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Corey Taylor Shares Acoustic Version Of ‘Black Eyes Blue’

Corey Taylor has dropped an acoustic version of “Black Eyes Blue,” a track from CMFT.

CMFT, the Slipknot and Stone Sour frontman’s debut solo album, dropped on October 2 via Roadrunner Records. The original “Black Eyes Blue” currently sits at No. 2 on Billboard‘s Mainstream Rock Songs chart.

The unplugged performance brings out Taylor’s vocals and the song’s lyrics.

Taylor decided to work on a solo album when the Covid-19 pandemic forced Slipknot to cancel their tours.

Taylore explained to Kerrang, “I put the word out, probably about a month before we actually ended up going in [to the studio], because it just started as a conversation with my manager.”

“I said, ‘Well, maybe I should just do the album now.’ And he knew how good the songs were, and he was like, ‘You know what? There’s nothing else going on. Let’s just see if we can even do it,'” he added.

(Photo: © Markus Felix)

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Premier League clubs ready to discuss cutting price of PPV games to £9.95 after fan backlash

PREM clubs will tomorrow discuss cutting the Pay Per View charge to under a tenner.

But not until AFTER next month’s international break.

Top flight clubs have faced a fan backlash, fuelled by MPs, and branded 'greedy' for the £14.95 per game charge.

Despite that, SunSport understands the League is to announce the five matches scheduled for the weekend of November 7 and 8 which have not already been moved for live TV screening will be shown on PPV at the current price.

Those matches include Arsenal versus Aston Villa and Spurs’ trip to West Brom, both of which will be switched to the Sunday because of Europa League exertions.

But with the pushback against the match charge causing discomfort, the clubs will be asked to consider a change in pricing policy when the Prem resumes after the break on the weekend of November 21.

A new price of £9.95 per match is likely to be proposed as one option, with a growing sense that matching the cost of iFollow games in the EFL might be more acceptable to fans.

The fall-out, which saw Commons criticism from Culture Secretary Oliver Dowden, has caused frustration among the Prem clubs who point out that these matches would not normally have been shown at all under the existing TV contracts with Sky and BT Sport.

Prem chiefs are due to confirm the next set of PPV games after today’s virtual meeting of the 20 “shareholder” clubs with a final decision on future policy expected to come in two weeks’ time.

The clubs are also still at odds over how to split the revenues from the PPV games that have already been played or are scheduled – although League bosses have so far not revealed any viewing figures.

Some clubs believe all 20 should be recipients of any money raised – broadcast costs per match required 7,000 subscriptions to cover the outlay – while others argue that it should be divided proportionately only between the teams whose games were screened.

However, a third group feel that revenues should be split only between the two clubs involved in the game while there is an issue over whether any of the cash might be used to help cash-strapped lower division EFL sides.

The issue is one of several likely to cause dissent at today’s meeting, where Liverpool and Manchester United are expected to push for a clear line on the terms of reference for the structural review promised by League chief executive Richard Masters in response to the Project Big Picture furore.

Liverpool and United were forced to accept the issues would be considered by all 20 clubs rather than a select panel but are determined to ensure that proposals such as reducing to 18 sides and changes in TV revenue splits and voting rules are explicitly in the review remit.

Masters promised the review would be completed 'by the end of the year' ensuring a tight timescale which will require prompt action, despite the opposition of those who blocked the plans two weeks ago.

But there is likely to be agreement between the clubs that they should push on with a confrontation with the FA over post-Brexit transfer rules for overseas players set to be required in the January transfer window.

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Life after The Big Bang Theory: BTS of Mayim Bialik sitcom Call Me Kat

Between Blossom and The Big Bang Theory, noone can deny that Mayim Bialik is a comedy juggernaut – and now she’s leading the cast for series Call Me Kat.

Currently in production, the series already looks like it’s hilarious, which is easy to guess considering it’s roughly based on UK favourite, Miranda.

Now that filming is underway and with the excitement building, we felt like it was time to round up what we know so far.

Here’s what’s coming up on Call Me Kat, who will be joining Mayim in the cast, and when we can expect to see it on our screens.

