R&B singer/songwriter Tameka 'Tiny' Cottle has blamed a finger injury for failing to wear her wedding ring amid ongoing rumours suggesting her marriage to rapper T.I. is on the rocks. Speculation surrounding the status of the couple's relationship has been swirling online for several weeks after T.I. left the former Xscape star to walk the red carpet at the Grammy Awards solo, while weeks later he also publicly criticised his wife for posting a photo on Instagram.com showing off her slim waist and backside.
Cottle has fuelled the troubled marriage claims by recently stepping out without her wedding ring, but she has now spoken out to clear up the allegations.
She says, "We had a couple fights and we were arguing. We argue all the time though. We had this one big fall out about the Grammys... but no, we're still together. No divorce, we're just normal. We go through the same things that everybody does."
Explaining the reason for her missing engagement and wedding bands, she tells U.S. talk show host Wendy Williams, "I jammed my finger so I can't even fit it (on my finger). For real, it's a big rock. I would like to wear it."
The couple, which has two kids and four stepchildren together, began dating in 2001 and wed in 2010.
British supermodel Naomi Campbell is working on her own line of hair extensions. The beauty, who already has her own perfume brand, made the revelation during an interview with U.S. talk show host Wendy Williams on Wednesday (19Mar14). When she was asked if she had ever considered the idea, she replied, "Coming, on its way. Very soon."
Kim Kardashian has undergone a geeky makeover to disguise herself for an appearance on an undercover TV show. The reality star sports a brown, curly wig, false teeth, glasses and prosthetics on her face for a spot on Wendy Williams' new TV show Celebrities Undercover, in which stars undergo a dramatic makeover to fool fans.
The brunette beauty adopted the persona of 'Cynthia' to interview three candidates who had applied for a job as an assistant on her TV show Keeping Up With The Kardashians.
Gun to my head, I might be able to say something positive about 300: Rise of an Empire. In a vacuum, I suppose I'd call its aesthetic appealing, its production value impressive, or its giant rhinos kind of cool. But these elements cannot be taken alone, embroidered on a gigantic patch of joyless pain that infests your conscious mind from its inceptive moments on.
It's not so much that the 300 sequel fails at its desired conceit — it gives you exactly what it promises: gore, swordplay, angry sex, halfwit maxims about honor and manliness and the love of the fight. It's simply that its desired conceit is dehumanizing agony. Holding too hard and too long to its mission statement to top its Zack Snyder-helmed predecessor in scope, scale, and spilled pints of blood, Noam Murro's Rise of an Empire doesn't put any energy into filtering its spectacular mayhem through whatever semblance of a humanistic touch made the first one feel like a comprehensive movie.
Now, it's been a good eight years since I've seen 300, and I can't say that I was particularly fond of it. But beneath its own eye-widening layer of violence, there was a tangible idea of who King Leonidas was, what this war meant, and why Sparta mattered. No matter how much clumsy exposition is hurled our way, all we really know here is that there are two sides and they hate each other.
When Rise of an Empire asks us to engage on a more intimate level, which it does — the personal warfare between Sullivan Stapleton (whose name, I guess, is Themistokles) and Bad Guy Captain Eva Green (a.k.a. Artemisia) is founded on the idea that she likes him, and he kind of digs her (re: angry sex), and they want to rule together, but a rose by any other name and all that — we're effectively lost. With characters who don't matter in the slightest, material like this is just filler between the practically striking battle sequences.
But when the "in-between material" is as meaningless as it is in Rise of an Empire, the battles can't function as much more than filler themselves. Filler between the opening titles and closing credits. A game of Candy Crush you play on the subway. Contemptfully insubstantial and not particularly fun, but taking place nonetheless.
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Without even a remote layer of camp — too palpably absent as Rise of an Empire splashes its screen with so much human fluid that "The End" by The Doors will start to play in your head — there's no victory in a movie like this. No characters to latch onto, no story to follow, no joy to be derived. Yes, it might be aesthetically stunning (and really, that's where the one star comes in... well, half a star for that and half for the giant rhinos), but the marvel of its look shrinks under the shadow of the painful vacancy of anything tolerable.
