“Plizzanet Earth” Narrated by Snoop Dogg Is Your New Favorite Nature Show

Grab some gin and juice, sit back, and enjoy


It’s hard to imagine watching Planet Earth without the sweet, sweet sound of David Attenborough’s silky smooth voice. It’s like the aural version of a scone with butter and jam — how can you beat that? But it turns out Snoop Dogg is pretty excellent as a narrator too. On Jimmy Kimmel Live, the rapper offered some very high-level commentary about some of nature’s greatest mysteries while watching scenes from the popular BBC nature show. For example: “This is a seal. What’s he doing acting like a dolphin?”

Somebody give this man his own nature show, please.

TIME Music

Yeah Yeah Yeahs’ Karen O Gets Intimate on Her Solo Debut

The lo-fi sounds of "Rapt" are disarmingly charming


This post is in partnership with NME.

“Love’s a f-cking b-tch / Do I really need another habit like you?” coos Karen O over creaky acoustic guitar in this first glimpse at her upcoming debut solo album. “Rapt,” along with the rest of Crush Songs was written way back in 2006, a time when life, not just romance, was proving a “f-cking bitch” for the Yeah Yeah Yeahs frontwoman. Following a failed tryst with film maker Spike Jonze (“I wasn’t sure I’d ever fall in love again,” she later explained), the New Yorker was also facing up the prospect of loneliness in other areas of her life: “I really contemplated quitting. Things had gotten pretty bad between us,” the singer told NME of her working relationship with YYYs guitarist Nick Zinner soon after the release of 2006’s Show Your Bones. “The future felt completely unwritten.”

All the uncertainty and melancholy of that period simmers noticeably under the hushed lo-fi sounds of “Rapt.” A heart-crushing vignette about trying to break up with a lover you know is bad for you, fans hoping for the post-punk grandeur of YYYs favorites “Maps,” “Gold Lion” or 2013’s “Sacrilege” will feel let down. Instead, this is Microphones-esque bedroom folk so intimate it’s claustrophobic and disarmingly charming. Remember “The Moon Song,” the stirring, stripped-back track Karen wrote for Spike Jonze’s 2013 Oscar winner Her? This is more of the same: a haunting, simple campfire ballad.

Why wait till now to release “Rapt” and the upcoming Crush Songs? It’s hard to say. With Karen now married to music video director Barnaby Clay, who shot the clip for the YYYs’ “Zero” as well as this song’s underwater video, maybe this release is a form of closure for the singer. Or maybe the tracks on “Crush Songs,” written during that period of uncertainty for YYYs, began life as demos for a big solo career launch when the NYC trio disbanded? Karen might have thought they were too good to sit at home on a computer hard drive after the group’s second wind following last year’s “Mosquito.” Or maybe it’s just a favour to the Strokes’ Julian Casablancas, whose new Cult Records label is releasing the album and could do with a blockbuster name on their roster. Who knows and, frankly, who cares? “Rapt” is a warming glimpse at another side to the raucous, screaming figure Karen cuts in YYYs. It’s a side we’ve seen in short bursts via soundtrack work (Her, 2009’s Where The Wild Things Are) but never across a whole album. The future feels unwritten again for Karen O – but this time in a good way.

‘Crush Songs’ is released on September 8.

More from NME: 46 Quality Indie Bands Of The 2000s You Completely Forgot About

More from NME: Damon Albarn Opens Up About New Blur Material

TIME movies

REVIEW: Get On Up Is a Loud, Proud and Oscar-Worthy James Brown Biopic

Get On Up James Brown Movie
Left: Craig Robinson, center: Chadwick Boseman (as James Brown), Get On Up, 2014. Universal Pictures

Chadwick Boseman, who played Jackie Robinson in '42,' is sensational as the Godfather of Soul in this bold movie from the director of 'The Help'

Even by the standards of early rock ‘n’ roll songs, the 1956 “Please, Please, Please” is primitive, in fact primal. It’s the “Hare Krishna” of sexual desperation: one word is repeated a couple dozen times in a lover’s mantra, prayer or threat, as crooned by the vocal group, The Famous Flames, and howled by their lead singer. In the biopic Get On Up, a record-label executive listens to the number and dismisses it. Where are the verse and chorus, where’s the play of words? And Brown’s manager keeps repeating, “It’s not the song.” Exactly right. It’s the singer — the pleader, the testifier — James Brown.

