Berlin,
David Lee Brewer
These two ladies are taking hair pulling and kicking to the studio to lay down a duet track "Bullhorns and Elevators". Both Porsha and Solange have been at the top of the headlines with their Oh no you betta don't ass kicking ways. After the leaked security footage of Solange attacking brother in-law and CEO of the illuminati Jay-Z, Nikko (Love and Hip Hop Atlanta) reached out to both ladies and told them it was time to capitalize or their recent brawls and urged them to immediately get to work on the song. In response to the news of the Solange and Porsha collaboration Mrs. Carter's publicist released a statement saying, "Due to recent events Solange has been released from her contract as Beyonce's sister and will be recast".
Tamar Braxton is obviously as sick of Kenya Moore's antics as the rest of us!
She took the Real Housewives of Atlanta star to task for being a meddling busy-body all up in everybody's marriage even though she was not invited! Tamar thinks Kenya has no business having any kind of discussions with Phaedra Parks' husband – or trying to cultivate a relationship with him.
“I do think there were several ratchet moments, but the one that sticks out to me the most was Ms. Kenya. I’m not talking about Kenya per se, but just any woman who feels like it’s OK to have somebody’s husband and have a conversation with them one on one. And try to be friends with him and not the wife," Tamar fumed on The Russ Parr Morning Show. "That right there is slap nation moment okay"!
And because Tamar is Tamar, she is on a mission to protect her man from the Kenya's of the world! “I’m sorry. I feel like I have to read all the Kenyas of the world who just be trying it and then come to the face of the wife and be like, ‘You need to ask him. I think he need to speak for himself,’ No ho! I’ma speak for you - me and him! That’s my man.”
“I don’t like that stuff. You know, I’m real protective of my Teddy Ruxpin,” Tamar continued. “And I wish somebody would try me like that! I just feel like she [Kenya] triedPhaedra like that because she felt like she could. Now she wouldn’t try NeNe [Leakes] like that. See what I’m trying to say?”
Old Testament fury has rarely come to such spectacularly fearsome life than in “Noah,” Darren Aronofsky’s audacious adaptation of one of the Bible’s best-known but still enigmatic chapters.
Be warned: Anyone familiar with the 500-year-old man and his ark may need to check some of their most cherished visualizations of him at the theater door. No cozy two-by-two images of beatific giraffes grace this “Noah.” Like any good artist, Aronofsky has avoided predictable, literalist retellings of beloved Sunday school stories by inserting new characters, bringing parenthetical figures to the fore and making one of history’s most enduring and universal myths his very own.
The result is a movie that is clearly deeply respectful of its source material but also at times startlingly revisionist, a go-for-broke throwback to Hollywood biblical epics of yore that combines grandeur and grace, as well as a generous dollop of goofy overstatement. Viewers may not agree about what they’ve seen when they come out of “Noah.” But there’s no doubt that Aronofsky has made an ambitious, serious, even visionary motion picture, whose super-sized popcorn-movie vernacular may occasionally submerge the story’s more reflective implications, but never drowns them entirely.
Appropriately enough, Aronofsky starts In the Beginning, and after a brief prologue revisiting Adam and Eve, original sin and the fatal rivalry between Cain and Abel, catches up with Noah as a boy who, by virtue of his lineage and an enchanted snakeskin bestowed on him by his father, is clearly destined for greater things. Conceived and staged like a conventional superhero origin story, “Noah” then finds the grown-up protagonist — played by a solemn, haunted-looking Russell Crowe — living in Canaan alongside his wife, Naameh (Jennifer Connelly), and their sons, Ham, Shem and eventually Japheth.
Canaan is a desolate world of arid deserts, ruthless tribal warfare and dead cities, but also supernatural wonders. When Noah begins to experience visions of the apocalyptic flood to come, Aronofsky choreographs them not as words-from-on-high messages from the divine, but as stylized, terrifying unconscious visions. Fans of the filmmaker’s work — from “Requiem for a Dream” and “The Fountain” to “Black Swan” — won't be surprised to learn that he’s at his best with these fantastical, mystically inclined sequences. He’s just as evocatively expressive with the most technically challenging set pieces of the story: the arduous construction of the enormous Ark (here produced according to biblical proportions, down to the last cubit), the arrival of the animals and that annihilating flood, which Aronofsky stages as an awesome cascade of rainstorms, geysers and terrifying waves.
Amid such visual busyness, Crowe and Connelly deliver impressively grounded, powerful performances, with Crowe playing Noah first as a humble, divinely inspired servant and, eventually, as a wild-eyed zealot, and Connelly brimming with earthy rectitude as his far more steady-eyed wife. One of the most delightful reshufflings is a central role for Noah’s ancient forebear, Methuselah, played by Anthony Hopkins in a mischievous and altogether convincing turn as a white-haired figure of mystical, oracular wisdom.
So much of “Noah” is so good, and so impressively executed, that when discordant notes are sounded, they do so with clanging dissonance. Taking ill-advised pages from both 1950s animator Ray Harryhausen and the current big-studio predilection for comic-book movies and young-adult teen romances, Aronofsky creates characters and story lines that feel wildly out of place — not because they don’t appear in Scripture but because they’re so at odds with the often brilliant aesthetic language that animates the rest of the film. (We’ll chalk up Noah’s surprisingly sophisticated wardrobe of primitive-chic leathers and open-work knits to artistic license.)
