Getting naked is certainly one way to call attention to yourself in the new year!
Tara Reid Poses Nude On Instagram To Ring In 2015
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Jessica Simpson's Daughter Continues To Be Adorable In 2015
Jessica Simpson is celebrating the first days of the new year with some quality family time.
The star took to Instagram on Saturday, Jan. 3 to share some adorable snaps of her daughter Maxwell, 2. In the first, the toddler runs along the beach.
In the second, she poses with dad Eric Johnson, flashing a precious smile to the camera.
Simpson began celebrating the holidays back in late December, when she took to Instagram to share a festive fringe look.
Now, a couple weeks later, she's ringing in the new year right.
The star took to Instagram on Saturday, Jan. 3 to share some adorable snaps of her daughter Maxwell, 2. In the first, the toddler runs along the beach.
In the second, she poses with dad Eric Johnson, flashing a precious smile to the camera.
Simpson began celebrating the holidays back in late December, when she took to Instagram to share a festive fringe look.
Now, a couple weeks later, she's ringing in the new year right.
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Lea Michele Kicks Off The New Year With A Bikini Photo Spree
If Lea Michele's New Year's resolution is to spend as much time as possible in a bikini, she's doing an excellent job thus far.
The "Glee" star posted several sexy bikini photos to her Instagram account as she rang in 2015 in Cabo San Lucas, Mexico, with her boyfriend Matthew Paetz.
She kicked off the bikini photo spree on Thursday with a photo of herself wearing only a pair of teeny bikini bottoms as she took in the tropical view:
Michele then slipped into a stringy black and white bikini top and recruited some plantlife to pose alongside her:
Later, the 28-year-old switched it up with a neon pink bikini as she struck a pose on the sand:
And the star went back to black (and white) for another bikini photo on Friday:
We think it's safe to say that life's a beach for Lea Michele right now.
The "Glee" star posted several sexy bikini photos to her Instagram account as she rang in 2015 in Cabo San Lucas, Mexico, with her boyfriend Matthew Paetz.
She kicked off the bikini photo spree on Thursday with a photo of herself wearing only a pair of teeny bikini bottoms as she took in the tropical view:
Michele then slipped into a stringy black and white bikini top and recruited some plantlife to pose alongside her:
Later, the 28-year-old switched it up with a neon pink bikini as she struck a pose on the sand:
And the star went back to black (and white) for another bikini photo on Friday:
We think it's safe to say that life's a beach for Lea Michele right now.
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Rihanna Continues To Vacation In A Bikini
It's no secret that Rihanna has been spending her holidays under the sun in the Carribean islands.
On Saturday, the star reminded us of that fact when she shared a snap of her string bikini on Instagram.
The singer definitely appears to be getting some much deserved R&R on her trip. On Dec. 30, she took to Instagram to share a picture appreciating the natural beauty of her surroundings.
We wouldn't mind escaping there as well.
On Saturday, the star reminded us of that fact when she shared a snap of her string bikini on Instagram.
The singer definitely appears to be getting some much deserved R&R on her trip. On Dec. 30, she took to Instagram to share a picture appreciating the natural beauty of her surroundings.
We wouldn't mind escaping there as well.
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Sofia Vergara Cheers On The Steelers
Sofia Vergara is supporting her new fiancé Joe Manganiello’s hometown team on Saturday.
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Benedict Cumberbatch Says Wedding Planning Not A Priority
Benedict Cumberbatch brought a lot more than his signature charm to the red carpet at the Palm Springs International Film Festival on Saturday.
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Kaley Cuoco Says Her Comments On Feminism Were 'Taken Out Of Context'
Kaley Cuoco wants to clear the air after her controversial comments about feminism in Redbook Magazine made headlines.
The "Big Bang Theory" star posted a photo of herself from the magazine's February 2015 issue on her Instagram account on Thursday, adding a lengthy caption apologizing to those who were offended by her quotes:
When Redbook asked Cuoco if she considered herself a feminist, Cuoco responded:
The 29-year-old also told the magazine that she enjoys cooking for and "serving" her tennis player husband Ryan.
"It makes me feel like a housewife; I love that. I know it sounds old-fashioned, but I like the idea of women taking care of their men," she said.
The "Big Bang Theory" star posted a photo of herself from the magazine's February 2015 issue on her Instagram account on Thursday, adding a lengthy caption apologizing to those who were offended by her quotes:
When Redbook asked Cuoco if she considered herself a feminist, Cuoco responded:
Is it bad if I say no? It's not really something I think about. Things are different now, and I know a lot of the work that paved the way for women happened before I was around ... I was never that feminist girl demanding equality, but maybe that's because I've never really faced inequality.
The 29-year-old also told the magazine that she enjoys cooking for and "serving" her tennis player husband Ryan.
"It makes me feel like a housewife; I love that. I know it sounds old-fashioned, but I like the idea of women taking care of their men," she said.
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Hayden Panettiere Smiles With Baby Daughter In New Snap
Hayden Panetierre is all smiles thanks to her adorable baby daughter Kaya.
In a new snap posted to fiance Wladimir Klitschko's Instagram, the actress, who gave birth Dec. 9, grins while holding her sleeping daughter's head.
In December, Panettiere opened up to People magazine about the joys of being a mother.
"[It's] such a surreal experience and so out of body," she said. "You’re suddenly looking at this little thing like, ‘Oh, that was you in my belly this whole time. [We’re] just getting to know her."
“She’s really so sweet," she continued. "I’m sure that’s the way it’s meant to be, because when they are putting you through the ringer you’re like, 'You are so lucky you’re cute!'"
In a new snap posted to fiance Wladimir Klitschko's Instagram, the actress, who gave birth Dec. 9, grins while holding her sleeping daughter's head.