The singer and the showmanship. On stage more than on records, Brown turned “Please, Please, Please” into fervent melodrama with a comic undercoating. The first record and first R&B hit for Brown and the Flames, the song always came at their end of their set, with Brown intoning the dirge as the house-band saxes followed him in a slow, keening descent. This went on for a few thrilling minutes. Then, totally spent by his exertions, and crushed by the perfidy of womankind, Brown collapsed onstage, was lifted to his feet by attendants and, with the robe of a defeated boxer draped over his shoulders, began to drag himself toward the wings — until the cries of the audience magically revived him. Like Lazarus or the Frankenstein monster, he summoned the will and strength to sing one more chorus. Now that’s entertainment.

(READ: Corliss’s tribute to James Brown)

Over the decades, Hollywood has filmed the life stories and music of seminal artists from the first Age of Rock: The Buddy Holly Story, La Bamba (Ritchie Valens), Great Balls of Fire (Jerry Lee Lewis) and Ray (Ray Charles), plus docu-features on Elvis Presley and Chuck Berry. Now, nearly eight years after Brown’s death, at 73 on Christmas Day 2006, comes Get On Up. It may be the finest, most complex of the bunch — the story of a difficult man who created the funk sound, endlessly sampled by rock stars and rappers. Written by Jez and John-Henry Butterworth, directed by Tate Taylor and boasting an indelible lead performance by Chadwick Boseman, Get On Up is the goods.

Why did it take so long for the movies to get around to Brown? In part because he was black; Ray Charles was the only early rock ‘n’ roll great to attain biopic glory, and he projected a far less confrontational personality. Brown was the very blackest — the most satanic and majestic — of Afro-American performers. In his first decade as a performer, Brown wowed the “chitlin’ circuit,” but he had no mainstream Billboard hits until “Papa’s Got a Brand New Bag” in 1965, and only seven other top-10 singles (including “I Feel Good,” “It’s a Man’s Man’s Man’s World,” “Cold Sweat” and “Living in America”) over the next 33 years of his recording career. With a scalding tenor that could melt vinyl, Brown was too raw to enthrall the sorts of white kids who grow up to run movie studios and greenlight projects about the cultural heroes of their childhoods. Brian Grazer of Imagine Entertainment was the guy who said yes.

(READ: What’d I Say about Ray Charles?)

Brown’s boyhood, on the evidence of Get On Up, was a nightmare. Born in a Georgia sharecropper’s shack in 1933, he is deserted by his mother (Viola Davis) and handed over to a relative (Octavia Spencer) for rearing. The fondest mementos of his youth are the shoes he takes off a lynched man’s feet. In prison for stealing a suit, he meets Bobby Byrd (Nelsan Ellis, from True Blood), lead singer of the Gospel Starlighters, who brings James into his home and into the quintet, soon to be known as The Famous Flames. James screws Bobby’s sister and takes over the group: his need for control is as consuming as his talent.

A meeting with another Georgia raver, Little Richard (a great turn by former Disney Channel imp Brandon Smith), five months older than James and already a local star, persuades him to make a demo record. This brings the group to the attention of Ben Bart (Dan Aykroyd, who shared the screen with the real Brown a million years ago in The Blues Brothers), and to a contract with Federal Records. When the “Please, Please, Please” single is issued, Byrd and his mates are shocked to see the credit: JAMES BROWN With The Famous Flames. He’s the boss. And as Brown’s popularity grows, he successfully tangles with the Federal executives to release a “live” album and with concert promoters to reduce their share of the take. This wild man is also an astute businessman — and a canny politician, able to juggle the colliding agendas of Lyndon Johnson and the Black Panthers (not a vocal group, although the Panthers were vocal).

