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Emma Watson is a beautiful, feminist powerhouse. Her days of playing Hermione Granger are long over. Okay, not really that long, since no one is letting go of Harry Potter any time soon. But Emma is an adult now and she’s a very mature, sophisticated one. She’s been classy since she was a child, but as she has grown, she’s gotten more poised and her voice has gotten stronger. She is reaching more people these days with her intelligent, well-thought out beliefs. She is an absolute inspiration, and not just for the women she is advocating, but for men as well, because she is helping bring to light the gap in gender equality, and she’s doing it so beautifully.
To prove she is such a smart, powerful young woman, here are 20 quotes that you should model your life after, because Emma has got it right.
1. “I was appointed six months ago and the more I have spoken about feminism the more I have realized that fighting for women’s rights has too often become synonymous with man-hating. If there is one thing I know for certain, it is that this has to stop.”
2. “I want to be the person who feels great in her body and can say that she loves it and doesn’t want to change anything.”
3. “I’ve probably earned the right to screw up a few times. I don’t want the fear of failure to stop me from doing what I really care about.”
4. “I’m a feminist, but I think that romance has been taken away a bit for my generation. I think what people connect with in novels is this idea of an overpowering, encompassing love — and it being more important and special than anything and everything else.”
5. “I don’t want other people to decide who I am. I want to decide that for myself.”
6. “The saddest thing for a girl to do is to dumb herself down for a guy.”
7. "I truly truly believe that beauty comes from within."
8. “Don’t feel stupid if you don’t like what everyone else pretends to love."
9. "I think women are scared of feeling powerful and strong and brave sometimes."
10. “I think the actresses who are really successful are comfortable in their own skins and still look human.”
11. “I feel like young girls are told that they have to be a princess and fragile. It’s bullshit. I identify much more with being a warrior – a fighter.”
12. “It is time that we all see gender as a spectrum instead of two sets of opposing ideals.”
13. “How can we effect change in the world when only half of it is invited or feel welcome to participate in the conversation?”
14. “As much as someone can tell you things, you have to go out there and make your own mistakes in order to learn.”
15. "Becoming yourself is really hard and confusing, and it's a process. It's often not cool to be the person who puts themselves out there."
16. "There's nothing wrong with being afraid. It's not the absence of fear, it's overcoming it. Sometimes you've got to blast through and have faith."
17. "Men, I would like to take this opportunity to extend your formal invitation. Gender equality is your issue, too."
18. “The less you reveal, the more people can wonder.”
19. “When at 15, my girlfriends started dropping out of their beloved sports teams, because they didn’t want to appear muscle-y, when at 18, my males friends were unable to express their feelings, I decided that I was a feminist.”
20. “We really damage our own confidence when we put ourselves down, so I try not to.”
Also, don’t forget, she’s cool…and dangerous:
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Focus Features via Everett Collection
Though we can’t fault Laika for returning time and time again to the “misfit children” well, we’re beginning to worry if the studio isn’t dipping its bucket deep enough. Though it turned in two past entries worth remembering — Coraline was good, but just shy of great; ParaNorman was great, but just shy of excellent — and repeats this achievement with The Boxtrolls, its latest is perhaps the boldest evidence of Laika’s limiting trepidation.
The film actually turns the “misfit” gambit on its head, introducing a character who fits in so perfectly with his friends and family — a race of friendly subterranean hoarder goblins — that years pass before he realizes he’s not actually one of them. Eggs (Isaac Hempstead-Wright), so named for the box that guards his unseemly torso, is a young boy raised by the sweet and creative (but ultimately cowardice) Boxtroll family that lives below the misguided aristocracy of Cheesebridge, a town decidedly phobic of its underground neighbors. Led by a comically menacing vagabond with aspirations for glory (played with flair by Ben Kingsley), the Cheesebridgers agree to rid their streets and lives of the vile little creatures forever.
