Lil Yachty And A$AP Ferg Are ‘Terminators’ On Their New Collab

Life’s been pretty rad this year for Lil Yachty, who’s quickly become one of the buzziest names in rap. Now, fresh off a Grammy nomination for his and D.R.A.M.’s monster hit “Broccoli,” Lil Boat’s unleashed an explosive new song with A$AP Ferg.

“Terminator” finds Yachty going harder than usual, trading bars with a reliably energetic Ferg (who dubs himself the “Ferginator” here) over a glitchy, Maaly Raw-crafted beat. Yachty admitted on Twitter that he was sick while recording the song, but props to him for powering through to give us an explosive — yet slightly ominous — new banger.

“Terminator” arrives just over a week after Lil Yachty instated a judgment-free zone with the shimmering new song “Judgement Free.” The Atlanta native debuted the song on Ebro’s Beats 1 show, declaring, “The last time I checked, I was the one promoting positivity… I’m out here trying to promote positivity on a global scale.” Hear that, Shia LaBeouf?

Article source: http://www.mtv.com/news/2961647/lil-yachty-asap-ferg-terminator/

Willow Smith Drops Three ‘Mellifluous’ New Songs

Almost a month after releasing the calming lullaby “November 9th,” Willow Smith is back with a triple-dose of soothing new music.

The 16-year-old has unleashed a surprise three-song project titled Mellifluous. No, I didn’t know what that word meant either, so allow Merriam-Webster to explain: “having a smooth rich flow” and “filled with something that sweetens.” That definition is entirely fitting here, as the self-produced tunes — “Cave Wall,” “Little Shard,” and “Need to Know” — sound like warm honey. All three are dreamy and introspective, especially the latter cut, which finds Willow singing, “My mind is like a prison/ Cold, circling around me/ I travel in all directions/ Only to find myself in the same place, still standing.”

Willow’s Mellifluous comes just two days after her brother Jaden released the video for his new song “Fallen.” Clearly the creativity’s really flowin’ in the Smith household these days.

Article source: http://www.mtv.com/news/2961654/willow-smith-mellifluous-new-songs/

Real World Eviction: Should Kassius Have Been Sent Home Along With Theo?

Bad blood proved to be an especially toxic brew between Theo and Kassius on the latest Real World, and when the feuding cousins finally put up their fists, one of their Seattle adventures swiftly ended.

On tonight’s episode, and after weeks of aggression (both passive and active), Theo and Kass wound up battling between mattresses in the kitchen-facing bedroom. Only days earlier, they seemed to have come to a truce, but when Kassius couldn’t stop provoking Theo (Kass’ new drinking regimen had made him particularly bold), Theo couldn’t take it any longer and got physical.

While most of the original housemates and their respective visitors had made at least some headway since Bad Blood D-day, Theo and Kassius always seemed to wind up back at Square One. Their original issues stemmed from a disagreement in which Theo claimed Kassius’ drugs were found in his college dorm room, and Theo was consequently kicked off his university’s football team (he said his NFL dreams were killed in the process too). He vowed to keep the Real World peace by keeping his distance from Kass, but Kass wouldn’t relent and continued to needle Theo, insulting him behind his back every chance he got.

Finally, when Kass called Theo soft, Theo lunged and started a pushing match that eventually drew production intervention. Theo was sent to a hotel for the night to cool off, and when production got the sense that things would never resolve between the cousins, they decided to remove Theo from the cast permanently, noting he, ultimately, incited the shoving.

“I one-hundred percent regret it,” Theo said. “I just got into a pushing match with my own blood. I just allowed this man to take another opportunity away from me.”

“Regardless of all the bulls-ht, I love [Kassius],” he added. “And I actually mean that.”

Still, some housemates argue that Theo didn’t deserve to get the boot and that it was Kass who was ultimately the aggressor.

“The wrong guy’s going home,” Robbie insisted. “If you’re gonna send one person home, send them both home.”

What do you think — should Kassius have also gotten the Real World boot, and was he just as responsible as Theo for the blowout with his constant provocation considered? Or did producers get it right, and could everything have been avoided were it not for Theo’s aggression? Share your thoughts, and be sure to tune in to a brand-new Real World Seattle: Bad Blood next Wednesday at 10/9c!

Article source: http://www.mtv.com/news/2960785/real-world-kassius-theo/

Which Hollywood Chris Had The Best Year?

