Actor Jason Statham's life flashed before him as he found himself trapped in a military vehicle at the bottom of the Black Sea after losing control of the truck on the set of his new action movie The Expendables 3. The former Olympic diver told the Today show he almost drowned when the brakes failed and he ran over a jetty while test driving the vehicle in Bulgaria, and now he has expanded on the story, revealing he felt sure he would die.
Statham tells late night host Jimmy Fallon, "It wasn't a close shave... This was serious.
"I'm in the truck... and I slam on the brakes and nothing happens... Next thing you know I've hit two cameramen (and) they literally thought I'd killed them and a split second later I'm going nine feet over the edge of this concrete jetty and I'm going down towards the Black Sea. I'm thinking, 'I've gotta get out of this'.
"I'm trying to prise myself from behind the wheel to get out the window. The windows are down. The truck hits the water and the water just slams me back and we're just sinking fast, straight to the bottom.
"I'm 60 feet at the bottom of the Black Sea, stuck in the mud, thinking, 'Hang on a minute... This is how it ends!'"
The tough guy's survival instinct "kicked in" and he lived to tell the tale of his near-death experience.
He explains, "You pull yourself out the window, start grabbing at the wall and try to get the surface... (but) they don't call it the Black Sea for nothing. It was a total nightmare.
"At that point, you really do understand who your friends are - I'm looking around... and I say, 'Where's Sly (Sylvester Stallone)?' and he's still on the side of the dock with his iPhone going, 'Jason, you need a towel?'"
More than a hundred well-wishers gathered in New Jersey on Monday night (07Jul14) to hold a prayer vigil for a comedian injured in a car crash with Tracy Morgan last month (Jun14). Ardie Fuqua was among those hurt in the 7 June (14) traffic accident which killed comic writer James 'Jimmy Mack' McNair and left fellow funnyman Morgan fighting for his life after the limousine they were travelling in collided with a truck.
The 30 Rock star was recently transferred from hospital to a rehabilitation facility, while his pal Fuqua, 43, who sustained a brain injury, is also facing a long recovery in rehab.
Fuqua was the focus of a prayer meeting and candlelit vigil held on the street where he lives in Jersey City on Monday, a month after the horrific crash. His friends, family members and neighbours were among those who turned out holding candles, and the street was adorned with green and black ribbons.
Reverend Dorothy Patterson, of Fuqua's family church, led the service and told the Jersey Journal newspaper, "We wanted to just gather as a community, as a family, just to let (the Fuqua family) know that there are people all over praying for them... It's a very close community. Ardie was born and raised on this block, so they all know him," while the funnyman's father, Ardie Fuqua Sr., adds "(It) lets me know that the people care. It lets me know that the people see me when I don't think they see me."
Kevin Roper, 35, from Georgia, has pleaded guilty to a number of charges stemming from the deadly crash. He was driving a truck for U.S. superstore Walmart and is accused of falling asleep at the wheel.
Lamb Of God star Randy Blythe is recovering after scolding his manhood with hot black coffee. The heavy rocker feared he had done lasting damage while resting his coffee cup between his legs while driving, when the lid came loose and "liquid caffeinated FIRE" covered his genitals.
He recounted the accident in a post on his Instagram.com page last week (ends13Jun14), revealing, "I briefly lost control of my truck, swerving into the lane of oncoming traffic, barely missing another truck, before quickly pulling into a nearby parking lot to try and make some sense of this atrocity I had committed against myself.
"I felt like I was going to throw up for a good minute or two, then I regained control and started returning home to do what I knew what I had to do. I had to put him on ice."
He finished his painful tale by urging fans to have a laugh at his expense, revealing, "everyone else I've told did, including my wife."
Posting an update on Wednesday (18Jun14), Blythe added, "I never thought I would ever be writing something like this, but here is an update on the condition of my penis: HE IS 100% RECOVERED AND FULLY FUNCTIONAL, COMPLETELY CAPABLE OF PERFORMING ANY OF HIS NORMAL DUTIES. No scarring, so scabbing, no PTSD (post-traumatic stress disorder). He's good to go.
"I suppose it took a while (like a week) for the metal 'news' sites to pick up this obviously very important story in the world of heavy metal, but they did... all I did was dump hot coffee on my unit... Now I am getting texts from my friends saying things like, 'Ouch! Are you OK?' or 'I'm really, really, sorry about The Captain, dude'.
"While the sudden outpouring of concern for the welfare of my penis is heartwarming indeed (it brings a tear to my eye, it really does), it's not like someone tried to chop him off or he suddenly developed the ability to do calculus or something... My dude was a little sore for two days - that's it."
Blythe adds, "I am VERY careful with coffee in the car now, always using the cup holder."
With the writers teasing the Battle for Castle Black all season, and the reveal that it would be the focus of a full hour of the show, fans were expecting "The Watchers on the Wall" to be a major, show-stopping episode. What they got was... well, fine.
That's not to say that it wasn't impressive — it was, with dramatic action moments, an excellent tracking shot through the carnage of the battle, and a CGI woolly mammoth. "The Watchers on the Wall" is reportedly the most expensive episode in Game of Thrones' history, and the high production values show in the stunning (if gruesome) visuals and the myriad creative ways in which people meet their ends. But while the episode succeeds on a visual level, it falls flat on an emotional one, downplaying or even ignoring some of its more significant moments and cutting out on an ending that doesn't seem to resolve anything.