A few steps beyond the average 101 Dalmations rip-off, The Boxtrolls actually puts a great deal of energy into exploring the blurry dichotomy of good vs. evil, turning would-be mindless henchmen Trout and Pickles (Nick Frost and Richard Ayoade) into well-meaning patriots led astray by propaganda. But it doesn’t get too heady — Frost and (especially) Ayoade provide the biggest and most consistent laughs of the film. To their credit, Boxtrolls might be the funniest thing Laika has produced yet. The film, whose cast also includes a plucky and petulant Elle Fanning, a snooty and oblivious Jared Harris, and a thickheaded and maniacal Tracy Morgan, is eager to get especially wacky when it plays with the weird worlds of Boxtrolls and cheese-obsessed noblemen. But it’s just too darn afraid to get emotional.
The Boxtrolls barely scratches the surface of its characters’ relationships, which is particularly destructive to a story about family, understanding, and bravery. Instead of watching young Eggs’ relationship with his surrogate father Fish (a babbling Dee Bradley Baker) evolve, we hear prototypical speeches about being yourself, standing up for what’s right, and a few more all-purpose themes. The Boxtrolls’ goofiness is grade A, but it cuts through the hints of biting emotional material, rendering the ordeal about half as affective as it might have been. Drop your bucket deeper next time, Laika. You're so close to that masterpiece...
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We had grown weary of Smallville, stopped laughing at That ‘70s Show, and couldn’t stomach even the thought of a third go-‘round for The Simple Life. By the autumn of 2004, we had no place to turn but to the mysterious island series that ABC ads had been pimping like crazy. Following our national love of sci-fi, of Survivor, of that bespectacled fella who made Felicity (ah, times were different then), we flocked to Lost, ill-prepared for the slew of questions, deficit of answers, and legion of unforgettable characters we'd meet over the course of the next six seasons. In honor of the 10-year anniversary of the dawn of America's last true pop culture addiction, we've decided to rank those characters — to celebrate the Oceanic Six, bemoan the Flight 815 tail section, and kind of sigh in bored confusion over the folks at the Dharma Initiative.
A quick qualifier: we aren't, and couldn't with any qualitative legitimacy, ranking all of the characters on Lost. We're ignoring the nearly anonymous Others, the one-line flashback extras, and that guy who was sucked into the jet propeller in the first episode. Remember him? I think his name was Gary. He's not on the list.
76. MILES STRAUMEThe most convoluted and out-of-place construct that Lost ever managed, which is saying something. Why can he speak to the dead? Who cares if he’s Dr. Chang’s son? Why did anyone think this character was a good idea?
75. SHANNONLess of a problem with the mythology than simply an annoying, corrosive onscreen presence.
74. KEAMY, FROM THE BOATUgh, this guy. This guy and his crew cut.
73. JACK’S NONEXISTENT SONDavid Shephard’s one saving grace is that he doesn’t actually exist. Three cheers for flash-sideways nullification!
72. LENNONIs… is his name actually Lennon? Or do they just call him that because he looks exactly like Lennon? And why, pray tell, does he look exactly like Lennon?
71. RICHARDThe irritation of the wholly useless Richard is maximized by the knowledge that he’ll be around forever.
70. ANNA LUCIAAnna Lucia acts as the epitome of everything that was wrong with the tail section chapter in maintaining the concrete belief that she is in any way a viable substitute for the main cast’s screen time.
69. GOODWINUgh, this guy. This guy and his wisps.
68. NIKKI AND PAOLONo explanation necessary for why Nikki and Paolo falls towards the bad end of the list, but a few extra points for the sadistic treat that was their final bow.
67. THE MOTHER“Hey guys, tonight’s episode of Lost has Allison Janney! From The West Wing! I love her! I bet they give her something cool and funny and totally pertinent to the contemporary storyline to do!”
66. ELOISE HAWKINGOne Farraday was more than enough, guys.
65. ILANAI have to be honest, I barely remember who this is.
64. DOGENDogen’s scenes were just one of many late series constructs that made us sigh wistfully and recount on the good old days when this show was about people trapped on an island.
