TIME celebrities

Watch Dustin Hoffman and Jason Bateman Make Out

Dustin Hoffman and Jason Bateman kiss on camera at a Lakers game YouTube

And talk about that Lakers’ game kiss cam in 2010

Dustin Hoffman and Jason Bateman made out, and you can watch.

Hoffman and Bateman appeared with Jennifer Anniston and Judy Dench on BBC host Graham Norton’s U.K. talk show to explain the kiss the two men shared on a Lakers’ game-kiss cam in 2010.

Hoffman explains that he and his wife Lisa had been on a voyeuristic roll at Lakers games: the first time the kiss cam panned to the couple, Hoffman turned toward his wife and made out with her. The second time, he says jokingly, he did a “subtle” saunter southward.

But “by the seventh or eighth time we’d run out of things to do,” he tells Norton. “We couldn’t top it.”

Oh, but they could. Hoffman explains that before the next game, he, his wife, Bateman and Bateman’s wife met for dinner and plotted that should the kiss cam turn on the group, Hoffman would lean toward his wife, and then reverse course and make out with Bateman, instead.

So, how can Hoffman top that one? Well, by making out with Judy Dench, it turns out. Watch the clip to see that one too.

TIME Music

The American Music Awards Proved New Pop Stars Are Way Too Cautious

Sam Smith
Sam Smith performs on stage at the 42nd annual American Music Awards at Nokia Theatre L.A. Live on Sunday, Nov. 23, 2014, in Los Angeles. (Photo by Matt Sayles/Invision/AP) Matt Sayles—Matt Sayles/Invision/AP

The show was predictable, conservative and short on excitement

Jennifer Lopez was the standout act of the American Music Awards this year. And nothing against Lopez, who’s been shoring up this awards show for years with energetic live performances, but that doesn’t speak well of the current crop of pop stars.

The 2014 American Music Awards were striking in how much they depicted a wide gulf between the recording industry’s top achievers and those who hope to get there someday. Stars including Rihanna, Bruno Mars, Justin Timberlake, Beyoncé, and Katy Perry (who won an award, accepting it via satellite!) didn’t deign to show up; their careers can go on without this promotional opportunity. (Taylor Swift did show up, but she’s taking a well-deserved victory lap for 1989, and she got a lifetime-achievement award out of the deal.) Meanwhile, Iggy Azalea seemed vaguely put-out in her acceptance speech and was largely on the sidelines in her duet with Lopez, while Ariana Grande and Sam Smith cautiously performed in exactly the same way they’ve been doing since their careers began, with a lot to recommend them and a lot to work on that hasn’t been worked on yet. (In Grande’s case, it’s enunciation; Smith’s beautiful voice can’t fully distract from his wooden arm movements.) MAGIC!, the Canadian reggae band of “Rude” fame, was also there.

That One Direction, a band whose first album came out in the U.S. in 2012, felt like veterans on the AMAs stage, performing a perfectly lovely rendition of “Night Changes,” spoke volumes both of the relative novelty of the acts involved, and their relative aptitude at being pop stars. The new crop of stars, including Smith, Grande, and Azalea, among others, seem to have missed out on the advantages their forbears enjoyed, which include the time to work out what one wants to be as an artist and the tools it requires to get there. Consider that Taylor Swift won a lifetime achievement award (that is, the Dick Clark Award for Excellence) for cultivating relationships with her fans and opened the show by specifically sending up her image — the sort of image that Grande et al. have yet to try to build. We can’t learn to love an artist if they’re as recessive as the new crowd tends to be.

The American Music Awards last year, by dint of who had recorded albums in the preceding months, featured performances by Katy Perry, Lady Gaga, and Miley Cyrus, all of whom bring to mind complex associations and who rely on elaborate stagecraft. This year’s performers tended to be simple; indeed, Nicki Minaj, one of the few veterans on the stage, made an impression by dialing back her theatrics. But in her case, it’s an earned privilege. Newer artists at the 2014 AMAs failed to give us much to latch on to; if they ever want the sort of success Perry and Cyrus enjoy, it’s about time to start taking risks. As we wait for that, there’ll always be Jennifer Lopez twerking.

TIME celebrities

Lisa Bonet Denies Slamming Bill Cosby on Twitter

6th Annual Hamilton Behind The Camera Awards
Lisa Bonet arrives at the 6th Annual Hamilton Behind the Camera Awards at House of Blues Sunset Strip in West Hollywood on Oct. 28, 2012 Gabriel Olsen—FilmMagic

On Sunday, the blogosphere went into overdrive when a tweet attributed to Lisa Bonet seemed aimed at Bill Cosby.

Only one problem: it was all a hoax.