(READ: Dan Aykroyd and James Brown in The Blues Brothers)

Instead of doggedly retracing every step to stardom, as most musical biographers do, the Butterworth brothers and Taylor hopscotch across Brown’s life, sampling its highlights and pitfalls, as rapsters borrowed snippets of his music. Each segment, jumbled in chronology, announces its theme or mood by being labeled with one of the nicknames Brown was given or chose for himself: Little Junior (in Spencer’s household), Mr. Dynamite, The Godfather of Soul, The Hardest Working Man in Show Business, Superbad, etc. Occasionally, Boseman-Brown serves as narrator, stepping from one scene and one period into another. It’s as if, from the beyond, the showman is still in charge.

Yet Get On Up manages to be an inside-outside view of Brown. He accomplishes his musical innovations — turning every brass and woodwind instrument in his band into a form of percussion — by treating his sidemen as house slaves. Although Byrd, saxophonist Maceo Parker (an excellent Craig Robinson) and others have known the singer for years, they must address him as “Mr. Brown.” When it turns out he’s not as sharp a business mind as he thought, he doesn’t pay them and doesn’t explain why. The Hardest Working Man in Show Business can be a terrifying employer, imposing his will on subordinates and the women he sometimes abuses.

In short, this soul man/tycoon is Ray Charles Foster Kane. Byrd fills the same role as Joseph Cotten’s Jed Leland did in Citizen Kane: the longtime friend, employee, victim and conscience of a self-styled great man. And Bart is the kindly Jewish advisor, like Everett Sloane’s Mr. Bernstein in Kane, in whose presence the driven protagonist can relax into self-deprecation. Railing about his troubles on a plane ride with Bart, James suddenly smiles and says, “Here I am, just a sorry black man whinin’ on my private jet.” Not until near the end of Get On Up, after he’s burned bridges with his mother — a scene in which Davis reveals her characters’ fallen pride and lasting scars — and his bandmates, do we learn the one person whose forgiveness Brown needs. Not that he’d ever beg for it.

(READ: Isn’t Citizen Kane the greatest film of all time?)

Given that Taylor directed The Help and Boseman played Jackie Robinson in 42, you might expect a touchup of the Brown portrait, perhaps a whitewash. Not so. Get On Up is a big step up from the homely hominy homilies of Taylor’s first film. He draws the main characters in rich contours, without constantly editorializing about racial prejudice, as in The Help. He doesn’t have to; it’s redolent in so many scenes, notably an early-’40s “Battle Royale” in which 10 black boys, including the young James (played by the twins Jordan and Jamarion Scott), are blindfolded and must box with one arm until only one is standing — all for the amusement of the white gentry and the embarrassment of the black musicians in attendance.

As Jackie Robinson, Boseman was heroic and stoic; he spoke softly and carried a big metaphorical bat. Robinson was the herald of racial change in major-league baseball but not its agent; that was Brooklyn Dodgers General Manager Branch Rickey, who promoted Robinson into the bigs and hoped the young UCLA graduate could handle the challenge. In Get On Up, Bart is not Rickey; James Brown forged his career success and his musical legacy out of pain, guts and prison, with no special help from whites. He said it loud: he’s black and he’s proud.

(READ: Mary Pols on Chadwick Boseman as Jackie Robinson in 42)

Playing Brown from the age of 16 to 60, Boseman carries and lifts Get On Up to its most impressive heights. He doesn’t sing the songs (the original recordings got a cogent remix from executive producer Mick Jagger) but he talks the raspy talk in inflections that become habitation. Boseman also mastered the on-stage strutting and dance moves that inspired Jagger, Michael Jackson and plenty others; he’s a wondrous dervish — fully possessed in both sense of the word. Even in repose, his Brown radiates drive, sex, menace and spirit. He’s the boss of Get On Up, not by Brownian manipulation but by audience acclamation.

