Kelsea Stahler
Celebrity Editor Kelsea Stahler was born in a pile of dirt. Okay, she was actually born in an old Naval hospital in San Diego, which then became a pile of dirt and remained as such for a number of years before becoming a parking lot perfectly sized for circus tents, and finally a museum. She eventually left San Diego to attend New York University, where she studied Journalism and English literature — two less-than profitable liberal arts degrees about which guidance counselors warned her. Against all odds, she now resides in Brooklyn, where she fights the constant fear that the locals will soon discover she isn’t quite cool enough to live there, and makes a living writing absurd, pop culture features about Batman, zombies, vampires, funny people, and Ron Swanson.
  • New York's Sexy Shoe Shine Service Would Make Even Don Draper Cry 'Sexism!'
    By: Kelsea Stahler April 11, 2013 4:39pm EST
    Men, isn't it the worst having someone bend down and clean the filth off of your $500 Prada loafer for you, only to realize your shoe shiner doesn't arouse any of your sexual desires? Wouldn't you rather watch someone whose assets really get your heart rate up while they are literally cleaning the remnants of old coffee, flecks of animal refuse, and the general stench of the city streets off of your precious foot protectors? Wouldn't it be even better if the pretty little things doing your old fashioned bidding wore the logo of the shoe shine company across their tight tank tops and short shorts, thus giving you a "legitimate" reason to oggle their lady parts? Sure it would, if you're more sexist than a 1960s ad man.   Lucky for the remnants of yesteryear for whom sexism is a fancy word ladies use to get out of doing things, Star Shine NYC is opening in Manhattan's financial distric. And from the looks of the website (via DNAInfo), it's worse than a Hooters — considering it has none of the restaurant's self-awareness or killer hot wings recipe.  The "Star Shine NYC ladies" have their own page of photos (you know, just like not a single shoe shine booth run by an old, balding man in Grand Central Station), starting with the welcoming shot of one shoe shiner pointing to the logo on her tank top — which also happens to align perfectly with her breasts, but that's definitely not why she's gesturing there. Another photo delivers a shot of one young woman bending over to give a (shoe) shine with the very same logo slapped across her rear. But again, it's not objectifying because all you're doing is reading the name of the business. It's called brand recognition. Geeze.  These people must be joking. Are we really donning our contemporary booty shorts and roller skating back in time? Why don't we just go back to calling receptionists "Hey, doll, grab me a cuppa coffee" and flight attendants "Sweetheart, this scotch ain't gonna refill itself"? Rule of thumb for starting a new business: If it would appear tawdry even to the characters on Mad Men, you're doing it wrong.  Follow Kelsea on Twitter @KelseaStahler More:North Korean Military Women Wear Four-Inch Heels on PatrolMattel Crushes Little Girl's Barbie Birthday Dreams'Evil Dead' and Tree Rape: Is It Ever Okay? From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • In North Korea, Female Soldiers Wear 4-Inch Heels on Patrol
    By: Kelsea Stahler April 11, 2013 1:15pm EST
      Danger. Mystery. Bafflement. These are all things that we often attach to the discussion around North Korea and its confounding and clandestine culture. "Too obssessed with fashion for their own good" is not. But enter this Reuters photo of four North Korean soldiers patrolling (see: marching around for hours in potentially inclement weather for the purpose of stopping intruders and potentially running, if it comes to that) the banks of the Yalu River across from the Chinese border while wearing heels that would be considered hazardous on a New York City street, let alone a river bank.  This may seem a little hypocritical coming from a country where people get collagen injections in their feet so they can waltz around in four-inch stillettos all day, but when's the last time a patrolling member of our army could be convinced to do her gruelling duties in anything other than a comfortable (and well-armored) boot? Even our military's dress blues come with a pair of heels so sensible your grandma could probably run a mile in them.  Look, we're all obsessed with fashion. Most of us wear heels when we probably shouldn't and some of us have gotten used to what it feels like to lose all sensation in our toes for a pair of great pumps, but one thing is for sure: standing for hours in the cold with suits so thick they could stop Old Man Winter in no way calls for boots with four-inch heels, even if they've got those cute little traction pads to give the illusion of practicality. Follow Kelsea on Twitter @KelseaStahler More:'Details' Want to F**k These StarsMichelle Obama's Emotional Gun Control Plea Is it Sexist to Worship Michelle Obama's Look?  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Watch Lazaro Arbos Deliver the Worst 'Idol' Performance Ever - VIDEO