What is Call Me Kat about and how is it related to Miranda?

Call Me Kat is a slapstick comedy based loosely around BBC series Miranda, which starred Miranda Hart as she handled life and her growing love of chef-next-door, Gary (Tom Ellis).

Moving the story over the to the US, Call Me Kat – originally titled Carla – is based in Louisville, Kentucky and will see Kat (played by Mayim) battling her overbearing mother after deciding to open a cat cafe instead of getting married.

Helped along by her friends and an ever-growing crush, it’s definitely keeping in with the themes of the original show – just with a fresh new twist.

A built-set series, Call Me Kat will be mainly based around two main locations – a bit like the Big Bang Theory – with Kat’s apartment, and the cat shop being where most of the action takes place.

Jim Parsons, who also starred on Big Bang as Sheldon, will be helping produce the project.

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Who is in the cast with Mayim Bialik?

She’s joined in the cast by some all-star favourites as well as some newer names. 

American Horror Story star Cheyenne Jackson will star alongside Mayim as Max, who could be the American answer to Tom Ellis’s Gary. 

Speaking about the role, Cheyenne told Metro Weekly in the US: ’It’s honestly my dream. It’s what I’ve been wanting to do, a multi-cam, something light. 

‘After doing American Horror Story, I wanted to shift gears for a bit. And this is the sweetest, most delicious project.’ 

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Julian Gant, who’s previously featured on Key and Peele and Good Girls, will play a man named Carter. 

Will and Grace alum Leslie Jordan will play Phil, and has been sharing the fun he’s been having on set online, including joining Mayim on her podcast in the run up to the series.  

Swoosie Kurtz will play Sheila, who is presumably playing Kat’s mother. She is best known as playing Sebastian’s hard-nosed psychiatrist at the beginning of Cruel Intentions. 

Until earlier this year, she also had a regular spot on Man With A Plan alongside Friends’ Matt Le Blanc. 

https://www.instagram.com/p/CGKlPxbDqWU/

Are they using real cats on set?

No – not entirely. While a cat cafe typically means using a lot of cats, animals on set and cruelty laws means it’s probably far from the best idea.

Instead, the show has recruited the help of incredibly lifelike toys, which were specially created to give the cafe some life.

When is Call Me Kat released?

Luckily for us, Call Me Kat is not that far away from being released onto the world – with Mayim confirming the series will launch in January.

It will air on the Fox network in the US, but unfortunately for the British and international viewers, as a release date is yet to be confirmed.

But seeing as it’s based on a UK fave, we can’t expect we’ll be waiting for long…

Call Me Kat launches in January on Fox.

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Baring All! Shia LaBeouf, Margaret Qualley Get Naked in New Music Video

Leaving nothing to the imagination! Shia LaBeouf and Margaret Qualley get completely naked in the short film for her sister Rainey Qualley’s new single, “Love Me Like You Hate Me.”

Stars Go Nude on Twitter and Instagram

The nearly 10-minute uncensored video shows the actor, 34, and the actress, 26, romping and intimately kissing in bed with no clothes on. Using a split screen technique, it showcases their characters’ relationship from two points of view by way of dramatic performance art.

Toward the end of the film, LaBeouf and Margaret ditch their clothing once more as she joins him in the shower while the song, which Rainey, 30, recorded under the stage name Rainsford, fades out.

Disney Channel Stars’ Biggest Controversies

“[The] split-screen film portrays the tenderness and toxicity of a relationship, presented from the dual, and at times conflicting, perspectives of a couple,” the press release reads. “With a gently disorientating structure, the piece builds towards an open-ended resolution that loops back on itself, returning us to where we began.”

Rainey said in a statement that the project is “filled with love and pain and tenderness and rage and real pieces of my heart.”

This is not the first time fans have seen LaBeouf and Margaret bare all. He previously went nude in Sigur Rós’ 2012 music video “Fjögur Píanó,” the 2013 erotic art film Nymphomaniac and a promotional photo for his 2013 movie Charlie Countryman. The Once Upon a Time in Hollywood star, for her part, went full-frontal in the 2018 drama Donnybrook.