As much as I hate using the O word seven months before the Academy Awards, I’m obliged to predict an aisle seat for Boseman on Oscar night. In 2007, Jamie Foxx won Best Actor for his subtle performance as Ray Charles. Boseman exceeds that solid standard. Incarnating James Brown in all his ornery uniqueness, he deserves a Pulitzer, a Nobel and instant election to the Rock and Roll Hall of Fame.

TIME Television

Sharknado 2: Everything You Need to Know Before Watching The Epically Absurd Second One

Get ready for a fin-tastic voyage


“You know what you did, don’t you? You jumped the shark.”
— Actual line from Sharknado 2: The Second One, as it desperately tries not to jump the shark

If you’re on Twitter come 9 p.m. Wednesday, consider yourself warned. Because literally the only thing the Internet will be talking about is SyFy’s uber-viral, uber-campy Sharknado 2, featuring Tara Reid, Ian Ziering, droves of quasi-celebrity cameos and, of course, a chain saw.

The movie gained more traction than its SyFy brethren Piranhaconda and Sharktopus ever did, and has become a cult classic even for those who have never seen the film. According to USA Today, while only 1.4 million people watched Sharknado’s original airing, a number that grew in subsequent airings, it inspired 5,000 tweets a minute. (We bet Samuel L. Jackson is kicking himself that Twitter was in its infancy during the Snakes on a Plane release).

So if you are jumping on the bandwagon before Wednesday’s premiere, or just need a quick refresher, here’s a crash course in all things Sharknado.

What the first movie was about:
Due to ambiguous reasons (“global warming?” a newscaster guesses) a massive storm and massive influx of sharks have simultaneously hit Los Angeles. Tiger sharks are flying through the windows of Beverly Hills mansions. Hammerheads are eating angry drivers on the 405 freeway. And it is up to one man with the subtle name of Fin Shepard (Ziering) to not only stop an impending Sharknado (which is exactly what it sounds like), but also to reconnect with his estranged wife April (Reid) and kids. His son saves the day by dropping a bomb into the Sharknado. All of our main characters survive, even though two of them were eaten by the toothy predators. (Note to self: When about to enter a shark’s mouth, remember to wield a chainsaw.) Fin and April make out. All is well.

What is the second one about:
Same concept. Different city. The Sharknado has followed Fin and April to New York as they promote their book, How to Survive a Sharknado and Other Unnatural Disasters: Fight Back When Monsters and Mother Nature Attack. (Available for purchase). Now Fin must use his knowledge to save New York from imminent disaster.

Lots of symbolic destruction:
The Santa Monica Pier ferris wheel was shown rolling down the streets of Los Angeles symbolizing THE END OF FUN in Sharknado. Swap that for the Statue of Liberty’s decapitated head catapulting through New York to symbolize . . . something about the shark’s threat of freedom or something, and we’re all set.

It might be kind of educational:
As we learned in Sharknado: “Tornados happen when cold and hot air meet. If you drop a bomb in it, you just might equalize it.” Because SCIENCE.

It also might be kind of political:
Although the first film didn’t exactly take a stand against shark hunting, it was kind of implied considering a poachers face got eaten by a shark.

Hordes of cameos:
Vivica A. Fox, Mark McGrath (a.k.a. Sugar Ray) and Judah Friedlander have joined the cast as Finn’s college friend, his brother-in-law and a helpful cab driver, respectively. But there are also tons of quick hits from “stars” who were itching to ride Sharknado‘s viral wave. Watch for Kelly Osbourne, Andy Dick, The Naked Cowboy, Perez Hilton, Al Roker and Matt Lauer, Kelly Ripa and Michael Strahan, and, of course, Jared the Subway guy, who eats a sandwich as sharks start eating people in a subway. (Get it? He’s eating a Subway sandwich in the subway!)

A total disregard for human life:
The cast of Sharknado appeared totally and completely unphased when a shark would come out of nowhere and rip someone’s leg off. Reid barely batted an eye when her live-in boyfriend was torn apart in the mansion.

