TIME celebrities

See Vince Vaughn and Dave Franco in These Hilarious Stock Images

Sprinkle a soupçon of celebrity onto your next PowerPoint

Vince Vaughn and the cast of Unfinished Business are injecting some humor into the stilted, campy world of office-themed stock images.

In a partnership with Twentieth Century Fox, iStock by Getty Images has released a set of images that, if they didn’t feature the likes of Vaughn, Dave Franco and Tom Wilkinson, could easily be confused with those ever-inspiring pictures from office PowerPoint presentations.

“We hope these images bring a smile to people’s faces as they recognise classic business stock concepts with a twist,” said Craig Peters, General Manager of iStock by Getty Images in a press release.

Twelve images will be released during a three-week roll-out plan. Check out the first four, released Monday, and decide if your next meeting could use a Hollywood twist.

Successful applauding executives sitting at the table
Nothing left to chance - Business Strategy
Business team enjoying victory

Unfinished Business, set for release on Friday, is a comedy following Vaughn and his new company as they try to land a big deal in Germany.

TIME Television

Khloé Kardashian Wants to Join Fashion Police

Khloe Kardashian at Madison Square Garden on Feb. 12, 2015 in New York City.
Shareif Ziyadat—WireImage/Getty Images Khloe Kardashian at Madison Square Garden on Feb. 12, 2015 in New York City.

Replacing Kelly Osbourne

E! may not have to look very far for Kelly Osbourne’s replacement.

PEOPLE has confirmed that Khloé Kardashian is interested in joining Fashion Police now that Osbourne has left the show.

A source also told PEOPLE that Fashion Police co-host Giuliana Rancic would like to see the Keeping Up with the Kardashiansstar join the show.

Kardashian, 30, is hardly a stranger to red carpet kommentary. She was one of several E! personalities that the network dispatched to the Oscars for its pre-show coverage. She also did a stint on E! News from 2013-14, in addition to starring in her own spinoff Kourtney & Khloé Take the Hamptons.

On Friday, E! announced that Osbourne was leaving the show “to pursue other opportunities.” Her decision to leave came in the wake of criticism that Giuliana Rancic made an off-color joke about Zendaya and the dreadlocks the star wore to the Oscars.

Osbourne, 30, launched Fashion Police with Rancic, Joan Rivers and George Kotsiopoulos in 2010. The show returned for its fourth season in January after the Golden Globes, with Kathy Griffin replacing Rivers following the comedian’s death.

While E! said on Friday that no decisions had been made about Osbourne’s replacement, the show will return as scheduled on March 30 at 9 p.m.

This article originally appeared on People.com

TIME celebrities

It’s a Boy for Carrie Underwood and Mike Fisher

Professional hockey player Mike Fischer (L) and recording artist Carrie Underwood attend the 2014 American Country Countdown Awards in Nashville, Tenn. on Dec. 15, 2014.
Jason Merritt—Getty Images Professional hockey player Mike Fischer (L) and recording artist Carrie Underwood attend the 2014 American Country Countdown Awards in Nashville, Tenn. on Dec. 15, 2014.

Isaiah Michael Fischer was born on Feb. 27

Carrie Underwood is blown away: She’s a mom!

The country singer welcomed her first child, a son, with husband Mike Fisher on Friday, Feb. 27, Underwood announced Tuesday on Facebook.

“Tiny hands and tiny feet … God has blessed us with an amazing gift! Isaiah Michael Fisher — born February 27,” the first-time mom captioned a sneak peek of her newborn.

Underwood, 31, used the family’s furry members — and pink and blue T-shirts — to announce her pregnancy in September.

“In honor of ‘Labor’ Day, Ace & Penny would like to make an announcement. Their parents couldn’t be happier,” the mom-to-be, who debuted her baby belly days later, captioned the photo.

But it was fellow country star Brad Paisley who spilled the beans on the sex of her baby on the way. “We could name him Garth,” he joked at the CMAs in November.

Despite Paisley’s very public announcement, Underwood and the Nashville Predators hockey player made sure to keep their own reveal more private. “[It was] just the two of us in a nicer setting, but we both knew,” she said. “So, that was just confirming our suspicions. We didn’t really speak of it before because we were both just like, ‘Whatever. It’s all good.’ But we knew it was a boy.”

With weeks to go until her first child’s arrival, Underwood — who turned to using her baby bump as a snack tray — admitted she and Fisher were still working on a baby name.