If your movie doesn’t star a famous Chris, does it even exist? These days, it’s impossible to launch a franchise without at least one Chris on board, and the four major Chrises — Pratt, Evans, Hemsworth, and Pine — are the handsome guys getting all the work. Though the field may be crowded, the simple fact remains: 2016 was a good year to be a Chris in Hollywood, especially if you have striking smolder, blondish hair, a chiseled physique, and major superhero/sci-fi cred.

Pratt, Evans, Hemsworth, and Pine all had significant releases this year, as well as career-defining milestones, but which Chris reigned supreme? There can be only one winner. Lucky for you, there’s a rather painless formula for figuring it all out, but it requires the Herculean task of ranking the Hollywood Chrises — a task I’m more than willing to do.

Marvel Studios

Now, if this ranking was solely based on box-office performance, Evans would win, no question. Captain America: Civil War was the highest-grossing movie of the year, making over $1.1 billion worldwide. To put things into perspective, that’s more than Star Trek Beyond ($343.5 million), Ghostbusters ($229.1 million), The Huntsman: Winter’s War ($164.6 million), The Magnificent Seven ($160.9 million), The Finest Hours ($52.1 million), and Hell or High Water ($27 million) made combined.

But there’s more to this Chris equation than box-office earnings. It’s an imperfect science, but it’s a science nonetheless, which means we need more variables. So in addition to box-office numbers, I’ll be analyzing several other factors, including critical reception, general life choices, meme-ability, and social media presence. Scoring is simple: Each Chris will receive a score in each category, ranging from highest (400) to lowest (100). So let’s get to work:

BOX OFFICE:

Evans (400): See above. When it comes to box-office numbers, no other Chris comes close to touching Evans’s Civil War haul. Furthermore, Evans isn’t just a part of the Marvel machine; he’s the face of it. Robert Downey Jr. may get all the snarky quips, but it’s Evans who holds down the franchise’s emotional center. Nicely done, Cap.

Hemsworth (300): The Huntsman prequel that someone in Hollywood thought we needed was a critical and commercial flop, but Ghostbusters did find some success at the box office — don’t let the Ghostbros tell you otherwise. (Also, I’m not counting Hemsworth’s hilarious cameo in Marvel’s Doctor Strange because he wasn’t part of the marketing for the film.)

Pine (200): Star Trek Beyond made money, but it didn’t make Marvel money, or even DC/Warner Bros. money. Meanwhile, Pine delivered the best performance of all the Chrises in Hell or High Water, but that only earned a quiet $27 million. LOL, remember The Finest Hours?

Pratt (100): It’s a shame that what could be Pratt’s biggest box-office hit this year — and possibly the Greatest Movie of All Time? — doesn’t open until Christmas. Morten Tyldum’s Passengers has everything holiday audiences want: Jennifer Lawrence, robot Michael Sheen, space sex, explosions in space, and more space sex. However, based on the fact that Sony doesn’t seem to know how to market the film, there’s a possibility that not even a space romp with Lawrence could save Pratt’s box-office year, as his only other film in 2016, The Magnificent Seven, bowed out at just $160 million. Where’s Baby Groot when you need him? (Don’t worry. He’ll be back to collect all of your money next year with Guardians of the Galaxy Vol. 2.)

CRITICAL RECEPTION:

Pine (400): Pine turned in one of the year’s best performances in David Mackenzie’s Hell or High Water, a blistering modern Western about two brothers who hatch a risky scheme to save their family ranch. Pine is know for his charisma, but in Hell or High Water, he buries it, revealing the sad, weary man underneath. Unfortunately, an Oscar nomination for Pine is a long shot at this point, with Casey Affleck (Manchester by the Sea) and Denzel Washington (Fences) currently running up the score. But at least he’ll always have that 98 percent score on Rotten Tomatoes.

Hemsworth (300): Aside from that one shot of Emily Blunt riding a giant snow leopard, The Huntsman: Winter’s War was terrible. But Hemsworth turned it all around in Ghostbusters. Hemsworth lampooned gender tropes with his performance as dopey blond secretary Kevin, who is essentially a living, breathing Ken doll with an Australian accent — and glasses without any actual lenses (so he doesn’t have to clean them). Hemsworth not only keeps up with Kristen Wiig, Melissa McCarthy, Leslie Jones, and scene-stealer Kate McKinnon, but he also walks away with the best joke in the entire film: Mike Hat. More impressively, the joke was improvised by Hemsworth.