    By: Kelsea Stahler April 11, 2013 12:00pm EST
      Pipe down, Lazzies. After Wednesday's night's performance of "(They Long to Be) Close to You," defending Lazaro Arbos from our criticisms is akin to trying to convince any sane person that Amanda Bynes' Twitter presence isn't a sign of potential insanity. Have we not ears? And more importantly, have you? Lazaro may have rocked his fancy green suit on that stage, but it was the only thing he did right.  Randy Jackson quipped that this performance felt like a stroll back to the first auditions rounds, when someone sweet but untalented would be pummeled by the judges, and for once in my life I think that I couldn't have said it any better than the big Dawg. There's nothing redeeming about this performance, and unlike "worst performances" before him, it's not because he tackled a song beyond his abilities (Camile Velasco with "Goodbye Yellow Brick Road") or because he tried out a ridiculous theme (Kristy Lee Cook with "Eight Days a Week"). This Bacharach classic is a sweet, simple song. The key change wasn't all that taxing. The vibe is decidely old fashioned and prime for Lazaro's Ricky Ricardo style (as Nicki Minaj so often put it). If Lazaro was a skilled enough singer to be in the Top 6 this season, he wouldn't have had any issue with this song.  When Mariah "Butterfly Wishes" Carey does verbal somersaults to explain to you that the way music works is that you have to sing it right (she even has to tell Lazaro that when the key in a song changes, you actually have to change keys too, as a singer), even Lazaro's biggest fans have to admit: that was horrible. In fact, it was the worst finals performance of all time.  Lazzies, if you love this guy, let him go. Or we'll all be forced to watch him in pain on that stage week after week as the judges continue to tell him the hard truth. They're not harsh, and they're not picking on him. They're giving real talk to a kid who's lasted past singers with more talent than he has, and they're tired of sugar coating. And frankly, so are we.  Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Recap: Candice Glover Wins'Idol' Voters, Invoking the Sympathy Vote for Lazaro is Cruel'American Idol' Needs a Lazaro Arbos Every Year  From Our PartnersJessica Alba Bikinis in St. Barts (Celebuzz)Pics of The Rock Making Things Look Small (Vulture)
  • 'American Idol' Recap: Candice Glover Wins, Everyone Else Can Go Home Now
    By: Kelsea Stahler April 10, 2013 11:17pm EST
    Spoiler: Candice Glover just won American Idol. Alright, we still have four rounds of eliminations to go before we crown the Season 12 winner, but from where I stand, we should go ahead and give Candice a confetti shower, a golden microphone, and whatever the hell else she wants because her performance of “Love Song” on Wednesday was so incredible that I can still feel her voice in my bones. Perhaps some credit is due to my television’s sound quality, but it was if there was no glass barrier (and the 3,000 miles between New York and Los Angeles) between me and Candice. There was no shower of computer-generated rose petals falling behind her. There was only Candice’s voice, my ears, and the single tear that streams down someone’s face at the end of a 1980’s music video, except that instead of a single immaculate tear, I had mascara all over my face like woman on the verge of a nervous breakdown. Candice’s performance was so good, it completely wrecked me. The same can’t be said for two others in the competition: Janelle Arthur and Lazaro Arbos. While Janelle has the pipes, it’s clear she doesn’t have the inner light that Kree Harrison and Candice carry so effortlessly. And, well, Lazaro is in his own little world where his fans are obsessed and silly things like notes, key changes, and pitch doesn’t matter. Anti-Idol folks (ahem, Dad) are always lamenting that this is a show about popularity instead of performance, and every other aspect of this season proves him wrong... except for Lazaro’s wild success. Don’t let my dad keep being right about Idol, America. I’m never going to live it down when I visit him for Father’s Day. But, it wasn’t just that Candice was so amazing or that Janelle was so lackluster that drew such clear lines in the sand between the good, the average, and the Lazaro. Now that we’re down to the Top 6, we get two themes a night: “The Catalog of Burt Bacharach and Hal David” and “Songs the contestants wish they wrote,” a.k.a.