63. MINKOWSKILadies and gentlemen, Fisher Stevens.
62. EMMA AND ZACKYou can really lump all the unaccounted for Lost children in one cloying bullet point: these two, the Kwon baby, Desmond and Penny’s kid, the deity twins, Aaron. They all just caused a whole mess of trouble, didn’t they?
61. LIBBY “What if — get this — what if we gave her a romance with a fan-favorite, and then closed an episode with a shocking stinger that revealed she used to be in a mental institution?“Sounds great! Then what?”“No, that’s about it.”
NEXT: 60 - 41
60. CHARLIE’S BROTHER“You all, everybody!” Ha. Remember that?
59. ABADDONEh, it’s Lance Reddick doing Lance Reddick, just without any of the interesting we were used to seeing.
58. JACK’S EX-WIFEHas anyone made a mash-up interweaving Julie Bowen’s Lost scenes with clips from Modern Family? I can’t imagine that anyone would have felt impelled to do so. And I certainly don’t feel impelled to check.
57. HORACE GOODSPEEDGoodspeed might have scored higher were not for his portrayer’s particularly creepy real life romantic exploits. Ech.
56. ALEX, ROUSSEAU’S DAUGHTERAw, she was okay.
55. WAAAAAAAAAAAAAAALTPuberty ruins everything. Self-esteem, probing storylines…
54. RYAN PRICE AND HIS TEN BEST MENI’d like to see a separate series about these guys. Or at least a few minutes of the pilot of one.
53. THE MAN IN BLACKHe really couldn’t have just talked things out with brother Jay?
52. ALDO, FROM THE TEMPLELadies and gentlemen, Mac.
51. THE PICKETTSNever was a story of more woe than this of… Colleen… and… Danny.
50. RADZINSKYHeh, this guy. This guy and his combover.
49. KATE’S BOYFRIENDWell this one just makes me sad.
48. SUN’S DADDitto. What a jerk.
47. HURLEY’S IMAGINARY FRIENDI never entirely knew what to make of Hurley’s bout of delusional psychosis… but I’m a sucker for that thing where it looks like someone is taking a normal photograph, and then that very photograph amounts as evidence of something spooky going on.
46. CASSIDYHell hath no fury like a stunt cast actress scorn.
45. INMANScratch the Ryan Price and His Ten Best Men pitch. I want to see Inman slowly lose his noodle.
44. DANIEL FARRADAYSomewhere between endearingly nuanced and gratingly overacty, there lies Jeremy Davis’ performance.
43. JULIETFor a late addition central character, Juliet never really achieved genuine interesting-on-her-own-accord status.
42. THE PILOTSure, he died within moments of being introduced, but he single-handedly set the tone and stakes for the entire first season. Way to go, Sean Blumberg.
41. LEONARDFour. Eight. Fifteen. Sixteen. Twenty-three. Forty-two. Repeat.
NEXT: 40 - 21
40. TOM FRIENDLYThe reveal that he was gay helped warm us up to Tom just a bit, but I always wanted to know more about this prominent Other.
39. NAOMII feel as though I remember Naomi being far more interesting than she genuinely was. Could just be the chutzpah.
38. DR. PIERRE CHANGSmart men make bad dads, so says Lost.
37. JACOBFor an omnipotent deity, Jacob’s kind of a dingus.
36. FROGURTOr “Neil.”
35. CHARLES WIDMOREA bit too faceless to be an effective super villain, but could teach a master class in menacing accentry.
34. BRAM, THE OTHERAnd next to Stoker, probably the best Bram in pop culture.
33. PHIL, THE OTHERAw, this guy. This guy and his widow’s peak.
32. KATE’S DADGood dad alert! We’ve got an actual good dad on Lost people!
31. MR. EKOIf only you didn’t hate Hawaii so much, Adewale, maybe your character would have gotten an appropriate send-off.
