British rapper Dizzee Rascal has launched a foul-mouthed rant against the BBC before turning on fans who refused to back him. The Bonkers hitmaker took to Twitter.com on Tuesday night (05Nov13) and launched into a furious diatribe against the corporation's flagship Radio 1 station, suggesting tracks from his latest album The Fifth have not been playlisted.
He branded the station's bosses "full of s**t", blasted the respected Live Lounge show, and accused DJs of showing favouritism towards U.S. acts by declining to edit out curse words in their songs, and when some fans tweeted to criticise the star, he hit back in a series of angry messages.
He wrote, "Who ever does Radio 1 playlist suck my d**k! I'm tired of you C**ksuckers you better stop playing me. Make up your f**king minds!!! I'm tired of putting up with these 2 faced p**cks at Radio 1! If anyone's got a problem let me know. All this nice guy s**ts (sic) dead!
"F**k Live Lounge! If I gotta keep fighting to get my s**t played why bother doing someone else's song so you can sell it on ur (your) s**tty comp (sic)! Going against radio 1 aunt (isn't) smart but I'm tired (of) holding it down and being a good little n**ger. You're full of s**t Bar the specialists... When Americans get played in on radio 1 they make allowances for profanity but if it's coming from the n**ger down the road it's a problem!"
When one reader suggested he should return to the musical style of his early records, Rascal tweeted, "F**k you!" and when another mocked his poor spelling, he replied, "I can spell C**T."
Minor spoilers for Awake to follow.
I was swept up and won over by writer Kyle Killen's Awake from minute one. The saga of Detective Michael Britten (Jason Isaacs) wasn't designed to be easily swallowed, layering the heady concept of split realities on top of an emotionally devastating event all under the disguise of a run-of-the-mill crime procedural. The unique spin made it simultaneously revelatory and destined to fail: anyone invested knew from the get go that the chances Awake would click with the masses and make it to season two were slim to none. Heck, even Killen knew that, often joking on his Twitter account that his show airing a third episode would be a gift from the gods (his previous effort, Fox's Lonestar, aired two of its six shot episodes). Thankfully, fans were granted a complete first season, one that concluded with last night's bittersweet finale "Turtles All the Way Down". And it was a perfect ending.
News came two weeks ago, during NBC's Fall 2012 upfronts, that Awake wouldn't be returning for a second season. Like that, each week went by like a countdown clock, nearing closer and closer to Awake's last hurrah. That gave little hope for closure; in a short span of time, Awake crafted a twisted mystery that had those following along eager to learn more: Britten was in a constant back-and-forth between two realities, one where is wife had survived a tragic car accident, the other where is son is the survivor. The two worlds had crossover, informing Britten of clues for the mysteries he was tackling as a comp, while also hinting that only one (or neither?) reality was real. At the end of the first season, Britten's life had spun completely out of control, the revelation that fellow police officers were the cause of his car crash in an effort to stop his discovery of their drug ring. The question at the beginning of the season was, "how will the writers possibly keep Awake going into Season Two?" As the drama escalated and it became clear that a second season wasn't happening, the question became, "how are the writers possibly going to end this on a satisfying note?!"
Perhaps Killen foresaw the show's fate when he scripted "Turtles All the Way Down", an hour of action and character that doesn't answer every question proposed along the way, but ends on a fulfilling, emotional note. Awake mirrors the bold conclusion of LOST — ending the series on the season one note makes it less about what was wrong with Britten and more about the character coping with his problems. Many fans of LOST detest the final episode of that show (note: I am not one of those people) because it failed to tie together all of the surreal subplots it presented over the course of six seasons. Awake could be seen as equally unsatisfying. "Turtles All the Way Down" does not explicitly explain the "why," but it does provoke us to ask questions, and more importantly, allow us to bask in the serenity of Britten's brief moment of closure. He nails the conspirators who killed his family. He breaks free of the emotional weight of being behind the wheel of that accident. He crosses over into a reality where both his son Rex and his wife Hannah are alive.