In December, Panettiere opened up to People magazine about the joys of being a mother.
"[It's] such a surreal experience and so out of body," she said. "You’re suddenly looking at this little thing like, ‘Oh, that was you in my belly this whole time. [We’re] just getting to know her."
“She’s really so sweet," she continued. "I’m sure that’s the way it’s meant to be, because when they are putting you through the ringer you’re like, 'You are so lucky you’re cute!'"
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'Selma,' 'Unbroken' Snubbed By Producers Guild Awards
The Producers Guild of America announced its nominees for The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures on Monday, leaving presumed Oscar contenders "Selma," "Unbroken," "Interstellar" and "Into the Woods" empty handed. Since 1995's "Braveheart," no Best Picture winner at the Academy Awards has failed to secure a PGA nomination. (According to In Contention editor Kris Tapley, screeners for either "Selma" or "Interstellar" were not readily made available.)
In place of those films were some surprises: Clint Eastwood's "American Sniper" -- which continues to rake in cash in a limited release -- scored a PGA nomination, as did indie sensations "Nightcrawler" and "Whiplash." Oscar heavyweights "Boyhood," "Birdman," "The Imitation Game" and "The Theory of Everything" were also cited. The full list of nominees is below:
"American Sniper" (Warner Bros. Pictures)
Producers: Bradley Cooper, p.g.a., Clint Eastwood, p.g.a., Andrew Lazar, p.g.a., Robert Lorenz, p.g.a., Peter Morgan, p.g.a.
"Birdman" (Fox Searchlight Pictures)
Producers: Alejandro G. Iñárritu, John Lesher, James W. Skotchdopole
"Boyhood" (IFC Films)
Producers: Richard Linklater, p.g.a., Cathleen Sutherland, p.g.a.
"Foxcatcher" (Sony Pictures Classics)
Producers: Megan Ellison, p.g.a., Jon Kilik, p.g.a., Bennett Miller, p.g.a.
"Gone Girl" (20th Century Fox)
Producer: Ceán Chaffin, p.g.a.
"The Grand Budapest Hotel" (Fox Searchlight Pictures)
Producers: Wes Anderson & Scott Rudin, Jeremy Dawson, Steven Rales
"The Imitation Game" (The Weinstein Company)
Producers: Nora Grossman, p.g.a., Ido Ostrowsky, p.g.a., Teddy Schwarzman, p.g.a.
"Nightcrawler" (Open Road Films)
Producers: Jennifer Fox, Tony Gilroy
"The Theory of Everything" (Focus Features)
Producers: Tim Bevan & Eric Fellner, Lisa Bruce, Anthony McCarten
"Whiplash" (Sony Pictures Classics)
Producers: Jason Blum, Helen Estabrook, David Lancaster
For the full list, head to HitFix.
In place of those films were some surprises: Clint Eastwood's "American Sniper" -- which continues to rake in cash in a limited release -- scored a PGA nomination, as did indie sensations "Nightcrawler" and "Whiplash." Oscar heavyweights "Boyhood," "Birdman," "The Imitation Game" and "The Theory of Everything" were also cited. The full list of nominees is below:
"American Sniper" (Warner Bros. Pictures)
Producers: Bradley Cooper, p.g.a., Clint Eastwood, p.g.a., Andrew Lazar, p.g.a., Robert Lorenz, p.g.a., Peter Morgan, p.g.a.
"Birdman" (Fox Searchlight Pictures)
Producers: Alejandro G. Iñárritu, John Lesher, James W. Skotchdopole
"Boyhood" (IFC Films)
Producers: Richard Linklater, p.g.a., Cathleen Sutherland, p.g.a.
"Foxcatcher" (Sony Pictures Classics)
Producers: Megan Ellison, p.g.a., Jon Kilik, p.g.a., Bennett Miller, p.g.a.
"Gone Girl" (20th Century Fox)
Producer: Ceán Chaffin, p.g.a.
"The Grand Budapest Hotel" (Fox Searchlight Pictures)
Producers: Wes Anderson & Scott Rudin, Jeremy Dawson, Steven Rales
"The Imitation Game" (The Weinstein Company)
Producers: Nora Grossman, p.g.a., Ido Ostrowsky, p.g.a., Teddy Schwarzman, p.g.a.
"Nightcrawler" (Open Road Films)
Producers: Jennifer Fox, Tony Gilroy
"The Theory of Everything" (Focus Features)
Producers: Tim Bevan & Eric Fellner, Lisa Bruce, Anthony McCarten
"Whiplash" (Sony Pictures Classics)
Producers: Jason Blum, Helen Estabrook, David Lancaster
For the full list, head to HitFix.
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Russell Crowe Comes Under Fire For Saying Actresses Must Act Their Age
In an interview with Australian Women's Weekly, Russell Crowe made some inflammatory comments about actresses and age-appropriate roles. Crowe's remarks appeared online two weeks ago, but caught a wave of attention on Monday morning that resulted in accusations of sexism.
Crowe was promoting his directorial debut, "The Water Diviner," when he spoke about portraying a father of three grown sons in the movie. Saying he couldn't have played the role 20 years ago, Crowe launched into a sermon about women's place on the big screen:
A slew of vitriolic headlines popped up in response to the actor's remarks. Slate, for example, wrote Russell Crowe Says Older Women Don't Get Movie Roles Because They Refuse to Act Their Age, while Jezebel published its reaction with the headline Always Full of Shit Russell Crowe Says Actresses Should Act Their Age. Here’s Everything Russell Crowe Got Wrong About Women In Film, Australian site Junkee wrote.
HuffPost Entertainment contacted Crowe's rep for further comment but did not receive an immediate response.