The most distracting of Aronofsky’s creations, by far, are the Watchers — fallen angels who roam the broken world like mournful, stiff-jointed behemoth, seemingly hewn from desert stone and resembling rock ’em, sock ’em robots when pressed into heavy-duty smiting. Every action film nowadays seems to wind up being “Transformers,” and sadly, “Noah” is no different, especially when it comes time for a final, grandiose showdown between the Watchers and the oncoming forces of evil.
Those forces, by the way, are led by an otherwise marginal character named Tubal-cain (Ray Winstone), a bloodthirsty leader who probably hasn’t made it into most Sunday morning curricula. His role in Noah’s mission and ensuing adventure on the Ark, as well as a budding love story between Shem (Logan Lerman) and a girl named Ila (Emma Watson), will surely give some literalists exegetical fits — not least because Tubal-cain comes to be a proxy for the kind of anti-conservationist theology that Aronofsky uses “Noah” to obliquely critique.
Although it’s understandable that the filmmaker wanted to make “Noah” a parable of environmental stewardship, for many believers the story is primarily about hearing and responding to God’s voice. Aronofsky doesn’t necessarily give that reading short shrift, but as Noah becomes increasingly doctrinaire — culminating in a bizarre, deeply troubling passage involving the Ark’s most vulnerable pair of creatures — it’s clear that the filmmaker is far more interested in human agency. He even seems to anticipate the New Testament when Naameh pleads with her husband — ever more urgently — to reconsider his own dogmatism in favor of ideas like mercy, forgiveness and simple goodness.
Those are fascinating passages, beautifully presented by Connelly as the movie’s most steadfast moral voice. As off-putting as “Noah’s” juiced-up subplots and cinder-eyed Watchers can be, it’s impossible not to be impressed, engaged and moved by Aronofsky’s own passionate commitment to the Noah story, which has reportedly captivated him since he was an adolescent.
Like interpreters through the millennia, Aronofsky has taken Noah’s journey sincerely to heart, processed it through his own singular visual and moral imagination and come up with a narrative that feels deeply personal, broadly mythical and cannily commercial all at the same time. That feels just about right for “Noah,” which ultimately invites viewers to form their own meanings, whether they’re about sacrifice and obedience, stewardship and service or the enduring entertainment value of an epic adventure that, thousands of years on, still manages to astonish.
Superstar hookup! Rihanna and Drake left a London club together, hand in hand, late Thursday, March 27. The pair have been inching closer to a relationship, multiple insiders tell Us Weekly. "It's working well," one source tells .
Wearing a white ruffled minidress, jester-style hat, thigh-high boots, and oversized black fur coat, Rihanna casually draped one hand over Drake's as the two were photographed in their car leaving Tramps Nightclub. The "Started from the Bottom" rapper looked happy as he flashed photographers an inquisitive stare, while Rihanna gripped his hand.
The source adds that both stars are developing genuine feelings for one another. "He lives for her, but she's really into him, too," the source adds of the "Take Care"
"Drake is really different from what she's used to. He's so different from the guys she usually likes," the source adds of the Barbadian born beauty, whose most famous ex, of course, is Chris Brown. The Unapologetic singer has also been romantically linked to Drake in the past and even unwittingly sparked a brutal brawl between Drake and Brown's entourages in an NYC club back in June 2012.
"They really are good together," the source
Their latest outing comes several days after Rihanna enjoyed Drake's sold-out performance at the O2 Arena on Tuesday, March 25. The "Monster" crooner looked low-key wearing jean shorts, sneakers, and an oversize vanilla fur coat, as she watched him perform from the VIP section. "She traveled to London for his last show," the source adds.
Thursday night's outing was only their most recent public display of affection. Last month, the two were spotted kissing over dinner at the Hotel Costes with a group of pals, according to one eyewitness.
Megan Hilty is pregnant with her first child.
The Smash star announced on her 33rd birthday on Saturday that she is expecting a baby with husband Brian Gallagher.
The happy couple married four months ago and they revealed they found out the news on Brian's 34th birthday in January.
'We took the test together,' Megan told Us Weekly. 'It was the best present he got this year - or any other year for that matter!'
Megan, who stars on Sean Saves The World, is not suffering from morning sickness but admitted she is already craving 'everything I can't have'.
Pregnancy cravings: The actress and singer, says she already wants 'everything I can't have', such as sushi, fish, coffee and champagne
'I haven't shopped for any baby things yet,' she said. 'But I have found some amazing maternity dresses for the summer.'
The pair clearly can't wait to be parents and have been singing to their future new arrival. 'This baby's gonna be really sick of our voices by the time it arrives!' Megan joked.
Megan and Brian surprised everyone when they married in Las Vegas on November 2, and then announced they were man and wife on Twitter.
'I married the love of my life tonight at The Venetian Chapel in Las Vegas! #HeLikedItSoHePutaRingOnIt,' she tweeted at the time.