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.
  • 4 Fatal Differences Between ‘The Great Gatsby’ Book and The Movie
    By: Kelsea Stahler May 10, 2013
    Baz Luhrmann’s The Great Gatsby was never going to be perfect. F. Scott Fitzgerald’s great American novel is a cornerstone of most American teenagers’ introduction into literature,  a deeply subtle book that’s so nuanced and delicate, it’s as if it was specifically built to resist filmmakers. Luhrmann’s 3D film, while diverting, cannot escape this obstacle. Conveying the ways in which Jay Gatsby’s (Leonardo DiCaprio) “romance” with Daisy Buchanan (Carey Mulligan) is a figment of his own ambition is essential to the story. As is the sheer capitalist nature of Gatsby’s infatuation, his own imperfection, and the unreliability of a narrator who so deeply admires Gatsby in every way. All of these elements dance lightly and deliberately to create a man who serves as the embodiment of the dangers of the American Dream. In the romantic, splashy summer blockbuster, those subtle elements are replaced by broad, bright brushstrokes that tell us when to think and feel, but wind up missing the heart and soul of Fitzgerald’s tragic novel. Now, I’m not an insane bookworm hell-bent on taking down films that attempt to bastardize the bound works of great women and men. I understand that a film is an interpretation of a book, and that inherently, they cannot be identical. The film can, however, be faithful. And while DiCaprio was working his darndest to hold onto the soul of the book, there are four things Luhrmann could have kept from the text to make that process a whole lot easier: The Elevator Scene That Spurred a Thousand English Essays At the press junket for The Great Gatsby at the Plaza in New York, DiCaprio spoke about the weight of a project such as Gatsby. “It’s American Shakespeare,” he said. There are similarities in the deliberate nature of both Shakespeare’s works and Fitzgeralds. Both writers wrote brief compositions, rendering every last syllable a precious one. Therefore, no paragraph – no matter how tiny – is insignificant. Every moment means something. It’s funny then, that one of the most discussed scenes in the book was missing from Luhrmann’s film. After Nick (played by Tobey Maguire in the movie) goes on a bender with Tom and his mistress Myrtle (Isla Fisher), Nick leaves the party with a Mr. McKee, though he was presumably expected to get loose with Myrtle’s flirtatious sister. When they step into the elevator, the operator asks Mr. McKee to stop touching the lever, and when McKee replies he didn’t know he was touching it, there’s a tinge of homoerotic tension that has confounded readers for years. That moment is followed by pregnant ellipses that lead to Nick, standing in his underwear next to McKee’s bed while McKee shows him his photographs. In the film, this becomes Nick making out savagely with Myrtle’s sister and waking up in his underwear on his own front porch. The simplficication of the scene drums up a bit of an issue for some interpretations of the novel: this potentially gay or bisexual interlude makes us question Nick’s narration as a reader. When he’s singing these bombastic praises of Gatsby, we have to wonder how much of his description is affected by his affection for Gatsby, and by bringing up this potential question of sexual preference, we could question just how far that affection goes. It’s not essential to the plot, but it would help the film to convey the deeper complexities of the friendship between Gatsby and Nick, which is, in a way, the heart of the novel. Daisy Buchanan is Not That Innocent Hooking mass audiences for a period piece of this size and scale without a sweeping romance would be near impossible. And serving up Daisy exactly as she is written is problematic; she’s a lot harder to fall in love with when we’re aware of her true nature. But Daisy isn't a wolf in doe’s clothing. She has affection for and at times, definitely loves Gatsby, but it’s shallow. It’s something Mulligan’s more sympathetic Daisy skirts a bit. Her Daisy is more of a victim of a bird cage built by her surroundings than a woman whose heart simply isn’t as big as her engrossing personality suggests. In the book, we see this when Daisy visits with her daughter when Gatsby comes to the Buchanans’ home for lunch. She plays with the child, remarks at how beautiful she is, and then sends her away with her nanny. The child isn’t a part of her soul, something most mothers can’t bear to live without. Instead, the sunny little imp is her plaything, and she comes out when it suits