Not to mention, under the tutelage of Thor: Ragnarok director Taika Waititi, Hemsworth also made a memorable cameo as the God of Thunder in Doctor Strange and in the even funnier Marvel short, Team Thor, which premiered at San Diego Comic-Con. Forget Pratt; Hemsworth is the newly minted Funny Chris.

Sony Pictures Entertainment

Evans (200): The only film Evans starred in this year was Civil War, so he’s lucky he was so good in it.

Pratt (100): Pratt is a delightful human, but he had a relatively quiet year. Call it Peak Pratt, or maybe Pratt Fatigue, but it’s hard to watch his performance in The Magnificent Seven and not see Chris Pratt. It’s Chris Pratt riding a horse! It’s Chris Pratt in a cowboy hat! It’s Chris Pratt being a gunslinging charmer! It’s Chris Pratt shooting things and flirting with a pretty redhead! I honestly can’t even remember the name of Pratt’s character. That’s not to say that Pratt isn’t good in this movie — he is. He’s Hollywood’s billion-dollar everyman; he does the same thing in every movie, and it clearly works.

GENERAL LIFE CHOICES:

Evans (400): In 2016, Evans started dating Jenny Slate. Therefore, Evans (and Slate) wins when it comes to making life choices. This is also the year when Evans stopped lamenting his career choices and got woke AF. What a difference a year, and some distance from Jeremy Renner, makes.

Pratt (300): Can anyone think of one remarkable thing podcast star Chris Pratt did this year? No shade, but I’m coming up blank. Oh, wait. He talked about butt stuff. OK, and maybe he also made several visits to the Seattle Children’s Hospital because he’s Good Guy Chris, and Good Guy Chris always makes time for his littlest fans.

Pine (200): In case you missed it, Pine recorded a duet with Barbra Streisand Tha God for her latest album, Encore: Movie Partners Sing Broadway. Did you know that Pine sounds like Ol’ Blue Eyes incarnate? Anyway, as Barbra puts it, “Chris Pine … he’s one of the hotties today.” Indeed, Babs. But all the cuteness in the world does not make up for the fact that Pine is an egregious MANSPREADER WHO SHOULD BE PUT IN JAIL. Wonder Woman, get your man under control.

Hemsworth (100): Hemsworth and the internet’s former favorite boyfriend, Tom Hiddleston, filmed Thor: Ragnarok in Australia, where Hiddleston’s summer fling, Taylor Swift, reportedly spent some time on set. Hemsworth later commented on his co-star’s highly publicized romance, telling an Australian radio station, “He looks happy, mate.” The fact that Hemsworth knowingly contributed to the Hiddleswift scam puts him at the bottom of this list. On the bright side, he did apologize for dressing up as a Native American last year, so there’s that.

MEME-ABILITY:

Hemsworth (400): Hi. Here are photos of Hemsworth stretching. You’re welcome.

Evans (300): What were Captain America and Iron Man fighting over, anyway? Well, it had something to do with government legislation, but that’s a total snooze, so the internet had some more colorful suggestions.

Pine (200): Pine not only had a great Star Trek press tour — he couldn’t keep his hands off co-stars Zachary Quinto and Sofia Boutella, literally — but he also ate food off the floor, which I happen to find endearing.

Pratt (100): I swear I genuinely like Pratt, but unfortunately for him, the Raptor Pose meme was so 2015.

Universal

What has he contributed to the internet in 2016? Honestly, Sony should have started marketing Passengers in July, because the internet loves nothing more than Hungry Jennifer Lawrence … and Farting Jennifer Lawrence … and Feminist Jennifer Lawrence … and Farting Jennifer Lawrence and Farting Chris Pratt TOGETHER. Oh well. At least we got this photo shoot of him and a horse.

SOCIAL MEDIA PRESENCE:

Evans (400): Evans has a public Facebook page, but he doesn’t use it. (He hasn’t updated his cover photo since 2013.) He doesn’t have an Instagram because if he did, it would probably give him crippling anxiety. He’s generally a private dude. He’s an intermittent tweeter who usually only uses the app to support kids with cancer, the New England Patriots, or his buddy Sebastian Stan — but recently, he’s been more vocal about his liberal stances. For example, he’s not afraid to call out President-elect Donald Trump on his leadership “skills.” Personally, I love this new era of Woke Chris.