Centering an entire episode of Jon Snow is always going to be a gamble for a show that thrives on conniving and snark. Though I personally feel both he and Kit Harington have grown more compelling over the past few seasons, he's never going to light up the screen the way Peter Dinklage or Lena Headey does, which is why it's so frustrating that the emotional beats of his story don't seem to have any resonance or depth. The episode is clearly setting up Jon's ascension to Lord Commander, based on the way he takes control of the Wall before running into the fray at the last moment to save the day, and yet the show doesn't give his decision to take the helm any real weight.
Jon's arc this week has three main points: his conflict with Ser Allisair, his relationship with Ygritte and stepping into an authoritative role. The first is resolved in a conversation between the two atop the Wall, as they gaze out at the thousands of Wildlings preparing to attack. Ser Allisair finally admits that he should have listened when Jon warned them about the impending raid, explaining that leadership means listening to everyone criticising your decisions, but never second-guessing them yourself - a life lesson that seems designed to cover up the fact that Ser Allisar just doesn't like Jon. The parallels between the two characters are obvious, with both of them heading down to the gates at different points in the battle, but it's all undercut somewhat by Allisair simply being dragged offscreen after taking a swipe to the side.
Then there's Ygritte. From the outset of the episode, it's clear that this battle is just as much about their relationship as it is the Wildling's and the Night's Watch. These two characters were at their best together — whatever Harington lacks in charisma, Rose Leslie has in spades, while he gives her more to do than just sharpen arrows and threaten other Wildlings — and their quiet standoff in the middle of the battle is where the episode has the most tension. But her death, due to a well-timed arrow by Ollie, doesn't have the impact it should have. However, the aftermath of her death does allow Harington to give one of his best performances, as his permanent grimace gives way to defeated weariness while he helps the Brothers capture the last of the Wildings. That exhaustion is clear in his last few scenes with Sam, as he stares fixedly ahead and marches into the snow, determined to keep fighting for the Wall, no matter the cost.
If Jon's arc is about maturing into an authoritative role, Sam's is about maturing into a protector, someone who can look after Gilly and the other Brothers. His frantic plan to lock Gilly away is a direct contrast to the experienced sarcasm he shares with Pyp as they attempt to take out some Wildings from the gates. He might not be a man when it comes to his relationships with women, but he's got enough steel to guide a nervous Pyp through his first real battle. Though he connects Jon's story to the Brothers down below, the ones who haven't faced down Mance Rayder and White Walkers, he doesn't get much to do, and his triumphant return to Gilly never earns its feeling of victory.
And yet the sight of Sam returning to the storeroom, blood on his clothes and exhaustion in his face, to find Janos Slint cowering behind the door does feel like a small triumph for the "coward" of the Night's Watch. Though he spent much of his first few scenes talking about how scared he was about dying so soon, once the battle started, Sam instantly snapped into soldier mode, proving that he's already on his way into becoming the man he's always wanted to be. Watching him coach a shaking, terrified Pyp into taking out a Wildling is what makes the former's untimely death heart-rending. Not enough time has been dedicated to Pyp as a character to give his death the same kind of weight as Ygritte's, but the show does manage to drive home the horrors of war (and Westeros) by sending an arrow through his throat right after he gazes at Sam with boyish pride. Not every boy in Westeros will live to become a man.
Still, any point that "The Watchers on the Wall" attempts to make about maturity and masculinity and war interrupting both of those journeys pales in comparison to the real star of the episode: the effects. Director Neil Marshall does a great job with the action, cutting between large-scale fights and smaller attacks. He even manages to add some humor to some of the more gruesome killings, showing cocky, taunting Wildlings being immediately struck down by arrows, driving home the size and power of the giants by catapulting a Brother into the air, only to have him land clear on the other side of the Wall, and showcasing the effectiveness of the scythe with a close-up of a lone, detached arm. He uses a lot of the same visual tricks that he used on the show's last full-hour battle episode, "Blackwater," lighting everything with flames and showcasing the epic scale of the fight before pulling in to focus on the individuals fighting.
But where "Blackwater" managed to combine the violent spectacle with character beats that would have a long-term effect on the show, "The Watchers on the Wall" feels like all flash and no substance. The battle ends for the night, and Jon warns that there's more fighting left to come, which seems to lessen the impact any of the deaths would have had. While it makes a nice point about war having a clear or easy victor, the lack of resolution leaves me feeling like the Battle for Castle Black didn't need an entire episode to itself. There's a great deal about this particular battle in the books that would have easily fit into this hour, and would have helped the writers tie several elements of the show together nicely. As it is, sending Jon back into the fray leaves us with an ending to a drawn-out story that simply lacks any payoff.
Grade: C+, Or One Terrified Pyp and One Brave Grenn. With you gone, there will be nobody left to add some much-needed sass to the dour Castle Black.
With the band's reputation for selectivity in mind, it's a special treat whenever we get to hear a Led Zeppelin tune in the backdrop of a film, television show, or — perhaps even most effectively — movie trailer. The genius of any Zep symphony, doubled in impact by its exclusivity, can make any scene or montage land with paramount vigor. Without the inimitable ditty that is "Kashmir" playing behind the action, the time-traveling, troops-rallying, silver-quickening third and final trailer for X-Men: Days of Future Past might not have been as invigorating as it is today. In fact, Bryan Singer actually released the trailer without "Kashmir," realized it was lacking something essential, and then traveled back to 1975 to incur an alternate universe in with Jimmy Page would ultimately agree to its inclusion in the video... now if only I can apply that same technology toward producing a timeline in which I didn't make that joke. But I can't, and he did, and the world we live in now has an excellent final teaser for the upcoming flick:
I'll be a fool in the rain if that ain't a pretty acceptable use of Zep in the cinematic form. But we're inclined to course back through the rows of the lucky elite that have been granted access to the harmonies of Page, Robert Plant, John Bonham, and John Paul Jones and determine which movie can lay claim to the very best use of Led Zeppelin on the big screen.
