TIME celebrities

Kanye West: ‘I’m a Better Human’ Because of Kim Kardashian

He also said he sees a lot of himself in his daughter

Marriage and fatherhood have made Kanye West think about more than himself and his art – and that’s made him a better person, he says.

“I’ve definitely learned how to compromise more,” the rapper, 37, told Ellen DeGeneres about being married to Kim Kardashian, 34. “And I’ve learned how to shut up more. And yeah, I think I’m a better human being because of her and because of my daughter [North].”

West still has lofty visions for his work, of course, and wants to be “brave for what I want to do for humanity, but also to be more protective of myself for my family, too.”

He also said he sees a lot of himself in his daughter – particularly when she gets frustrated.

“I think I was going through my version of my terrible twos,” he says of his sometime difficult younger years as an artist and businessman. “My daughter, she wants to express herself, and she just doesn’t have the words for it. And, for me, there were so many things I wanted to do with film and clothing, and I just didn’t have the words or the resources.”

Life as a family man has been such a positive experience for him that it’s no surprise West and Kardashian are looking to grow their family sooner rather than later.

“Yeah, we’re trying,” he says on the topic of having more kids.

How many does he want in all? “I just want whatever Kim wants,” West says. To which Ellen replies with a laugh: “Wow, that’s a good answer, whether it’s true or not.”

This article originally appeared on People.com.

TIME Television

Viola Davis Says Filming How To Get Away With Murder Sex Scenes Should Be Uncomfortable

Viola Davis stars as Professor Annalise Keating in How to Get Away With Murder Craig Sjodin—ABC

The actress teases what's in store for the show, which returns tonight

Thursday nights are finally fun again. After several weeks of winter hiatus, the Shonda Rhimes trifecta—How to Get Away With Murder, Scandal and Grey’s Anatomy—returns tonight with brand new episodes, and a little extra bling. For actress Viola Davis, the latest How to Get Away With Murder will be the first episode to air since she won the SAG Award for Outstanding Performance by a Female Actor in a Drama Series earlier this week.

TIME spoke with Davis earlier this year about her hacker-thriller Blackhat, but we couldn’t get away with not asking her about what makes her hit TV show so groundbreaking.

TIME: This show has been praised for changing the way we see sex on television. How does that feel?
Viola Davis: Oh, I love it! As an actor, I try to draw from life because life is my biggest inspiration. It’s so full of contradictions. When you draw from life, that’s when you get the biggest a-ha moments, because who people are in their private lives are sometimes not ever reflected on TV and film. The biggest a-ha moment was when I was given a role that’s described as sexy, strong, and I decided to look like a real woman—not kind of the prototypical sexy woman that you usually see on television. I wanted to be that sexy woman who took her mask off at night, the sexy woman who was not a size two, the sexy woman who looked like me and walked like me and had my skin tone. I thought that’s probably the most progressive decision that I’ve made, and I’m so happy that people have acknowledged it and are tuning in.

What do viewers not understand about what it’s like actually filming those scenes?
The fact that they’re uncomfortable—and they should be uncomfortable. Ultimately, you’re being private in public. How many people have a camera in their bedroom at night? The reason that we can do what we do in private is because we know we’re not being watched. On TV, you’re being watched. It’s one of the biggest lessons you learn when you are in acting school: how to be uninhibited. That’s what people don’t understand, and that’s why I wanted to take my wig off, my makeup off. I felt like that would be the ultimate courageous thing that I could possibly do. Most of the time when I’m watching TV, I feel there’s some awareness by the artist and the people making TV that they’re being watched. I wanted to do it with the understanding that I’m not being watched. I felt that would be the most progressive decision I could make, and obviously it was.

Empire drew almost 10 million viewers when it premiered, a number that both How to Get Away With Murder and Black-ish previously hit. With black actors leading so many breakouts shows, is this the tipping point for minority casting opportunities?
I hope so. I’m going to believe that it is because America is changing. I don’t think you can even look at a bus stop nowadays without seeing a caucasian blond woman with her afro’d brown-skinned baby. Art needs to begin to reflect life. It can no longer be homogenized. We are now in the 21st century. I’m going to believe this is the landscape of television now. I’m going to believe that people are going to be tuned into it. It’s just not just black actors or black-themed storylines, it’s just human-being storylines with people of color in them. I think it’s here to stay.