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Singer Marc Anthony is "really good friends" with Casper Smart, the dancer who is dating his estranged wife Jennifer Lopez. Anthony split from Lopez in 2011 after seven years of marriage and their divorce is currently going through the courts.
The singer/actress has since been dating one of her former backing dancers, Smart, but Anthony insists there is no animosity between him and his ex-partner's new boyfriend.
He tells U.S. chat show host Wendy Williams, "It's great. As a matter of fact, we were texting back and forth two days ago. We're actually really, really good friends. From the very beginning.
"When you love someone and you care for someone... Jennifer and I, I don't say it lightly, we're great friends. You know, anybody that means anything to her means something to me.
"That's keeping it simple. Casper's a great guy. He's been great to my children. And I have nothing but respect for him, absolutely nothing but respect."
The former couple is parents to five-year-old twins, Max and Emme.
Fall Out Boy rocker Pete Wentz has revealed he is ready to marry longtime girlfriend Meagan Camper. Just days after his ex-wife Ashlee Simpson announced her engagement to Diana Ross' son, Evan, the bassist has hinted he could also be heading down the aisle for a second time.
During an interview with U.S. chat show host Wendy Williams on Tuesday (21Jan14), he said, "It's insane that she (Meagan) hangs out with me! I feel like we look like 'hot girl pictured with homeless man trying to beg her for change'. This is like charity work here.
"I think I'll get married. I mean, we talk about it a lot. I feel really lucky. It's, like, really interesting to be in a relationship with someone who is truly my best friend. Like, I talk to her about everything."
Wentz split from Simpson in November, 2011 after three years of marriage. They share a five-year-old son, Bronx Mowgli.
U.S. TV host Wendy Williams shocked viewers in America on Monday (20Jan14) by breaking down in tears as she described her rocky relationship with her son. The outspoken star was discussing the controversy surrounding Madonna's use of the N-word on a caption accompanying a picture of her son Rocco sparring in a boxing ring, when she was overcome with emotion and began to sob.
Williams explained that her relationship with her 13-year-old son Kevin, Jr. is very different to the way the Material Girl relates to her own boy, saying, "Rocco's 13 years old and Rocco is a real fan of his mother... Kevin, I discovered this a while ago, but the ball just got smacked home this weekend... He's all into his father, you know how 13 year olds are, I was the same way when I was 13, but it is breaking my heart.
"He's a father, he's a buddy, they talk sneakers, they go for hair cuts, they speed off in the cars and I'm just left there feeling like, 'Why you so p**sed?' I'm not p**sed, I'm a mom!... Thank God he (Kevin) has his buddy, and father. Anyways, she's (Madonna) lucky that he (Rocco) likes her."
Kevin, Jr. is Williams son with husband and manager Kevin Hunter.
Madonna apologised for use of the racial slur on Saturday (18Jan14), revealing it was used as a term of endearment between her and her son, writing in a post on Facebook.com, "It was not meant as a racial slur. I am not a racist. There's no way to defend the use of the word. It was all about intention... It was used as a term of endearment toward my son who is white. I appreciate that it's a provocative word and I apologise if it gave people the wrong impression. Forgive me."
Hip-hop icon Ice Cube wants to cast his son to play a younger version of himself in a planned biopic about his legendary rap group N.W.A.. Straight Outta Compton, named after the rappers' 1988 debut album, is due to begin casting in the coming weeks, but the musician-turned-actor already has an idea about who he would love to portray him onscreen.
He says, "In a perfect world, I would want my son to play me, because I think he looks like me, he got it (sic)... He's 22..."
Ice Cube also tells U.S. talk show host Wendy Williams that he is hoping everything will be in place to begin filming in early 2015.
He says, "I'm producing. Me, Dr. Dre, all the people that was around... Eazy's estate is involved. Everybody's involved to make this movie that people have been waiting to see.
"This time next year (we will begin shooting), hopefully, something like that."
F. Gary Gray has been appointed to direct, while new screenwriter Jonathan Herman was recently hired to rework the movie, which will tell the story of Compton, California rappers Dr. Dre, Ice Cube, the late Eazy-E, MC Ren and DJ Yella's rise to fame in the late 1980s and their subsequent split in 1991.