Whether his wife or son are actually there is up in the air — the dream state dialogue between Britten and Hannah late in the episode could drive one to believe that the "red world" was a conjured reality, while Rex's "green world" was real. But perhaps Britten died in the car crash too, and much like LOST, we were witnessing him struggle with his own personal limbo. Nothing is concrete, save for Britten's realization that his family will always be with him. The emotional impact of "Turtles All the Way Down" is greater than any plot revelation.
People are wondering where season two would have gone, but I'm not sure I would have wanted to see it. The arc of Awake was a journey I was glad to take, defying convention left and right as expectations were turned upside down and internal problems outweighed logic. Killen put character first with Awake and Jason Isaacs delivered full force with every single episode. Future seasons would have had to raise more questions, and while I think Killen is bright enough to have taken it somewhere compelling, I'm thankful the thirteen episodes he got crescendoed with a heartfelt bang. US network television is one of the few mediums where a creator can't just tell a story. If the demand for more is there, there will be more. Awake lucked out — it's the perfect slice of a story that could have kept going, but one that I'm glad ended when it did.
Follow Matt Patches on Twitter @misterpatches
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[Photo Credit: NBC ]
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
As we all know, the relationship between Ashton Kutcher and Demi Moore is no longer. Naturally, you’d think this holiday season would be a hard time for Kutcher, who has been married to Moore for six years. But apparently, he’s finding ways to deal: Kutcher was spotted spending Christmas in Italy with screenwriter Lorene Scafaria; the two are reportedly romantically involved with one another. Scafaria is no stranger to dating actors—her previous beau was none other than Seth Cohen (The O.C. star Adam Brody). -U.S. Magazine
We’ve been going about this Kardashian thing all wrong. Sure, we’ve all accepted that we are strangely obsessed with this family, and we just want to hear more and more about them. But rather than hearing it from the Kardashians themselves, why not a fly-on-the-wall type of source? Perhaps, the Kardashians’ former personal assistant and nanny? Pam Behan, who worked for Bruce and Kris Jenner when the Kardashian girls were young, is publishing a tell-all book about the family: Kardashian Secrets. Reportedly, Behan was very fond of Bruce Jenner, had a “love/hate” relationship with Kris, and was beloved by the Kardashian girls. Despite this, she promises to reveal some intimate secrets about Kim and Kourtney. I guess the nanny-child confidentiality agreement isn’t as strong as it was in the days of The Brady Bunch. -TMZ
So this is how Jay-Z does so well: he doesn’t pay his employees. Reportedly, Jay-Z is being sued for not paying Worker’s Comp insurance for various employees of his for three months back in 2009. The Worker’s Compensation Board of NY is suing the musician/entrepreneur for $18,000. This seems to be a single offense, and not something habitual of Jay-Z. -TMZ
"I've been HACKED! Khloe Kardashian is at it again! Every time I leave my comp on she gets on!" KIM KARDASHIAN is regretting leaving her Twitter.com account unguarded - sister KHLOE has been posting joke messages from her sibling's account.
Did you feel the earth move last night? Yes, the earth moves naturally, but you can't feel that. This ripple should have actually made you stumble or lose your footing and nearly conk your head on some concrete. Dangerous, I know! So who's name do you put down when you file for workman's comp?
It's hard to say, because the world's tilt wasn't caused by just one person, but rather the Twihards who attended the Los Angeles premiere of Eclipse last night. I probably don't have to say any more about how serious these Twihards take their Kristen Stewart, Taylor Lautner, Robert Pattinson, Ashley Greene and their movies, because the news has been following them since they started camping outside the theater on something absurd like Monday. The carpet was black, because it's the color of darkness and painful love and teenage miscommunication. It also made Pattinson's suit here jump out...as if he needed even more attention thrown his way!
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