Pine (300): This was the year Pine and the entire cast of Star Trek discovered Dubsmash, which I guess is cute. But it’s this one in particular — of Pine, John Cho, and the late Anton Yelchin lip-synching to Aretha Franklin’s “Think” — that will really punch you right in the gut. Pine’s presence on social media may be nonexistent, but this alone made up for it.

Pratt (200): Pratt made a late-in-the-game save with these “selfies” of him and Lawrence promoting Passengers in Europe. He also gets major props for being the most social-media-savvy Chris — he’s active on IG, Twitter, and Facebook. When he’s not tweeting about the Seahawks, he’s tweeting about his wife, Anna Faris, and since my heart isn’t made of stone, I have to appreciate that. Their son, Jack, is also adorable.

Hemsworth (100): Hemsworth is a total dad, and as the resident Dad Chris (sorry, Pratt), Hemsworth never forgets to remind us that he lives a perfectly charmed life with wife Elsa Pataky and their three children. Seriously. It’s sickening.

TOTALS:

Evans: 1,700

Pine: 1,300

Hemsworth: 1,200

Pratt: 800

Chris Evans is the Chris of 2016. (And I’m not just saying that because I keep a photo of him in a digital frame on my desk.) He earned it. Evans had the biggest release of the year, got into a Twitter feud with Pharma bro Martin Shkreli, discovered podcasts, and became Jenny Slate’s trophy boyfriend. TL;DR — he had the best year.

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Article source: http://www.mtv.com/news/2958082/which-hollywood-chris-had-the-best-year/

The Year They Stole Kim Kardashian

In a brief interview with Ellen DeGeneres that aired in October, Khloé Kardashian was the first member of her family to publicly comment on how Kim Kardashian West was holding up after five masked men broke into her Paris penthouse suite, tied her up, gagged her, and left her there, bound and silenced, before they fled the property with millions of dollars worth of her jewelry in the early hours of October 3. They stole her 20-carat diamond ring, a recent upgrade from the gargantuan, emerald-cut stone that Kanye West had presented to her on the night he proposed. They stole a small jewelry box, which contained a seven-figure tangle of precious metal. And they also stole the public likeness of Kim Kardashian West, who turned reality television fame and notoriety into a tech-driven empire based on her shrewd understanding of the economics of give-and-take.

Give a little — a coy selfie, a sound bite of baby Saint’s chuckle, snaps of North trying various Snapchat filters on for size, a not-so-casual snippet of a phone conversation between Kanye and Taylor Swift, an exclusive Kardashian-West family portrait for the cover of Vogue — and count the clicks, the likes, the views, the ever-widening reach. They’re valuable, those zeros and commas that inflate the number of followers flocking to her social media accounts. But they still don’t come close to the worth of the gold standard of Kim’s own economy, the currency for the empire she built: the two-dimensional rendering of her own face. We’ve got bills with Franklin on the front, but Kim’s face is what she trades on, a modus operandi that’s been adopted by every member of her famous family at large, along with BFFs/publicists, BFFs/stylists, and the second tier of adopted family members employed by the Kardashians to keep the machine in gear.

Khloé was talking about the traumatic impact the robbery had on her sister when Ellen pressed her for details, and the public coldly — and correctly — processed the ordeal as a professional impasse as well as a personal one. When those thieves violated the little privacy she has, Kim — the one who’s built this empire by broadcasting her life through Keeping Up With the Kardashians and her various social media channels — disappeared. Her sisters followed suit, but they’ve slowly crept back into the regularity of Snapchat posts, Instagram campaigns, Saint Pablo tour stops, and public appearances with their respective significant others; they’ve all got businesses to run, after all. Kendall Jenner was the only one who made a conscious effort to temporarily step away from social media, deleting her Instagram account for a week.