her and goes back to her surrogate mother when Daisy is done. Adding this moment into the film might have made Daisy unlikeable, which wouldn’t work for Luhrmann’s set up of the big moment in which Tom finds out Gatsby and Daisy have been canoodling at Gatsby’s mansion. However, it would have made the scene more true and far less soapy. When Daisy says she loved Tom and she loved Gatsby, Gatsby’s world is shattered by the disapperance of Daisy as his one true North. How could she love both of them? Could it be, she’s not who he thinks she is? But but it's not until this point and the subsquent scene in which Daisy runs over Myrtle that we can really make the film's Daisy out to be what she really is. The book makes quicker work of it. Even in the famous shirt-throwing scene, in which Daisy cries “I’ve never seen – I’ve never seen such beautiful shirts before” as Gatsby showers her with his expensive shirts as a means of proving his wealth, Mulligan’s portrayal of the scene makes it seem as though she’s crying about her missed time with Gatsby. In the book, that scene plays with uncertainty: it’s possible that she’s really just upset she missed out on the greater wealth on Gatsby’s side of the bay. Luhrmann softened Daisy so she wouldn’t put audiences off, but in the end, it means the film is working with a shell of the character that should be Gatsby’s undoing. Tom Is Not The Devil Part of the reason Daisy is so forgivable in this film is that her husband Tom (Joel Edgerton) is so God awful. Whereas Tom was always a bad guy in the novel (cheating on one’s wife constantly isn’t exactly the most admirable of traits, nor is Tom’s rampant racism), he’s a super villain in Luhrmann's film. The biggest issues are Tom’s moment with Myrtle’s husband following her death and the scene in which Daisy and Tom ignore Nick’s invitation to Gatsby’s funeral. The moment with Myrtle’s husband Wilson is changed from the novel, expunging Wilson’s fact-finding mission leading him to Gatsby’s pool (where he murders the young billionaire), and instead has Tom practically place the tools for murder into Wilson’s greased up hands like some sort of plot-quickening pixie. In the book, Tom simply tells Wilson the car that killed his wife was yellow (which is what leads him, independently, to Gatsby), but in the film, Tom takes on a persona not unlike Billy Zane’s crass billionaire in Titanic. He tells Wilson outright that Gatsby killed Myrtle, which sends Wilson right over to Gatsby’s in a plan so simple, you’d think Tom would do anything to get revenge on Gatsby. He’s gone from brutish husband to Wicked Willy tying Gatsby to the railroad tracks with one swift motion. Instead of Gatsby’s downfall being a result of his own unwarranted, amoral fiscal ambition, it’s all because of Tom, who practically gave Wilson a map to Gatsby’s house and loaded his gun for him. That goes against the point of Gatsby’s character, which is to serve as a warning about the dangers of American ambition. Gatsby propelled himself towards his end, not some jealous husband. Later, when Gatsby has died, Tom has Daisy and their daughter packed up and refusing Nick’s phone calls, but one longing look from Daisy as Tom orders the phone to be hung up signals that Tom has her in a sort of vice. She seems more a prisoner than a woman whose vapid charms ruined a man. She’s too sympathetic, Tom’s too evil, and Gatsby is too blameless. The Ballad of Gatsby and Daisy Is Missing An Essential Element: Capitalism The passage in which Nick describes Gatsby falling in love with Daisy includes language so financial in nature that it exposes the truth of what Daisy represents for Gatsby. Swathed in romantic moments of longing for even a slight graze of Daisy’s hand, Nick says that Gatsby “had taken her under false pretenses” and later says that Gatsby didn’t know “how extraordinary a ‘nice’ girl could be,” suggesting that he’s traded in lesser ladies before Daisy. While Gatsby winds up head over heels in love by the end of the passage, the phrasing is tinged with the idea of trading and goods. Gatsby moved up to a nice girl, a rich girl his station didn’t afford him before. And this idealistic, ambitious-to-a-fault young man fell in love with a beautiful girl, and more importantly he fell in love with what her requited love would mean for his life. He wouldn’t be some poor soldier from North Dakota. He would be man worthy of Daisy’s station by association. It’s this dream that Gatsby is chasing as he builds his wealth through his gangster-esque activities. While he thinks he’s after Daisy, he’s truly after the