8) Shrek the Third: Snow White conjures woodland creatures to do her nefarious bidding via "The Immigrant Song."
7) Argo: A diagetic recording of "When the Levee Breaks" plays as CIA Agent Ben Affleck is told his mission is a failure.
6) Fast Times at Ridgemont High: When it comes down to "makin' out," there's nothing better than "Kashmir."
5) School of Rock: Jack Black giddily rocks out to "The Immigrant Song" while driving his misfit students to Battle of the Bands. (Note: the below clip is in German, which makes Jack Black even funnier.)
4) Cemetery Junction: Zep's somber "The Rain Song" introduces the opening titles of this little known indie drama.
3) La Crabe-Tambour: Uh, something about a war? Anyway, "Kashmir" is playing.
2) Almost Famous gets bonus points for using "That's the Way," "Misty Mountain Hop," "The Rain Song," "Bron-Y-Aur," and "Tangerine" (plus "Stairway to Heaven" in a deleted scene).
1) Silver Linings Playbook: Bradley Cooper breaks down to "What It Is and What Should Never Be."
There were a handful of other instances of Zep used in film, including The Fighter, Small Soldiers, and a ton of "adult" movies, but we stuck to the ones with available videos (and yes, we're included ripped clips from German bootlegs in the parameters of "available videos"). Anyway, catch X-Men: Days of Future Past in theaters May 23.
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Glee's much anticipated 100th episode saw the return of Heather Morris and Dianna Agron, as well as guest stars Kristin Chenoweth and Gwyneth Paltrow. And Chace Crawford was also there, because why not? It was a fairly solid episode, with a lot of emotions and just the right amount of the ridiculousness we've come to expect. Here are the 100 craziest things that happened in the episode.
1. This episode begins with self-satisfied voiceovers from Mercedes and Rachel, which seems about right.
2. They then fight over "The Rachel Chair," which is apparently a thing.
3. Mercedes makes a reference to segregation because she didn't get the "Rachel Chair," and it seems kind of inappropriate, contextually.
4. Dianna Agron tries to look like she's okay with being back on Glee.
5. Glee, mocking Mr. Schuester's rapping does not make the fact that it happened okay.
6. And you should probably make fun of his dancing and general smugness, too.
7. The super folksy April Rhodes (Chenoweth) is back.
8. April taught the Terrible Tina to smuggle meat up her dress. What?
9. Awesome, Glee. April's island doesn't have any pesky destitute locals in it.
10. She also makes a joke about Unique being a virgin, and it is not even close to funny.
11. Someone finally acknowledges that The Warblers are superior to the New Directions.
12. Glee is so used to autotuning everything that Kristin Chenoweth's voice sounds like a robot's. Guys, she can sing.
13. "Raise Your Glass" involves humping, fake drinking, fake (?) drunkenness, lots of other things that should not fly at McKinley High.
14. April slaps Mr. Schue's butt, and no one seems to have a problem with it.
15. Puck says his nickname at school was The Saw. Is this a thing?
16. Chace Crawford's character is named Biff McIntosh.
17. He is apparently the owner of all McIntosh apples.
18. And he calls his mother "mother."
19. Brittany works at MIT now.
20. She also misses scissoring Santana. Risky, Glee.
21. Santana keeps trying to make "The Unholy Trinity" a thing.
22. Despite lots of sexy poses behind tinted glass, "Toxic" is pretty low energy.
23. Chace A.K.A. Biff calls the performance energetic, so he really wasn't paying attention.
24. Even the worst boyfriend in the world would probably watch his girlfriend perform a sexy three-way dance number in front of him. Come on, Biff.
25. Then again, Quinn's curly bang situation distracts from her lingerie.
26. Santana twerks, and that also seems inappropriate.
27. There are way too many characters on this show right now.
28. The fact that Quinn and Santana recently hooked up is not mentioned even one bit.
29. Fondue for Two, the best part of Glee, is back.
30. Brittany's cats make out.
31. Fondue for Two has become a lot more hard-hitting, and it works.
32. Mercedes and Rachel are having a diva-off.
33. Breadstix still appears to serve nothing but breadsticks.
34. "Mike Chang, Asian dancer."
35. Did anyone else forget about Quinn's Ryan Seacrest tattoo?
36. Sue does not make fun of Kristen Chenoweth's aggressive folksiness, which seems like a real missed opportunity.
37. Why does everyone think diva-offs are a real thing? I'm looking at you, Mr. Schue.
38. And poor Kurt gets pulled into the diva-off.
39. This episode is really into interior monologues.
40. Performing "Defying Gravity" (and Chenoweth's guest appearance) is pretty timely, considering Adele Dazeem.
41. Blaine appears, like, once on screen. Not cool.
42. He does, however, look very cute and proud of Kurt.
43. Kristin says "Defying Gravity" should be on Broadway. Ha. Ha. Broadway humor.
44. Mr. Schue says the glee club are all winners in such a simpering, unfortunate way that they are basically all losers for associating with him.
45. Brittany organizes a human chess game.
46. Because nerds love chess, guys.
47. Kiki, the alternative to Siri that Brittany found in a dumpster, is back.
48. Suddenly, McKinley has a giant chess board.
49. "The one thing this country needs more of is teen marriage."
50. Santana holds a dance intervention to "Valerie" to get Brittany to stop making the huge career mistake of working at MIT (?).