Shia LaBeouf’s Dating History

Since breaking out in Hollywood on the Disney Channel show Even Stevens in 2000, LaBeouf has slowly shifted his focus to performance art in recent years with his trio LaBeouf, Rönkkö & Turner. He infamously raised eyebrows in 2014 when he attended the Berlin International Film Festival with a paper bag over his head with the words “I Am Not Famous Anymore” written on it.

The Disturbia star — who sparked reconciliation rumors with his ex-wife and Nymphomaniac costar Mia Goth in March — made headlines again in 2015 after recording a motivational video in which he shouted, “Just do it,” the Nike slogan. The clip became a meme and was the most-searched GIF of the year, according to Google.

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Cameron Diaz and Benji Madden Buy $14.7 Million House in Beverly Hills

Playdates at Raddix Madden’s house are about to be epic for hide-and-seek. Cameron Diaz and Benji Madden purchased a new mansion in Beverly Hills, Us Weekly can confirm.

Everything Cameron Diaz, Benji Madden Have Said About Their Relationship

The couple paid $14,695,000 for their new pad, which includes seven bedrooms and 10 bathrooms — and Kate Upton as their new neighbor! Diaz, 48, and Madden, 41, also own a $9.4 million property in the 90210 and an apartment in New York City. Their new farmhouse style home features a home theater, three-car garage and a pool.

The twosome, who wed in 2015, became parents in January when they announced the birth of their daughter, Raddix.

“She has completely captured our hearts and completed our family. While we are overjoyed to share this news, we also feel a strong instinct to protect our little one’s privacy. So we won’t be posting pictures or sharing any more details, other than the fact that she is really really cute!! Some would even say RAD,” the duo wrote via Instagram. “From our family to all of yours, we’re sending our love and best wishes for a Happy New Year and Happy New Decade.”

A Timeline of Cameron Diaz and Benji Madden’s Relationship

An insider told Us at the time that Diaz and Madden had “been trying to have a baby for a long time” before they welcomed Raddix.

“There were disappointments along the way, so it was difficult and stressful at times. But they say it was a price worth paying. They feel beyond blessed,” the source said.

The actress met the Good Charlotte rocker in 2014 through his twin brother, Joel Madden, and her good friend Nicole Richie.

“They’re so great with kids and will be incredibly fun and loving parents Cameron’s very close with all her nieces and nephews,” the source added, referring to Joel and Richie’s kids, Harlow, 12, and Sparrow, 11. “They all adore her and are excited to see her as a mom with a baby of her own.”

More recently, the Charlie’s Angels star joked about her connection to the Simple Life star, 39, commenting on a post that read, “Nicole Richie & Cameron Diaz are sister in laws and I feel like we don’t talk about that enough.”

Diaz replied with a series of exploding head and winking face emojis, tagging Richie.

Love Story Beginnings: How Celeb Couples First Met

The Longevity Book author also gave rare insight into her life with Benji on Late Night With Seth Meyers in July.

“The best part of [quarantine] and having to stay within our little bubble within this COVID situation is that her dad gets to be home,” she said. “He works from home, so … he actually gets to come out of a meeting and give her a kiss and play with her for a little bit, whereas if he was going to the office every day, he wouldn’t have been able to do that. We’re just having a lot of gratitude for that.”

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Diplo Clarifies That He Doesn’t Actually Live with 19-Year-Old Quenlin Blackwell

Fans were shocked to learn this week that 19-year-old TikTok artist Quenlin Blackwell is living with 41-year-old entertainer Diplo.

When asked why they live together, she responded, “I live with Diplo right now, and he fully supports my endeavors.”

“I’m an adult. I’m not being groomed. Platonic relationships exist,” Quenlin added. “I’ve been living here over a year…I’d rather break both of my legs and before forced to walk than pursue Diplo romantically and he’d rather choke. He’s barley [sic] in LA bc he’s so busy.”

Well, now Diplo is responding amid backlash that he would be living with a teenager.

Diplo recently welcomed another child – find out who the baby’s mom is!

