bras, and a whip. And, yes, there a few moments that are uncannily Gaga-ish. Two stick out in my mind: namely, those shots of Christina in white with a harem of dancers, and the moments where you see the diva, wet, in red lingerie. 
The retort to this whole line of criticism, however, includes two arguments: 1) When it comes to Madonna, nearly every pop star has taken pieces of her performances/styling/etc. So there’s that. And then 2) With the Gaga argument, can we really fault Christina for taking from Gaga, when Gaga herself has so ripped from a variety of other artists? Then again, Gaga seems to rip from her musical influences and then blast it in a totally different direction. Right?
The worst part about Xtina’s video, beyond the rather unabashed unoriginality of it, is the sad stink of I’ve-been-gone-forever-had-a-baby-and-now-want-to-be-relevant-again desperation. Cue: the girl-on-girl makeout sessions! Text messaging! Fire balls! When watching, there’s wasn’t a moment where I didn’t feel like Aguilera was clawing for relevancy, in a crazy, far beyond, post-Aguilera world. True story: Aguilera has been gone for a long time. There’s a desperate need, sort of like when she blipped back for two seconds with “Keeps Gettin’ Better” a couple years ago, for her to resuscitate her look and build it in the image of what’s relevant now. But maybe she should have gone in a totally different direction to avoid comparisons? Given us something totally different? The thing about Aguilera is that she’s used to zig when everyone else was zagging. And now, it seems like she decided to zag along with everyone else.
would have to be the retailer Zara. Zara makes it looks easy to look like a million bucks without the hefty price tag. Take for instance this past weekend, I bought an amazing suit and a great leather satchel that I've had my eye on for a while all for under $200!!! That's insane! The suit is perfectly slim cut and fits to a T! There's minimal alterations needed.
So bananas!
Unfortunately, there were no other details about the second season in Entertainment Weekly, which reported the premiere date in its latest issue, featuring a photo spread of Zoe's must-haves.
Personally, we're looking forward to seeing Taylor vs. Brad Part 2. Because you just know that business hasn't been resolved.
via L.A. Times
A
t the opening of the Acropolis Museum, Mr Papoulias said it was "time to heal the wounds" of the ancient temple. The new museum, opened five years behind schedule, houses sculptures from the golden age of Athens. Britain has repeatedly refused to return dozens of 2,500-year-old marble friezes housed in the British Museum. "Today the whole world can see the most important sculptures of the Parthenon assembled, but some are missing," said Mr Papoulias. "It's time to heal the wounds of the monument with the return of the marbles which belong to it." The sculptures, also known as the Elgin Marbles, originally decorated the Parthenon temple and have been in London since they were sold to the museum in 1817 by Lord Elgin. He had them removed from the temple when he was visiting Greece, then under the rule of the Ottoman Empire. The British Museum long argued that Greece had no proper place to put them - an argument the Greek government hopes the Acropolis Museum addresses. The opening ceremony was attended by heads of state and government and cultural envoys from about 30 countries, the UN and the EU.
There were no government officials from Britain, but the most senior British guest, Bonnie Greer, the deputy head of the board of trustees of the British Museum, said she believed more strongly than ever that the marbles should remain in London. She argued that in London they are displayed in an international cultural context. She said a loan was possible, but that would require Greece to acknowledge British ownership, something Greece refuses. The British Museum holds 75m of the original 160m of the frieze that ran round the inner core of the building.
'Act of barbarism'
Their reconstruction in the Acropolis Museum is based on several elements that remain in Athens, as well as copies of the marbles in London. The modern glass and concrete building, at the foot of the Acropolis, holds about 350 artifacts and sculptures from the golden age of Athens that were previously held in a small museum on top of the Acropolis. The £110m ($182m; 130m euros) structure, set out over three levels, also offers panoramic views of the stone citadel where they came from. The third floor features the reconstruction of the Parthenon Marbles. The copies are diff
erentiated by their white color - because they are plaster casts, contrasting with the weathered marble of the originals. Museum director Prof Dimitris Pandermalis said the opening of the museum provides an opportunity to correct "an act of barbarism" in the sculptures' removal. "Tragic fate has forced them apart but their creators meant them to be together," he said. Bernard Tschumi, the building's US-based architect, said: "It is a beautiful space that shows the frieze itself as a narrative - even with the plaster copies of what is in the British Museum - in the context of the Parthenon itself."
Eclectic actress and gossip-column favorite dethrones media maven Oprah Winfrey atop this year's Celebrity 100. Jolie has always been able to attract tabloid attention and Oscar nods, but this year, she's finally figured out a way to make serious money. Her most recent blockbuster, Wanted, proved this mother of six's sweet spot is action films; the movie earned $340 million at the box office. Up next: Salt, in which Jolie plays a CIA officer accused of being a spy.
Ok so I just saw The Proposal with Sandra Bullock and Ryan Reynolds (and the hilarious Betty White) and I must say it was amazing. Definitely comes in as one of my favorite comedies, I laughed hysterically from beginning to end. Also, it definitely gets top honors (right behind Sex and the City) in the fashion dept. You did me proud Sandy! Birkins, Louboutins, Prada, R.R., what more could a boy ask for?!
Range Rover Sport
BMW M3 Convertible
Bentley Continental GT
Audi R8
Mercedes CL65 AMG
Mercedes SL65 AMG
Rolls Royce Phantom
Bugatti Veyron
NYC Prep chronicles the lives of a group of privileged teenagers who are key players in Manhattan's elite high school scene. Students who travel in packs – whether it's on sophisticated vacations or to a townhouse for an exclusive midnight party, their lives intertwine as they network, shop, party, study, date and write college applications. Everyone's beautiful and everyone's connected.
On the surface, it seems that these teens live an enviable life. They have access and privilege to spare, and can't imagine that anything or anyone, will get in their way. Over the course of the series, we'll see them on the benefit circuit, viewers will get to know their families, their entourage (trainers, college application advisers, stylists) and their guys/girls of the moment. But privilege has its price. Despite their carefree lives, the pressure of lofty expectations can sometimes be too much for even the most confident teenagers.
I can't wait!
And though he knows that probably won't happen, the filmmaker at least wants to stick it to the people who took it.
The still untitled film, which opens Oct. 2, will zero in on the corporations and politicians he says caused the global financial crash.
Wall Street robber barons are Moore's new on-screen enemy.
"The movie is not going to be an economics lesson; it's going to be more like a vampire movie," the filmmaker jokes. "Instead of the main characters feasting on the blood of their victims, they feast on the money. And they never seem to get enough of it."
When the collapse walloped the country last September, Moore says he knew not only that it would matter to regular people, but also that the inherent decadence was ripe for his style of satire.
"If you go to see my movies, even if you don't agree with everything in the movies, you're going to have a good laugh," Moore says. "I want them to walk out at the end saying 'Wow, that was something!' And in this case, maybe they also walk out asking the ushers, 'Um, excuse me. Where are the pitchforks and torches?' "
Michael Moore I appllaud you, never afraid to go where no other filmmaker is willing/brave enough to go. Expose the injustices of our society in hopes for better.