What’s the most surprising thing you’ve learned about the law after working on this show?
That it’s not just black and white and right or wrong. It’s something that I think my character says at one point: “You have to defend people who you know are guilty.” That’s the surprising thing about criminal defense attorneys. You have to lie to yourself. That’s the justice system. That’s the bottom line. I understand that when people tune in they want to see characters that are likeable, they want to see right or wrong, they want to see black or white, but life in the law is very, very, very grey. Everybody deserves a fair and equal trial, even the people who are on the wrong side. That’s the system that we’ve created. That’s the most surprising element—the real complexities of it. And the real complexities of people within the justice system and people who are in life, too. At the end of the day, the lawyer hangs up the lawyer hat and they become a person. And they’re messy!

Do you think you would have been a good lawyer if you hadn’t become an actress?
No, I would have made a horrific lawyer.

I’m way too sensitive!

So you’re saying you can’t get away with murder now?
Definitely not. I’m one of those people that has a really horrific poker face. I’m a person who, if I find $5 on the street, I’m going to run around for the next 20 minutes trying to find the person who owns the five dollars—and I’ll keep it for the next two years to see if anyone shows up to claim it. That’s me!

What can you tease about the show’s return?
I think that it will surprise you in simple ways. I think it will be touching in unusual ways. And I think it will still be salacious and intriguing. And look out for Miss Tyson—look out for the force that is Miss Cecily Tyson.

TIME Television

Meet Disney’s First Latina Princess

Princess Elena of Avalor Disney Junior

Princess Elena of Avalor will make her debut in 2016

There’s a new Disney princess in town – and for the first time, she’s Latina.

On Thursday, Disney Junior announced that Princess Elena of Avalor will make her debut in 2016 on a special episode of Sofia the First, the network’s hit show for preschoolers.

Princess Elena is “a confident and compassionate teenager in an enchanted fairy tale kingdom inspired by diverse Latin cultures and folklore,” the network said in a statement.

After her introduction on Sofia, 16-year-old Elena will star in her own spin-off series, Elena of Avalor, also set to debut on Disney Junior in 2016.

Dominican Republic-born Aimee Carrero of ABC Family’s Young & Hungry, 26, will voice Elena, whose backstory is connected to the magical amulet Sofia wears on the show.

The story goes that Elena was imprisoned in the amulet by an evil sorceress, Shuriki, decades ago while Elena was trying to protect her little sister, Princess Isabel. Decades later, Sofia “discovers the truth . . . and sets out to restore Elena to her human form and help her return to the kingdom of Avalor.”

In 2012, Disney executives responded to questions about Sofia’s heritage after early hints that she had Hispanic roots.

“Sofia is a fairytale girl who lives in a fairytale world,” said Nancy Kanter, Executive Vice President and General Manager, Disney Junior Worldwide. “All our characters come from fantasy lands that may reflect elements of various cultures and ethnicities.”

This article originally appeared on People.com.

Read next: How 7 Disney Princesses Could Change the World

Listen to the most important stories of the day.

TIME Television

The 10 Best Episodes From NBC’s Parenthood

From left: Miles Heizer as Drew Holt, Lauren Graham as Sarah Braverman, Mae Whitman as Amber Holt and Ray Romano as Hank Rizzoli in the "How Did We Get Here?" episode of 'Parenthood'.
From left: Miles Heizer as Drew Holt, Lauren Graham as Sarah Braverman, Mae Whitman as Amber Holt and Ray Romano as Hank Rizzoli in the "How Did We Get Here?" episode of Parenthood. NBC—Getty Images/2014 NBCUniversal Media, LLC

From the 'Pilot' to this final season, our favorite hours with the Bravermans before the series wraps

10. “Pilot”

Season 1, episode 1

The Bravermans are confused and likable and flawed—and the pilot does a good job of letting viewers know that from the get-go thanks to this drama-filled, sentimental episode. Quite a bit happens—it’s responsible for introducing each character, after all—but the highlight comes at the end when the entire family gathers together at the baseball field to see Max play after a particularly trying day. None of the problems presented in the hour are solved by then, but that’s not the point: No matter what issues plague the Bravermans, they’ll still be there for one another in all their messy glory. —Ariana Bacle

9. “My Brother’s Wedding”

Season 3, episode 18

The season 3 finale begins with Adam and Crosby physically fighting it out in front of their entire family and ends with Adam delivering a tearjerker of a speech at Crosby and Jasmine’s wedding. The tussle is a reminder that even the Bravermans, a family every viewer probably wants to be a part of, isn’t perfect all the time—and the brothers’ reconciliation is a reminder that everything works out eventually. Meanwhile, Julia and Joel are dealing with Zoe’s decision to keep the baby. It’s a happy ending for them, too, though, when the season ends with a social worker dropping off Victor, who later becomes an official member of the Braverman-Graham family. —Ariana Bacle