51. It succeeds.
52. Heather Morris is still so good at dancing.
53. She can really work a pony-tail.
54. Everyone seems bent on convincing the newly brilliant Brittany that she needs to cover more songs to be happy.
55. In order to perform an acoustic guitar number, Puck decides everyone needs to move to the auditorium, which seems unnecessary.
56. Quinn has to hold her hand to her heart to show that she is experiencing emotion.
57. Everyone laughs a lot after singing "Keep Holding On" and jauntily walks away from Quinn, who is crying.
58. "I'm in love with Biff" is a sentence that is said seriously.
59. Kristin Chenoweth has a really big role in this episode. Maybe (hopefully) they are phasing out Marley.
60. Mr. Schuester says "no more drama," as though he isn't drawn to high school drama like a moth to a flame.
61. Would Mr. Schue die if the glee club ended? It seems possible. What would he do with all his time? Teach?
62. Kitty's expression shows that she is resigned to her fate as mini-Quinn.
63. Santana says, "Can it, troll!" to Rachel, and it is amazing.
64. It's okay, Rachel, we all forget Ryder's name too.
65. Rachel is in a diva-off with everyone.
66. If Rachel is so sick of high school drama, maybe she shouldn't have moved in with her high school frenemies.
67. Rachel equates her rivarly with Mercedes to that of Beyonce and Barbra? What?
68. Glee finally acknowledges the show's extravagant costumes and sets.
69. Bernie Madoff is part of a plot device. Topical.
70. Will Schuester is really disappointed by the flightlessness of April's super flighty character.
71. People in this Teenage Mutant Ninja Turtle mac and cheese commercial dance better than some of Glee's performers.
72. Why is Quinn's Seacrest tattoo such a big deal? What about the pregnancy? The near death while texting and driving?
73. Chace A.K.A. Biff has no redeeming qualities.
74. Quinn violently pinches the bridge of Chace Crawford's nose.
75. On Mercedes and Rachel, all Jake has to say is that "one's black and one's Jewish," which is a hilarious "joke" on this "progressive" show.
76. Gwyneth Paltrow as Holly Holiday glides into the scene, because Kristin Chenoweth buttered the floor.
77. There's a Facebook page for guests of the glee club, which is hilarious.
78. Holly Holiday impersonates William Henry Harrison.
79. She also expresses how dumb it is that Glee is redoing old songs. Thank you.
80. So she performs Pharrell's "Happy."
81. She duets with Blaine, because they needed to include him somehow.
82. Puck has apparently loved Quinn all along.
83. Apparently, MIT squelches femininity and fun.
84. It's pretty easy to forget about Demi Lovato in this episode.
85. Marching music plays when Puck walks, because he is in the military.
86. Quinn and Puck twirl in slow motion.
87. Santana uses the charming expression "gives two poops."
88. Mike Chang remarks on the passage of time and fading of memories, because he is a character who needs lines.
89. Mr. Schue cries.
90. Everyone cries.
91. Holly Holiday says, "Go the way of the dodo," which is definitely something Gwyneth brought to the table.
92. Gwyneth Paltrow and Kristin Chenoweth are plotting, which is really scary.
93. Stop trying to make "Gleek" happen, Glee marketing department. It isn't going to happen.
94. Sue barely says anything biting in this whole episode.
95. Tina also doesn't say anything terrible, or anything at all really, so that's good.
96. There is basically no Klain at all, which is pretty unforgivable.
97. Looks like they'll be singing "Don't Stop Believing" next episode. Shocker.
98. Lilies are the lesbian of flowers, says Brittany.
99. Kurt is nostalgic and it's the cutest.
100. Mr. Schue says glee club is over. Cue the existential crisis.
A video showing a guard strip-searching Justin Bieber in jail has emerged online. The pop superstar was arrested in Miami Beach, Florida last month (Jan14) on a number of charges including driving under the influence, and he spent a night behind bars while he waited to be processed and released on bail.
A video which appears to show the star undergoing a strip-search while in jail has now emerged on the Internet.
The clip, obtained by CBSMiami.com, appears to be taken from CCTV footage, and shows Bieber behind bars being searched by one of the guards.
The singer is seen removing his shoes and socks and his black hooded sweatshirt, before being patted down by a guard who then escorts him to a cell.
The clip comes just days after it emerged a police officer in Florida is facing an internal investigation over allegations she attempted to take a picture of Bieber during his jail stint.
Bieber has denied charges of driving under the influence, resisting arrest without violence, and driving on an expired licence and he is due back in court on 14 February (14).
Columbia Pictures via Everett Collection
Another weekend, another awards show, and another chance to predict the outcome of the Oscar race. This time, however, a wrench was thrown into the works when three different films took home the Best Picture title from two different academies, both of whom are considered to be excellent indicators of the Oscar race. On Saturday, the SAG Awards awarded American Hustle with Outstanding Performance by a Cast in a Motion Picture. Traditionally, the film that wins the top prize at the SAGs takes home Best Picture on Oscar night — although in recent years, their choices have not always lined up perfectly with the Academy. But before anyone had the chance to officially declare American Hustle to be the new front runner, the Producers Guild Awards hit back on Sunday, when they declared the Best Picture of the year to be a tie between 12 Years a Slave and Gravity. And just like that, the Oscar race was once again, anyone's game.
However, over the course of awards season, its become clear that the final fight for the Best Picture Oscar will come down to those three films. Last week, we aimed to predict which film had the best shot at the award based on title alone. But now, we're moving onto more substantial matters. We've seen that flashy performances entertain SAG-AFTRA, while emotional impact carries more weight with the Producers Guild, but what about the Academy? We've decided that the best way to find out is to look back at the history of the awards, and compare the previous winners to the current front runners in order to determine which one will best appeal to the Academy's sensibilities.