“Some songs, you guys.” The first half of the show served as a brutal reminder that some of these folks have “it” (see: Kree and Candice), some are good at making us think they have “it” (Amber Holcomb, Janelle, and Angie), and some people are really wearing on our patience (sorry, Lazaro). It’s easy to sing a Bacharach song and accidentally make it feel sleepy and dated, but I do believe it is physically impossible for either Candice or Kree to make anything sound boring, even a sleepy song your grandparents used to dance to when dad started passing the spiked eggnog around at Christmas (I’m homesick this week, it seems). Of course the girls (and I mean only the girls) got redemption during round two when they got to pick any songs they wanted (ahem, I’m sorry, any songs they wish they wrote because that is totally different), but the damage is done. Kree and Candice rule this group, and Candice brought down every itty bitty piece of that house with the night’s final performance. It may be like picking the cutest puppy from a basket of cooing baby corgis (a near impossible task I hope to one day find myself lucky enough to attempt). But you can’t have all five - yes, I mean five (sorry, Lazaro). Where the hell are you going to keep five puppies? You’re not, because you’re a responsible adult and also because Idol is making you choose. And in that position, would you pick the candidate who makes you smile and giggle, the one who makes you zealously clap your happy little hands, or the one who makes you so incandescently joyful that you can actually feel your heart soar up into the clouds as jubilant tears fill your eyes when you watch her do her thing? My money is on that whole heart-soaring sensation, and thus on one Miss Candice Glover. But because I’m nothing if not thorough, let’s break down these claims of mine with a little song-by-song analysis. Angie Miller: “Anyone Who Had a Heart” and “Love Came Down” At this point, it’s not enough to be cute as button (or a baby doll made out of buttons) and have a great set of pipes. Angie learned that lesson with her boring performance of “Anyone Who Had a Heart,” which had zero emotional connection, and as Mariah astutely pointed out, Angie’s proclivity for over-pronouncing lyrics is actually taking her down a couple of notches (on account of how little it sounds like a human singing). But, when Angie got back behind a piano and sang “Love Came Down” (the thing Mariah has been asking her for all season), she settled right back into her sweet spot, even with all those imposing giant doves flying around on the screen behind her. Nicki, who was of few words all night, spoke as if her mouth was tethered to my brain: stop trying to be sexy, stop running away from who you are and just do you. Preach, girl. Amber Holcomb: “I Say a Little Prayer For You” and “Love on Top” Alright, Amber’s first performance of “I Say a Little Prayer For You” was sweet. It was nice. It was flowery and her voice was perfect, just as it always is. But it was boring, and that’s because Amber is not a singer who can work it on just any song, even if she kills the vocals. However, when she braved Beyonce (and one of my favorite Beyonce songs at that) with “Love on Top,” Amber hit her sweet spot that she’s needed to hit since week one. Her vocal slipped a little, but as a total package it worked. She was moving, she was feeling every emotion of the song (Burnell reference, anyone?), and she was killing almost every single one of the song’s vocal challenges. This is Amber’s sweet spot, and this is where she needs to continue to sit. (Just as long as she stops talking about eating frozen shrimp out of the freezer. Shudder.) Lazaro Arbos: “Close to You” and “Angels” This is the end of the road. If people continue to vote Lazaro onto this show, I will pull a Nicki and just refuse to keep commenting on his performances. Ohhh-Ki. I do not understand, in as much as I don’t understand the physics that keep Helen Mirren’s breasts where they are, how it’s even possible that Lazaro is still getting votes and that he was in the Top 3 last week. Even Mariah Carey had to stop praising his courage and admit it wasn’t working (even if she had to go through every possible nicety and butterfly in her head to get there). Randy’s so angry, he told Kree that he was happy she followed “that other contestant,” because she was something of a palette cleanser. Nicki won’t even comment. Keith was back to hitting his head on the desk a la