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'Kindred' Review: An Unsettling Horror Movie About Pregnancy That Asks Tough, Necessary Questions

The terrors of pregnancy and horror make fine bedfellows. The genre lends itself beautifully to exploring our deepest and most vulnerable fears, digging into the parts of our collective lives that we would feel uncomfortable discussing in public. Rosemary’s Baby is, of course, the benchmark against which all others continue to be measured. But where that iconic film explored the fear of conspiracy to control the pregnant body alongside the paranoia of giving birth to something unnatural, Kindred instead takes a more realistic approach, shedding light on the horrors of pregnancy itself without the influence of cults or the Devil. 

A beautiful and elegiac film about the trauma of pregnancy, Kindred is better in theory than in execution. Though it’s full of compelling imagery and atmosphere befitting a Brontë novel, the plot, particularly in its final moments, feels thin and a little disappointing after such an evocative buildup.

The film centers around Charlotte (Tamara Lawrance, Small Axe: Education), a young woman with plans to move from England to Australia with her boyfriend, Ben (Edward Holcroft, Kingsmen: The Secret Service), a transition made more difficult by the guilt of his overbearing mother, Margaret (Fiona Shaw, Killing Eve). Shortly after finding out that she’s pregnant, there’s a tragic accident that costs Ben his life, and Charlotte finds herself an unwilling guest of Margaret and her stepson, Thomas (Jack Lowden, Dunkirk). Prevented from leaving the stately albeit decrepit family manor, Charlotte carries her child to term, a prisoner of her unwilling body, potentially fracturing mind, and an unfamiliar place.

Charlotte, like many women, has no desire to have a child. After finding out she’s pregnant, some of Charlotte’s first words to the doctor are “What if I don’t want it? The baby. What if I don’t want to go through with it?” Her doctor looks at her as if her head had just spun around on her shoulders. “It’s a shock,” she continues, “I just want to know what my options are.” 

You see, Charlotte had been prepared. She was on the pill, but, as we all well know, no method of contraception is 100% effective. She tries to talk to her friend and colleague about the pregnancy, her fears, and her complete lack of desire to be a mother — a pretty key part of becoming one if you ask this writer. Along with Margaret, the doctor, and the ultrasound technicians, she’s consistently fed painfully familiar placations: “this is all normal”, “once the baby’s here, you’ll be a natural.” Only once does Margaret really open up to her about her own terrible experience with pregnancy, admitting, however ashamedly, that she felt nothing for her now-deceased son for the first several years of his life. And yet, she still became a mother, despite not wanting to. 

This concept, forcing an unwilling — and grieving — woman to carry an unwanted pregnancy to term, is horrific in its own right. A timely topic internationally as we consider the potentially tenuous state of Roe v. Wade, that only 58 out of 196 countries have legalized abortion, and that it’s an illegal (and punishable) offense to have a miscarriage in places like El Salvador. 

The terror of Charlotte’s circumstances is amplified by her inability to liberate herself from her situation or find someone to help her. In this regard, Tamara Lawrance does a remarkable job. Her painful experience of captivity and relentless gaslighting will strike many women watching to their very core. 

What’s more is the reason she didn’t want to be a mother. It’s apparent from her initial diagnosis that motherhood was never something she’d planned for, but why? Gradually, we learn of her mother’s “illness”: perinatal psychosis that transitioned into a long-lasting postpartum condition that affected her entire life and family. Alone in the world with no family besides her now-deceased partner, Charlotte never wanted to risk her own wellbeing for anything, least of all an unwanted pregnancy. 

This is the heart and soul of the film, one that would have benefitted from the presence of female writers. Writer Jason McColgan and co-writer and director Joe Marcantonio (in their feature debuts) created harsh breaks in character with Charlotte that seem jarring. Where, at first, she was desperately trying to escape the dilapidated manor, resenting what was happening to her body, by the end of the film she’s eager to be a mother, to save her baby from presumed or real dangers. This uncharacteristic shift in behavior does a huge disservice to the sensitive material on screen, only further emphasizing the very dangerous rhetoric that “this is all normal” and “once the baby’s here, you’ll be a natural.” 