30. CLAIRESane Claire? Fantastic. Crazy Claire? Abysmal. They average out to pretty good.
29. MIKHAILIs it just me, or are eye-patches unconditionally cool?
28. ROGER WORKMANThe pressures of fatherhood, the anchor of alcoholism, the monumental stresses of the DHARMA Initiative… Roger, we feel you.
27. HELEN, LOCKE’S GIRLFRIENDShe was nice.
26. SAYIDHe wasn't that nice, but he had more on his plate.
25. CHARLOTTEIt was hard to watch the nose bleeds, but we can’t begrudge an archeologist hero, now can we?
24. MICHAELSo many bad decisions, Michael. And so much harrowed shouting.
23. ETHAN ROMNobody does a dead-eyed stare like E-Rom.
22. PENNYOne half of the greatest love story in television history.
21. HURLEYAudience surrogate, comic relief, beacon of pathos, resident geek, everyman, proficient golfer. A winner.
NEXT: 20 - our #1 Lost chracter!
20. SUNSun’s lows are low, but her arc to redemption is a particularly challenging and interesting one.
19. ANTHONY COOPERIn earnest, the best villain Lost ever produced. Next to the piercing human condition, of course.
18. DETECTIVE MARSA hard-boiled lawman who has one job to do, but a heart he’s forced to lug around while doing it.
17. BERNARDAww. (See Rose)
16. JIN’S DADSorry, Kate’s dad. Jin’s dad is the padre supreme.
15. BOONEWhat a nice fella. And an incredible impetus for the “anyone can die” phenomenon that carried through the bulk of the series.
14. CHRISTIAN SHEPHARDWhether or not you like Christian Shephard is entirely dependent on how you feel about the finale. And I love the finale.
13. ROUSSEAUAn extended metaphor for the loss that courses throughout each character’s story, and the crash-and-burn phenomenon that will ensnare them if they do not seek and attack their issues… or maybe just a loony French lady. Either way, we dig it.
12. KATEWay more than just the “runs into the woods and gets in trouble” shtick that people fault her for, Kate is the gumption and emotional core of Lost. And we love her.
11. ARZTWhat a delightful jackass.
10. JOHN LOCKEThe beauty of Locke is how much you just want to punch him right in the nose… until you realize that he’s not presenting adversity, but challenging solutions.
9. ROSEEven aww-er.
8. SAWYERThe wincing pain of aloneness and self-loathing, evident in everything that the gallant Josh Holloway does with his consistently engaging (the LeFleur era a slight hiccup) character.
7. FRANK LAPIDUSFrank Lapidus monument currently in construction in the South Bronx.
6. DESMONDThe other half of the greatest love story ever committed to television… and, no offense to Penny, the half with the superior ‘do.
5. JACKOur hero, flawed though he may be, was the perfect man to guide us through this story about the fragmented tenets of the human experience. Desperate, lonely, contentious, prickly, and a bit of a tool at times, Jack is and remains the essence of what man is.
4. CHARLIE…But Charlie, in complement to Jack, is the essence of what man wants to be. Given the finest send-off on the series, Charlie becomes the hero that he always wished he could be, embracing his passion for music and his love for Claire to save his friends and surrogate family.
3. VINCENTLess a symbol than a silent character in his own right, Vincent represents that one glimmer of hope to which even the most cynical of us hang tight: the hope that we aren’t, and don’t have to be, alone. With Vincent around, nobody does.
2. BEN LINUSIf Jack is Charlie’s complement then Ben Linus is his stark contrast: the badness that enwraps each of us, causing us to so selfish, maniacal, underhanded things… but all to the same end: not being alone. Not the more admirable guy, but one of most complicated and interesting characters.
1. JINThe very best character arc on Lost comes attached to Jin, who began as an alienating question mark and wound up a fan favorite, an in-universe hero. Jin’s slow climb to island glory, paralleling his flashback descent down the gruesome drain of desperation, makes for Lost’s strongest, most entertaining, and perhaps most emotionally engrossing individual story. And man that ending!