“Lisa Bonet has no social media of any kind,” her manager tells PEOPLE. “Any posts made in her name were made by impersonators with unverified accounts. She also has no comment on the ongoing story.”

“According to the karma of past actions, one’s destiny unfolds, even though everyone wants to be so lucky,” read the tweet, which was posted on an account using Bonet’s name. “Nothing stays in the dark 4ever!”

Many falsely took that as Bonet — who played Cosby’s daughter Denise on The Cosby Show from 1989 to 1992 — addressing the numerous sexual-assault allegations against the 77-year-old comedian. (The actor has denied the claims through his lawyer.)

The fake Twitter account has since been suspended. Gossip Cop was first to report the hoax.

Bonet isn’t the only member of the Huxtable family to speak out. Raven-Symoné (who played Cosby’s stepgranddaughter Olivia on the show) took to social media last week to deny rumors that she was one of his victims.

“I was NOT taking advantage of by Mr. Cosby when I was on the Cosby Show!” she posted on her Instagram. “I was practically a baby on that show and this is truly a disgusting rumor that I want no part of! Everyone on that show treated me with nothing but kindness. Now keep me out of this!”

This article originally appeared on PEOPLE.com

TIME Music

Jennifer Lopez Twerks Onstage With Iggy Azalea at the American Music Awards

The performance celebrated all things "Booty"

Jennifer Lopez, year after year, shows younger artists how it’s done at the American Music Awards.

Performing single “Booty” with Iggy Azalea, the indefatigable singer/actress/reality-show judge danced (including, yes, a song-ending twerk) like her career depended on it. The performance was the most dynamic of the night. Watch it up top.

TIME Music

NFL Officially Announces Katy Perry to Play Super Bowl Halftime Show

The announcement came mere minutes before Taylor Swift accepted a special prize at the American Music Awards

The NFL has made official what had been widely reported more than a month ago: Katy Perry is to perform at the Super Bowl next year in Glendale, Ariz. The announcement late Sunday came with a would-be viral video in which Perry sketches out her dream halftime show, one with extinct wildlife, edible glitter, and “like a thousand” of the sort of fluffy white kittens Taylor Swift finds herself surrounded by, too.

Perry, famous for hits including “Firework” and “Roar,” is currently on tour promoting her album Prism in Australia, but even in absentia, her announcement was cannily timed; it came in the minutes preceding putative enemy Swift’s winning a lifetime achievement award at the American Music Awards. It was classic counterprogramming on the NFL’s part, at least, and proof that the run-up to the Super Bowl will be an interesting one.

TIME Music

Taylor Swift Defends Albums as ‘Art’ at the American Music Awards

Slyly alluding to her ongoing issues with Spotify, she asked for the album as a form to be "respected"

Taylor Swift accepted from Diana Ross the Dick Clark Award for Excellence, a new lifetime-achievement prize, at tonight’s American Music Awards — and in Swift’s telling, the presenter choice wasn’t as random as it seemed.

Ross “stood up for herself so many times, in a time when it was not popular for a woman to stand up for herself,” Swift said. It read like a subtle dig at her recent detractors in the streaming-music industry, like Spotify, who’ve grown frustrated at no longer being able to provide Swift’s music to free users — and the dig was made more explicit by Swift thanking her fans who “believe in the same thing I believe in, that music should be consumed in albums and albums should be respected as art.”

Check out Swift’s full speech above.

TIME Music

Watch Nicki Minaj’s Dressed-Down ‘Bed of Lies’ Performance on the American Music Awards

For once, the song was the star

Nicki Minaj showed the world what The Pinkprint is going to look like with a striking performance of “Bed of Lies” at the American Music Awards. The artist, known for her theatrics, kept the high dudgeon to a minimum, standing by a piano as Skylar Grey played.

It was a performance whose dominance came from just how willing Minaj was to let the song be the star. Watch up top.

TIME Music

Watch Lorde Perform Her ‘Mockingjay’ Theme Song, ‘Yellow Flicker Beat’

A TV debut for the haunting song

Lorde’s new song, “Yellow Flicker Beat,” plays over the credits of America’s current number-one movie, The Hunger Games: Mockingjay—Part 1. And in performing it, the New Zealand-born singer stole the show at the American Music Awards, prompting a front-row freakout from her friend Taylor Swift.

Watch a live rendition of the song that’s been haunting you ever since you saw Katniss and Peeta’s final moments in Mockingjay.

TIME Recaps

The Walking Dead Watch: ‘Crossed’

Walkers - The Walking Dead _ Season 5, Gallery - Photo Credit: Frank Ockenfels 3/AMC
"Who's bad?" Frank Ockenfels 3/AMC—© AMC Film Holdings LLC.