Kim has been photographed since her Parisian nightmare, but her face remains protected: her eyes covered by sunglasses, her body swathed in oversize cotton, her presence absent from Snapchat, Twitter, Instagram, her own app, and elsewhere. The fake lashes, trademark contour, and lacquered lips are gone. The only exception to this rule came on Halloween, when Kim dusted off an old Princess Jasmine costume and posed for photos with her family. Filming for KUWTK has halted for now. In the wake of the incident, a number of outlets and insiders scolded, blamed, or framed Kim for bringing this upon herself, as “her decision to seek more discreet lodging away from the spotlight seems to have come back to bite her” and “she loved flaunting her wealth.” Even Karl Lagerfeld, a family friend and champion of Kendall’s, tut-tutted the role oversharing played in the incident: “You cannot display your wealth and then be surprised that some people want to share it with you.” (She went after those who printed that she “faked” the robbery on the grounds of libel and promptly settled before the close of the month.)

People pointed out that her withdrawal from public life is drastically affecting her livelihood, and consulted experts who were quick to note that she stands to make a fortune on her return to posting if she “positions [it] correctly.” Chrissy Teigen got caught up in the churn of a Twitterstorm when she spoke up for her friend and voiced disgust at the chortles bubbling up in her feed at Kim’s expense: “Fame is interesting. Celebs are supposed to love you guys while also knowing you’d make a meme of our dead bodies to get retweets.” (In the days following this post, Teigen flipped the switch on her Twitter feed from public to private.)

For a 60 Minutes interview with Kim that was taped before the robbery, the topic of privacy came up, as did her ability to manage her tenuous relationship with it: “There are pitfalls — lack of privacy, loss of privacy — and that’s not for everyone. For me, I can handle it. … I totally attribute my career to social media.” When asked if she’s managed to monetize the act of living, she’s modest, and shrugs. “I guess so.”

That’s exactly right, if we’re going by the give-and-take mechanics by which Kim and the Kardashian family at large operate, and the profits don’t lie. But Kim Kardashian isn’t “doing that well,” and the traumatic event she survived is being eclipsed by the dissection of its aftermath. It has less to do with hating Kim and the celebrity she’s created, and more to do with the hyperspecific and peculiar species of celebrity worship spawned by a popularity even the best, most seasoned publicity and management team couldn’t control.

She may give plenty away on social media, but we’ve taken plenty away from her, too — and this started long before she flashed a diamond the size of a glacier cap on Instagram.

The selection of candy, batteries, and other sundries that flank the checkout line at the grocery store may change, but the faces on the magazines that stare up at you from the shelves haven’t in nearly a decade. With the rising popularity of KUWTK, Kim, Kourtney, Khloé, and a revolving roster of parents, siblings, lovers, and haters have taken up prime real estate on the cover of your tabloid of choice. Weddings, divorces, plastic surgeries, transitions, pregnancies, the births of their children, the identity of their fathers: The most personal milestones a person can hit have been spun and rescrewed time and time again to keep the family the most visible in the United States.

For years, this is where the Kardashians comfortably perched: The covers of In Touch Weekly, Us Weekly, People, Life Style, and other tabloids were the appropriate print foils for reality TV, the cultural equivalent to the candy bars you impulse-purchase right next to those mags on the way out the door. When members of the family started to break out of the confines of KUWTK’s plot lines through high-profile relationships (à la the Kardashian-West marriage) or noteworthy accomplishments (Kendall’s modeling career; Kylie Jenner’s cosmetics enterprise), the most valuable social clout came not from their own accomplishments, but from the associations and endorsements of established cultural figures that elevated them by proxy. If Lagerfeld can book Kendall repeatedly for Chanel’s industry-shifting presentations, the rest of the world can trust that an authority on his level wouldn’t be wasting his time, money, or reputation on a kid who landed a career in reality TV before she got her learner’s permit. For Harper’s Bazaar, Kendall and Lagerfeld exchanged pleasantries while interviewing each other about their professional relationship and the friendship it fostered. “There was a good feeling coming from her,” he replied when asked about his first impression of the young model (whom he didn’t watch on KUWTK, as he notes earlier on in the conversation). “And I don’t see that with everybody! There is something very warm, human, and sweet about her. … And she is on the way to becoming [an icon].”