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Mad and scattered though it may be, The Zero Theorem feels like business as usual for Terry Gilliam. If you’ve seen what the visionary filmmaker can do with emotional chaos, fantastical concepts, and corporate dystopias in the Fisher King, Twelve Monkeys, and Brazils of cinema past, then you’ll find this latest venture to be less a new exploration of Gilliam’s yet untapped imaginings and more a 'Best Of' reel honoring his greatest cinematic elements to date. In short, while amply pleasant, Zero Theorem is nothing new for the director.
That Gilliam’s adherence to the visual penmanship that has carried with him for decades has become “pleasant” — perish the thought: comfortable — might be its biggest fault. The dynamic “new”-ness of the aesthetic and rhythm in his early features is what made it so compelling a style. Showing little evolution in Zero Theorem, and perhaps even the hint — via a few cloyingly unoriginal sci-fi constructs, like a personalized video advertisement that follows Christoph Waltz down the street — that Gilliam has fallen behind the times in his sociopolitical commentary.
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It’s a horrifying notion that Zero Theorem might be an act of regression for Gilliam (even after a decade of critical maligned work), and one that reverberates as we feel Waltz’s turn as a gifted recluse awaiting tell of the meaning of life amount to little more than cuteness. Alongside him are players equally limited by the fluffy nature of the piece: Melanie Thierry as a batty woman who takes a liking to Waltz’s Qohen, David Thewlis as his troublesome and inept supervisor, Lucas Hedges as a technical prodigy and petulant teen in whom Qohen finds an unwanted sidekick… oh, and a white-haired Matt Damon as “The Management.” Just as the members of Zero Theorem’s Orwellian society are accused of being, each of the film’s players amounts more or less to a tool, a cog in a competent but hardly challenging machine.
The script is no more or less inspiring, just another vehicle to get Gilliam’s wildfire set piece construction and gallant metaphysical ideology running again. It’s all lovely, funny, and an entirely nice way to spend two hours. But it’s hardly the sort of work the director was once assured to deliver.
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There are two ways to look at Tusk. First, through the context of the Kevin Smith’s career: a return to the offbeat after a dissipation of his Gen X cred. The long-awaited redirection to genuine imagination that he exhibited in Dogma but never before or since. Perhaps even an autobiographical illustration of the probing qualms Smith might face as a result of his career choices and brand of comedy. If you have the pertinent knowledge and energy to afford Tusk your attention through these lenses, you’ll be granting it the favor of purpose. The movie is just a tad too lacking therein to function perfectly on its own terms.
Tusk seems to rely on your familiarity with the Smith story — as did each of the director’s View Askew pictures, though much more overtly — in order to access its journey in earnest. We “observe” shock jock podcasters Wallace (Justin Long) and Teddy (Haley Joel Osment, whose real world cult appeal is inscrutably wasted on such a bland role in such a bizarre movie) trading gags at the expense of the desperate and accident-prone YouTube sensations, but are welcomed just barely into the understanding of what kind of men they are in truth, why they find it so easy to be so cruel, and how they got to this point from the humble beginnings that Wallace’s girlfriend Ally (Genesis Rodriguez) misses so terribly.
A24 via Everett Collection
So when we get to the weird part — the part we assume you must already know about by now — the emotional pulp is not readily available. Wallace’s visit to the Great White North lands him in the company of traveled gentleman Howard Howe (Michael Parks), a man whose nefarious intentions are as plain as the baculum on his mantelpiece. Once Wallace is in his possession, the movie derails to wild levels of body horror, black comedy, and garden-variety strangeness. The mood bounds up and down as we alternate attention between Howe’s demonic experimentations and Ally and Teddy’s quest to find their missing loved one. Along with the latter duo is a French Canadian detective straight out of a Jay Ward cartoon: Guy Lapointe, played quite endearingly by a heavily made-up Johnny Depp.