success that Daisy represents. He’s in love with the success she represents. And while the film does convey Gatsby’s inability to feel satisfied upon reuniting with Daisy, the pervading question of money and how Daisy is just one rung of the ladder of Gatsby’s yearning for success is muddled and buried a bit by the beauty of a big screen romance. Luhrmann’s Gatsby is beautiful. It’s fun. It’s an absolute spectacle. But it’s missing these subtle, yet monumental moments and had Luhrmann kept them in, we could be looking at a more dismaying, but far more faithful Gatsby. Follow Kelsea on Twitter @KelseaStahler More:'Gatsby': Leonardo DiCaprio on Friendship with Tobey MaguireCelebrity Style Stolen From 'Gatsby''Great Gatsby' Soundtrack: What if Beyonce Lived in the '20s?  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • 'American Idol' Top 2 Results: The Most Unthinkable, Shocking Elimination in Years
    By: Kelsea Stahler May 09, 2013
    What just happened? Against all odds, the clear favorite to win the whole shebang on American Idol, Angie Miller, was sent home in the most shocking Idol elimination in years.  But how? Obviously Candice Glover nabbed a spot in the Top 2 thanks to her insurmountable talent. It was Kree Harrison, who's struggled in past weeks to regain her footing, that was most likely to face the chopping block. Still, when Ryan Seacrest opened the cruel, cruel envelope the news fell like a boulder on a greenhouse. Angie's visions of her glitter shower were dashed right before her eyes, and we watched her deflate like a shiny, red ballon. We all thought she'd win, and it was clear she thought so too.  Still, it seems more than a little strange that Angie is the eliminated party this week. She was a clear favorite throughout the competition and every time she even slightly slipped, she'd step back behind that piano of hers and the magic would happen. So how did the Disney princess (or Miley Cyrus-look-a-like depending on how Nicki Minaj is feeling) fall to the bottom?  The best guess is a combination of her video package during the Hometown visits portion of Wednesday night's show and the always overwhelming power of country music. Despite Kree's spot in the bottom two last week, she's a country girl and watching Keith Urban swoon over her vocal stylings has to do something for her voters.  Then there are the Hometown visits. Both Kree and Candice's visits were full of heart and growth. Each visit showed how far they've come and the hardships they'd overcome, resulting in  the their final performances in front of their friends and neighbors. Angie's, while sweet, lacked the gravity of her competitors. It was as if she'd already skipped ahead to the successful pop star phase of life. Everywhere she went, crowds followed, treating her like Beverly, Massachusetts' own personal Miley. This is a show whose message is all about plucking singers from hardship, small towns, and other forms of extreme obscurity, and it's a little hard to buy into that when one contestant is already slipping right into the role of star. Watching Kree and Candice sweetly react in genuine awe to their improbable circumstances is the push voters needed (on top of their incredible ballads Wednesday night) to send them right to the top.  The competition is too tight for those elements to not matter. All three girls are incredibly talented. All three girls represent different genres. The real difference at this point is personality. Who do we like best? Who do we want, with our heart of hearts, to reach that shining stage at the finale? Do we want the girl whose body image held her back for so much of her life, but who rose up to be an incredible, confident performer? Do we want the young woman who perservered after life ripped her family from her to become a sweet, caring, motherly person with the voice of an angel? Or do we want a gifted, bubbly, easy-going girl who doesn't seem to have a care in the world? Answers to that question may vary, but voters' reponses seems clear. Angie just wasn't doing it for them the way powerhouse Candice and the inhumanly kind Kree were. But that doesn't make it any easier to watch the chipper songstress receive her fate and tear up through her swan song. Much like Amber Holcomb before her, Angie could barely muster a complete lyric after her elimination, but powered through until Ryan brought her family onstage to comfort her.  It's always hard to watch someone go, especially when witnessing the cut from Top 3 to Top 2, but seeing Angie's sparkling tears was especially tough, because it seemed almost impossible that Angie wouldn't be standing in the final duo and only slightly impossible that she wasn't going to win the whole thing. No one was expecting this.  