“We need to lock that down here pretty soon,” she told PEOPLE in February. “We joke a lot about funny things that go with Fisher, but there’s not some family name that I have had to be like, ‘No! That’s terrible!’ ”

As for Fisher, 34, his focus was preparing for his future as a father. “It’s something we’re really looking forward to. I’m just thinking about wanting to be the best dad I can be,” he said.

This article originally appeared on People.com.

TIME Television

Maggie Smith May Not Be Leaving Downton Abbey After All

Maggie Smith as the Dowager Countess Grantham in "Downton Abbey."
Nick Briggs—AP Maggie Smith as the Dowager Countess Grantham in "Downton Abbey."

The show’s publicists chime in with a comment

Following an interview with The Sunday Times that suggested that Dame Maggie Smith would be leaving Downton Abbey after its sixth, currently in-production season, the show’s publicists have stepped in to say that the Dowager Countess of Grantham was just having a good laugh.

According to The Associated Press, a spokesperson for Milk Publicity has stated that Smith has always agreed to stay with the show “for as long as the show runs.”

Granted, since the show is renewed one season at a time, Smith’s statements may eventually be proven right—but there won’t be any official word until the sixth season is a wrap.

This article originally appeared on EW.com.

Read next: 7 Historic Moments Downton Abbey Could Tackle Next Season

Listen to the most important stories of the day.

TIME Television

Watch the New Justin Bieber Roast Promo

Comedy Central/Getty Images

Bieber meets his worst nightmare in this promo

Comedy Central’s latest promo for the upcoming Justin Bieber roast is a parody of the singer’s Calvin Klein underwear ad—but with a wigged (and slightly potbellied) Jeffrey Ross replacing model Lara Stone.

The video ends with Ross caressing Bieber before Bieber asks who he is. “Hey man, I’m your worst nightmare,” the comedian replies. And this promo might be ours.

The roast, hosted by Kevin Hart, airs March 30 on Comedy Central.

This article originally appeared on EW.com.

TIME Television

Get Ready for Community Season 6 in Yahoo’s New Trailer

Not all of the gang is back for the web reboot

Greendale is missing a few old faces in the new trailer for Community (like Yvette Nicole Brown’s Shirley and Donald Glover’s Troy), but Yahoo wants fans to know they should expect more of the material they already love in the reboot of the former NBC comedy.

The new preview for season six, which parodies the pace and drama of action trailers, doesn’t try to fool viewers into thinking everything will be the same. “You wanted to save Greendale,” a narrator says early on, “but you didn’t want it to change.” Moments later, a white woman called “new Shirley” (Paget Brewster as Frankie Dart) makes her entrance. Clearly concessions have been made, but it seems Yahoo has found a clever way to address the shift.

The reboot marks Yahoo’s biggest move into original programming so far, but unlike its streaming competitor Netflix, Community season six will roll out one week at a time like network television. That means bingeing won’t be an option when the show returns on March 17.

TIME movies

True Detective Director’s Next Movie to Premiere on Netflix

Pascal Le Segretain—Getty Images

Beasts of No Nation stars Idris Elba

Netflix has a high-profile movie on its hands. The streaming service announced it will release Beasts of No Nation directed by True Detective’s Cary Fukunaga and starring Idris Elba. The movie, based on the novel by Uzodinma Iweala about a child soldier, will premiere in select theaters and on Netflix worldwide on the same day in 2015.

Beasts of No Nation is a powerful film that unfolds beautifully in the hands of director Cary Fukunaga with Idris Elba delivering a career-defining performance,” Chief Content Officer Ted Sarandos said in a statement. “We are so proud to bring a film of this caliber exclusively to Netflix members around the world at the same time as it appears in select theaters.”

Deadline, which broke the news Monday night that Netflix was closing in on the movie yesterday evening, reported that the deal was close to $12 million. According to Deadline, the movie will have “a vigorous push in Oscar season.” A theatrical release is required for Oscar consideration.

Netflix also recently announced it acquired Jadotville, a war thriller starring Jamie Dornan.

This article originally appeared on EW.com.

TIME movies

D.W. Griffith’s The Birth of a Nation 100 Years Later: Still Great, Still Shameful

The Birth Of A Nation
Movie Poster Image Art / Getty Images A poster for D.W. Griffith's 1915 drama 'The Birth of a Nation'.

