be your first and only sign to back away slowly — and then run like hell!
GALLERY: 10 Pop Culture Crazies With Blue Eye Shadow
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[Photo Credit: Universal]
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Showtime President of Entertainment David Nevins took the TCA stage Monday afternoon in Beverly Hills to spill some desperately needed details on all your favorite shows. And because we love you oh-so much, Hollywood.com has gathered all the facts and put them into one giant Showtime mega-post! You’re welcome.
So what’s the status on Dexter? How many more seasons of Homeland can we expect to cherish? And will we see additional episodes of Californication and Inside Comedy? Check out all the updates below!
The Big C: The Showtime Exec revealed that Laura Linney and Co. are coming back for a fourth season, but it will also be the show’s last. You can check out all the details on the cancer themed drama’s final season here!
The Borgias: Showtime’s period drama is currently shooting their third season (set to premiere in 2013) and Nevins says a another season is very likely. He explains, “The original plan going in was four seasons.” However, Nevins clarified that just because the plan was four doesn’t mean the head honcho wont green-light a fifth.
Californication: How much longer can fans expect to see Californication on the air? Nevins admits, “I’m honestly not sure.” He says the upcoming season has a great combination of comedy and soulfulness, but he hasn't seen any cuts yet. Luckily, he won't make any decisions until the show has aired.
Dexter: The Showtime Prez confirmed that ending the cult-hit after two more seasons is "the likely scenario." Nevins reveals, "But plans can always change. Everything has gotten rewired this [coming season] given that Deb (Jennifer Carpenter) has to deal with who her brother is. Everything changes… Every scene is fraught because you’re wondering what is she going to do. What does he think she’s going to do." The seventh season of Dexter premiere Sunday, September 30 at 9 p.m.
Episodes: It would be shocking to not see this critically acclaimed hit return for a third season and apparently Nevins thinks so too. “We’re working on the details right now but I’m expecting Episodes to come back,” said Nevins. “I think that show is irregular as opposed to some of your other shows… [And] we tend to be a little slower to get them on the air, but my intention is to keep going.” Plus, Matt LeBlanc exclusively told us that a mini Friends reunion is all set on an upcoming episode.
Homeland: After boasting to the room that Homeland won a Golden Globe for Best Drama, nine Emmy nominations and a Peabody, Nevins says that the future of the freshman mega-hit is a “wide blue sky.” Although he expects the show to last for many seasons, Nevins warns that does not mean that the core cast will last just as long. “Anybody can go at anytime,” said Nevins. "They’ve made some very bold choices this year." The second season of Homeland premiere Sunday, September 30 at 10 p.m.
House of Lies: Like Homeland, Nevins is expecting this raunchy comedy to become one of the network’s new flagship shows. He says the network is expecting the first-year hit to be “big” in 2013.
Inside Comedy: It’s back and better than ever! David Steinberg and Steve Carell’s comedy documentary is returning this fall with ten all-new episodes. Fans can expect to see comedy legends such as Ben Stiller, Tina Fey, Judd Apatow, Will Ferrell and Albert Brooks.
Nurse Jackie: Nevins didn’t really mention anything about Edie Falco or the rest of her amazing ensemble, but he did however praise the dramedy’s “great benefits” of changing things up and not avoiding consequences. "You better not fall into predictable patterns. As soon as you get predictable, you get boring."
Shameless: The dramedy with America’s favorite dysfunctional family is currently filming their third season — episode four, to be exact. Stay tuned, because Hollywood.com has tons of exclusive Season 3 scoop from Emmy Rossum (Fiona), Shanola Hampton (Veronica) and Cameron Monaghan (Ian) coming soon. Here’s a little teaser: “Shameless season three is epic,” exclaimed Hampton at the CBS/CW/Showtime party Sunday night. “And we are not holding back at all!”
Weeds: Nevins admits that he has read the final episode of the long-time comedy but would not disclose any teasers. He admits with a smile, “[Creator] Jenji [Kohan] would kill me if I gave any details.” However the Showtime boss adds, "It was very carefully planned towards," and it “answers a lot of questions.” Nevins also said he would “love it” if Mary-Lousie Parker would return to Showtime as either an actor or a producer. Plus, we got Hunter Parrish to tell us an exclusive secret!
[Image Credit: Showtime]
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A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.