Although Depp's late-in-film contribution is sure to muster a few eye rolls, he provides the necessary occasional respite from the sincerely upsetting Cronenbergian nightmare games going on in the lower levels of the Howe palace. Although we're granted outright explanations of why what's happening is happening, both in-universe and in regards to the narrative, we're never beckoned far enough inward to experience what could be a haunting parable with any real intimacy.
Ultimately, Tusk winds up more interesting and enjoyable than not, landing closer to creative than commercial. But with too much confidence in the groundwork laid out by its writer and director's familiar and vivid story, the film winds up a more vacant version of what it could, should, and wants to be.
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Singer Jewel is staying positive about her marriage split, insisting she's "heartened" by the way she and her estranged husband Ty Murray are planning their divorce. The star announced the break-up on her official website in July (14), revealing she and the retired bull riding champion had decided to divorce after six years of marriage.
She wrote, "Ty and I have always tried to live the most authentic life possible, and we wanted our separation as husband and wife to be nothing less loving than the way we came together. For some time we have been engaged in a private and difficult, but thoughtful and tender undoing of ourselves."
She added, "Our dedication to our son is unwavering and we are both committed to being the best partners in raising our son. Due to the spirit in which we have gone about this separation, we trust we can remain dear friends who hold each other in high esteem, which is so important to us as parents - as we wish only what is best for our son."
Now, two months after the post, Jewel reveals things are going well and both she and Murray are committed to doing what's best for their three-year-old son Kase.
She tells U.S. news show Access Hollywood Live, "It's (divorce) such a difficult thing... but I feel really fortunate for the position that he and I are in because we're such great friends and we're really great parents, and that's the number one thing we care about, so I really feel so blessed to be in that position."
"We really feel like this is the best thing for us; we feel it's the best thing for Kase and that everybody, hopefully, will win if we can go through this in the right way, which I feel really heartened that we are."
Sony Pictures Classics via Everett Collection
A basic command of rhythm will make your film watchable; kinetic proficiency will make it dramatically effective. But the aural language instituted by Damien Chazelle in his second directorial feature, Whiplash, lands you with a goddamn symphony.
Chazelle constructs what might wind up being one of the great music movies of all time, conducting each tier of his film with an active ear. Whiplash opens with a literal drum solo — courtesy of driven Schaffer Academy student Andrew (Miles Teller) — setting precedent for a collection of tremendous jazz numbers to follow throughout. Immediately afterward, we watch Chazelle weave scenes together via the harmonies of brass, building an atmosphere that he molds and contorts as the picture progresses.
But the most impressive symphonic feat is that which follows Andrew’s chaotic run toward a stature as jazz prodigy, and the tutelage, camaraderie, and enmity he earns from his no-nonsense-is-putting-it-lightly teacher Mr. Fletcher (J.K. Simmons, playing the gruffest, fieriest, most intimidating role yet in a career that has tossed him no shortage of opportunities of the like).
Sony Pictures Classics
Andrew’s story unravels, ribbons out, leaps, explodes, and recollects at such an absolutely delightful pace. Character beats are inset with such expert timing, that we occasionally get the rush of watching a live performance. Ultimately, Andrew’s story breathes and moves like a song — a jazz number, naturally — which renders every turn, reveal, and twist of perspective a tremendous showstopper.
And what it has to say about music? Everything that jazz might entail: how beautiful it is to love the art so wholly, and how toxic and destructive it is to devote yourself entirely to its whims. Whiplash doesn’t shove us to either side of favor regarding either of its central heroes/villains (they are equal parts each, and merrily so), nor to either side of the dividing line on whether succumbing altogether to the corrosive call of the drumsticks is, to put it reductively, a “good idea.” With such gratitude we can affirm that the movie doesn’t want to teach us a lesson. It just wants to play us a song.
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Megadeth have been forced to withdraw from Motorhead's upcoming heavy rock cruise to allow frontman Dave Mustaine to recover from spinal surgery. The group won't set sail on the maiden Motorboat voyage later this month (Sep14), but bandmates David Ellefson and Chris Broderick will perform as part of all-star act Metal Allegiance, featuring singers Philip Anselmo and Joey Belladonna, as well as guitarists Jon Donais and Scott Ian.