Lots of New York “insider” jokes:
Sharknado’s script was riddled with LA jokes including: “It’s just a little water. Typical Californians afraid of the rain;” and “My mama always told me Hollywood would kill me” — right before letters from the Hollywood sign crushes him to death.

Expect gems like this from the sequel: “This is the big apple. Something bites us, we bite back.”

A renewed sense of patriotism:
May we leave you with Fin’s inspiring speech: “They’re sharks. They’re scary. No one wants to get eaten. But I’ve been eaten, and I’m here to tell ya, it takes a lot more than that to bring a good man down. It takes a lot more than that to bring a New Yorker down.”

TIME celebrities

The Long List of People Who Have Beef With Justin Bieber

Justin Bieber
Justin Bieber performs on March 23, 2013, in Bologna, Italy Roberto Serra / Iguana Press / Redferns via Getty Images

Orlando Bloom isn't alone

People reported Wednesday that Justin Bieber and Orlando Bloom allegedly fought in Spain, possibly over Bloom’s ex-wife, Miranda Kerr. If true, that means Bloom is just one name in a long list of people feuding with J-Beebs.

Here are just a few others:

Seth Rogen

The Neighbors star tweeted after Bieber’s drag racing and DUI arrest in January, “All jokes aside, Justin Bieber is a piece of s***.” Two months later, Rogen ranted about the young pop star on The Howard Stern Show, discussing their first meeting. According to Rogen, Bieber requested to meet him, but then pretended he hadn’t when they did encounter one another.

“I don’t want to meet you! Don’t act all nonplussed to meet me. I didn’t want to meet you. I was totally cool with not meeting you,” said Rogen. He went on to tell the story of another meeting they had at the 2011 Video Music Awards: “He literally had a snake wrapped around his f***ing wrist that he was wearing, like a live snake as an accoutrement. I was like, ‘What the f***?'”

After Rogen shared his hate of Bieber on The Today Show and The Daily Show With Jon Stewart, Bieber finally tweeted a response:

Bill Clinton

When a video that shows Bieber urinating into a janitor’s mop bucket while screaming, “F*** Bill Clinton” leaked online, Bieber went into damage control mode: the singer claimed to have reached out to former President Clinton, apologized and offered to help the Clinton Global Initiative. Bieber tweeted, “@billclinton thanks for taking the time to talk Mr. President. Your words mean alot #greatguy.”

President Clinton never commented on the incident nor any conversation that may have taken place.

Taylor Swift

Taylor Swift has reportedly never been a fan of her friend Selena Gomez’s on-again-off-again relationship with Justin Bieber. The “We Are Never Ever Getting Back Together” singer even stuck out her tongue and made a disgusted face when Gomez and Bieber kissed backstage at the 2013 Billboard Music awards, as captured in this amazing GIF.

Patrick Carney

The Carney-Bieber feud began when a TMZ reporter asked the Black Keys drummer if he thought Bieber was snubbed by the Grammys. Carney replied: “Grammys are for music, not for the money, and he’s making a lot of money. He should be happy.” The next day Bieber tweeted: “The Black Keys drummer should be slapped around haha.” Following the tweet, thousands of Beliebers harassed and insulted Carney on social media.

“Justin Bieber, like a f***ing irresponsible a**hole, sicced 40 million Twitter followers on me because I paid him a compliment he didn’t understand,” Carney told Rolling Stone in May.

Drake Bell

Nickelodeon star-turned-musician Drake Bell was accosted by Bieber fans on social media after retweeting a photoshopped picture of Bieber. “When I hit retweet on this tweet, the floodgates were open: death threats, slurs,” the former Drake & Josh star told Yahoo Music. After the incident he tweeted:

Immigration Hawks

Over 273,000 people have signed a petition to deport Justin Bieber. The movement urging the Obama administration to send the crooner back to his home country of Canada began when Bieber was arrested for driving under the influence in January, and it has only grown since Bieber’s rap sheet has grown.