8. “Limbo”

Season 5, episode 17

There’s nothing quite like the combination of marijuana and marital issues to create an unforgettable hour of drama. Bringing in the comedy for the episode, Drew and Amber turn to drugs to help them deal with their relationship woes, before Joel and Julia are forced to face their own struggles when it’s time for Aida’s baptism. Just as Joel is ready to bow out as both Aida’s godfather and a part of the Braverman clan, Zeek shows up to reassure Joel that he took him on as a son when he married Julia, and that hasn’t changed. And if the waterworks haven’t already started, Joel showing up at the baptism will do the trick. —Samantha Highfill

7. “One More Weekend With You”

Season 4, episode 8

During Max’s first sleepover, the effects of Kristina’s chemo finally start to set in. As a result, Monica Potter shines in one of her character’s roughest hours, eventually ending things on a comedic note when Kristina finds her release in some medicinal marijuana. Elsewhere, Amber realizes the trauma Ryan’s been dealing with when they attend the funeral of one of his friends who recently killed himself. It’s a dramatic hour that ends on a happy note when Amber and Ryan take a brief detour on their drive home to find some sanctuary in the ocean…and the arms of each other. —Samantha Highfill

6. “I’m Still Here”

Season 5, episode 21

Ray Romano joined the cast as Hank, Max’s mentor and Sarah’s sometimes boyfriend, in season four, and proves himself an awkward, lovable asset to the Braverman clan (and the show) when he drives Amber the eight hours to San Diego so she can be at Ryan’s side in the hospital. Affection doesn’t come naturally to Hank, so seeing him go full-on caretaker is surprising and sweet. What’s less sweet is the death of Kristina’s cancer-stricken friend, Gwen. Kristina struggles with grief, but later finds some solace when she opens a gift from the late Gwen that ends up comforting—and inspiring—her. —Ariana Bacle

5. “The Offer”

Season 5, episode 18

”I think I am a freak, ” Max tells his parents after a classmate pees in his canteen. This episode has a handful of important, emotional moments—Zeek and Camille’s honest conversation about selling the house, for one—but it’s Max’s heartbreaking realization that he’s not like the other kids that stands out the most. He sits alone in the backseat, asking why he’s different, until Kristina crawls from the front to hug him despite his protests. The scene isn’t uplifting by any means, and that’s what makes it so poignant: Kristina and Adam’s veneers finally crack, revealing how powerless they feel—and how deeply they care about their son’s happiness. —Ariana Bacle

4. “Road Trip”

Season 3, episode 12

In a very rare scenario, the entire Braverman clan spends the hour together on a road trip to visit Zeek’s mother for her birthday. Well, all but Kristina and Max who only join the fun after Max learns a very important lesson about what names you can’t call your mother. On the road, shenanigans ensue, but as per usual, they end on a meaningful and heartfelt note when the all-powerful Zeek is realized to be nothing more than a young boy trying to impress his mother. And the moment when his mother finally tells him she loves him is nothing if not sob-worthy. —Samantha Highfill

3. “How Did We Get Here?”

Season 6, episode 10

Parenthood isn’t big on withholding information, but when it does, it’s for good reason: This episode begins with Zeek being wheeled away in an ambulance, followed by short, silent scenes of his children responding to phone calls and heading to the hospital. We don’t know how bad it is, and they don’t know either, making this opening one of the series’ most powerful. They spend the rest of the episode waiting to see how Zeek is while the bad (a Luncheonette crisis) and the good (Hank proposes to Sarah) continue happening around them—just like life. —Ariana Bacle

2. “Hard Times Come Again No More”

Season 2, episode 22

The aftermath of Amber’s car accident begins on a powerful note—the family gathering at the hospital—and eventually climaxes in what might be the greatest Parenthoodspeech of all time when Zeek tells Amber, ”You do not have permission to mess up my dreams.” But that’s not all this hour has to offer. Alex confesses his love for Haddie to Adam, Julia decides she wants another baby, Kristina announces that she’s pregnant, and Sarah’s play forces Amber to realize what she nearly lost in her accident. —Samantha Highfill

1. “There’s Something I Need to Tell You”

Season 4, episode 5

In an hour that represents the very best that Parenthood has to offer, Julia’s struggle with balancing work and motherhood results in her quitting her job, Hank kisses Sarah for the first time, Ryan is introduced to Amber, and Haddie calls home to get the real story about Kristina’s cancer from her father. To top things off, the final two scenes uplift—Victor gets a hit at his baseball game!—and then devastate when Haddie’s unexpected return home results in Kristina having to tell the family about her diagnosis. But in true Parenthood fashion, viewers don’t even hear Kristina say the words, but rather it’s the reaction of her loved ones that leaves the biggest impact. —Samantha Highfill

This article originally appeared on EW.com.