The tone in these stories has shifted, and with it came the weird tendency to acknowledge and defend the act of keeping up with Keeping Up With the Kardashians: The more famous they became, the more OK it became to admit that we were interested — that we cared about them, even. Kim covered Complex and Playboy the year that KUWTK hit the small screen and a steady flow of cover stories followed, but it wasn’t until 2015 that the newsstand reached peak Kar-saturation. This is best demonstrated by the November 2015 issue of Cosmopolitan, which featured matriarch Kris Jenner surrounded by her beautiful daughters, all dressed down in minimal makeup and crisp white oxford shirts under the bubblegum pink title of the magazine. In that year, Khloé was the sultry image of body positivity and personal growth on the cover of Complex; Kylie covered Interview as a latex-clad, emotionless mannequin in the vein of high art; Kourtney was picture-perfect as the single mom with a designer’s flair for the decorative on the cover of Architectural Digest; and Caitlyn Jenner — who had been previously living as Bruce, the decorated Olympian triathlete and father and stepfather to the Kardashian brood — transitioned, and did so by announcing the major life change with a revealing profile and glamorous, Annie Leibovitz–shot spread for Vanity Fair.

It was a drastic shift from 2012, when the Kardashians were reportedly banned from Anna Wintour’s Met Gala. Kim’s romance with Kanye and the start of their family landed them the cover of Wintour’s Vogue by April 2014, a move that signaled the Kardashian ability to socially climb the headlines, as even Wintour couldn’t deny the cultural thirst that demanded their placement. Kendall’s burgeoning modeling career netted her prime cover placement on her own, from the first proper profile on her for GQ’s April 2015 issue right on up to Vogue’s coveted September spread. But the justification for her success relied, again, on the say-so from seemingly legitimate voices in that GQ feature: “There was a moment, not too long ago, when Kendall’s modeling aspirations seemed like maybe just another reality-TV plot device, a story line as ephemeral as the episode about Kris’s inconveniently tiny bladder or the time Kim became a private eye. But then Kendall went and built an actual career — one at which she is considered genuinely gifted by those who would know.”

This upgrade in focus — from a lowbrow lens to a highbrow one — did two things: It not only deemed it socially acceptable to read up on and follow the lives of the Kardashians, it rendered them human. The consuming, sharing, and liking public started to treat them as celebrities instead of characters plucked from the non-reality of reality television. Paragraphs were suddenly spent justifying their presence on the page: Khloé’s slimming down wasn’t just about shedding sizes but self-empowerment and reclaiming her identity following the dissolution of her marriage; Kendall’s talent received its due spotlight; and Kylie’s efforts as a beauty entrepreneur weren’t written off as the superficial endeavors of a rich kid with free time on her hands. Kim, in particular, saw fewer mentions of the sex tape brashly brought up in the early days of her career (it hits in the second paragraph of this 2010 Los Angeles Times feature) and more of her business acumen, preternatural understanding of social media trends and behaviors, and ability to build on both. She’s still covering GQ — and naked, too — but she’s earned her place on the cover of Forbes as well; the very real gains and clamor for all things Kardashian is hardly a laughing matter. As Kim said herself when the Forbes cover dropped, “Not bad for a girl with no talent.”

Accolades and accomplishments aside, these features in the last year, especially, pay close attention to the darker complications of fame, be they remarks made in Caitlyn’s Vanity Fair profile about her marital woes (that were so upsetting to her children and stepchildren that Khloé’s anguish soaked up a good few episodes of KUWTK), Kim tearing down Taylor Swift to defend Kanye’s #Famousgate in GQ, or the image of a panicked and shaking Kendall trying to calm her nerves after a mob swarmed her on the streets of Paris. They also demonstrate the precarious transaction that takes place in every one of these situations in regards to the Kardashians’ privacy and how much of it they sacrifice in the pursuit of success.

Through it all, the Kardashian-Jenner clan have lived alongside and in spite of their plot lines, taking the social media shit storms in stride, addressing haters when they feel compelled to do so (as Kendall recently did when she was criticized for her ballerina-themed Vogue spread), and staying post-happy and present as their digital lives provide the livelihood for their IRL ones. But the script changed, as it always has, with Kim, and the family uncharacteristically stumbled over how to comment and when on the matter: Khloé’s uncomfortable Ellen interview was one thing, but Kourtney followed that up with an even more stilted chat that dodged questions about Kim’s recovery, opting for technical difficulties instead of answers.

