Singer Lana Del Rey has blamed her battle with "depression and insecurity" for ruining her relationship with rocker boyfriend Barrie-James O'neill. The couple recently split after three years together, and she was spotted with a new man, photographer Francesco Carrozzini, on a trip to Italy earlier this month (Jul14).
Del Rey has now opened up about the breakdown of her relationship with the former Kassidy star, blaming herself for "demolishing" the romance.
She tells America's Complex magazine, "(I destroyed) the relationship I've been in for the last three years. Definitely demolished that through tons of depression and insecurity. Now it's just an untenable relationship, impossible because of my emotional instability... I am a little f**ked up. This whole experience has f**ked me up... It's been hard."
Del Rey goes on to admit her emotional problems started following her rise to fame, adding, "I was in a good place when I wrote my first record because I wrote it for fun, but then I felt like everything that went with the record was heavy. I was also trying to deal with stuff with my family. The world was heavy for a couple (of) years."
Singer Lana Del Rey appears to have confirmed speculation she is romantically involved with photographer Francesco Carrozzini after the pair was seen kissing during a trip to Italy.
The Video Games hitmaker hinted in recent interviews that she had split from her boyfriend Barrie-James O'Neill after three years together.
Reports surfaced linking her to Vogue snapper Carrozzini after they were spotted together at the Chateau Marmont in Los Angeles, and now new photos have emerged of the pair enjoying a romantic trip to Portofino.
In the pictures, Carrozzini is seen caressing and kissing Del Rey. They also share an ice cream and ride a Vespa scooter together.
Singer Lana Del Rey is reportedly dating an Italian photographer days after announcing she and longtime boyfriend Barrie-James O'neill were experiencing difficulties in their relationship. Earlier this week (begs23Jun14), the Young & Beautiful hitmaker hinted the pair had parted ways after three years of dating and now sources tell the New York Daily News she has already moved on with Vogue photographer Francesco Carrozzini.
Del Rey and Carrozzini have reportedly been spotted together at the Chateau Marmont in Los Angeles on 4 June (14) and in New York on 18 June (14).
A source says, "She came off her tour to see him in New York. Even his ex (Katherine Keating) knows they're a couple."
Meanwhile, O'Neill is disputing the break-up rumours, telling TMZ.com, "It's not over... Don't believe what you read... It's just stories, man."
Del Rey and O'Neill began dating in August, 2011.
Barrie-James O'neill has hit back at reports suggesting his relationship with singer Lana Del Rey is over, despite her revelations that the two have experienced some romance drama. Earlier this week (begs23Jun14), the Young & Beautiful hitmaker hinted the pair had parted ways after three years of dating saying, "We are currently not together. He is a wonderful person. But there are some things with which he has to deal. I will not explain it in detail. This was hard on our relationship; I no longer felt free. We'll see how it goes."
However, O'Neill is now disputing the reports of a break-up, prompted by Del Rey's comments.
He tells TMZ.com, "It's not over... Don't believe what you read... It's just stories, man. Bedtime stories."
The couple began dating in August, 2011.
Singer Lana Del Rey has split from her longtime boyfriend Barrie-James O'neill. The Young & Beautiful hitmaker had been dating the former Kassidy star since 2011, but she recently revealed the two are no longer a couple.
She says, "We are currently not together. He is a wonderful person. But there are some things with which he has to deal. I will not explain it in detail. This was hard on our relationship; I no longer felt free. We'll see how it goes."
The sad news comes just days after Del Rey felt the need to explain comments she made during a dark interview with Britain's The Guardian newspaper, during which she told reporter Tim Jonze, "I wish I was dead already".
The singer's disturbing comments stunned many of her fans and she took to Twitter.com late on Thursday (19Jun14) to try and explain herself. In a series of messages, Del Rey accused Jonze of acting in a "sinister" manner, writing, "His leading questions about death and persona were calculated but hiding sinister ambitions and angles... "I regret trusting the Guardian - I didn't want to do the interview but the journalist was persistent."
Jonze has since defended his article, stating, "Ultimately, the problem with Lana's complaint is that she doesn't seem to know what she's actually complaining about. She's not alleging that I made up her quotes, nor is she claiming that they've been 'twisted' or that we've printed them out of context. Instead she seems annoyed by the fact I wanted her to say interesting things and asked questions that caused her to do so. Well sorry, Lana, but that's just me doing my job."
Columbia Pictures via Everett Collection
As grand as the themes of good and evil, needs and deservings, power and responsibility and such forth are, superhero movies are generally pretty straightforward in premise: hero stops villain from wreaking havoc. As off-putting as this kind of simplicity might sound, it's usually the right way to go. If you pack enough substance into your characters and adhere your plot to these linear margins, you can actually wind up saying a healthy amount (and having a lot of fun). The Amazing Spider-Man 2 gets half of this formula down pat. Although Andrew Garfield's Peter Parker is still a moreover undistinguished identity, his emotional magnitude (re: his relationship with Gwen Stacy) is enough to keep him valid through the storm of lunacy that is his second feature. And it's not even that lunacy that holds him back. The problem isn't how wild his conquests are, how silly some of the action sequences feel, or how absolutely bonkers his villains turn out to be. It's all the other stuff (and yes, if you can believe it, there's a ton more going on in this movie than what I've already mentioned — that's the issue). All the plot twists, tertiary mysteries, ominous flashbacks, abject reveals, and weightlessly sinister pawns in this brooding game that, save for its fun with the baddies, takes itself way too seriously. All that stuff that The Amazing Spider-Man 2 thinks is necessary to make Peter Parker matter? It actually does just the opposite.