You can also head over to BBC America to check out this fantastic infographic that predicts the Best Picture winner!
GENRE All three films are completely different in terms of genre and tone, but which one has the edge when it comes to the Oscars? - American Hustle, Crime and Comedy: 8 crime dramas have won Best Picture over the course of the Oscars' history: In the Heat of the Night, Midnight Cowboy, On the Waterfront, The French Connection, The Godfather, The Sting, The Godather II, and The Departed. In addition, 7 comedies have take home the top prize, including It Happened One Night, You Can't Take It With You, The Apartment, Tom Jones, The Sting, Annie Hall, and The Artist.- Gravity, Sci-Fi and Thriller: No sci-fi films have ever actually won Best Picture, although 6 of them have been nominated over the past 86 years. However, 4 thrillers have won: Rebecca, Silence of the Lambs, and No Country for Old Men, and Argo.- 12 Years a Slave, Historical Drama: The Academy Awards have a long history of rewarding dramas, including 26 histories: All Quiet on the Western Front, Cimarron, Cavalcade, Mutiny on the Bounty, Life of Emile Zola, Gone With the Wind, Hamlet, Ben Hur, Lawrence of Arabia, Tom Jones, A Man for All Seasons, Oliver!, Patton, The Sting, Chariots of Fire, Amadeus, Out of Africa, The Last Emperor, Dances With Wolves, Schindler's List, Braveheart, The English Patient, Titanic, Shakespeare in Love, Gladiator, The King's Speech, The Artist, and Argo.
SUBJECT MATTERIt's not just dramatic films that tend to win over the Academy; often, there are certain topics or subjects that they tend to prefer over others. - American Hustle, Crime: As stated above, 8 films dealing with crimes, swindlers and hustlers have won Best Picture. - Gravity, Survival: The Academy has proven that they enjoy stories of survival, even against all odds, and have crowned 5 suvivalist films Best Picture: On the Waterfront, The Bridge on the River Kwai, Oliver!, Schindler's List, and No Country for Old Men.- 12 Years a Slave, Overcoming Adversity and Race Relations: Stories of adversity have always done well at the Oscars, with 11 films winning the top prize: Mutiny on the Bounty, The Life of Emile Zola, Gentleman's Agreement, The Bridge on the River Kwai, Rocky, Gandhi, Schindler's List, Gladiator, Million Dollar Baby, Slumdog Millionaire, and The King's Speech.Another 5 films that deal with race relations in America in a major way have won Best Picture, including Gone With the Wind, In the Heat of the Night, Gandhi, Driving Miss Daisy, and Crash.
ACTING NOMINATIONSIt's always a good sign for a film when they mange to get nominated in the four acting categories, but does a "Big Four" nomination guarantee a win? - American Hustle, 4 Nominations: American Hustle took home the most Oscar nominations, including one each in the four acting categories. In the past, 8 films that received four acting nominations have taken home Best Picture: Mrs. Miniver, From Here to Eternity, Gone With the Wind, Gentlemen's Agreement, The Godfather, Rocky, Kramer Vs. Kramer, and Chicago. - Gravity, 1 Nomination: Despite Gravity tying for the most Oscar nods this year, Sandra Bullock is the lone acting nominee. However, plenty of Best Picture winners have only had one nominated performance in the past - 15 of them, to be exact: The Broadway Melody, Cavalcade, The Great Ziegfeld, The Lost Weekend, In the Heat of the Night, Patton, The Sting, Chariots of Fire, Ghandi, Out of Africa, Rain Man, Crash, The Departed, No Country For Old Men, and The Hurt Locker.- 12 Years a Slave, 3 Nominations: This year, Chiwitel Ejiofor is up for Best Actor, while Lupita Nyong'o and Michael Fassbender are nominated in the supporting categories. Three has proven the magic number for 17 previous winners: Mutiny on the Bounty, Rebecca, Going My Way, All the King's Men, Marty, The Apartment, My Fair Lady, Midnight Cowboy, One Flew Over the Cuckoo's Nest, The Deer Hunter, Ordinary People, Driving Miss Daisy, Dances With Wolves, The English Patient, Shakespeare in Love, Million Dollar Baby, and The King's Speech.
Fox Searchlight Pictures via Everett Collection
LOCATIONSometimes, the Oscars have the same philosophy as real estate, and it's all about location, location, location. But what's the most beneficial place to set your film?- American Hustle, New York: The film is in good company, with 14 Best picture winners taking place in the Big Apple: The Broadway Melody, The Great Ziegfeld, The Lost Weekend, Going My Way, All About Eve, On the Waterfront, Marty, The Apartment, West Side Story, Midnight Cowboy, The French Connection, The Godfather, Annie Hall, and Kramer Vs. Kramer. - Gravity, Space: No film set in outer space has ever won the Oscar for Best Picture. - 12 Years a Slave, The American South: South of the Mason-Dixon line is a popular setting for movies, and 5 of those were lucky enough to be awarded Best Picture: Gone With the Wind, In the Heat of the Night, Driving Miss Daisy, Forrest Gump, and No Country For Old Men.