Spike Jonze doesn't waste any time introducing us to the technology at the center of Her. "An operating system that can mimic human sentience?" a dangerously lonely Joaquin Phoenix wonders after catching glimpse of an ad in a transit station. "Don't mind if I do!" (He doesn't actually say that, don't worry.) But by the time we're meant to believe that such a world can seamlessly integrate characters like Scarlett Johansson's automated voice Samantha into the lives of living, breathing men and women like Phoenix's Theodore, we're already established residents of this arresting, icy, quivering world the filmmaker has built. We meet Theodore midway through his recitation of a "handwritten letter" he penned on behalf of a woman to her husband of many years. That's his job — tapping into his own unique sensititivies to play ghostwriter for people hoping to adorn their spouses, boyfriends, girlfriends, parents, and children with personal notes of personal affection. Theodore is no independent contractor; he's part of a thriving company, and we almost get the feeling that the folks on the receiving end of these letters are in the know. Before we ever encounter Samantha, we're embedded in the central conceit of the movie: emotional surrogacy is an industry on the rise.
What makes Jonze's world so palatable is that, beneath its marvelously eerie aesthetic, this idea is barely science-fiction. Theodore, humbled and scarred by a recent divorce from lifelong love Catherine (Rooney Mara, who contrasts Johansson by giving a performance that, for a large sum of the movie, is all body and no voice), accesses the will to go on through interractions with video game characters and phone-sex hotlines. But the ante is upped with Samantha, the self-named operating system that Theodore purchases to stave off loneliness, deeming choice a far less contorting one than spending time with old pals like Amy (Amy Adams)... at first.
Samantha evolves rather quickly from an articulate Siri into a curious companion, who is fed and engaged by Theodore just as much as she feeds and engages him. Jonze paces his construction of what, exactly, Samantha is so carefully that we won't even catch the individual steps in her change — along with Theodore, we slowly grow more and more enamored and mystified by his computer/assistant/friend/lover before we can recognize that we're dealing with a different being altogether from the one we met at that inceptive self-aware "H-hello?" But Jonze lays tremendous groundwork to let us know this story is all for something: all the while, as the attractions build and the hearts beat faster for Samantha, we foster an unmistakable sense of doom. We can't help but dread the very same perils that instituted one infamous admission: "I'm sorry, Dave. I'm afraid I can't do that."
But Jonze's sci-fi constructs are so cohesively intertwined with his love story that our dread doesn't exactly translate to an anticipation of HAL's hostile takeover. Her wedges us so tightly between Theodore and Samantha that our fears of the inevitable clash between man and machine apprehend a smaller, more intimate ruin. As Samantha's growth become more surprising and challenging to Theodore, to herself, and to us, the omens build for each.
And although all three parties know better, we cannot help but affix ourselves to the chemistry between Theodore and Samantha, and to the possibility that we're building toward something supreme. A good faction of this is due to the unbelievable performances of Phoenix — representing the cautious excitement that we all know so painfully well — and Johansson, who twists her disembodied voice so empathetically that we find ourselves, like Theodore, forgetting that we have yet to actually meet her. The one castigation that we can attach to the casting of Johansson is that such a recognizable face will, inevitably, work its way into our heads when we're listening to her performance. It almost feels like a cheat, although we can guarantee that a performance this good would render a figure just as vivid even if delivered by an unknown.
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In this way, Her is as effective a comment on the healthiest human relationships as it is on those that rope in third parties — be they of the living, automated, or greeting card variety. In fact, the movie has so many things to say that it occasionally steps on its own feet, opening up ideas so grand (and coloring them so brightly) that it sometimes has trouble capping them coherently. Admittedly, if Spike Jonze had an answer to some of the questions he's asking here, he'd probably be suspected of himself being a super-intelligent computer. But in telling the story of a man struggling to understand what it means to be in love, to an operating system or not, Jonze invites us to dissect all of the manic and trying and wonderful and terrifying and incomprehensible elements therein. Just like Samantha, Her doesn't always know what to do with all of its brilliance. But that might be part of why we're so crazy over the both of them.
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