But it's done now. Angie is out and Kree and Candice are in. Will Idol fans continue their country streak and crown Kree? Or will they reward Candice's brain-melting voice and give her her moment like this? Follow Kelsea on Twitter @KelseaStahler More:Randy Jackson is Leaving 'American Idol''American Idol' Hometown Visits Recap: Who's Going Home?The Ratings Are Low, But Don't Blame the 'Idol' Judges  From Our Partners:Watch Justin Bieber Attacked in Dubai (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Yo, Yo, Yo: Randy Jackson Leaving 'American Idol' is Not Dope, Y'all
    By: Kelsea Stahler May 09, 2013
    I can barely comprehend the following statement, but here goes: Randy Jackson will utter his last "In it to win it" next week on the penultimate episode of American Idol's Season 12. After that, he will return full time to his other job: being a successful artist manager. This is the first confirmation of an Idol judge leaving since rumors swirled that producers were replacing Jackson, Keith Urban, Nicki Minaj, and Mariah Carey. "Yo! Yo! Yo! To put all of the speculation to the rest, after 12 years of judging on American Idol I have decided it is time to leave after this season. I am very proud of how we forever changed television and the music industry. It's been a life changing opportunity but I am looking forward to focusing on my company Dream Merchant 21 and other business ventures," he says in an exclusive statement to E!. But what are we supposed to do now? Look, Randy. I know that I've given you a good ribbing for going on four years now about your out of control us of "In it to win it" and "This is the start of the night, y'all" and, of course, "Yo, yo, yo" (or "Yo. Dawg." – take your pick), but I didn't mean it. After Simon Cowell and Paula Abdul left, I thought we were through. Then I realized that there was still some spark between you and Mr. American Idol, Ryan "Dawg" Seacrest. You started phasing out the made-up word "pitchy" in your commentary. My faith was restored.  Then, when the weight of 10 seasons of judging young singers who all think they're the next Mariah started to bog you down. You got a little saltier. You started being honest, almost mean, with contestants. "Yo, dawg. That was bad." I liked it. Disgruntled Randy, with his increasingly colorful glasses and exponentially more ornate brooches, was a renewed Randy. You were tougher, and it worked.  It didn't matter that you said slightly nonsensical things like, "You slayed the biggest fish of the night" to Jessica Sanchez back in Season 11. It was no problem that most of the time, you really didn't say much and your advice (as Harry Connick, Jr. recently pointed out) was stuck in the Idol bubble. It didn't matter that as a judge, you weren't really teaching the contestants anything. Your importance is a bit more lofty: Randy, you were one of our last ties to the original Idol – the one full of promise that finding the next Kelly Clarkson was constantly the goal and a distinct possibility. Now, without you, all we've got left is the slightly grating Idol theme song and Seacrest, who's now shouldering the expectations of brand loyalists all on his own.  We get it. Twelve years of commenting on the same 100 covers of classic songs would do something to a person. It would drive them to seek out greener pastures – or at least pastures where the 500,000th coming of William Hung isn't a sure-fire encounter. And believe us, we could hear it in every word that came out of your mouth. But that doesn't change the fact that selfishly and perhaps somewhat ridiculously, we always thought that the celebrity judges around you would filter in and out, like passengers as a commuter train, and at the end of the line, when Idol's journey was over, you would hang up your "yo" pin and we'd all disembark together.  That day will never come. And now the future of this pop culture staple is completely changed at a time when Fox seems hell-bent on making it match The X Factor and The Voice. Where do we go from here? Certainly not into any familiar Idol territory. Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Hometown Visits Recap: Could Candice Go Home?The Ratings Are Low, But Don't Blame the 'Idol' Judges'American Idol' Top 4 Recap: Amber Makes Nicki Cry  From Our Partners:Watch Justin Bieber Attacked in Dubai (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Did Elisha Cuthbert Really Glare at Another Toronto Maple Leaf Hockey Wife?