TIME movies

Watch the First Trailer for Ted 2

The bear is back

The next installment of Ted looks like a continuation of the crude jokes and inexplicably heartwarming storyline that made the last film.

The Universal Pictures film, which follows the talking teddy bear’s quest to prove he’s a person in court so that he can father a baby, is slated to come out in June.

Beside Mark Wahlberg and his bud Ted (voiced by director Seth MacFarlane), the sequel also features the likes of Liam Neeson, Amanda Seyfried and Morgan Freeman.

Read next: Mark Wahlberg’s Prosecutor Says He Shouldn’t Be Pardoned For Youth Crime

Listen to the most important stories of the day.

TIME europe

Watch Amal Clooney Eloquently Argue Her Case in Armenian Genocide Hearing

Clooney is representing Armenia before Europe's top human rights court

Amal Clooney laid her case before the European Court of Human Rights on Wednesday against a Turkish politician who denied the 1915 Armenian genocide.

The international human rights lawyer is representing Armenia in a case against Dogu Perincek, the chairman of the Turkish Workers’ Party, who was convicted in Switzerland in 2005 for calling the Armenian genocide an “international lie.”

The Strasbourg-based ECHR later agreed with Perincek that the conviction violated his freedom of expression, and now Switzerland is appealing, with Armenia’s backing as a third party.

“The most important error” made in the earlier ECHR ruling, Clooney said, “is that it cast doubt on the reality of the Armenian genocide that the people suffered 100 years ago.” In her remarks, Clooney noted Turkey’s “disgraceful” record on freedom of expression.

An estimated 1.5 million Armenians were killed by Ottoman Turks in what historians widely consider to be the first genocide of the 20th century, but Turkey has contested the numbers and refused to call it a genocide.

The case could also have wider implications for Europe, where several countries have laws prohibiting public denial of past genocides such as the Holocaust.

Clooney, now arguably the most famous human rights lawyer in the world after marrying actor George Clooney in September, previously represented Greece in its long-running bid to have a collection of classical Greek sculptures returned from the British Museum. She also defended one of three al-Jazeera journalists detained in Egypt.

Read next: Amal Clooney Begins Next Big Human Rights Case

Listen to the most important stories of the day.

TIME Music

Watch Kanye West’s Emotional New Music Video Starring His Daughter North

The short clip was directed by Spike Jonze

Kanye West has a new video for his single “Only One” and its two stars are himself and his one-and-a-half-year-old daughter, North. The rapper shared an exclusive first look at the video, which was directed by Spike Jonze, on Ellen. It mostly involves him and North wandering through a field and then gazing at each other in said field.

Note: this emotional ballad features Paul McCartney on keyboard.

Watch above as Ellen previews the video and then lavishes praise upon Kanye, calling him “amazing.”

Update: You can now watch the full video on Kanye’s official site.

Read Next: Kim and Kanye Working on Difficult Second Child

Listen to the most important stories of the day.

TIME celebrity

Kim and Kanye Working on Difficult Second Child

Celebrity Sightings In New York City - November 06, 2014
Kanye West and Kim Kardashian arrive to Soho House New York James Devaney—GC Images

The celebrity tells People she and Kanye West are "trying for another kid"

Kim Kardashian and Kanye West have unveiled their winter project — a younger sibling for baby North.

“We’ve really been trying for another kid,” Kardashian, 34, told People. More kids can’t come soon enough.”

The newlyweds had their first child, North, nineteen months ago.

This has been a busy 12 months for Kardashian. Not only did she break the internet, but Kardashian also got married, launched a mega-successful smartphone game, wrote a book (about selfies), and starred in a Super Bowl ad (also about selfies.)

Read more at People.

TIME Music

Tom Petty Has No Hard Feelings About Sam Smith Song

Tom Petty And The Heartbreakers Performs At The Forum
Tom Petty of Tom Petty And The Heartbreakers performs onstage at The Forum on October 10, 2014 in Inglewood, California. Paul R. Giunta—Getty Images

"Sam did the right thing and I have thought no more about this.”

Tom Petty says there is no ill will between him and Sam Smith after the artists reached an agreement announced this week over similarities between a song of his and Smith’s recent hit, Stay With Me.