Crowe was promoting his directorial debut, "The Water Diviner," when he spoke about portraying a father of three grown sons in the movie. Saying he couldn't have played the role 20 years ago, Crowe launched into a sermon about women's place on the big screen:
The best thing about the industry I'm in -- movies -- is that there are roles for people in all different stages of life. To be honest, I think you'll find that the woman who is saying that [the roles have dried up] is the woman who at 40, 45, 48, still wants to play the ingénue, and can’t understand why she's not being cast as the 21-year-old.
Meryl Streep will give you 10,000 examples and arguments as to why that's bullshit, so will Helen Mirren, or whoever it happens to be. If you are willing to live in your own skin, you can work as an actor. If you are trying to pretend that you’re still the young buck when you’re my age, it just doesn’t work.
I have heard of an actress, part of her fee negotiation was getting the number of children she was supposed to have lessened. Can you believe this? This [character] was a woman with four children, and there were reasons why she had to have four children -- mainly, she lived in a cold climate and there was nothing to do but fornicate all day -- so quit arguing, just play the role!
The point is, you do have to be prepared to accept that there are stages in life. So I can’t be the Gladiator forever.
A slew of vitriolic headlines popped up in response to the actor's remarks. Slate, for example, wrote Russell Crowe Says Older Women Don't Get Movie Roles Because They Refuse to Act Their Age, while Jezebel published its reaction with the headline Always Full of Shit Russell Crowe Says Actresses Should Act Their Age. Here’s Everything Russell Crowe Got Wrong About Women In Film, Australian site Junkee wrote.
HuffPost Entertainment contacted Crowe's rep for further comment but did not receive an immediate response.
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Mathew Knowles Discusses Plans For A Destiny's Child Biopic
Last month’s string of Sony emails that were leaked by hackers brought controversy and unveiled private emails that were made all too public.
Among the once-confidential details the security breach highlighted was a proposed Destiny’s Child biopic presented by the group’s manager, Mathew Knowles. Shortly after the revelation made headlines on the web, the music mogul spoke about the project during an interview with the Wall Street Journal and said he would "absolutely" love to see it happen.
"Destiny’s Child, as you know, is the number one selling female group in the history of music. And their story, which starts at 9, 10-years-old in Houston, is really a story that really engages you,” Knowles explained to Wall Street Journal reporter, Lee Hawkins.
“It talks about their challenges, their successes, their failures. It talks about the death of my partner Ann Tillman. And it also talks about, which I think is one of the great aspects of a Destiny’s Child movie or a play, is the empowerment of the songs and the empowerment that Destiny’s Child has given to women.”
Beyonce's father, who in the past has publicly expressed future plans of a Destiny’s Child reunion tour, went on to add his current relationship with the group and whether or not they officially “broke up.”
“Most people don’t know that I still officially manage Destiny’s Child. And Destiny’s Child people sometimes use the word ‘broke up.’ Destiny’s Child has never broken up officially,” he clarified. “So don’t be surprised if one day there’s a new record and a tour because the group has never officially broke up.”
“There was a strategy years ago that we had that Destiny’s Child would put out an album, and each one of the ladies would put out their own solo project. And we did that because audience equals sales. Real simple. And the more audience you can build individually, which then becomes collectively Destiny’s Child, the bigger the brand becomes.”
Check out more of Mathew Knowles’ Wall Street Journal interview in the clip above.
Among the once-confidential details the security breach highlighted was a proposed Destiny’s Child biopic presented by the group’s manager, Mathew Knowles. Shortly after the revelation made headlines on the web, the music mogul spoke about the project during an interview with the Wall Street Journal and said he would "absolutely" love to see it happen.
"Destiny’s Child, as you know, is the number one selling female group in the history of music. And their story, which starts at 9, 10-years-old in Houston, is really a story that really engages you,” Knowles explained to Wall Street Journal reporter, Lee Hawkins.
“It talks about their challenges, their successes, their failures. It talks about the death of my partner Ann Tillman. And it also talks about, which I think is one of the great aspects of a Destiny’s Child movie or a play, is the empowerment of the songs and the empowerment that Destiny’s Child has given to women.”
Beyonce's father, who in the past has publicly expressed future plans of a Destiny’s Child reunion tour, went on to add his current relationship with the group and whether or not they officially “broke up.”
“Most people don’t know that I still officially manage Destiny’s Child. And Destiny’s Child people sometimes use the word ‘broke up.’ Destiny’s Child has never broken up officially,” he clarified. “So don’t be surprised if one day there’s a new record and a tour because the group has never officially broke up.”
“There was a strategy years ago that we had that Destiny’s Child would put out an album, and each one of the ladies would put out their own solo project. And we did that because audience equals sales. Real simple. And the more audience you can build individually, which then becomes collectively Destiny’s Child, the bigger the brand becomes.”
Check out more of Mathew Knowles’ Wall Street Journal interview in the clip above.
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Margaret Cho's Guide For Having A Successful Threesome
Margaret Cho wants you to have a great threesome.
But the comedian and host of TLC's new show "All About Sex" cautioned viewers of HuffPost Live that while a three-way is often the first thing couples try when they want to open up their sex lives, it's actually one of the more challenging types of intimate exploration. During a conversation with host Alyona Minkovski, Cho explained to an adventurous fan that threesomes offer the highest possibility for jealousy of any form of group sex, and it's important to take careful steps to ensure a satisfactory experience.
Watch Cho share her sex advice in the video above, and click here for her full HuffPost Live conversation.
Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
But the comedian and host of TLC's new show "All About Sex" cautioned viewers of HuffPost Live that while a three-way is often the first thing couples try when they want to open up their sex lives, it's actually one of the more challenging types of intimate exploration. During a conversation with host Alyona Minkovski, Cho explained to an adventurous fan that threesomes offer the highest possibility for jealousy of any form of group sex, and it's important to take careful steps to ensure a satisfactory experience.