TIME PERIODEverybody knows that the Academy loves a period piece more than anything else... or do they? - American Hustle, 1970s: For this category, we looked at films that were made in 1980 or later, but set in the 1970s, as American Hustle is. It may have narrowed down the field some, but there are still 3 winners: Platoon, Forrest Gump, and last year's Best Picture winner, Argo. - Gravity, Modern Day: There have been a great deal of Oscar-winning films that, like Gravity, were set in the same time period as the film's release. In fact, this has been the case for a grand total of 31 Best Picture winners: Grand Hotel, It Happened One Night, You Can't Take it With You, Going My Way, The Lost Weekend, The Best Years of Our Lives, Gentleman's Agreement, All The King's Men, All About Eve, An American in Paris, On the Waterfront, Marty, The Apartment, West Side Story, In the Heat of the Night, Midnight Cowboy, The French Connection, One Flew Over the Cuckoo's Nest, Rocky, Annie Hall, Kramer Vs. Kramer, Ordinary People, Terms of Endearment, Rain Man, Silence of the Lambs, American Beauty, Million Dollar Baby, Crash, The Departed, No Country For Old Men, and The Hurt Locker.- 12 Years A Slave, 1800s: Between the reign of Queen Victoria, the Civil War and the abolition of slavery, the ninettenth century has provided the inspiration for 8 winners: Cimarron, Gone With the Wind, Around the World in 80 Days, Tom Jones, Oliver!, Amadeus, Dances With Wolves, and Unforgiven.
RUNTIME- Both American Hustle and 12 Years a Slave have the distinct advantage in this category, with runtimes of 138 and 134 minutes, respectively. If one of them wins, they would join 24 other films whose runtime has been between 121 and 140 minutes. For the most part, the Academy ends to favor movies around this length, although the award usually tends to go to the longest film nominated, which could spell trouble for these two front runners (fellow nominee The Wolf of Wall Street beats them both at 179 minutes).- Gravity is the shortest film in the running for Best Picture at only 91 minutes long. However, that doesn't mean it has no chance of winning, as 4 films with runtimes between 81 and 100 minutes have won the top prize in the past: Marty, Annie Hall, Sunrise, and Driving Miss Daisy.
Warner Bros. Pictures via Everett Collection
DIRECTORSAll three directors have achieved or are set to achieve milestones if they take home the Best Director award. What kind of influence will that have on the Best Picture race?- American Hustle, David O. Russell: This is Russell's second nomination, but its also the first time in the history of the Oscars that a director has earned all four acting nominations two years in a row (after last year's Silver Linings Playbook). That kind of star power could sway the votes in his favor, as he's proven twice now that he can deliver excellent performances from big name actors. - Gravity, Alfonso Cuaron: After winning the Golden Globe, Cuaron seems to be the front runner for the Best Director race; if he wins Best Director, that could be a good sign for the film as a whole. In the last 86 years, 62 films have won both the Best Director and Best Picture award, proving, on a whole, that the two tend to go hand in hand. Plus, if he wins, he will be the first Spanish director to win an Academy Award. - 12 Years A Slave, Steve McQueen: Like Cuaron, McQueen is a first-time nominee, and if he wins, he would be the first black man to win the Best Director prize. That kind of history-making impact could help sway the Academy, and thus, ensure a Best Picture win for 12 Years a Slave.
Your Best Bet: Based on the winners of the past, it looks like 12 Years a Slave has the best chance of winning on Oscar night, with an ideal runtime, the best amount of acting nominations, and both a genre and subject matter that the Academy tends to enjoy rewarding. Of course, since anything can happen once the awards are tallied, there's still a chance one of the other films can sneak in and win. But for now, we'd reccommend you go for 12 Years a Slave when it comes time to fill out your Oscar ballot.
U.S. reality TV star Jessica Kiper has been arrested for driving while intoxicated (DWI). The former Survivor runner-up was taken into custody on Saturday (11Jan14) night in New Orleans, Louisiana for allegedly slamming her car into the back of a parked vehicle.
Local officials tell The Times Picayune newspaper that Kiper had consumed alcohol and failed to pass two separate breathalyzer tests. She was charged with a DWI, failure to maintain control and reckless operation of a vehicle.
Kiper, 34, took to Instagram.com to post a picture of herself in the back of the police car, and wrote, "My mugshot is going to be as bad as my yearbook photos...
"In my 8 hours there I made my weakest cell mate my b**ch and totally did a shout out to all the fellows (in) Orange is the New Black, it was well received. Weirdest feeling ever. Survivor was worse. Crossing this off my bucket list. #wakeupcall."
Kiper appeared in two seasons of the popular survival competition show and also appeared on Celebrity Rehab with Dr. Drew in 2011 to address her struggles with addiction.
The Pizza Underground/Facebook
This must have been what people felt like when they first heard the toe-tappin' sounds of those long-haired beatniks from Liverpool. The musical movement that will, indubitably, define our generation has taken form. Round, hot, cheesy form: Macaulay Culkin's Velvet Underground tribute band The Pizza Underground — the monument of musical creativity that recalibrates the lyrics of classic numbers by Lou Reed and company to focus on the theme of pizza — has released its first video and announced a cross-country tour:
January 24 - Brooklyn @ Brooklyn Night Bazaar w/ French Horn Rebellion, Rush Midnight, Heavenly Beat & Seasick MamaJanuary 25 - Philadelphia @ PhilaMOCA January 26 - New Brunswick @ OutworldJanuary 31 - Austin @ Breakpoint on The BoardwalkMarch 5 - San Francisco @ Neck of The WoodsMarch 6 - West Hollywood @ Whisky A Go GoMarch 7 - San Diego @ Ux31March 8 - Tijuana @ MoustacheMarch 10 - Tucson @ 191 WarehouseMarch 11 - El Paso @ The Lowbrow PalaceMarch 12 - Dallas @ Club DadaMarch 13, 14, 15 - Austin @ SXSWMarch 17 - New Orleans @ Hi-Ho LoungeMarch 18 - Mobile @ Alabama Music BoxMarch 19 - Atlanta @ Mammal GalleryMarch 20 - Raleigh @ KingsMarch 21 - Washington, DC @ Black CatMarch 22 - Brooklyn @ Baby's All Right w/ Total Slacker
Culkin and his bandmates will kick off their two month- and 18 concert-long tour on Jan. 24 in Williamsburg, Brooklyn, gracing states like Pennsylvania, New Jersey, Texas, California, Arizona, Louisiana, Alabama, Georgia, and North Carolina — not to mention stops in Washington D.C. and Mexico — along the while. Surely it is the dream of any kazoothiast to embark on a Kerouacian journey following these polyunsaturated troubadours from start to finish... but that takes a good deal of planning and budgeting. Endeavors that a small percentage of the Pizza Underground's target demographic is willing to brave. Luckily, we have your backs. We here at Hollywood.com are lovers of Culkin, of Lou Reed, of pizza, and of the lost art of itinerary creation. We've come up with a complete fiscal guidebook for the greatest journey ever to befall humankind: following Pizza Underground across the country.