A representative for Sam Smith announced on Monday that Tom Petty and his co-writer Jeff Lynne would be credited as co-writers on Smith’s song because of similarities between it and Petty’s 1989 hit I Won’t Back Down.

“Not previously familiar with the 1989 Petty/Lynne song, the writers of “Stay With Me” listened to “I Won’t Back Down” and acknowledged the similarity,” the representative said in a statement. “Although the likeness was a complete coincidence, all involved came to an immediate and amicable agreement in which Tom Petty and Jeff Lynne are now credited as co-writers of “Stay With Me” along with Sam Smith, James Napier and William Phillips.”

Now Petty has confirmed that the two artists have reconciled their differences amicably. “Sam did the right thing and I have thought no more about this,” Petty said in a post to his website. “A musical accident no more no less.”

Here’s the full statement:

“About the Sam Smith thing. Let me say I have never had any hard feelings toward Sam. All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door but in this case it got by. Sam’s people were very understanding of our predicament and we easily came to an agreement. The word lawsuit was never even said and was never my intention. And no more was to be said about it. How it got out to the press is beyond Sam or myself. Sam did the right thing and I have thought no more about this. A musical accident no more no less. In these times we live in this is hardly news. I wish Sam all the best for his ongoing career. Peace and love to all.”


Here are the two songs, for you to compare:




TIME Television

Better Call Saul: Portrait of the Con Artist as a Young(er) Man

Bob Odenkirk as Saul Goodman - Better Call Saul _ Season 1, Gallery - Photo Credit: Ben Leuner/AMC
Ben Leuner/AMC

The makers of Breaking Bad created a great TV drama. Their challenge now: to follow it up with a pretty-good TV drama.

In this week’s print TIME, I talk to Bob Odenkirk and co-creators Vince Gilligan and Peter Gould about their Breaking Bad prequel featuring the man who would be Walter White’s lawyer—Better Call Saul (premieres on AMC Feb. 8)—and review the new show. The article is for TIME subscribers, so I can only share so much of it pro bono. But I will say that I was skeptical of the idea—as I say in the article, it had shades of 2001’s The Lone Gunmen, the superfluous, dark-comic X-Files spinoff that Gilligan also ran—yet after three episodes, I have to say it’s… pretty good.

And in fact, “pretty good” might be the right ambition for this series, even if it necessarily risks unflattering comparison to the grand sweep and ambitions of Breaking Bad. On its face, Saul is a similar show with a similar arc: Jimmy McGill (Saul, before he adopted his nom de bus bench) is a struggling but essentially law-abiding guy who, we know, will slip-slide the crooked path to criminality, or, at least, criminality-enabling. (The reverse, ironically, of the redemption and name-changing of the New Testament’s Saul.)

What distinguishes it in the early going is precisely that it has different aims–it takes the character seriously, but it’s more of an entertainment, more picaresque. And ultimately, it’s about a different kind of figure:

But we’ve seen enough brooding bush-league Walter Whites in cable antihero dramas that that’s a good thing. Saul is in the same universe but a different tradition, that of the irresistible trickster. It’s a monument to malarkey. There is something in people that loves a BS artist–the rogue, the flimflam man who carries no gun but gets by on his words, on what he makes, literally, out of thin air.

Jimmy McGill has elements of James Garner’s TV rascals (Bret Maverick, Jim Rockford) but filtered through Odenkirk’s ah-jeez Midwestern appeal. (Like Odenkirk, Jimmy hails from Chicagoland.) You may not admire him or his clients, but he embodies a certain human spirit of ingenuity. “I love that he’s indefatigable,” Odenkirk says. “You can’t stop him. It’s funny to see him dig a hole as he tries to dig himself out of a hole.” Or as a scary character puts it after Jimmy tap-dances his way out of a threatening situation, “You got a mouth on you.”

I don’t want to claim to have Better Call Saul entirely figured out after three episodes; Breaking Bad, after all, was itself a more comic show in its early going, making more of the absurdity of a chemistry teacher in his tighty whities figuring out how to become a meth dealer. (OK, to the extent that you can consider a show that involves dissolving a dead body in acid to be comic.) It changed its tone and aesthetic as Walter White evolved, and maybe its prequel will also. Or maybe it won’t, and maybe it will simply remain a diverting, well-executed lagniappe–not one of the greatest series on TV, but that’s certainly no crime.

For now, I simply tried to measure Saul by the yardstick: would I want to watch this show if I knew none of the references, none of the characters’ back stories? I was a doubter. But for now, Saul, or should I say Jimmy, has fast-talked me into believing.

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