    By: Kelsea Stahler May 09, 2013
    There wasn't much of a happy ending for Happy Endings star Elisha Cuthbert on Wednesday night as she cheered on her boyfriend, Toronto Maple Leafs captain Dion Phaneuf, in the NHL playoffs. The Maple Leafs lost to the Boston Bruins, and Cuthbert was captured on video giving Maple Leafs goal-tender James Reimer's wife April the stink eye. The "Elisha Cuthbert b***h-face" rumors ran rampant almost immediately, but was our sweet, TV star darling really throwing shade at another hockey wife? As it turns out, the answer is a fairly resolute "no." The women exchanged frustrated glances after the Maple Leafs' defeat was official, suggesting that rather than the duo sparring off with their best death stares over some offhand comment, they were expressing their dismay at their significant others' playoff loss.  This video shows a longer look at the two women, helping to support the suggestion that it was all a moment of commiseration. Of course, there's no recorded audio from their box seats, so it's always possible that one little lady blamed the other's hunky hockey player for the Maple Leafs' bad news. But we're big fans of Cuthbert around here and she wrote on Twitter that it was just a misunderstanding:  Things are not always what they seem. I'm insulted and disappointed by a lot of these Comments. That's real. Not a 3 sec. Clip. — Elisha Cuthbert (@HappyElishas) May 9, 2013 We're inclined to believe the chipper actress, but check out the video for yourself. What do you think is happening in this video? Follow Kelsea on Twitter @KelseaStahler More:Gucci Mane 'Bitch, I Might Be' Pic Is Probably FakeManti Te'o's Fake Girlfriend Lands on Maxim's Hot 100Selena Gomez Swaps Bieber for a Manly Man in New Video  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • 'American Idol' Hometown Visits Recap: Could Candice Glover Get The Boot?
    By: Kelsea Stahler May 09, 2013
    Despite a string of earth-shattering performances and the ability to connect on every possible, minute level, Candice Glover can't go into Thursday night's American Idol eliminations with one percent certainty that she'll stay. She and Kree Harrison have been taken turns having panic attacks in the bottom two for the last two weeks, and with Kree's sudden surge of emotion and vitality, Candice might actually have a real threat to her spot in the Top 2. Of course, I hope with every last fiber, cell, proton, neutron, and electron of my heart that Candice not only stays, but that she wins the whole competition. But I don't trust the voters. Angie Miller, and all her Miley Cyrus charm (Nicki Minaj, Met Gala attendee, said it – not me), is a firm hook for one spot in the Top 2. Audiences love to love her and her style, which more broadly appeals to Idol’s pop-minded audience. They want sweeping, sweet singing. They want someone who looks prime to have their face slapped on a Thermos or a novelty blanket. They proved it last year when they crowned the boy with a sweet song called "Home" over a tiny little lady with a ridiculously powerful voice (Phillip Phillips and Jessica Sanchez, for those of you just joining us). The good thing is, Angie has that powerful voice too, and she proved it with her three admittedly fantastic (and far less theatrical than ever before) performances of Elton John’s “Sorry Seems to Be the Hardest Word,” Pink’s “Try,” and Emeli Sande’s “Maybe,” which Angie played at the piano for her grand finale. She’s primed for a top two slot, and there’s no way she’s not going to get one. But it’s not Angie who’s competing for Candice’s votes. It’s Kree. After falling from grace during the last two performance rounds (especially last week when her swift stroke of rebellion against guest mentor Harry Connick, Jr. backfired spectacularly), Kree slipped from top-of-the-heap country crooner to inches from packing her bags and leaving a week early. This week, between her phenomenal rendition of Rascal Flatts’ “Here Comes Goodbye” and her incredibly moving and emotional reprisal of Carrie Underwood’s “See You Again,” which she sang for her deceased parents on her hometown visit, Kree is back. She’s not ready to go home, and while her performances of “Perfect” by Pink and “Better Dig Two” by the Band Perry weren’t wowing the judges, they may have won over audiences with the easy-going, country style of Kree’s unique voice. That, plus her genuine emotions as she remembers the deaths of her parents with her similarly sweet sister when she pays a visit to Texas, may