Keith during the first Nicki/Mariah fight during auditions. Eventually the judges all agree that regardless of his “talent” Lazaro is out of place with these five girls. Of course, he did one thing right: he sort of tried to pick the right song. “That was more in the direction of a performance that would be preferable,” said Mariah. Yes, because that is the mark of someone who definitely belongs at the top of the heap. Get it together, voters. Kree Harrison: “What the World Needs Now” and “We Can Make It Through The Night” While I’m solidly on the Candice train, steaming right alongside it is the Kree train and Candice is winning by just a nose... or a pilot plow if we’re sticking to train terms. I could go through all the intricacies of her performances, but in both cases, the result was spectacular. There is absolutely zero performance happening here, everything on stage is just Kree. There’s no calculation, she’s not in her head, she’s simply letting her God-given gift flow and whether or not she is winning or Candice is winning, it’s clear that’s not even a thought. Kree is the sort of person who can’t do anything else but sing because it’s what she’s meant to do. And if that wasn’t enough, she’s a perfect human in practically every way. She’s like a modern day Mary Poppins, this one. Janelle Arthur: “I’ll Never Fall in Love Again” and “The Dance” What’s most disappointing about Janelle’s performances is that it’s clear she has no idea who she is as a performer. She’s capable of making classic songs incredible and unique (remember “You Keep Me Hangin’ On”?), but here both performances are pageant-worthy. From the way she touches Keith’s shoulder at the bridge, to the way she winks at the audience like she’s trying to take Honey Boo Boo’s job, to the part where she spent her entire second performance sitting down without the benefit of a great connection or, at the very least, her guitar, it’s clear that Janelle is likeable and sweet and probably fairly marketable in the right hands, but she is not a leader in this competition and she never will be. Candice Glover: “Don’t Make Me Over” and “Love Song” Candice sings like she’s a veteran singer gracing us with her presence every single week. Nicki is right: Candice isn’t “doing something” with her voice. She just has something incredible inside of her. Randy lets out another “she’s in it to win it” but hearing Candice sing is disorienting in the best way and I’m pretty sure Randy already has some sort of vocabulary deficiency. And that was only a result of her Bacharach song choice. When she tried on Adele’s arrangement of “Love Song” by the Cure, the entire world melted away. This performance was sublime. So sublime, that Keith had to kneel to deliver the full “I’m not worthy” bow Candice deserved and Mariah actually got up out of her chair (tight skirt and all) to sprinkle pixie dust (high grade glitter) all over the winner of the night. Let’s be honest, there’s a point in the competition in which is starts to feel monotonous. We’re nearing that point, and when someone like Candice exists, it sort of makes you wish we could cut this whole process in half, name her the winner and enjoy New Girl reruns for the next four weeks. As it is now, we’re probably going to have to continue rage-watching as Lazaro fans keep him on while good girls go home. Follow Kelsea on Twitter @KelseaStahler More:Will the Judges Use the 'Idol' Save This Week?American Idol Recap: Rock and Roll Night or a Bad Trip?Burnell Taylor Says Amber Holcomb Has a Crush On Him Too From Our PartnersJessica Alba Bikinis in St. Barts (Celebuzz)Pics of The Rock Making Things Look Small (Vulture)
  • Bye Bye Barbie: Mattel Crushes Little Girl's Barbie Birthday Dreams
    By: Kelsea Stahler April 10, 2013 4:17pm EST
    In case you missed it, it's 2013. You'd think that by now, no one would need to petition for Barbie birthday supplies that are indicative of the diversity of our nation. Apparently not.   Representing different ethnicities is just too hard for toy giant Mattel, at least that's what they just told one mother who petitioned to see birthday party supplies with more variety than just the grinning mug of one blonde Barbie. namely, her daughter wanted birthday items that also feature a black Barbie. Mattel couldn't comply, because duh, getting people to buy Barbie supplies without the iconic blondie at the center is impossible — never mind the fact that ethnically diverse dolls make them millions of dollars every single day.  Karen Green Braithwaite makes that exact point in her petition on Barbie has won over Braithwate's daughter with the brand's ability to give little girls the opportunity to see themselves reflected in a doll whose ambition knows no bounds. Why is it so difficult to see that in all areas of their merchandizing?  