Megadeth have issued a statement about the cancellation, which reads: "Due to complications arising from a previous cervical spine surgery, and upon his doctor's strict recommendations, Dave Mustaine has cancelled all performances for the next eight weeks.
"With rest and treatment, he is expected to recover and resume performing soon. The band was looking forward to the concerts and cruise, and is disappointed that they will not be able to see their fans. Megadeth expects to return to the road and will see their fans soon!"
Ellefson says, "I'm really looking forward to being together with our friends and fans on Motorboat. Metal Allegiance is a great way to continue our brotherhood of all things metal."
The first annual Motorhead's Motorboat will sail from Miami, Florida on 22 September (14) and visit the ports of Key West, Florida and Cozumel, Mexico.
Dubbed "the loudest boat in the world", the sailing festival will also feature performances from Motorhead, Anthrax, Testament, Down and Zakk Wylde, as well as a spoken word performance by Scott Ian.
Ariana Grande has denied reports she scrapped her promotional schedule in Australia because she was unhappy with a photoshoot.
The Problem hitmaker was reported to have stormed out of a photo session Down Under because she was unimpressed with the pictures produced, but Grande is adamant there is no truth to the rumours.
She tells Australian radio show Mike E & Emma, "I did hear about something just 10 minutes ago that was totally untrue and very annoying... There's no record to set straight. It was just a photographer or something who got mad at me because I left to change my outfit mid-photoshoot because I didn't like my top and I was like, 'Oh I'll be right back' and then I came back and he had left and I was like 'Oh s**t' . He's now... said all these ridiculous untrue things about me and I'm just like, you know what, that's not real, that's nonsense, my fans know who I am, my family knows who I am, my friends know who I am and that's all that matters."
Grande's manager Scooter Braun also defended her on Twitter.com on Monday (08Sep14), writing, "@ArianaGrande is kind, caring, and more than anything she is a great human being (sic). Some people make up rumours for a living... so... saying things about Ari comes with her now being a big star. But saying she isn't a good person that ain't gonna fly... There is zero truth to anything different. Enough is enough...(sic)."
Last month (Aug14), Grande had to defend herself when a group of U.S. fans accused her of being rude and cold towards the crowd at a meet-and-greet session. Grande claims she acted that way because she was upset.
The radio interview with the pop star is due to air on Wednesday (10Sep14).
Actor Ian Somerhalder came to the defence of his girlfriend Nikki Reed after receiving negative comments about the Twilight actress online.
Over the weekend (ends07Sep14), two of the Vampire Diaries star's fans decided to use his Instagram.com comments section as a forum to bash his new girlfriend, Reed. Instead of dismissing the negative banter, Somerhalder wrote back to the fans in a lengthy online rant, telling them, "You HATE NIKKI REED? Really? Do you know her? Hmmmm, I'm not sure that you do. Look on her Instagram feed or twitter and all you will see is a compassionate and beautiful human being. Please put your negative energy elsewhere. You don't even know the person you're talking about."
He added, "Do you care about me? Ask yourself that question. What's the answer? Is it yes? If it is - then please be happy for me. Stop this nonsense - you're spreading horrible energy into the world. "Do some research of the person you say sucks or you HATE. You'll find that she's a magical person doing great things in the world. "I'm sickened and saddened by the fans' response to all this. Many fans have stood up people like you and tried to empower you with some compassion. If we all thought a little or learned a little about people before we spoke about them, the world wouldn't be so upside down and in the worst place in history. If you hate Nikki then you must hate me...That's sad. Have an amazing day!"
Somerhalder and Reed sparked romance rumours in July (14) after they were photographed spending a weekend together in Los Angeles.
Reed filed for divorce from former American Idol contestant Paul McDonald in May (14), and Somerhalder previously dated his TV co-star Nina Dobrev.