Watch Cho share her sex advice in the video above, and click here for her full HuffPost Live conversation.
Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
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Young Cersei Has Been Cast For 'Game Of Thrones' Flashback
Young Cersei has been cast for an upcoming flashback in "Game of Thrones."
News recently broke that the hit HBO series would jump back in time at least once in the upcoming episodes. Now, thanks to a little digging on the part of Watchers on the Wall, we know that young actress Nell Williams will play a childhood version of Cersei Lannister. And she definitely looks the part.
![young cersei]()
Williams' previous credits include Jess in series "The Revolting World of Stanley Brown," and Young Birdy in TV movie "Loving Miss Hatto."
News recently broke that the hit HBO series would jump back in time at least once in the upcoming episodes. Now, thanks to a little digging on the part of Watchers on the Wall, we know that young actress Nell Williams will play a childhood version of Cersei Lannister. And she definitely looks the part.
Williams' previous credits include Jess in series "The Revolting World of Stanley Brown," and Young Birdy in TV movie "Loving Miss Hatto."
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Margaret Cho Discusses John Travolta's Sexuality On HuffPost Live
You can always count on Margaret Cho to hold nothing back.
The queer comedian stopped by HuffPost Live this week and discussed, among other things, her role as an out celebrity who gets approached for advice by closeted individuals in the entertainment industry. Cho told HuffPost Live that queer celebrities know that they can talk to her with confidence, but it was a whole other scenario when she controversially started speaking very publicly about John Travolta being gay.
"That was a weird kind of thing because I don't think [Travolta] is in danger of being bullied... He didn't even share it with me -- it's more that is the way that he is. And I felt bad and wanted to express the sorrow that I felt that here's somebody who is so great and has an amazing side of himself that he can't really share. I don't think that he's in danger of being hurt... somebody that's living in a conservative community would need that kind of protection or silence."
Check out the clip above to hear more from Cho or head here to watch the video in full.
The queer comedian stopped by HuffPost Live this week and discussed, among other things, her role as an out celebrity who gets approached for advice by closeted individuals in the entertainment industry. Cho told HuffPost Live that queer celebrities know that they can talk to her with confidence, but it was a whole other scenario when she controversially started speaking very publicly about John Travolta being gay.
"That was a weird kind of thing because I don't think [Travolta] is in danger of being bullied... He didn't even share it with me -- it's more that is the way that he is. And I felt bad and wanted to express the sorrow that I felt that here's somebody who is so great and has an amazing side of himself that he can't really share. I don't think that he's in danger of being hurt... somebody that's living in a conservative community would need that kind of protection or silence."
Check out the clip above to hear more from Cho or head here to watch the video in full.
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Marion Cotillard Opens Up About The 'Painful' Audience Response To Rob Marshall's 'Nine'
Academy Award-winner Marion Cotillard told HuffPost Live on Monday that she felt "sad" about the negative response to "Nine," director Rob Marshall's 2009 adaptation of the Broadway production.
The film has a 37 percent rating on Rotten Tomatoes, and it's generally regarded as a poor follow-up to Marshall's smash hit, "Chicago." Cotillard discussed "Nine" with HuffPost Live's Ricky Camilleri during a conversation about her latest film, the Dardenne brothers' "Two Days, One Night."
"I was kind of sad that people didn't connect with ["Nine"] because I love this movie so much," Cotillard said. "That was an amazing experience with, of course, Daniel Day-Lewis."
Even six years after the film's release, Cotillard isn't sure why audiences weren't more eager about it. Her guess: "Maybe people expected something more commercial."
"I love this movie, and this movie is here forever now, and I know that Rob Marshall loves this movie too and is very proud of it," she said. "I don't know if you really need to explain why it didn't work."
Even so, the actress said she would have loved for more people to see the movie.
"It was a little painful that the audience was not there," she said.
"Two Days, One Night" is in select theaters now.
Catch the full HuffPost Live conversation with Marion Cotillard.
Sign up for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
The film has a 37 percent rating on Rotten Tomatoes, and it's generally regarded as a poor follow-up to Marshall's smash hit, "Chicago." Cotillard discussed "Nine" with HuffPost Live's Ricky Camilleri during a conversation about her latest film, the Dardenne brothers' "Two Days, One Night."
"I was kind of sad that people didn't connect with ["Nine"] because I love this movie so much," Cotillard said. "That was an amazing experience with, of course, Daniel Day-Lewis."
Even six years after the film's release, Cotillard isn't sure why audiences weren't more eager about it. Her guess: "Maybe people expected something more commercial."
"I love this movie, and this movie is here forever now, and I know that Rob Marshall loves this movie too and is very proud of it," she said. "I don't know if you really need to explain why it didn't work."
Even so, the actress said she would have loved for more people to see the movie.
"It was a little painful that the audience was not there," she said.
"Two Days, One Night" is in select theaters now.
Catch the full HuffPost Live conversation with Marion Cotillard.
Sign up for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
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'The Bachelor' Guide To Dating, Love (And A Bit Of Implied Sex)
Tonight, the holy grail of so-bad-it’s-good reality TV returns. That’s right, “The Bachelor” is back -- this time starring the all-American farmer Chris Soules. (My friend has affectionately dubbed this season “The Farmer Gets A Wife,” which, assuming Mr. Chris gets engaged by the end of his 12-week “journey,” seems appropriate and accurate.)
If you’ve watched even a couple episodes of “The Bachelor” or its sister show, “The Bachelorette,” you know that contestants follow questionable guidelines for finding “true” and “lasting” love connections. Below are some of the lessons we’ve learned from “The Bachelor” about dating, love and never-to-be-spoken-of sex. (Hint: You probably should actively ignore 95 percent of them in your real love life.)