The most popular and notorious film of the silent era reaches its centenary with its cinematic splendor and racial notoriety intact

At earlier screenings in Los Angeles it was called The Clansman, after the Thomas Dixon Jr. novel and play on which it was based. But David Wark Griffith must have realized that his film deserved a grander title. For its New York premiere on Mar. 3, 1915, exactly a hundred years ago, he renamed it The Birth of a Nation.

Released on the 50th anniversary of the last full month of the Civil War, Griffith’s monument became a groundbreaking popular, technical and critical success. Produced for $100,000 and charging a top price of $2 (when tickets to most movies cost a dime), Birth was the seminal blockbuster of the silent-film period, and the most widely seen of all motion pictures until it was eclipsed by another Civil War epic, Gone With the Wind, in 1939. Griffith’s film is estimated to have earned $18 million in its first few years — the astounding equivalent of $1.8 billion today. In current dollars, only Avatar and Titanic have earned more worldwide.

In its bold editing and composition of shots, in its contrast of intimate scenes with spectacular battles and a final thrilling chase, The Birth of a Nation was the culmination of six years of pioneering artistry by Griffith, the would-be novelist who at first thought he was slumming when he began working in the movies in 1908, but who established, in the hundreds of one- and two-reelers he directed, a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else — more than all others combined — he invented the film art. He brought it to fruition in The Birth of a Nation, an enormous risk that he embarked on without a real script, and using just one camera manned by his invaluable cinematographer, G.W. “Billy” Bitzer.

On Griffith’s death in 1948, TIME critic James Agee synopsized the achievement of the man who made movies move:

Before he walked on the set, motion pictures had been, in actuality, static. At a respectful distance, the camera snapped a series of whole scenes, clustered in the groupings of the stage play. Griffith broke up the pose. He rammed his camera into the middle of the action. He took closeups, crosscuts, angle shots and dissolves. His camera was alive, picking off shots; then he built the shots into sequences, the sequences into tense, swift narrative. For the first time the movies had a man who realized that, while a theater audience listened, a movie audience watched. “Above all. . . I am trying to make you see,” Griffith said.

(Read TIME’s Aug. 1948 remembrance of D.W. Griffith, here in the archives: Last Dissolve)

In The Birth of a Nation Griffith made audiences see the Civil War through his eyes — the eyes of the son of a Colonel in the Army of the Confederacy. The potent drama of the movie’s subject and method stirred President Woodrow Wilson to say, “It is like writing history with lightning; my only regret is that it is all so terribly true.”

Or truly terrible. The most ambitious and powerful film of its time was also the most controversial, indeed notorious. The rhetorical fire it kindled makes recent arguments over the validity of such Oscar-nominated films as Selma and American Sniper seem like the most decorous debates in the Red Hat Society — for The Birth of a Nation not only was about the country’s history, it changed it, unarguably for the worse.

Like many popular films of the next 40 years, Birth took the side of the South in its depiction of the Civil War. It saw the antebellum South as a paradise of Anglo gentility, and the Reconstruction Era as the crushing of that dream. At heart a Romeo-and-Juliet story extended to gargantuan proportions, the movie focuses on two families, the Northern Stonemans and the Southern Camerons, whose eldest sons fall in love with girls from the other family. Though the Civil War places the young men on opposing sides, they retain respect for their old friends — Ben Stoneman (Henry B. Walthall) stops mid-battle to comfort a wounded Cameron — and love for their ladies.

So far, so predictable. The Birth of a Nation occupies a view of the South not far from Scarlett O’Hara’s in Gone With the Wind; and modern audiences have to wrestle with that beloved movie’s romanticizing of racism. But Griffith’s film went further, lower. Taking its cue from Dixon, whom film historian Russell Merritt aptly describes as a “professional southerner and white supremacist,” Birth revels in the coarsest racial imagery: of crude Negroes (most of them played by white actors in blackface) who act like savages both in the Reconstruction Senate, as they deprive the white gentry of their rights, and in their sexual brutality toward Southern white women.

It is romantic chivalry, Griffith insists, that led to Southerners’ retaliations against Negroes. A rapacious black man stalks a young white woman until, to protect her virginity, she leaps off a cliff to her death. To avenge such indignities and defend the honor of white womanhood, Ben Stoneman and his noble fellows give birth to the Ku Klux Klan (who in the film’s climax, gallop to the rescue to the music of Wagner’s “Ride of the Valkyries”). That racist realm, not the restored United States, is the true Nation of the film’s title: the land of lynchings, voter suppression and second-class citizenship for Southern blacks.