Justin Bieber’s Neighbors

Bieber’s neighbors in Beverly Hills are fed up with his party boy antics. They called police to their neighborhood six times over the July 19 weekend, complaining about music blasting in the wee hours of the morning and party guests drinking on the sidewalk outside their home, according to the Los Angeles Times. “He’s causing a lot of nusiance,” one of his neighbors, Sharona Zinati, told KTLA-TV. “Four in the morning, he has music pounding.”

This isn’t the first time Bieber’s neighbors have complained to the police. The pop star is already on probation after he pled no contest on July 9 to throwing eggs at his former neighbor’s house in Calabasas, California. Bieber recently moved from that home to Beverley Hills.


Here’s a Supercut of All of Tom Haverford’s Ridiculous Business Ideas on Parks and Rec

A little something to tide you over until the show returns for its final season


One of the many excellent running jokes in NBC’s Parks and Recreation is Tom Haverford’s, uh, entrepreneurial spirit. Throughout the series, he comes up with a variety of business ideas, ranging from the actually-kind-of viable to the downright ridiculous. (Okay, most of them are just downright ridiculous.)

The video compiles most of these ideas into one four-minute supercut — and they end up sounding even more ridiculous one after the other. Several appearances by his sometimes-partner Jean-Ralphio make the video even better.

TIME Television

Taradise Lost: Tara Reid’s Sharknado Comeback

Sharknado 2: The Second One
Tara Reid as April Wexler in Sharknado 2: The Second One. Jaimie Trueblood—Syfy

The Sharknado star and notorious party girl gets older, and wiser — maybe

Tara Reid did not expect Sharknado to be her big comeback, but she’s learned better than to try to predict when opportunity will knock. She is 38 years old now and she has, as she often says, been working her entire life. Though she is lean and striking, there’s something a little bit brittle about her. She’s gone crinkly at the eyes, but her teeth are still gleaming, movie-star white.

She believes that her time is coming back around — or, at least, she hopes so. “I think people are saying, ‘This girl has lasting power. She’s been in this business since she was 6 years old,'” Reid says. “I’ve done over 45 movies. Regardless if they’re A movies, B movies, C movies, D movies. I always stay working. I love what I do.”

A beat. “Would I love to be doing it with Brad Pitt?” she asks. “Yes. Who wouldn’t? Maybe one day I’ll be lucky enough for that to happen, but if it doesn’t, I’m still doing the job I love, and I still make a good living.”

It’s March, and we’re in a midtown Manhattan hotel, where she orders tea and sits cross-legged on a sofa. She is in production on a new film, Sharknado 2: The Second One, the sequel to the 2013 B-movie about, as the title suggests, a freak tornado carrying man-eating sharks that ravages Los Angeles. The first Sharknado became an unexpected viral hit and instant camp classic, creating a self-conscious media furor; it was Reid’s first buzzy role after nearly a decade of straight-to-video horror flicks and bawdy comedies. (Her lone major-studio release in recent years was 2012’s American Reunion, the fourth American Pie film, which saw her reprising her role from the original sex comedy that helped make her a star.) But the success of Sharknado has given her a new sense of purpose, and she is excited for the world to see the second installment, which takes place in New York and, she says, is even more entertaining than the first.

Sharknado was a fun, silly movie that we made — we knew it was ridiculous. The second one is still ridiculous. But this one has a heart,” she says earnestly. “It’s not like I did Titanic, or I’m up for an Academy Award. In that way, it did nothing for my career. It certainly showed the popularity in the fans that I have. Throughout the years I’ve lost the credibility of how much I did have, with things that weren’t always in my favor.”

She’s talking about her reputation as a party girl in the tabloids, which precedes even the TMZ era. “I was the first one,” she says. “I was before Paris Hilton, before Lindsay Lohan. I’m the oldest one, and I started selling their magazines. They still want to make me that. The magazines aren’t even letting me grow up, and that’s what’s hurting me with the character roles. They need to let me be the woman I am now, not the girl. There’s a big difference.”