First impressions are about way more than being friendly. Stunts are encouraged when you meet a romantic partner. Wear a wedding dress or pretend to be pregnant or recite a poem!
Compare your dating life to a fairy tale whenever possible. Because, girl, you’re a princess.
Be straight. And white.
Wear a prom dress at least once a week. Updos optional.
![chris soules]()
The new Bachelor, Chris Soules, with the women who will compete for his heart.
It’s not a real date unless someone has a panic attack. True love means always having to jump off a cliff/dive into a cave/climb a bridge/repel down the side of a building.
Open up, open up, open up. The more tragic your past, the better.
Never ask questions about politics or religion. Those discussions are better left for after the engagement, amirite? (Unless you’re Andi Dorfman, who realized Juan Pablo had absolutely no idea how she felt about any of the above, and promptly dumped him.)
Have sex at an appointed time, but never directly acknowledge it or speak about it in mixed company. What happens in the fantasy suite, stays in the fantasy suite. And don’t even think about sleeping with your love interest beforehand, lest you encounter a host of weird sex issues.
If you’re a woman, expect to uproot your life and move to wherever your partner lives. Them's the breaks, ladies.
Remember, love is a journey. And you better be on that journey for the "right reasons."
If you’ve watched even a couple episodes of “The Bachelor” or its sister show, “The Bachelorette,” you know that contestants follow questionable guidelines for finding “true” and “lasting” love connections. Below are some of the lessons we’ve learned from “The Bachelor” about dating, love and never-to-be-spoken-of sex. (Hint: You probably should actively ignore 95 percent of them in your real love life.)
First impressions are about way more than being friendly. Stunts are encouraged when you meet a romantic partner. Wear a wedding dress or pretend to be pregnant or recite a poem!
Compare your dating life to a fairy tale whenever possible. Because, girl, you’re a princess.
Be straight. And white.
Wear a prom dress at least once a week. Updos optional.
It’s not a real date unless someone has a panic attack. True love means always having to jump off a cliff/dive into a cave/climb a bridge/repel down the side of a building.
Open up, open up, open up. The more tragic your past, the better.
Never ask questions about politics or religion. Those discussions are better left for after the engagement, amirite? (Unless you’re Andi Dorfman, who realized Juan Pablo had absolutely no idea how she felt about any of the above, and promptly dumped him.)
Have sex at an appointed time, but never directly acknowledge it or speak about it in mixed company. What happens in the fantasy suite, stays in the fantasy suite. And don’t even think about sleeping with your love interest beforehand, lest you encounter a host of weird sex issues.
If you’re a woman, expect to uproot your life and move to wherever your partner lives. Them's the breaks, ladies.
Remember, love is a journey. And you better be on that journey for the "right reasons."
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Ellen Page Isn't Happy That The Queen Honored Anti-Gay Northern Irish Politician Maurice Mills
Queen Elizabeth II has honored Northern Irish politician Maurice Mills with an MBE (or Member of the Most Excellent Order of the British Empire) -- and one out celebrity isn't pleased about it.
"Juno" star Ellen Page, who came out last year, expressed her disapproval of the honor on Twitter while retweeting a Vice article which cites Mills' remarks on the lesbian, gay, bisexual and transgender (LGBT) community.
The article Page retweeted was written by Vice's Sally Hayden, who points out that Mills, the Democratic Unionist Party councillor for Ballymena, once linked Hurricane Katrina, which devastated southern Louisiana in 2005, to Southern Decadence, New Orleans' six-day LGBT pride festival.
“The media failed to report that the hurricane occurred just two days prior to the annual homosexual event called the Southern Decadence festival which the previous year had attracted an estimated 125,000 people,” Mills, described as "a committed born-again Christian," is quoted as having said at the time. “Surely this is a warning to nations where such wickedness is increasingly promoted and practiced.”
The Independent also reported that Mills once argued that HIV/AIDS was the result of the "filthy practice of sodomy."
"Juno" star Ellen Page, who came out last year, expressed her disapproval of the honor on Twitter while retweeting a Vice article which cites Mills' remarks on the lesbian, gay, bisexual and transgender (LGBT) community.
“The Queen honored a politician who blamed Hurricane Katrina & AIDS on LGBT people: http://t.co/XoemvNNz1w pic.twitter.com/dYn21wIZuD” fuck that
— Ellen Page (@EllenPage) January 5, 2015The article Page retweeted was written by Vice's Sally Hayden, who points out that Mills, the Democratic Unionist Party councillor for Ballymena, once linked Hurricane Katrina, which devastated southern Louisiana in 2005, to Southern Decadence, New Orleans' six-day LGBT pride festival.
“The media failed to report that the hurricane occurred just two days prior to the annual homosexual event called the Southern Decadence festival which the previous year had attracted an estimated 125,000 people,” Mills, described as "a committed born-again Christian," is quoted as having said at the time. “Surely this is a warning to nations where such wickedness is increasingly promoted and practiced.”
The Independent also reported that Mills once argued that HIV/AIDS was the result of the "filthy practice of sodomy."
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Spencer Pratt Says 'The Money Was Beyond Worth' Being Vilified On 'The Hills'
Spencer Pratt ignited a firestorm with his immature antics on MTV's "The Hills," with the ill will toward him extending all the way to the family of his girlfriend and now wife, Heidi Montag. While it admittedly took a toll on the couple, the reality star explained in a HuffPost Live interview on Monday why he doesn't regret his tarnishing his reputation onscreen.
"The money was beyond worth it, when you count it back," Pratt told host Caitlyn Becker.