Now, two months after Paris, Kim’s social accounts remain stuck on Fashion Week, where her biggest inconveniences came in jabs at her wardrobe that seemed to jack Rihanna’s style. Her website was updated by her brother, Rob, who shared snapshots from the Kardashian-West family’s Halloween: North is apparently in the middle of a Princess Jasmine phase, and photos of Kim and her daughter’s matching costumes flooded thousands of Instagram feeds, save her own. Kanye went back on the road for his Saint Pablo tour, but not for long: The remaining dates, which were scheduled to have West wrapping up his year and his road time in Brooklyn on December 31, were canceled following performances that had West ranting about everyone from Donald Trump to Beyoncé, voicing worries for his own safety, and ending the shows abruptly or early in a couple of instances; he was placed under psychiatric observation on November 21. North makes brief cameos on the Snapchats of her aunts, Saint just celebrated his first birthday, and Kim’s siblings attend to their growing families, their business ventures, their budding romances. The world may have warmed up to the practice of KUWTK and justifying the affection felt for the lives they live in public, but Kim’s robbery is a reminder that the face we’ve seen photographed a million times belongs to a breathing human, one we’ve watched, mocked, adored, abhorred, clicked on, followed, downloaded, and checked in on multiple times a day.

So, how is Kim doing? She is hiding, at times in plain sight. She is missing, as every public version of herself — the celebrity, the entrepreneur, the cast member, the producer, the spokesperson, the client, the muse — has fled the flashbulbs, the hoisted cell phones, and the rolling cameras. She is losing money, as living — this act she’s so successfully capitalized on — needs to be done in public and online for the cash to come in. She is healing, presumably, as what happened in Paris is the stuff of nightmares, a horror-show scenario that taps into human fears immune to the spotlight, and the “pitfalls” became adversaries instead of inconveniences. She is in recovery mode, as are her closest kin in varying degrees.

But if there’s anything Kim has proven, it’s that she doesn’t have to be doing well by anyone else’s metric but her own. She is not beholden to the weight of tabloid fury or the pressures of the many industries that follow her lead, but to her own standards. When Kim is ready to return, she won’t be the woman we knew before Paris, but a new Kim entirely, as she’s lived out the cautionary tale of a selfie-snapping generation while they watched with bated breath.

So, no, she’s not doing that well. But she can handle it.

Article source: http://www.mtv.com/news/2960043/the-year-they-stole-kim-kardashian/

High School Musical’s Corbin Bleu Shares His Unintentionally Dirty Wedding Vows

Corbin Bleu has it all: killer dance moves, former Disney stardom, a beautiful wife, and the hit single “Push It to the Limit.” However, the High School Musical star recently confessed the one thing he doesn’t have: wedding vows to new wife Sasha Clements that went as smoothly as planned.

While co-hosting Live with Kelly with Kelly Ripa on Monday (December 5), Bleu shared a hilarious story about his wedding fail. “I’m not sure who was more traumatized by my story,” Bleu captioned on Instagram, “Kelly or my [w]ife.”

Moral of the tale: If you plan to write your own vows, never forget that everyone in the audience — including your bride-to-be’s father — will be listening. Bleu’s heartfelt message to his wife was precious, but his choice of words? Yeah, not so great. Check out the video above and try not to cringe from secondhand embarrassment.

THE BOYS OF HIGH SCHOOL MUSICAL REUNITED AND I’M SCREAMING

Article source: http://www.mtv.com/news/2961205/corbin-bleu-wedding-vows-story/

Shawn Mendes Totally Nailed This Drake Cover — No Rapping Required

Shawn Mendes may be a pop singer-songwriter, but he’s been known to try out virtually any music genre. He showed off his versatility Tuesday (December 6) at BBC Radio 1’s Live Lounge, where he performed his hit song “Mercy” AND covered Drake. You know, the rapper. Mendes put his own spin on “Fake Love,” part of Drizzy’s upcoming More Love playlist project.

An electric guitar was all Mendes needed to transform “Fake Love” from a hip-hop jam to an acoustic ballad. Instead of rapping, he sang the lyrics as if they were just another tune from his latest record, Illuminate.

Shawn Mendes Was Very Ready For His ‘SNL’ Close-Up

We’d like to see Mendes cover more Drake tunes in the future. After all, he did call Drizzy a “true legend” when they hung out two weeks ago at the American Music Awards.

Article source: http://www.mtv.com/news/2961138/shawn-mendes-drake-fake-love-cover/

Another Teen Wolf Woe: No One Even Remembers Stiles’ Beloved Jeep

Whoa… we didn’t see that coming. And we probably should have.