While there is no supernatural presence or influence in Kindred, the film tries to handle the very real (albeit rare) condition of antenatal and postpartum psychosis. Said to affect approximately 1 to 2 in 1000 deliveries, mothers suffering this condition can encounter symptoms as mild as hyperactivity, mood swings, and difficulty communicating or as severe as auditory and visual hallucinations, delusions, and paranoia. In one scene, an ultrasound technician reassures Charlotte that, when she was pregnant, she saw clowns in her dreams, so seeing things is normal. Only Charlotte’s seeing things while she’s awake, a symptom that is decidedly not normal and, in fact, deeply concerning. That no one really takes these statements seriously and simultaneously gaslights her into believing she’s too unwell to leave speaks to the ongoing and very serious issues surrounding women and medical gaslighting

Unfortunately, McColgan and Marcantonio don’t address these issues in a way that adequately handles or even capitalizes on the very real fear, anxiety, and despair they cause. It leaves the ensuing horror feeling half-realized and occasionally listless. As a result, the films’ final minutes land with a bit of a thud, especially after a strong start to the denouement. In the end, we’re left with more questions than answers, some satisfyingly ambiguous while others just seem clumsy.  

While the script may leave something to be desired, the film is executed beautifully. Again, it can’t be overstated that Lawrance’s performance as Charlotte is outstanding. She pulls us into her turmoil kicking and screaming nearly as loudly as she does, creating a palpable and unending sense of dread. Fiona Shaw lends the overbearing Margaret hints of Mommie Dearest laced with manic, manipulative fixation. A master manipulator, she desperately clings to her son, resenting Charlotte’s very presence in his life, forget the fact that she emboldens him to chase his dreams. Shaw’s menacing behavior — periodic outbursts of rage, unpredictable moments of solemn compassion, and vicious, unrelenting gaslighting — is horrifying to watch, and will undoubtedly have you crawling out of your skin. Meanwhile, Jack Lowden’s painfully awkward Thomas offers an added splash of deceit, forcing us to question his motives at every turn. 

The film is also beautiful to look at. Cinematographer Carlos Catalán brings his cool, moody eye from Killing Eve to Kindred’s sprawling countryside and dilapidated manor. Focusing on dirty floors, cracked walls, and windows that feel as though cleaning them would be a Sisyphean task, he balances depictions of a cold reality with alienating fever dreams beautifully. It’s his artful attention to detail that manages to breathe some life into the otherwise dying house, one that truly could have been a character all its own. Themes of familial obligation, being haunted by legacy, and trapped by history are hinted at where they would have benefitted from more careful attention in both the script and final execution. 

All of that said, there is something about the humanity of this specific type of dread that seeps into your bones and hangs on for dear life. It’s the type of horror that taps into the fears we’re either too afraid to articulate, or would rather keep to ourselves lest we be judged. And yet, the issues being discussed — the fear of inheriting mental illnesses, passing along hereditary issues to our young, losing ourselves to a pregnancy, giving up our bodies as a vessel to something we may not want — are common. Relatively speaking, anyway. They just exist in a place and time where they’re still somehow too taboo to articulate safely. 

/Film Rating: 7 out of 10

Kindred opens in select theaters, on digital platforms and VOD on November 6.

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Tom Brady ‘had nothing to do’ with Antonio Brown signing: Bruce Arians

Tom Brady was not the driving force behind the Tampa Bay Buccaneers’ pending signing of suspended wide receiver Antonio Brown, according to head coach Bruce Arians.

After Sunday’s 45-20 whipping of the Las Vegas Raiders, Arians insisted Brady didn’t push for the move to add his former New England Patriots teammate, who is serving an eight-game suspension by the NFL for multiple violations of the league’s personal-conduct policy.

“Everybody wants to say Tom picked him. Tom had nothing to do with this,” Arians said after the game. “This is something [general manager] Jason [Licht] and I have been talking about for some time.”

Arians, who was Brown’s offensive coordinator with the Pittsburgh Steelers in 2010-11, previously had said the seven-time Pro Bowler wasn’t “a fit in our locker room.”

On Sunday, however, Arians stated he thinks Brown “has matured” and “I believe in second chances.”