How to Follow The Pizza Underground Across the Country
We'll begin with universal costs: the tickets. Here are the prices for each of the shows on the Pizza Underground tour (those unlisted have not yet been announced to the public):
Brooklyn @ Brooklyn Night Bazaar - FreePhiladelphia @ PhilaMOCA - $15Austin @ Breakpoint on The Boardwalk - Free, but sold outSan Francisco @ Neck of The Woods - $10 - $12West Hollywood @ Whisky A Go Go - $20San Diego @ U-31 - Not yet revealedTijuana @ Moustache - Not yet revealedTucson @ 191 Warehouse - Not yet revealedEl Paso @ The Lowbrow Palace - Not yet revealedDallas @ Club Dada - $13 - $15Austin @ SXSW - Not yet revealedNew Orleans @ Hi-Ho Lounge - $15Mobile @ Alabama Music Box - $10Atlanta @ Mammal Gallery - $10Raleigh @ Kings - $13 adv, $15 doorWashington, DC @ Black Cat - $15Brooklyn @ Baby's All Right w/ Total Slacker - Not yet revealed
You'll notice we left out the New Brunswick @ Outworld venue. That is because there is no evidence that this establishment actually exists. We've tried Google. We've tried asking Jersey residents. We don't know what else to try. Still, we've included New Brunswick in our itinerary, just in case any of you have better luck in unlocking this mystery.
At this point, the ticket price amounts to $121 - $127. Calculating the average price per ticket ($11 - $11.50), we can estimate a total range of $187 - $196. Let's go with $196, to be safe.
So now it's time to discuss transportation. The first basic question mark concerns the long stretch between the first Austin show and the San Francisco show, otherwise known as February. Will you return home (to wherever that may be — we're going to assume Brooklyn) for the month of February, or keep course on the open road, living rogue as pizza surges through your blood?
In order to fund this trip, you might want to have a steady paying job, which will entail (most likely) you to actually do it. This means February should probably be set aside for actual life routines. As such, you'll probably want to stick to your personal automobile or public transport for the Northeast shows, isolate the Breakpoint on the Boardwalk concert with a roundtrip flight to and fro' Austin, and then hit the road (or fly out to Cali) for your trip.
If you're going to isolate Austin... You'll probably want to fly out from JFK, leaving on Jan 30, staying in a local hotel (for which you'll find pricing below) and flying back home on Feb 1. Right now, this will run you approximately $238. You can check a list of flight options here. Once March hits, you can proceed with your plan by either-Flying to San Francisco and traveling on land from there. Presently, a flight to San Francisco will run you about $139 ($124, if you're willing to fly into San Jose). Peruse at your leisure.-Driving to San Francisco via RV or car, and continuing on your journey in said vehicle. (The respective sections below will clue you into the fiscal plans for either method.)
But you might want to skip Austin altogether.We hate to say it, but it could be worth it. First off, the show is presently sold out (although there are always ways...). But its isolated location and date could pose more of an inconvenience than anything else. Plus, you will indubitably return to the Austin area later on in your trip for the SXSW shows. Bear that in mind!
Or... you can do the whole thing in one fell swoop, month-long wait-around period included.And here's how that would go down:
-Rent an RVAgain, let's assume you live in Brooklyn. Odds are, if you're a fan of the Pizza Underground, you do. As such, getting to this Williamsburg venue won't be a hastle. But you will have to rent some transport for the following shows. You can go the old fashioned way, but considering the six full days of driving that you're about to embark upon, you might want to kick up the luxury just a bit: rent an RV.
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The closest Cruise America to Brooklyn would be in Roslyn, on Long Island, running you $89 a night for standard-sized RV, in addition to mileage costs of $0.34 a mile. For a 56-day trip that takes you a total of 7,606 miles, that will amount to $7,570. Then, of course, there's gas. Your RV is estimated to burn a gallon of fuel every eight miles. Gas prices vary substantially throughout our great nation, but we've factored the average per gallon cost for each of the locations you'll be visiting to be $3.22. Some quick math will lead you to a grand gas total of $3,061. Combine this with your $7,570 and you've got a grand transportation total of $10,631.
That's a pretty penny, but luckily you're not alone: the RV, complete with bedroom and kitchen, comfortably sleeps five. If you can rally a full team for this trip, it'll leave everyone only spending $2,126 on this leg of the journey. Of course, this is on top of tickets (which would bring it to $2,322) and food.
If you're going to isolate or eradicate Austin...If you are planning to eradicate the first Austin show from your itinerary, this changes things... for the better! First off, your stay in the residential vehicle will be substantially shorter, since you're cutting out an entire month in the process. (If we're being logical, you won't need the RV for the first three shows if you're not going to continue on straight from Jersey. Just take a car to Philly and New Brunswick.) A 20-day stay in the RV will run you $1,780, plus a mileage bill of $2,344 for the 6,897 miles you'll be driving. Tack on gas expenses of $2,776 and you've got $5,120.