be the ticket she needs to overtake Candice. As sweet and talented as Kree is, and as touched as we all were by her video package, the thought that she might take Candice “A-plus-mazing” Glover’s spot in that finale is crazier than the involuntary spasms of joy Keith Urban has when she sings. Candice came right out of the gate with Jimmy Iovine’s pick for her: “One” by U2 (also covered by Mary J. Blige). And as soon as she started singing it I worried she’d fall into the Mary J. trap: she had the boots, she has the “I’m so full of emotion I have to hop onstage while I sing” thing going, and she’s got the voice of a soulful angel. But by the end, it’s a rendition that Candice truly owns. It’s not Mary’s, it’s not Bono’s, it’s one hundred percent Miss Glover’s. Then came the storm cloud: the judges picked another Emeli Sande song, “Next To Me.” It allowed Candice to play with a contemporary pop song, but not in the right way. The song was too wispy for Candice’s impressive vocals, leaving her to struggle to make the song a bigger moment than the lyrics and melody wanted to allow. It was still wonderfully enjoyable because Candice can sing anything, but it was certainly her dark spot for the night. Luckily, Nicki gave her a wee bit of a boost with her bonding moment in which she declared Candice as the most confident person on the stage and cried tears of proud joy over how far the church singer has come. It’s that moment, and Candice’s final number, that will keep her from going home if she stays. After that incredibly palpable, heart-wrenching conversation, Candice later closes the show with a song that could have ruined her. The Idol production staff picks West Side Story’s “Somewhere,” also known as the song every high school girl trying out for the school play loves to sing, but Candice brought it back to where it belongs. She took it from an overplayed, once great ballad, to the earth-shattering emotional outpouring that it was written to be. Literally, the only notes I could muster while she sang were “OH MY F**KING GOD.” (Only, my notes didn't have those handy little asterisks.) Listening to Candice sing this song of love torn asunder by circumstances completely out of the lovers’ control was beyond the seeming perfection of a moving Angie ballad or even Kree at her best. But Candice isn’t on a different tier. It’s not as if she’s doing something better, per se. Candice just is the music. She is that song. It’s inseparable from her, despite the years and years of history and the multitudes of versions that song has seen. And while all of this is serving to boost her up to the top, there’s also a distinct possibility her fans (who, according to Keith, should be all people with a pulse) will be trading in the tears she evoked on Wednesday night for tears of injustice. Candice deserves to win this thing, hands down. But I only get 50 votes. There’s a whole voting pool out there, and they may not see things the way I and everyone else on the Candice side of life see it. One thing is for sure: If we have to endure a week of Idol without the promise of a Candice performance next week, anyone who didn’t vote for this incredible, talented, amazing singer will feel the full weight of their faulty decisions and they’ll see just how right the rest of us were all along. Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Results: Amber Holcomb Breaks Down During Elimination'Idol' Top 4 Recap: Amber Makes Nicki Cry'Idol' Ratings Are Low, But Don't Blame Mariah From Our Partners:Watch Justin Bieber Attacked in Dubai (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Why Kim Kardashian's Pregnant Bikini Magazine Cover is Good For America
    By: Kelsea Stahler May 08, 2013
    Believe it or not, this photo of Kim Kardashian is helping us as a society. While vacationing (or creating drama for Keeping Up With the Kardashians) in Greece, photogs captured Kimmie sporting her boldest look yet: a pregnant and proud beach babe. And while there are still some fans hitting Twitter and every comment section they can find to protest what the rest of us can see as plain as day, Kardashian is embracing her pregnancy in a natural, beautiful way by showing the public what a real pregnant woman looks like.  