Arians added that the organization will pay close attention to the sexual assault civil lawsuit filed against the seven-time Pro Bowler by former trainer Britney Taylor, which is scheduled to go to trial in December.

“Let the court system do its job,” Arians said. “If it’s found out to be true, he won’t be with us.”

Brown is eligible to be reinstated from the suspended list for the Bucs’ Week 9 game against New Orleans. The Bucs are 5-2 in Brady’s first season since leaving the Pats, entering Monday night’s game against the 1-6 Giants.

The 32-year-old Brown hasn’t appeared in an NFL game since Sept. 15 of last season with Brady and the Patriots, posting four receptions for 56 yards and a touchdown. He was released five days later.

From 2013 through 2018, however, Brown averaged 114 receptions, 1,524 yards and 11 touchdowns per season.

“He’s a tremendous football player,” Brady said Sunday. “I played with him for a brief period of time. I’m looking forward to working with him again. He’s a very hard-working guy.”

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Netflix Takes Global Rights To Idris Elba Western ‘Concrete Cowboy’

Deadline has confirmed that Netflix has acquired worldwide rights to Ricky Staub’s feature directorial debut Concrete Cowboy  starring Idris Elba and Stranger Things breakout Caleb McLaughlin. A release date has not been set, but it’s looking like 2021.

The father-son drama made its world premiere at TIFF last month, is set amongst the North Philadelphia urban cowboy subculture, inspired by the real-life Fletcher Street Stables – a black urban horsemanship community – and by the novel Ghetto Cowboy by Greg Neri.

The story follows 15 year-old Cole (McLaughlin) who is taken to live with his estranged father Harp (Elba). Torn between his growing respect for his father’s community at the stables and his re-emerging friendship with his troubled cousin, Cole begins to re-prioritize his life as the stables themselves are threatened by encroaching gentrification.

Lee Daniels, Tucker Tooley, Jeff G. Waxman, Jennifer Madeloff produced the feature with Elba and Walser.

Greg Renker, Jason Barhydt, Gregoire Gensollen, Lorraine Burgess, Greg Neri, Sam Mercer, Tegan Jones, Staci Hagenbaugh, Alistair Burlingham and Gary Raskin executive produced.

 

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Ava DuVernay’s ‘Cherish the Day’ Anthology Series Renewed for Season 2 at OWN

Ava DuVernay’s “Cherish the Day” will be back for more love and exploration.

The anthology series has been renewed for a second season at OWN, with season 1 co-EPs Raynelle Swilling and Teri Schaffer taking over as showrunners from Tanya Hamilton. News of the renewal comes around seven months after the first season wrapped its eight-episode run, and as DuVernay’s other OWN series “Queen Sugar” continues production on season 5.

Each season of “Cherish the Day” chronicles the relationship of one couple, and each episode spans a single day in their lives together. Season 2 will feature a brand-new couple’s love story, with a new cast. The narrative will unfold to reveal significant moments in a relationship that compel us to hold true to the ones we love, from the extraordinary to the everyday. Production on the second season will take place sometime in 2021.

The first season told the story of the blossoming romance between free-spirited Gently James (Xosha Roquemore) and more straitlaced Evan Fisher (Alano Miller). It took season place over five years and also starred the iconic Cicely Tyson as fictional cinematic grande dame Miss Luma Lee Langston.

“Our ‘Cherish the Day’ audience embraced and applauded the evolution of a Black couple building a life together in our first season, and we can’t wait to bring another story of love and connection to the small screen,” said DuVernay. “Everyone here at ARRAY Filmworks is so pleased to continue our exploration of romance day by day alongside our partners at Warner Bros. and OWN.”

The series is produced for OWN by DuVernay’s ARRAY Filmworks and Oprah Winfrey’s Harpo Films in association with Warner Bros. Television. DuVernay, Swilling, Schaffer, Winfrey, and Paul Garnes serve as executive producers.

“Ava and her immensely talented team of creators are telling dynamic and moving love stories depicting the many facets of marriage and relationships that resonate deeply with our audience,” said Tina Perry, president of OWN. “We are so excited for season two and a new beautiful Black love story.”

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