According to the Observer, representatives from Mattel called Braithwaite into a conference call and told her that licensees wouldn't carry the supplies and that focus groups tested negatively for diverse paper plates, cups, and napkins. But it seems rather strange that the company took the time to not only respond to their petitioner, but respond with such a negative answer. The Barbie name has already come under fire for its unrealistic depictions of women, many critics connecting Barbie's shape to the body image issue rampant among young women. Why would Mattel want to put out the word that they've simply given up on diversity in some elements of their business? Why not just tell the petitioner they'd "look into it" or give some other, more diplomatic response? Of course, a spokesperson for Mattel says they did just that. "What we said was that we are looking at how we can work with our partners to redesign a new line as the current line of Barbie party products has been discontinued ... Development of new products takes a minimum of 18 months from creative development to sell in to production to being on shelves in stores and as such consumers will not see any new product in the near term," they said. If, however, Mattel is correct and they've not been able to sell more ethnically diverse party supplies, Barbie still may be the problem, however unintentionally. Barbie is the original doll, the star amongst the Midges, Skippers, Teresas, and Kens. It's always been her show, and as much as her character is a blank slate for whatever adventures young kids can dream up (heck, there's even a President Barbie, years before we'll see a woman as the POTUS), her racially limited universe promotes an ideal that doesn't at all represent the nation we live in.  Take a single look at Mattel's Barbie website and you can see there's not an inch that isn't occupied by a bouncy, smiling blonde girl. If you click around enough, you can eventually find Barbie's friends, which include a black girl named Nikki, a gluten-free girl named Teresa, and a vaguely Latina girl named Raquelle — but without the tenacity to comb over every inch of the website, the message is decidely blonde. There isn't a single featured photo or graphic on the website's main pages that shows our main character, Barbie, palling around with her diverse group of friends, and you'd be hard-pressed to find a page that features Teresa or Nikki instead of Miss Barbie. And if this is the strong message Mattel is promoting, it's no wonder they have had trouble selling diverse merchandise: it comes in opposition to the message the brand has cultivated with its one-shade-fits-all presentation.  The birthday supplies are admittedly less popular and lucrative than the dolls, but this is not a small issue. It feeds into a larger suggestion: that the other dolls are lesser dolls and that only Barbie can be the star. But on a day when the little girl (or boy) in question is supposed to "celebrate themselves" (as Braithwate puts it in her petition), shouldn't he or she be able to choose which character is the star? Wouldn't Barbie, herself, want her other friends to have their special days, too? Shouldn't kids have a merchandise choice that puts the doll that reflects themselves best at center stage? It's something even Disney — whose lineup of Princesses includes Middle Eastern Princess Jasmine and the newest edition, a young black woman named Tiana — has managed to change. Disney's Princess birthday supplies feature all the princesses in equal measure, with sets of cups and napkins that give each lady her own featured moment. With that in mind, it seems strange to think that the best Barbie can do is to add small images of a brown-skinned Barbie and a brunette to the borders of a handful of party supplies, while everything else is a parade of Barbie's big blonde head. Of course, if market research says it doesn't sell, Mattel's hands are somewhat tied: they're a business, not a non-profit group. But perhaps that just means it's time for parents to take up some agency and instead of trying to change a stalwart brand, reevaluate which toy lines to expose their kids to. If she can't handle true diversity and inclusion, then maybe it's simply time to say Bye-bye, Barbie.  Follow Kelsea on Twitter @KelseaStahler More:True Love Makes Demi Lovato 'Wanna Act Like a Girl' Miranda Kerr Will Always Be an Angel, Says Victoria Secret Miley Cyrus Vs. Barbie: Battle of the Blondes  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Which Hot Young Starlet Is Gussied Up Like a '70s Mob Wife?