Kardashian has been inching towards this complete and total acceptance of her mother-to-be shape in the wake of a vicious tirade of fat-shaming that started from the moment baby Kimye began to show. Cloaked under the guise of Kim's poor fashion choices, her growing size became almost more relevant than the fact that she and Kanye West might possibly be popping out the most important child in the history of pop culture (that is, until Jay-Z and Beyonce have their second baby). At first, Kardashian was sheepish about her new shape, focusing on dieting while with child and praising outfits for reasons like "I hardly look pregnant! lol." Then, in April, Kardashian rebelled against the negative chatter, posting a bare baby bump with the caption "baby love" and slowly started to look on her new shape with renewed positivity.  Cut to May and we find Kardashian wearing a form-fitting gown at the 2013 Met Gala (even if its pattern was a little more Mrs. Doubtfire than we would have liked), caressing her pregnant belly like a proud mama-to-be, and strolling nearly nude down picturesque Mediterranean beaches, without a care in the world about the inevitable nearly-nude paparazzi pictures. It's enough to make even the biggest Kardashian detractors smile.  Kimmie may not be the best model for the American dream. She may not be the classiest celebrity on our roster of unyielding obsessions. But she is teaching us the very important lesson that, try as they might, celebs like Hilary Duff and Jessica Simpson before her weren't quite able to promote: Pregnant women gain weight and change shape, and that's a wonderful, natural thing. Kardashian, for all her faults, is a beautiful woman now and before her pregnancy, and maybe, by inadvertently creating such a robust conversation surrounding the way Hollywood talks about pregnant women, this polarizing reality star might actually be making a difference in a real way.  Follow Kelsea on Twitter @KelseaStahler More:Kanye West Singing to Kim K: 'You're Awesome''Bad Fashion' Is Not An Excuse For Fat-Shaming Kim KardashianAll of Kim Kardashian's Pregnancy Looks - GALLERY  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • Selena Gomez's New Video Replaces Justin Bieber With a Real Manly Man
    By: Kelsea Stahler May 08, 2013
    It's pretty expected these days to see artists bring in doppelgangers for their significant others (and significant exes), but Selena Gomez isn't playing that game with her possibly rekindled romance with Justin Bieber. Her new music video for "Come And Get It" not only dabbles in the grown-up gyrations of Rihanna's most sensuous music videos, it also serves up a bona fide, stubbly, chiseled, manly man for Gomez's coquettish caresses.  We only get a few glimpses of her music video paramour in between shots of Gomez dancing beside a campfire and blowing (and grinding) in the wind in a field of breathtaking plant life. But finally, around the four-minute mark, we get a wide shot of this mystery man's Disney prince-worthy jaw and the kind of stubble that makes knees go weak.  Gomez may be rumored to be going back to the Bieber well, but at the very least, her video vixen alter ego's tastes in men are expanding from a privileged boy with a bad attitude to a real, honest M-A-N. Hubba hubba.  Follow Kelsea on Twitter @KelseaStahler More:Are Justin and Selena Back Together?Tickets on Sale For Selena Gomez's 'Come and Get It' TourWhat It's Really Like Where Selena Gomez's 'Spring Breakers' What Shot  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • Met Gala: Anne Hathaway's Blonde 'Do Straight Out of 'Star Trek' & 9 Other Red Carpet Lookalikes
    By: Kelsea Stahler May 07, 2013
    Anne Hathaway stepped out at the 2013 Met Gala (affectionately called the Met Ball) with a rather surprising new look: bright blonde locks. While they're sure to garner ire from her numerous detractors, we think Hathaway was actually one of the better dressed ladies on the red carpet at New York's Metropolitian Museum of Art. She did, however, remind of us a beloved science fiction character (in a good, totally sexy and complimentary way!). Girl, even though you told you were inspired by Debbie Harry, you're looking a little like Star Trek: Voyager's sexy Seven of Nine – and we love it.  But Hathaway wasn't alone, check out her Star Trek-esque look and nine other ladies drawing inspiration from pop culture (a few, perhaps unintentionally).  GALLERY: 10 Met Gala Looks That Resemble Pop Culture Memories Follow Kelsea on Twitter @KelseaStahler More:Anne Hathaway in 'Caberet' on Broadway?Why Does Everyone Hate Anne Hathway?Anne Hathaway Apologizes for Her Ugly Oscars Dress  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • Watch The National Pull a Bruce Springsteen at a New York Concert: Genius or Obnoxious?