But his unlikeable television persona did ultimately become an obstacle for both he and Montag, he recalled:
Earnings from the hit reality show financed their $20,000-per-week spending habits, but the "Marriage Boot Camp" stars soon realized they didn't have the resources to spend that way forever.
"We were trying to live the J.Lo lifestyle and it's like, you gotta have hundreds of millions to live like Beyonce or J.Lo," Pratt said. "These people are spending a hundred grand a week. You gotta be Kim K to be a hustler like that."
Watch more from Heidi Montag and Spencer Pratt's conversation with HuffPost Live here.
Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
"The money was beyond worth it, when you count it back," Pratt told host Caitlyn Becker.
But his unlikeable television persona did ultimately become an obstacle for both he and Montag, he recalled:
I didn't think it was an issue until Heidi's whole family hated me, and I was like, "Wait, we're getting checks! Everything's all good over in 'The Hills,'" and they're like, "Leave him, Heidi, he's awful!" When it becomes a family thing... It's one thing to have [Lauren Conrad] having a problem with your relationship, but when Heidi's mom hates you and Heidi's sister hates you and Heidi's sweet brother Sky hates you -- yeah, it was definitely awful.
Earnings from the hit reality show financed their $20,000-per-week spending habits, but the "Marriage Boot Camp" stars soon realized they didn't have the resources to spend that way forever.
"We were trying to live the J.Lo lifestyle and it's like, you gotta have hundreds of millions to live like Beyonce or J.Lo," Pratt said. "These people are spending a hundred grand a week. You gotta be Kim K to be a hustler like that."
Watch more from Heidi Montag and Spencer Pratt's conversation with HuffPost Live here.
Sign up here for Live Today, HuffPost Live’s morning email that will let you know the newsmakers, celebrities and politicians joining us that day and give you the best clips from the day before!
↧
These ‘Bachelor' Couples Are Still Together As Of 2015
The premiere of season nineteen of "The Bachelor" is happening Monday (January 5) on ABC and we’re going to take a look back at all the couples from the show that are still together as of today!
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'Selma' Cinematographer Bradford Young Details Hollywood's Diversity Problem
Thanks to "Selma" and "A Most Violent Year," Bradford Young has become awards season's most talked about cinematographer. The 37-year-old has risen through the ranks in a short amount of time, singled out for his impressive visual eye and thoughtful commentary on race in America. HuffPost Entertainment spoke to Young about fruitful collaboration with Ava DuVernay and Hollywood's diversity problem.
![bradford young selma]()
"Selma" is your fourth project with Ava. Why do you have such a great relationship with her?
Ava and I are students of the same filmmakers. Haile Gerima is probably our biggest influence. We both really appreciated his contribution to independent, radical American filmmaking. He's sort of our guru in the filmmaking world. We both approached filmmaking from a similar space, which is that we consider it an art form, but also an art form that can hopefully somehow, in some way, make a contribution to the advancement of the human dilemma. That's the starting point. We really share a general concern about the art form itself. We feel like the art form can really bring a higher conversation to how we exist in the world and on the planet.
What was your goal for "Selma"?
We ultimately wanted to make a film that was not sentimental. We wanted to make a film that was involved. We didn't want to make a film that was completely observational. We wanted to make a film where people who would come and see the film later on would feel like they had a responsibility to be a participant in whatever social resistance was occurring at the time. I think we both felt like the only way we could get that across is if we put down all the tropes of conventional American biopics and really try to approach it from a personal level. Traditional biopics are generally find very little personality about the director in the voice or the grammar of the project. Ava is one of those filmmakers who believes her voice is the voice of a broader community in general. As long as she's true to her voice, she'll be able to speak to large chunks of our population, who are audiences who would come and see the film themselves. For us, it wasn't the active overall mantra of the film -- "We're not making a biopic" -- but we wanted to sort of divorce ourselves from what we see as the American filmmaking pantheon, which are films about individuals in the past that are sentimental and generic at best.
At the first New York screening, you discussed being a black cinematographer and how rare that is in the industry. How has that affected your life?
This wasn't a life at all. This was not something I imagined myself doing at 18 or 22. This wasn't even something I imagined myself doing at 27. I came to this realization that I wanted to be an image maker later in my life. The fact that I'm a black man living in America is something I've had to deal with from day one. These two things happened to collide. Divorced from the images I create as a cinematographer, I'm still dealing with the same socio-economic and cultural issues that 100 percent of all black people in America are dealing with. The other side of that is that my voice as a cinematographer is informed and shaped by my own sociology and psychology as a black man in America. Every frame, every inch of my being, every inch of how I light a scene or how I see the world is informed by that lens. I would say I've had the opportunity to work with filmmakers who have opened the door -- whether they be black, white or other -- and allowed me to access that part of my soul and put it into the images themselves.
But as many blessings and opportunities that have been given to me to be the image maker I am now, and the image maker I want to be, it still doesn't dismiss the fact that a majority of the sets I work on are not populated by folks of color. They are not diverse. "Selma," at the end of the day if you did it by numbers, the majority of the crew on the film was not African-American, was not of color. This is something I see every day and something I'm aware of. The good thing -- the beautiful thing -- is that nobody is under the illusion that I'm not aware of that. Everybody knows who I am, everybody knows my position on this thing. But listen, it's a continuous conversation we've been having for 400 years of our existence in this country, which is just allow me to be a human being, see me for who I am, let me see myself. Because if I don't see myself, how can I make a contribution to the greater society?
So much is made about diversity onscreen and behind-the-camera, but you don't often hear about the disparity on all production levels too.