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FoodNaturally, you're going to want to keep in step with the theme of your trip and only eat pizza. Since you're starting your trip in Brooklyn, we assume you'll want to stock up on your entire pizza banquet there, seeing as how the locations to which you plan on traveling will supply you with far inferior examples of what you know to be a delicacy. There are some problems with the plan:-One pizza pie, in Brooklyn, will run you an average of $15. Estimate that each person will consume one pie of pizza per day. That's 56 pies of pizza per person (realistically, you won't be able to fit all your pizza in the RV fridge, but we'll get back to that), amounting to $840 for your entire diet budget. But...-You'll need a second, third, and maybe fourth fridge. You can recycle the pizza boxes and wrap each pie in tin foil to make more space in the RV fridge, which should be stocked to the brim, but you still won't have nearly enough room for 56+ pizza pies. We know, the thought of succumbing to non-New York pizza is nightmarish, but we have a mission here.Still, you will want to limit your intake of pizza from the otherlands. We figure that, if you're ambitious, you can stuff 20 pizza pies into one of these RV fridges. That'll keep...i) one of you fed for 20 daysii) two of you fed for 10 daysiii) three of you fed for six days and the next morning's breakfastiv) four of you fed for five daysv) all five of you fed for four days
Which means, of course, that you'll eventually have to stop and get more pizza. But where will you be?i) By the 20th day, you'll be... Non-Austin: Back home. Perfect plan... for you. Your friends are starving, though.Austin: In limbo, killing time between Austin and San Francisco. Restock anywhere but New Mexico (their pizza is so bad, the locals are known to throw it on roofs!), and then again in 20 days, when you'll be somewhere in Southern California (where the price is also about $15 a pie). ii) By the 10th day, you'll be...Non-Austin: Dallas. Average price = $9. That'll last you 'til home.Austin: Limbo. Restock a few times before hitting California, then again in San Francisco ($15), Austin ($12), then you're home.iii) By the sixth day, you'll be...Non-Austin: Tijuana (your guess is as good as mine). After that, Austin ($12), then Raleigh ($10), then home.Austin: Limbo, limbo, limbo, limbo, limbo... San Fran ($15), Tucson ($10), Austin ($12), Washington D.C. ($15), home.iv) By the fifth day, you'll be...Non-Austin: San Diego ($15), Dallas ($12), Atlanta ($12), home.Austin: Limbo x 7. Then San Fran ($15), Tucson ($10), Austin ($12), Raleigh ($10), home.v) By the fourth day, you'll be...Non-Austin: West Hollywood ($15), Tucson ($10), Austin ($12), Mobile ($10), Brooklyn for one last show (just grab a buffalo chicken slices at Anna Maria's on Bedford), home.
-Drive your own car and stay in cheap hotelsOne last time, let's assume you live in Brooklyn. If you don't, you can come stay with me the first night. (Just don't be loud, Matt has to get up early.) After that, however, you'll need to find a place to stay in each of the cities you visit. But let's back up just a second.
Considering the fact that the hotel plan would be highly unfeasible in the Austin-included route, we'll just assume that you're starting with San Fransisco for this foray.
Right off the bat, you've got that pesky RV rental fee taken off your lap. There's a good chance, too, that you've got better gas mileage in your standard sedan than you would in those fuel guzzlers — let's estimate 30 miles to the gallon.
That's $740 so far, which you can split with whatever passengers you're able to accumulate. And here's where the hotel prices come in:
San Francisco: Redwood Inn - $89/nightWest Hollywood: Comfort Inn - $89/nightSan Diego: Best Western Plus Hacienda Hotel - $64/nightTijuana: Motel 6 San Ysidro - $42/nightTucson: University Inn - $53/nightEl Paso: Ibis Juarez Consulado - $35/nightDallas: Days Inn - $33/nightAustin: Rodeway Inn - $59/night x 3 (three night event)New Orleans: Sun Suites - $39/nightMobile: Family Inns of America - $30/nightAtlanta: Masters Inn - $29/nightRaleigh: Econo Lodge Inn & Suites - $40/nightWashington D.C.: Knights Inn - $42
All together, that's $729. Add that to $740 (split between however many people with which you're traveling) and you've got your transporation total. But now we're back on food.
FoodWithout a fridge, you'll be needing to make daily pizza stops:
San Francisco: $15 a pieWest Hollywood: $15 a pieSan Diego: $15 a pieTijuana: ?Tucson: $10 a pieEl Paso: $12 a pieDallas: $12 a pieAustin: $12 a pieNew Orleans: $13 a pieMobile: $10 a pieAtlanta: $12 a pieRaleigh: $10 a pieWashington D.C.: $15 a pie
So we've covered almost all bases. The only option unaccounted for is the fly-to-San-Francisco-and-travel-on-land-from-there option. Since you're ending up in Brooklyn, you'll probably need to finagle one of those deals where you drive somebody's car across country for them. There are people who pay you to do that. Check Craigslist. Be careful, though.
SO THAT'S IT! Now you have all the information necessary to follow Macaulay Culkin's pizza-themed Velvet Underground tribute band across the continental United States. The dream.
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Excerpts from the trial of Aaron Campbell, an African-American, Metro-Dade (Florida) police officer who claims he was stopped on a Florida highway simply because he is black. A videotape of the incident shows Campbell reacting with increasing anger and obscenity. The situation escalates and the officer who stopped Campbell is nearly shot.