Things go all fubar before the mid-season finale. Plus, watch for extremely melted zombies

“Crossed,” the seventh episode of the fifth season of AMC’s The Walking Dead, might as well have been titled “Aftermath.” Nearly all the show’s characters find themselves reeling from the multiple denouements in last week’s episode, “Consumed.” All of them are more or less groping to find the boundaries of morality, the show’s most consistent theme.

The episode begins with the rage of Sasha, the latest of our unmerry band to have been pushed beyond the edge. Still distraught over the loss of her boyfriend Bob, she is taking it out on a church pew with an ax while the rest of the group fortifies the abbey in preparation for a standoff to come. The organ pipes are becoming battlements, the kneelers deadbolts. Gabriel, the milquetoast priest with qualms about killing the undead, looks around and asks worriedly, “Are you going to take the cross too?” “If we need it,” Daryl replies, implying it has little value beyond its physical utility.

This augurs the moral searching of the other characters throughout the episode. In a world where the clergy is futile and religious icons are only as good as the literal material they’re made out of, it’s up to every individual to settle their own codes. This is underscored (maybe) by Gabriel trying, manically, pointlessly, to scrub dried blood out of the church’s hardwood.

(Side note, the liturgical readings posted inside the church are all topical. They include: Matthew 27:52And the tombs broke open. The bodies of many holy people who had died were raised to life. And Luke 24:5In their fright the women bowed down with their faces to the ground, but the men said to them, “Why do you look for the living among the dead?”)

At the hospital, Beth learns that Carol has suffered serious injury (duh) and may not recover without the right medication. Not wanting to waste resources on a seemingly lost cause, Dawn orders her taken off machine care. But later, Dawn also gives Beth the key to the medicine cabinet, suggesting she’s got to pose as a strongman to stay in control. Dawn is a new kind group leader. Though she seemed a run-of-the-mill tyrant at first, she increasingly appears to be just a figure head, barely keeping the hospital collective together. “You don’t know how fragile this thing is,” she tells Beth (who’s scars have reached Chucky frequency).

At the stalled fire truck, a concussed Eugene is baking in the sun. A PTSD-ed Abraham is looking off into the distance, spaced way out. In the mean time, Glenn, Tara, and Rosita take trip to the local pond to stock up on water and do a little impromptu fishing. It’s all very Stand By Me and the trio seems the least conflicted of any of the current sub-groups, amiably deciding to forge ahead even in the wake of the charade that was Eugene’s “mission” to Washington.

At the church, Carl tries to convince Gabriel he can teach him to protect himself from the undead. When Gabriel expresses discomfort at the conflict that ended the lives of the Termians, Carl points out they were “killers,” and Gabriel retorts, “So are we.” (Throughout, the confessor is on his knees and the teenager shaped by the post-apocalyptic world is towering above him in role reversal.) Gabriel retires to a backroom where he pulls up the floor boards and takes off. On his way to exile, he lands on a nail creating some Stigmata light for the road. When he encounters a roaming walker, he can’t bring himself to bash her brains out.

The main tension (and action) is with the fourth group—Tyrese, Sasha, Rick, Daryl and Noah—who are on a rescue mission to retrieve Carol and Beth from the hospital. Rick’s plan: slip in, special forces style, killing whoever gets in the way. Cold, ruthless, pragmatic. Tyrese’s plan: capture two of Dawn’s officers and diplomatically negotiate a trade. Measured, generous, idealistic. To Rick’s mild annoyance, the group sides with Tyrese’s more humanistic plan. Again, testing of boundaries…

Things go wrong pretty quickly. Though the group manages to ambush two of the hospital’s police officers, they’re quickly saved by a backup force. The shootouts that follow take place in a wasteland of badly burned walkers, many of which are melted to the pavement. This is the napalm-scented hell awaiting those who were evacuated from the hospital in the midst of the outbreak. Ultimately, Rick’s group gets its hostages.

One of them, Officer Bob, seems like a pretty good guy. Earnest, trustworthy. He convinces Sasha to put one of his former colleagues, now rotting and writhing outside, out of his misery. But as she’s lining up her shot, Bob bashes her against the window and scuttles off.

Zombie Kill Report
1 double fingers to the eyes by Daryl; 1 silenced shot to the skull by Rick; 1 knife to the head by Glenn; 1 knife to the head by Rosita; 1 knife to the head by Tara.
Estimated total: 5

TIME Music

Watch Imagine Dragons Unveil Their New Single, ‘I Bet My Life’

The follow-up to their huge "Radioactive"

Imagine Dragons debuted their new single, “I Bet My Life,” at the American Music Awards. Following the group’s massive success with “Radioactive,” the new single would seem to be slightly more folk-inflected, in the Mumford & Sons style that’s become so popular.

That didn’t stop the theatrical group, though, from bringing in explosive visuals and a backing choir. Watch up top.

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