Here's the deal: Most of us in the film community, across the board, work with people who we know, who we consider friends and family. If you use that as a barometer to look at the film world, it just shows you how segregated, xenophobic, sexist, racist and backwards we are as Americans in terms of how we deal with one another. I'm not throwing anybody under the bus for hiring who they hire, but if we're honest with ourselves -- for whatever it's worth for the person who could actually admit it to themselves -- we have a lot of work to do. If film sets are representations of the American public as a whole, which they're supposed to be, then film crews haven't moved out of the era that we see Martin Luther King fighting in during "Selma." Chris Rock's letter in The Hollywood Reporter is just proof of it. Here's a man who, for all intents and purposes, can try to ignore the fact that he's a black man working in a white industry. He wouldn't be able to, but he could try. But here's a guy with nothing to lose because he doesn't see it as a stain on his career to say, "Listen, I work in an industry where I don't see myself and it bothers me. No matter how much money you pay me, or how many times you pat me on the back and say I'm doing a good job, it still doesn't quench my thirst to see a greater form of representation in the filmmaking community." Steve McQueen said this a couple of years ago on a Hollywood Reporter panel with all the directors: How are you guys making films in American cities that have so much cultural diversity, but I don't see that diversity in your films? How can you make a film in New York but have only one black character, one Latino character, one Asian character? You have to look at these things from a different lens if we really want to change the landscape.
How do you think "Selma" will change things, if at all?
It's hard for me to detail or presume what that contribution will be, but I think that "Selma" will just be one of many elements that can help us change the landscape. I think we have a greater social movement ahead of us and that will have to include film -- it's going to be one of the elements that's going to help us change how we see ourselves and one another. I think this goes back to how Ava and I hooked up: Film has to be considered part of our culture. It has to be considered an art form and part of our cultural milieu. If it's not, if it's strictly about entertainment, then it's never going to make a contribution. We know how powerful film is. We look all over the world where people have tried to change their own history and film was a key component in the transformation of society. Film has to be part of that conversation. It can't always be about the box office. It also has to be about why we tell these stories. We tell these stories because we want people to remember where they came from and where they're going. How we can be better human beings? We strive to be better human beings in spite of so many temptations to be selfish. This is going to help us sit together in a room, see something that's challenging on many levels, and hopefully we can have a conversation about that.
That's a fallacy perpetrated by the industry: that these kind of films can't make a lot of money.
Money never created culture. Culture created the dollar. You can't manufacture culture with money. It's never worked. I agree. Let's just say, "Syriana," "Good Night, and Good Luck," films that are made out of Participant [the production company behind DuVernay's "Middle of Nowhere"]. These are films that have a social justice lens to them, and these aren't films lacking in box office. We want to see them. But it can't be about, "We can make films about change but we're not changing the way we make the films." The next level for us is to turn the mirror on ourselves as filmmakers and see ourselves in the stories we're trying to tell. If we don't, we're not going to change the cultural landscape. We'll just make movies and go back to our perfect vacuums.
Was there ever a moment where you realized you were really good at this?
I haven't experienced a level of enlightenment. I still feel like I have so much work to do. I have so much invested in this thing -- I really believe in the craft of cinematography. It's something I've committed my life to and I hope I'm blessed in the years to come as a practitioner of it. It's hard to say. But this goes back to the idea of representation. If I asked you or most people how many black cinematographers they could name, it would probably be one or two. One of them, who happens to be a man who I considered one of my mentors and a big brother who has inspired all of us, is Johnny Simmons. He's one of the few African-American cinematographers in the ASC. Johnny came to Washington D.C. in 1999 or 2000, he was here shooting something, and he took me around. At one point I looked across the car at him, I was like, he's a black man in an industry where he doesn't see himself, he's sober, he's friendly, he's a beautiful spirit, he's making incredible images, and he's committed his life to image making. He embodied everything I wanted to be. He gets it. He has a history of caring about community where there is a lack of representation -- and especially in a film context. That was the day where I said I'm going to go on this journey. Hopefully I can be a reflection of the dreams of Malik Sayeed, Johnny Simmons, Arthur Jafa, Ernest Dickerson -- these are the guys who have inspired me. It was literally letting my guard down and saying I'm going to go on this journey and see what happens.
This interview has been edited and condensed.
"Selma" is your fourth project with Ava. Why do you have such a great relationship with her?
Ava and I are students of the same filmmakers. Haile Gerima is probably our biggest influence. We both really appreciated his contribution to independent, radical American filmmaking. He's sort of our guru in the filmmaking world. We both approached filmmaking from a similar space, which is that we consider it an art form, but also an art form that can hopefully somehow, in some way, make a contribution to the advancement of the human dilemma. That's the starting point. We really share a general concern about the art form itself. We feel like the art form can really bring a higher conversation to how we exist in the world and on the planet.
What was your goal for "Selma"?
We ultimately wanted to make a film that was not sentimental. We wanted to make a film that was involved. We didn't want to make a film that was completely observational. We wanted to make a film where people who would come and see the film later on would feel like they had a responsibility to be a participant in whatever social resistance was occurring at the time. I think we both felt like the only way we could get that across is if we put down all the tropes of conventional American biopics and really try to approach it from a personal level. Traditional biopics are generally find very little personality about the director in the voice or the grammar of the project. Ava is one of those filmmakers who believes her voice is the voice of a broader community in general. As long as she's true to her voice, she'll be able to speak to large chunks of our population, who are audiences who would come and see the film themselves. For us, it wasn't the active overall mantra of the film -- "We're not making a biopic" -- but we wanted to sort of divorce ourselves from what we see as the American filmmaking pantheon, which are films about individuals in the past that are sentimental and generic at best.
At the first New York screening, you discussed being a black cinematographer and how rare that is in the industry. How has that affected your life?