Twins Carly and Nick Jones (played by Cuthbert and One Tree Hill heartthrob Chad Michael Murray)--with Carly being the pretty goal-oriented "good" twin and Nick the sullen brooding "bad" one-- are road tripping to catch the big college game. Along for the ride are Carly's beau Wade (Gilmore Girls' Jared Padelecki) mini-cam-obsessed Dalton (Jon Abrahams) sports fan Blake (Robert Ri'chard) and his maybe-preggers girlfriend Paige (Paris Hilton in her first major acting role--unless you count certain portions of her infamous sex video). The requisite car trouble ultimately leads them to a requisitely isolated Iowa town where they must seek help from the requisitely creepy locals. Dominating the town is the House of Wax a paraffin-filled museum which doesn't just feature amazing wax likenesses of people and objects: the whole place is made out of wax walls and all. This despite being constructed over a fiery furnace used for…well these films aren't about logic are they? Throw in the requisite twisted menacing blood-lusting boogeyman--but wait! Let's have TWO bad guys! And make them twins! (Did I mention the script was written by Chad and Carey Hayes who happen to be twin brothers?) Cut to the running and the chasing and the cinematic carnage the corpses turned into those impossibly lifelike wax figurines the curvy Cuthbert in a white tank top and the impossibly big drippy finale and call it a day. This is just a messy pile of waxy build-up that'll take an extra-long Q-Tip to clean out of your brain.
Despite the jibes she gets for her 24 character's penchant for getting into laughably contrived peril the pert and sexy Cuthbert--who fills up a movie screen even more potently than the tube and lent a genuine vulnerability and pathos to her smoldering turn in The Girl Next Door--is emerging as one of the more interesting actresses of her TV-launched generation. Despite her natural charisma however there's no such opportunity for a multidimensional turn in House of Wax and for her career's sake Cuthbert should make this film her one-stop shopping trip to Horror-dom. She's made for much better things and the sickly sadistic and bloody punishments she endures in this film quite frankly can only distract her admirers from how hot she is. Murray also impresses as a film presence though he too is stuck in this thankless mess as the rebel who really has nothing to rebel against. Padelecki the film's "Hey let's see what's in here!" jackass whose idiotic actions drives every shallow horror plot should stick to his day job. And then there are the splendors of Paris: both she and the filmmakers seem to think that stripping the heiress of accessories like her tiny dog Tinkerbell and her Pepto-pink fashions is all that's necessary to believe Hilton as an entirely different character. Except none of us really want Paris to be an entirely different character. She's really only entertaining--and often equally as stiff and insipid like she is in this film--as herself and we'd all rather see her and Nicole Richie (or Kim Stewart or whatever less attractive less-wealthy and less-ditzy sidekick she's hanging with these days) screaming bloody murder at a real House of Waxing.
Let's hope for his sake music video director Jaume Serra didn't burn any bridges at MTV when he got called to the Hollywood ranks because House of Wax effectively demonstrates a lack of invention as a visualist an inability to effectively pace and develop a story--even one as shallow as this one--and an utter incapacity to create tension suspense or any genuine fear. The only scares here are the kind of easy unearned "pop-up-and-say-BOO!" variety that does little more than jolt the audience and cause their popcorn to spill. I'm tempted to give him mini-props for the nearly impressive and gooey finale but the credit probably belongs more to the f/x team than Serra. And it's shocking to learn that the entire film was shot on location in Australia if only because the claustrophobic town in which most of the action takes place seems as artificial and hermetically sealed as the Universal backlot.
Scooby and the gang at Mystery Inc.--Fred (Freddie Prinze Jr.) Daphne (Sarah Michelle Gellar) Velma (Linda Cardellini) and Shaggy (Matthew Lillard)--are at the top of their game and just about everyone in Coolsville loves them. Even the Coolsonian Museum is honoring them with an exhibit--a costumed display of Mystery Inc.'s former foes such as The Pterodactyl Ghost The Black Knight Ghost and The 10 000 Volt Ghost. Yet at the museum's gala opening the team's stellar reputation is put in serious jeopardy when said monsters come alive re-created by a masked villain who vows to bring Mystery Inc. down. Under pressure from relentless reporter Heather Jasper-Howe (Alicia Silverstone) the gang launches an investigation into the monster outbreak but as the mystery deepens Mystery Inc.'s members end up questioning their roles within the organization. Can macho leader Fred and image-conscious Daphne look past the superficial and find the identity of the Evil Masked Figure? Will brainy Velma let her feelings for Coolsonian Museum curator Patrick Wisely (Seth Green) blossom even though he is a key suspect? And finally can Shaggy and Scooby stop cowering--and eating--long enough to prove they can be detectives? These are tough times for the gang but they've got to pull it together so they can solve the mystery and save the day.