The seductive artistry of Griffith’s masterwork made his virulent, derisive depiction of blacks all the more toxic — one could say epidemic. This was not simply a racist film; it was one whose brilliant storytelling technique lent plausibility and poignancy to the notion of blacks as stupid, venal and brutal. Viewers could believe that what they saw was true historically and emotionally. Birth not only taught moviegoers how to react to film narrative but what to think about blacks — and, in the climactic ride of hooded horsemen to avenge their honor, what to do to them. The movie provoked protests and riots in Northern cities with large black minorities. And by stirring bitter memories in the white South, it helped revive the dormant Ku Klux Klan, which for the next few decades went on a righteous spree of killing black men.

In a 1930 conversation with actor Walter Huston (then starring in Griffith’s first talking picture, Abraham Lincoln) for the rerelease of The Birth of a Nation, the director argued that the Ku Klux Klan, riding like the cavalry to the rescue of the South from rapacious Negroes, “at that time was needed to serve the purpose.”

However myopic that sounds today, Griffith wasn’t alone in his sentiments. He had Huston read a passage by Wilson, positing that the purpose of Reconstruction was “to put the white South under the heel of the black South,” under black officeholders “who knew none of the uses of authority except its insolences…. The white men were roused by an instinct of mere self-preservation, until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South to protect the Southern country.” Bilge, all of it, and sadder still that it comes from a Southerner who was a noted historian and the head of Princeton University before becoming President. But it shows that a racist view of American history was near the norm in “civilized” society a hundred years ago, and for decades thereafter.

Yet The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. “On the battlefield,” announces one of the film’s intertitles, “War claims its bitter, useless sacrifice.” For all the spectacular panoramas of the battle footage, its explosions and ragged processions of soldiers, the most impressive and startling moments are the more intimate views of the battle’s end. “War’s peace,” reads another intertitle, and we are shown a tableau of a half-dozen dead soldiers, as if taking a restorative rest after their fatal labor. These images have the impact of defiant art: Goya’s Disasters of War or Picasso’s Guernica. Griffith may have been a racist politically, but his refusal to find uplift in the South’s war against the Union — and, implicitly, in any war at all — reveals him as a cinematic humanist.

Stung by attacks on Birth, Griffith made an even more ambitious film, Intolerance. Cutting among four stories in four periods of world history, from Babylonian times to the present, Intolerance made a plea for universal brotherhood (not specifically including Americans of color). In 1919 he directed Broken Blossoms, an early interracial love story (but involving a man who was Chinese, not black). But he never could erase the stain that Birth left on the body politic. By the time talking pictures replaced the silents in 1930, Griffith the innovator was Griffith the anachronism. As Agee wrote:

“Charlie Chaplin said, ‘The whole industry owes its existence to him.’ Yet of late years he could not find a job in the town he had invented. He clung to the shadows, a bald, eaglebeaked man, sardonic and alone. At parties, he sat drinking quietly, his sharp eyes panning the room for a glimpse of familiar faces, most of them long gone. David Wark Griffith had been The Master, and there was nobody quite like him afterwards.”

TIME Television

Watch John Oliver Apologize to Rats Over Rumors That They Caused the Bubonic Plague

John Oliver has a few choice words for you gerbils

John Oliver used his public platform on Last Week Tonight to issue a mea culpa from the human race to the rat race. It seems that rats have been the victims of history’s second biggest framing (history’s first biggest framing being the portraits of Mariah Carey that hang in Mariah Carey’s house). Turns out that despite what many of us learned in history class, the little beady-eyed rodents did not actually spread the black death throughout Europe and almost wipe out the human race.

The real culprit? Mr. Nibbles, the adorable little gerbil. “We’ll have to rewrite that part of history,” said one professor at the University of Oslo, speaking about their research into the real culprit behind the bubonic plague. Absent a massive viral PR campaign, though, it’s too late to spare the rats’ bad reputation.

However, since Oliver lives in New York City—and seems convinced that there are at least five rats with in any 30 foot area of his town—he is more than happy to spearhead a campaign to repair the rats reputation. First step: an apology. Second step: Strip Mr. Nibbles of his tiny little hat.

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