This wasn't a life at all. This was not something I imagined myself doing at 18 or 22. This wasn't even something I imagined myself doing at 27. I came to this realization that I wanted to be an image maker later in my life. The fact that I'm a black man living in America is something I've had to deal with from day one. These two things happened to collide. Divorced from the images I create as a cinematographer, I'm still dealing with the same socio-economic and cultural issues that 100 percent of all black people in America are dealing with. The other side of that is that my voice as a cinematographer is informed and shaped by my own sociology and psychology as a black man in America. Every frame, every inch of my being, every inch of how I light a scene or how I see the world is informed by that lens. I would say I've had the opportunity to work with filmmakers who have opened the door -- whether they be black, white or other -- and allowed me to access that part of my soul and put it into the images themselves.
But as many blessings and opportunities that have been given to me to be the image maker I am now, and the image maker I want to be, it still doesn't dismiss the fact that a majority of the sets I work on are not populated by folks of color. They are not diverse. "Selma," at the end of the day if you did it by numbers, the majority of the crew on the film was not African-American, was not of color. This is something I see every day and something I'm aware of. The good thing -- the beautiful thing -- is that nobody is under the illusion that I'm not aware of that. Everybody knows who I am, everybody knows my position on this thing. But listen, it's a continuous conversation we've been having for 400 years of our existence in this country, which is just allow me to be a human being, see me for who I am, let me see myself. Because if I don't see myself, how can I make a contribution to the greater society?
So much is made about diversity onscreen and behind-the-camera, but you don't often hear about the disparity on all production levels too.
Here's the deal: Most of us in the film community, across the board, work with people who we know, who we consider friends and family. If you use that as a barometer to look at the film world, it just shows you how segregated, xenophobic, sexist, racist and backwards we are as Americans in terms of how we deal with one another. I'm not throwing anybody under the bus for hiring who they hire, but if we're honest with ourselves -- for whatever it's worth for the person who could actually admit it to themselves -- we have a lot of work to do. If film sets are representations of the American public as a whole, which they're supposed to be, then film crews haven't moved out of the era that we see Martin Luther King fighting in during "Selma." Chris Rock's letter in The Hollywood Reporter is just proof of it. Here's a man who, for all intents and purposes, can try to ignore the fact that he's a black man working in a white industry. He wouldn't be able to, but he could try. But here's a guy with nothing to lose because he doesn't see it as a stain on his career to say, "Listen, I work in an industry where I don't see myself and it bothers me. No matter how much money you pay me, or how many times you pat me on the back and say I'm doing a good job, it still doesn't quench my thirst to see a greater form of representation in the filmmaking community." Steve McQueen said this a couple of years ago on a Hollywood Reporter panel with all the directors: How are you guys making films in American cities that have so much cultural diversity, but I don't see that diversity in your films? How can you make a film in New York but have only one black character, one Latino character, one Asian character? You have to look at these things from a different lens if we really want to change the landscape.
How do you think "Selma" will change things, if at all?
It's hard for me to detail or presume what that contribution will be, but I think that "Selma" will just be one of many elements that can help us change the landscape. I think we have a greater social movement ahead of us and that will have to include film -- it's going to be one of the elements that's going to help us change how we see ourselves and one another. I think this goes back to how Ava and I hooked up: Film has to be considered part of our culture. It has to be considered an art form and part of our cultural milieu. If it's not, if it's strictly about entertainment, then it's never going to make a contribution. We know how powerful film is. We look all over the world where people have tried to change their own history and film was a key component in the transformation of society. Film has to be part of that conversation. It can't always be about the box office. It also has to be about why we tell these stories. We tell these stories because we want people to remember where they came from and where they're going. How we can be better human beings? We strive to be better human beings in spite of so many temptations to be selfish. This is going to help us sit together in a room, see something that's challenging on many levels, and hopefully we can have a conversation about that.
That's a fallacy perpetrated by the industry: that these kind of films can't make a lot of money.
Money never created culture. Culture created the dollar. You can't manufacture culture with money. It's never worked. I agree. Let's just say, "Syriana," "Good Night, and Good Luck," films that are made out of Participant [the production company behind DuVernay's "Middle of Nowhere"]. These are films that have a social justice lens to them, and these aren't films lacking in box office. We want to see them. But it can't be about, "We can make films about change but we're not changing the way we make the films." The next level for us is to turn the mirror on ourselves as filmmakers and see ourselves in the stories we're trying to tell. If we don't, we're not going to change the cultural landscape. We'll just make movies and go back to our perfect vacuums.
Was there ever a moment where you realized you were really good at this?
I haven't experienced a level of enlightenment. I still feel like I have so much work to do. I have so much invested in this thing -- I really believe in the craft of cinematography. It's something I've committed my life to and I hope I'm blessed in the years to come as a practitioner of it. It's hard to say. But this goes back to the idea of representation. If I asked you or most people how many black cinematographers they could name, it would probably be one or two. One of them, who happens to be a man who I considered one of my mentors and a big brother who has inspired all of us, is Johnny Simmons. He's one of the few African-American cinematographers in the ASC. Johnny came to Washington D.C. in 1999 or 2000, he was here shooting something, and he took me around. At one point I looked across the car at him, I was like, he's a black man in an industry where he doesn't see himself, he's sober, he's friendly, he's a beautiful spirit, he's making incredible images, and he's committed his life to image making. He embodied everything I wanted to be. He gets it. He has a history of caring about community where there is a lack of representation -- and especially in a film context. That was the day where I said I'm going to go on this journey. Hopefully I can be a reflection of the dreams of Malik Sayeed, Johnny Simmons, Arthur Jafa, Ernest Dickerson -- these are the guys who have inspired me. It was literally letting my guard down and saying I'm going to go on this journey and see what happens.
This interview has been edited and condensed.
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