But her public persona is indelible now, after so many years of being trailed by the paparazzi. At the peak of her popularity, riding her sex symbol status in the wake of a string of successful films (most notably, American Pie, but also Cruel Intentions and Josie and the Pussycats), Reid was at every event, every nightclub, alongside the turn-of-the-millennium celebutantes who grabbed headlines every time they stepped outside.

A withering 2003 profile of Paris Hilton in Rolling Stone featured Tara Reid as a peripheral cast member, partying with Hilton at a Los Angeles nightclub. (Reid is shrieking into her phone: “Tell him if he doesn’t get here in five minutes, I’m going to fuck him up personally!”) Reid used her party-girl image to snag an E! reality show called Taradise, which followed her around the world as she visited global party spots, drinking to excess with the locals.

“If I was staying home and I’m not gonna get the meetings anyway, then what’s gonna happen?” Reid says of her past. “You feel like you’re in jail. You’re not going to get the parts. You’re trying to be on your best behavior and no one respects it. So you might as well just travel the world, meet new people, have fun. I can get hit by a bus, or fall on ice and die. At least I can say I’ve lived a really full life. I could have changed a couple things, but that’s part of growing up. You don’t learn if you don’t make mistakes. And I’ve made many mistakes.”

By 2006, the tides had turned. Taradise had been canceled. The state of affairs back then is summed up nicely by a paparazzi video from 2006 that shows Reid waiting in line to enter the Hollywood hotspot Hyde, being told the club is at capacity. Moments later, Paris Hilton — gazelle-like, her Chanel necklace glinting — enters the club, a pre-contouring Kim Kardashian in tow. Hilton shoots Reid a haughty smile, and Kardashian sucks her teeth as they breeze past her. But Reid keeps waiting, anxiously toying with her T-Mobile Sidekick, fuming and fidgety.

Nearly a decade later, while Kardashian and Hilton never entirely transcended their dubious origins, they’re both still wildly successful businesswomen — Kardashian can snag the cover of Vogue, while Hilton is the face of a global empire that includes everything from fragrances to hotels — whereas Reid never managed to evolve fully, feeding the headlines with a string of public mishaps. There was that most infamous wardrobe malfunction, which left her standing on a red carpet with her left entire breast exposed, grinning obliviously. A series of low-budget films followed. There were more public embarrassments still: an incident in Saint-Tropez when she stumbled into a parked motorbike and knocked it over; an accidental shopping-cart theft; an impenetrably strange friendship with the British twin-brother pop duo Jedward; photos of botched plastic surgery; a Twitter persona that must be seen to be believed.

But when asked about all of this, she demurs. Though the evidence is damning, in fairness, it is true that unlike Lindsay Lohan, Reid’s nocturnal activities never seem to have interfered with her ability to behave professionally on set — but rather, to get credible work in the first place.

“I feel like a cartoon,” Reid says. “Because that’s what sells. Let’s write a bad story about Tara. Let’s show her drunk. Let’s show a party girl. Let’s show the worst situations. They see me on the red carpet looking beautiful, they see me at charities looking great, they see me doing stuff all the time — but it’s never written about. They still talk about stories from 10 years ago, my dress falling down or something ridiculous.”

She looks pained. “That’s so old. It’s not even funny. Stop. Why are you still talking about that? So many girls have made so many more mistakes. I never got in trouble. I never got a DUI. I’ve never been to jail. And yet I’m the bad girl?”

“Over the years, I’ve built a reputation that isn’t what a movie star is supposed to be like — the way the American media portrays it,” she continues. “They made a character of me that’s not even true. There’s a whole side of me that no one gets. No one knows that side about me, but nobody wants to know that side of me. Even if they do know about it, no one wants to write about it. So I’m lucky that I’m doing Sharknado right now. Do I know I have the capacity of doing more? Of course. But will I get the chance? It’s not up to me. It’s someone that’s gonna believe in me and say yes.”