Peter is at his best when he's playing Tracy and Hepburn with the girlfriend he's perpetually disappointing (the eternally charming Emma Stone), or trying to win back the favor of the only remaining parental figure from whom he's rapidly slipping away (Sally Field, reminding us why she's a household name), or angling to connect with the mentally unstable engineer who just wants people to notice him (Jamie Foxx working his comic shtick with a frightening zest). We have the most fun with Peter when he's playing the simplest games, and we connect best with him on similar ground. But Peter and company, at the behest of The Amazing Spider-Man franchise's Sandman-sized aspirations, spend so much time exploring new avenues: the secrets surrounding the death and work of Richard Parker, the behind-the-curtains operations of OsCorp, the nefarious goings on in the waterside penitentiary Ravencroft.
Columbia Pictures via Everett Collection
As a result of the grand stab at world building, there is just so much stuff that Peter has to wade through in this movie, dragging the likes of Gwen and his boyhood friend Harry Osborn (Dane DeHaan, mastering angst, menace, and upper-class privilege all at once) into the dark crevasses of narrative waste. With so many diversions into the emotionally vacant, deliberately joyless explorations of Parker family origin stories, secret brief cases, and underground subways — The Amazing Spider-Man 2 rivals Captain America: The Winter Soldier in complexity, but forgets the necessary ingredient of fun — we barely have enough energy left when the good stuff hits.
And in truth, the good stuff isn't really good enough to sustain us through all the duller periods. Garfield and Stone do have laudable chemistry. Foxx is a hoot as Peter's maniacal new foe, especially when paired with the grimacing DeHaan. And the action, while often straying from any aesthetic authenticity, is nothing shy of neat-o. It's all passable, occasionally worthy of a hearty smile, but rarely anything you'll be definitively pleased you took the time to see.
But beyond coming up short in the micro, the film's regal downfall is its scope. With so much to do, both in accomplishing its own necessary plot points and setting up for those to come in future films, The Amazing Spider-Man 2 doesn't seem to take time to make sure it's having fun with its own premise. And if it isn't having fun, we won't be either.
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Directors, actors and playwrights turned out to laud Meryl Streep as she was presented with a Monte Cristo Award in recognition of her outstanding career at a ceremony in New York City on Monday (21Apr14). The multiple Oscar winner became the 14th recipient of the honour at the Eugene O'Neill Theater Center, the stage company where she started her professional career in the 1970s after graduating from Yale University.
Among the speakers who turned out to share their memories of working with Streep were Doubt director John Patrick Shanley, Angels in America playwright Tony Kushner and August: Osage County playwright/screenwriter Tracy Letts.
Streep's The Deer Hunter co-star Joe Grifasi also took to the stage, remembering how the actress had shared her dream to have a husband and four kids during a day at the beach in between shooting the 1978 movie. She went on to wed sculptor Don Gummer and have three daughters and a son.
The Sophie's Choice star concluded the evening by making her own speech, saying, "I feel like I'm at the funeral, so I'm really happy! You usually don't get to be there.
"I just think being an artist is the opportunity to learn all your life, just to soak everything up. Everybody here tonight, I'm gonna use this stuff in the future! And thank you (to Don) for those four children that I dreamed of on the beach that day. He came along, thank God!"
Past recipients include Christopher Plummer, Michael Douglas, James Earl Jones and Kevin Spacey.
Country music legend Dolly Parton has signed on to help open her sister Stella's upcoming Red Tent Women's Conference by headlining the weekend event's first-night concert. The conference, which Stella Parton founded to empower women and to raise funds for victims of domestic violence shelters, will also feature speakers like authors and activists Genie James and Katie O'Neill and Pilates guru Julee Jones.
This year's Red Tent event runs from 18 to 20 April (14), and will be staged at the Doubletree by Hilton Downtown hotel in Nashville, Tennessee.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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British actor Dominic Cooper was almost hit by a glass when co-star Lara Pulver threw it at his head while filming their Ian Fleming biopic. The two actors star in Fleming, with Cooper portraying the James Bond author and Pulver playing Ann O'Neill, who has an affair with the writer before later becoming his wife.
Their relationship was peppered with bust-ups, and during one argument scene, Pulver got caught up in the moment and went off-script, throwing a glass at Cooper's head.
Although he was angry about the unplanned move, Cooper loved his co-star's moment of improvisation.
He tells Britain's The Sun, "It was amazing and great and in the moment. I ducked this flying object and got up enraged. All that was real. You're reacting and responding. You're angry they've done that... even though what you've just said provoked them.
"It makes it all the more exciting and real than if it was all methodically staged piece by piece, then it wouldn't have been to exciting to watch."