Stiles loves his little blue 1980 Jeep CJ5 so much that he lovingly named it Roscoe, for crying out loud. Roscoe has been through hell and back with the Teen Wolf gang for the better part of five seasons, diligently chasing threats throughout Beacon Hills and even clear into Mexico. So it’s only natural that the relic left behind following Stiles’ disappearance is the one material item he loved the most.

We gotta ask though: Did anyone else wonder throughout tonight’s ep if Stiles’ relic was perhaps his mom? Melissa McCall even said it herself — it’s a miracle Mama Stilinski was alive if she did indeed suffer from frontotemporal dementia. Just interesting, that’s all.

But back to the matter at hand: Roscoe. We spotted the jeep in the BHHS parking lot, but Liam and company walked right on by it. Who will remember its owner first?

Our money is on Lydia, as that Jeep is where, shortly before he vanished, Stiles uttered those four words that are forever ingrained in our memory: “Remember I love you.” If you think about it, Lydia and Roscoe were the last to see Stiles alive.

Then there’s also Stiles’ bestie, Scott. Roscoe has been present through many a Sciles moments, from joyriding through Beacon Hills while chasing baddies to looking on in sorrow when Scott essentially kicked Stiles out of the pack over Donovan’s death last season. Or what about Malia? The werecoyote has ridden shotgun several times throughout their Stalia romance and friendship. Heck, there’s also Stiles’ own dad, the Sheriff, and also Parrish, who literally flipped the jeep during a hellhound outbreak.

Someone has to remember — it’s only a matter of time. Post your theories, and find out what happens next Tuesday at 9/8c (trust us, you won’t want to miss this ep).

Article source: http://www.mtv.com/news/2960391/teen-wolf-stiles-jeep-remember/

Should Ophelia Allow Harris Into Her Sweet/Vicious World?

Withholding a sensitive part of your life from a dear friend is undoubtedly difficult — and for Ophelia, that means not disclosing her vigilante status to her close pal Harris. But should 1/2 of the bad-ass Sweet/Vicious duo come clean to the aspiring lawyer in an effort to thwart his own investigation into the Darlington take-downs — or should she keep her ally in the dark about her mission to bring justice to those who get away with abuse?

During tonight’s episode, Ophelia opted to stay silent about her double identity to Harris while he openly searched for clues surrounding the incidents. But will that always be the case?

“Ophelia is not ready to share this with him because I think that speaks to who Ophelia is, which is someone who is afraid that if she shows her true side, they will reject her,” creator/executive producer Jennifer Kaytin Robinson told MTV News. “I think she knows deep down that Harris believes this is wrong and Harris will believe this is wrong, and she can’t face losing him. So she’s trying to evade that conversation for as long as possible.”

But what do you think? Is it best for Ophelia to be honest and confess to being one of the masked superheroes — or is it wise to stay hush-hush and allow him to continue on his path, which could feasibly ruin her and Jules’ entire operation? Share your theories in the comments, and catch Sweet/Vicious every Tuesday at 10/9c.

Article source: http://www.mtv.com/news/2955728/sweet-vicious-ophelia-harris-secret-vigilante/

The Lizzie McGuire Movie Reimagined As A Thriller Shows Paolo’s True Colors

You’re lying to yourself if you weren’t jealous Lizzie McGuire (Hilary Duff) got to take a class trip to Rome in the eighth freaking grade in The Lizzie McGuire Movie. She traveled to an exotic country, became ~besties~ (for a hot minute) with a pop star named Paolo (Yani Gellman), and finally kissed Gordo (Adam Lamberg). Despite some issues, it was a fun trip full of adventure. But what if it wasn’t?

YouTuber Elle Mills recut The Lizzie McGuire Movie‘s trailer, turning it from a family-friendly escapade into a sinister thriller. Sure, Paolo was relatively harmless, just a grade-A phony faker in the singing department, but Mills reimagined him as a malicious villain with an extra suspicious agenda. Word of advice, Lizzie: If some stranger wants you to ride on the back of his moped through the streets of Rome, tell him that’s not what dreams are made of. Check out the hilarious video below.

7 BIZARRE DISNEY CHANNEL THEORIES THAT’LL HIT YOU RIGHT IN THE CHILDHOOD

Article source: http://www.mtv.com/news/2960776/lizzie-mcguire-movie-reimagined-thriller/

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