    By: Kelsea Stahler May 06, 2013
      Fans of Brooklyn-based band The National are no stranger to their sorrowful anthems. Every single album of theirs is filled with sad love songs about loss and longing, but in recent years, they've worked to raise their star a bit. From their original compositions for Game of Thrones, to their covers for shows like Boardwalk Empire and even Bob's Burgers, to their recent documentary Mistaken For Strangers, The National is quickly widening its fan base. But the band's latest stunt may lose them a few devoted fans. As announced, The National played their hit song (and anthem of sadness) "Sorrow" over and over again for six hours at New York's PS1 museum. Music legend Bruce Springsteen has been known to play five-hour concerts, but his at least included storytelling and more than one of his original compositions. But this performance of 105 renditions of "Sorrow" takes the idea of the long, long (long) show to an entirely different place. The piece was part of Icelandic artist Ragnar Kjartansson's work called "A Lot of Sorrow." The band managed to change it up with a few renditions (see the version below in which the drummer took a break, adding a haunting simplicity to the well-worn tune), but it's hard to imagine listening to any song, especially one with such a downer mood, 105 times in a row without losing one's levity-deprived mind. (Even if someone in their crew thought to serve up a humorous set list with "SORROW" written out 105 times.) Watch the videos for yourself and let us know: Is this artistic use of The National's biggest song genius or obnoxious? Higher definition: Follow Kelsea on Twitter @KelseaStahler More:Mariah Carey and Miguel's '#Beautiful' Lacks Sex10 Questions For The Guy Who Attacked Justin BieberJustin Timberlake Announced Album Date and New Tour Dates From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
  • Mariah Carey and Miguel's New Song '#Beautiful' Isn't the Sex Explosion We Expected
    By: Kelsea Stahler May 06, 2013
    For a week now, Mariah Carey and her most recent collaborator (and purveyor of some of the most baby-making music in the industry right now) Miguel have been tantalizing fans with snippets of their new song "#Beautiful," which is undoubtedly a result of Carey's worst American Idol judging habit. (The number of times the singer has uttered "hashtag-pow" or "hash-tag" amazing is reaching Randy Jackson-levels of repetitiveness). Now, her social-media-friendly song is officially live on her website and as nice as it is, it's lacking the sheer sexual magnetism we expected from a collaboration between Mimi and the impossibly sexy Miguel.  While it's a little more on the summer fun side of pop music, the song does clearly pull from Miguel's signature gyration-instigating rhythms and Carey's signature runs. Still, it's just a little more easy-going that what we've come to expect from a pairing of this magnitude. Perhaps when we finally get a music video to pair with the music, the full picture of sexual desire will come together. Or, we'll chill out and realize this might actually make a great, simple summer jam and move on with our sunny lives.  Follow Kelsea on Twitter @KelseaStahler More:Mariah Carey Releases 'Oz' Single, But What's With The Autotune?'American Idol' Recap: Amber Holcomb Brings Nicki Minaj To Tears10 Reasons Mariah Is Perfect on 'Idol'  From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)