    By: Kelsea Stahler April 10, 2013 12:08pm EST
    It's the perfect disguise: under all that make-up, giant sunglasses, trenchcoat, neck brace, and a whole lotta blonde hair piled on top of her pretty head, Jennifer Lawrence is almost unrecognizable.  Don't worry — our newly brunette girl next door hasn't lost her mind or her down-to-earth likeability. She's simply on set for David O. Russell's still-untitled FBI flick in Boston. The film is centered around the late '70s FBI sting operation Abscam, and Lawrence is slated as the wife to Bradley Cooper's leading man, teaming the duo up again in the wake of their Silver Linings Playbook success (which, in case you forgot, was also an O. Russell movie).  To boot, we've seen her draped in even wackier 1970s clothes fairly recently in the name of O. Russell's art. And believe it or not, the hair does get bigger.  We're not a fan of the Joan Collins look, especially on the girl we love to love for her easygoing, yes-I'm-smoking-pot-on-The-Hunger-Games-set ways, but is it wrong to say that Lawrence is kind of pulling this overly ornate '70s look off? Or are we just that obsessed with her? Follow Kelsea on Twitter @KelseaStahler More:You're Not Allowed to Hate Jennifer Lawrence, And Here's WhyJennifer Lawrence and Josh Hutcherson Smoking Pot on SetJennifer Lawrence Teams Up With David O. Russell  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Sexual Fantasy Emergency: Robb Stark Lookalikes Needed For 'Game of Thrones' Sex Games
    By: Kelsea Stahler April 09, 2013 3:23pm EST
    Good news: Daenerys Targaryen is on Craigslist and she's not looking for her dragons. She's seeking a sex partner... if he looks just like Robb Stark and lives in the New Orleans area.  One Game of Thrones enthusiast (and we use that in the most enthused meaning of the word) is going all out for a sexual fantasy, first purchasing her own replica of the Iron Throne and then placing this Craigslist ad (via HuffPo) seeking her very own Robb replica to do the Khaleesi-style horizontal mambo: In my fantasy, I am Daenerys Stormborn Targaryen, Mother of Dragons, and Rightful Heir to the Iron Throne and the Seven Kingdoms. After crossing the Narrow Sea and defeating the forces of Westeros, it is within my power and right to slay all of those who betrayed my family and denied me my rightful place for so many years. The most vile enemies of house Targaryen, House Stark and House Baratheon must pay the highest price. All of those who fought against the Mother of Dragons are slain - all except one. When I come to Robb Stark, our eyes lock and something moves inside of me. I realize I need to have him, want him, and I can tell he is thinking the same. I order my guards to throw him in the dungeon and later that night, I have him brought to me, in the throne room. There, on the Iron Throne I've so recently won, I make wild and passionate love with him, repeatedly. ...You will need to provide your own clothing. Please keep in mind that you will have recently participated in a battle and been thrown in a dungeon, so you will not be wearing your nicest furs. I'm looking for a Stark in the streets but a wildling in the sheets. We must give this girl, whoever she is, some credit though: she knows her way around a Ludacris lyric. Follow Kelsea on Twitter @KelseaStahler More:'Game of Thrones' Season Finale Recap'Game of Thrones' Recap: Girl Power'Game of Thrones' Season Premiere Recap From Our PartnersJessica Alba Bikinis in St. Barts (Celebuzz)Pics of The Rock Making Things Look Small (Vulture)
  • Baz Luhrmann Teases His Major Change to 'The Great Gatsby'
    By: Kelsea Stahler April 09, 2013 2:46pm EST
    Fans of F. Scott Fitzgerald's The Great Gatsby can fondly recall experiencing the Jay Gatsby (Leonardo Dicaprio in the upcoming film adaptation) universe through the lens of Nick Carraway (this time played by Tobey Maguire). He guided us through the oppulence and eventual tragedy of Gatsby's world, and in the film version, it's going to be imperative that we don't lose our trusty guide. But the way in which film adaptation director Baz Luhrmann includes Nick's observations on screen may be a polarizing twist on top of the already controversial soundtrack and 3D technology decisions.  "[Nick] is 'within and without,' a watcher of and a participator in the story. In fact, in the novel, Fitzgerald very deftly alludes to the fact that Nick is writing a book about Jay Gatsby in the book, this fascinating character Nick met – 'Gatsby, the man who gives his name to this book' – 'Reading over what I have written so far…'" says Luhrmann in a new interview on Life and Times, emphasizing his commitment to the authenticity of his adaptation. But just how did he make sure to infuse Nick's point of view? He didn't divulge it explicitly, but he did lend us a hand in using the process of elimination. "So Craig and I were looking for a way that we could show, rather than just have disembodied voiceover throughout the whole film, show Nick actually dealing with the writing, dealing with his experience of Gatsby, as he does in the novel. How we do really is the one big difference in the film. I won’t say how. I will let the audience discover that for themselves," he says. While there may be some grand technique we're not privy to, Luhrmann's tease leaves few conventional options for his take on the Fitzgerald novel, namely the rupturing of the fourth wall between the audience and the characters. From the context of his remarks, we could find ourselves being addressed by Nick directly throughout the film (though let's hope it's more Kevin Spacey in House of Cards than Zack Morris in Saved by The Bell). It's an interesting take on Nick's storytelling technique, but it could rub some purists the wrong way as it's not always the easiest task to pull off in a dramatic film. <a href="">Do you think breaking the fourth wall will work for 'Gatsby'?</a> Follow Kelsea on Twitter @KelseaStahler More:Beyonce to Cover Amy Winehouse for 'The Great Gatsby' Jay-Z to Score 'The Great Gatsby''The Great Gatsby' To Open Cannes Film Festival  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Chloe Sevigny's Serial Killer Show Sounds A Lot Like 'The Killing'
    By: Kelsea Stahler April 09, 2013 1:04pm EST
    A&E is having something of a moment. Just a day after the success of Bates Motel led the network to announce the Vera Farmiga-starrer's second season, A&E is rolling out its next dramtic attack: a crime thriller called Those Who Kill. The 10-episode series will star Chloë Sevigny and sounds a wee bit like AMC's soon to be rebooted crime series The Killing, with a side of Fox's The Following.  The series is set to air in 2014, with the focus on Sevigny. She stars as Catherine Jensen, a young, smart detective who (shocker of all shockers) tracks down serial killers. Much like The Killing's Sarah Linden, Sevingny's character comes with a handsome partner — Thomas Schaffer (James D'Arcy), a forensic psychiatrist (which is a fancy way of saying he evaluates suspects mental states). Together, they take on serial killers, but of course Jensen's got some demons of her own (hey, that's Linden's thing too!): she suspects her stepfather may be a serial killer himself and she's coming to terms with the disappearance of her 16-year-old brother. And if the similarities aren't enough, Those Who Kill is adapated from a Danish series, just like The Killing.  Of course, A&E Network president Bob DeBitetto says in a press release that this serial killer show is going to be different. "Those Who Kill is not a crime procedural about serial killers – it’s a deep serialized character portrait of two compelling yet damaged individuals coming together through the revelation of their dark past." And to be fair, as much as we love to joke about the overuse of serial killers on television, we've got to admit, about half of the programming on any given night would be dead in the water without them.  More:'Bates Motel' Recap: One Severed Hand, Coming Right Up'Bates Motel' Checks in for a Second SeasonChloe Sevigny Coming to 'The Mindy Project'  From Our PartnersJessica Alba Bikinis in St. Barts (Celebuzz)Pics of The Rock Making Things Look Small (Vulture)
  • Margaret Thatcher's Death Makes 'Ding Dong The Witch is Dead' a Top 40 Hit
    By: Kelsea Stahler April 09, 2013 12:46pm EST
    We're all well-aware about the late Margaret Thatcher's complicated relationship with pop culture, especially when it comes to music. The number of songs written about her eventual death can't even be counted on one hand, and Britain's comedians continually took aim at the politician with almost hyperbolic levels of hate. So it should come as only a mild surprise that the day after her death, U.K. iTunes saw a jump in sales for Judy Garland's Wizard of Oz anthem "Ding Dong, The Witch is Dead."  It's not a coincidence. The rapid rise of the 1939 song is actually a result of a Facebook campaign that links the song directly to the death of the former British Prime Minister. The aptly-named "Make 'Ding Dong the Witch is Dead' Number 1 The Week Thatcher Died" campaign simply urges followers to buy the song, and stick it to the polarizing politician one last time. The song is currently at 27 on the U.K. iTunes charts, and the ensuing chatter can only push it further.  This may not be the rosy picture of every future politician's dreams, but at the very least, Thatcher was the sort of person who inspired passionate responses right until the end.  Follow Kelsea On Twitter @KelseaStahler More:Margaret Thatcher and Pop Culture: It's ComplicatedMargaret Thatcher Dies at 87Meryl Streep Pays Tribute to Margaret Thatcher  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)