Even though it seems a little ridiculous that Scooby-Doo 2's fleshed-out cartoon characters would try to dig deep to find answers within the returning actors continue to have fun exploring their alter-Scooby-egos. Prinze's Fred has a hipper haircut this time (the original matted blond 'do had to go) and isn't quite the braggart he once was. He is still unquestionably the "face" of the group until he is made to look foolish by the ruthless Heather played with relish by Silverstone who shines in the bad-girl role. Gellar has definitely dropped Daphne's "damsel-in-distress" routine getting all Buffy on the monsters but is still worried that its her looks not her skills that get her attention. Cardellini's Velma on the other hand gets a love interest--and even all dolled up at one point--but can't get rid of her inherent geekiness. It's Shaggy and Scooby who experience the biggest revelation realizing they really are nothing but giant screw-ups. Lillard actually turns in some (and I can't believe I'm actually saying this) poignant moments as Shag grapples with his inequities. They all realize in the end though that for the good of Mystery Inc. it's best to be true to yourself. Thank god.
Director Raja Gosnell goes full throttle in his second Scooby effort with more action and more elaborate theme-parky sets than the original. Even as the characters pause to reflect on their faults these moments are thankfully short-lived before the gang is thrust into another wild chase or fight sequence keeping the kiddies' minds occupied--and allowing the adult fans to laugh at all the monsters they remember from the TV show. One of the criticisms from the first Scooby-Doo was that it didn't provide enough "inside" jokes for the grown-up enthusiasts (and face it there are probably more of them than kids). But Scooby-Doo 2 harkens back to the good old days and even pokes fun at all those criminals whose evil plans and ghost disguises were foiled by the meddlesome quintet. They all gather at their own watering hole called the Faux Ghost where they can throw darts at pictures of the Mystery Inc. gang. Funny stuff. Overall the sequel provides the same madcap fun the original did without requiring the use of too much brainpower.
Arthur Kriticos (Tony Shalhoub) is trying to keep his small family together after losing his wife and the mother of their kids Kathy (Shannon Elizabeth) and Bobby (Alec Roberts) in a tragic fire that left them homeless. Out of nowhere one enigmatic Uncle Cyrus (F. Murray Abraham) wills Arthur a bizarre yet dazzlingly beautiful mansion made almost entirely of glass and filled with priceless antiques. There's not much that could go unseen behind the transparent walls except for perhaps 12 pesky ghosts of disturbed folks like onetime mental patients and a kid whose head got in the way of an arrow. It just so happens old Cyrus with the help of his psychic phantom-wrangler Rafkin (Matthew Lillard) has been summoning up a few restless spirits so he can open the Eye of Hell and take over the world or something. They just need one more spirit to finish the job.
All right who's blackmailing Oscar-winner Abraham into taking roles like this? The man should have thrown the script out sight-unseen and then fired his agent. Rah Digga yet another rapper-turned-wanna-be-actress is there to offer some sassy comic relief as the kids' nanny--she's fun in a usual sort of way. Shalhoub-ho hum. Elizabeth? Yawn. She's not even in half the movie. Lillard it can be said is about the only bright spot in this otherwise not-silly-enough not-cheesy-enough not-funny-or-scary-enough horror movie. He's got the right idea as he tries to camp it up as a borderline hysterical psychic who has guilt issues about being able to see everyone's secrets with his "gift." But worst of all is the usually great Embeth Davidtz (um Schindler's List?!) as a--get this--ghost's rights activist who thinks she's channeling Zelda Rubenstein from Poltergeist as she hisses the obvious: "This house is not a house!"
The only thing scarier than F. Murray Abraham taking a role in this movie is that it ever got made at all--then again we have the Dark Castle folks (the same ones who brought us that masterpiece remake The Haunting a few years ago) to thank. They forgot to hire a director and a scriptwriter instead putting visual effects guy Steve Beck behind the camera to show us some semi-interesting special effects (it is a ghost movie after all and you better score some points there). Unfortunately the movie is uneven makes little sense and strives for both laughs and scares but achieves neither with cornball dialog and silly stereotypes; it's wildly gory to boot. Everyone's gonna say the ultra-modern haunted house is the star of Thirteen Ghosts and with good reason. The production design in this movie is amazing and the idea of ghosts hiding behind clear walls is an intriguing if ultimately wasted concept.