In fact, talking to her in person, it’s not hard to imagine Reid tackling the types of character roles that often go to actresses like Melissa Leo and Dale Dickey — tough, weathered women, down on their luck. “It’s not that I can’t do them,” she says of more serious movies. “The studio says no. If I got the opportunity to do them, I can deliver.”

And as fun as it is to be in a movie like Sharknado, she insists she’s ready for a real challenge. “Right now, I’m not getting chances like that. Which is unfortunate.”

She sighs. “Actresses can’t hire themselves.”

TIME Television

Game of Thrones: Maisie Williams Proves Herself an Expert Troll

Maisie Williams at Comic Con 2014
Maisie Williams attends the Entertainment Weekly: Women Who Kick Ass panel and presentation and presentation during Comic-Con International 2014 on July 26 in San Diego, California. Albert L. Ortega—Getty Images

The 17-year-old actress who plays Arya Stark on the popular HBO drama called out the "snobby" readers of George R.R. Martin's A Song of Ice and Fire

It’s rather well-established that Maisie Williams is the best, but now she’s gone a step further, championing the cause of Game of Thrones television fans who have had just about enough of book readers’ condescension. For as long as GoT has been on the air, A Song of Ice and Fire experts have been criticizing and spoiling the HBO show, and Williams simply won’t take it anymore.

During an interview the TVLine, Williams was asked about Lady Stoneheart — a popular character from George R.R. Martin’s novels not slated to appear in the television show — and she used it as an opportunity to expertly troll book readers:

That was a massive deal, but honestly, I really like it. I’m so sick of going on the internet and seeing all the book readers being snobby, spoiling it for other people, then saying, “Well, it’s not a spoiler. The books have been out for years.” Like, couldn’t you just stop being mad for a second and let other people enjoy the show? They feel they have a claim on the series because they read the books first, and I understand that, but they don’t need to be mean about it. That’s why I liked moments like this, because book readers think they know what’s coming, then we change it and it’s really funny to watch their reactions. They’re always like, “That’s not what happened in the books, so the show’s really bad now.” But really, they just feel insecure because they’re used to knowing what’s coming next.

Never change, Arya Stark.


TIME celebrities

Orlando Bloom and Justin Bieber Allegedly Brawl in Spain

Justin Bieber (L) and Orlando Bloom (R) Luca Teuchmann/WireImage; Matthew Peyton/Getty Images

The actor tried to hit the singer, sources told People.com

Orlando Bloom reportedly took a swing at Justin Bieber at the Cipriani Restaurant in Ibiza, Spain Wednesday night, sources tell People.

The alleged altercation between the 37-year-old actor and 20-year-old singer was caught on film and posted to TMZ. Anonymous witnesses told People that the scuffle may have been over words exchanged about Bloom’s ex-wife Miranda Kerr.

Read the full story at People.

TIME Television

Allison Williams Cast as Peter Pan in NBC’s Live Musical

Peter Pan - Season 2015
Allison Williams Kevin Mazur—NBC/Getty Images

The Girls star will play the boy who never grew up opposite Christopher Walken as Captain Hook

NBC has cast Allison Williams, who plays Marnie on Girls, in the titular role of its live-action Dec. 4 performance of Peter Pan. Williams will star alongside Christopher Walken who will play Captain Hook.

“I have wanted to play Peter Pan since I was about three years old, so this is a dream come true,” Williams said in a statement. “It’s such an honor to be a part of this adventure, and I’m very excited to get to work with this extraordinarily talented team. And besides what could go wrong in a live televised production with simultaneous flying, sword fighting and singing?”

Building on the success of its live The Sound of Music broadcast starring Carrie Underwood—which brought the network some of its best numbers in years—NBC announced two other live musical events for this year: this production of Peter Pan and another of The Music Man.

“We couldn’t be happier that Allison Williams is our Peter Pan,” Robert Greenblatt, the chairman of NBC Entertainment, said in a statement. “She’s a lovely rising star on the award-winning show Girls — where she occasionally shows off her incredible vocal talent — and we think she will bring the perfect blend of ‘boyish’ vulnerability and bravado to save the day against Christopher Walken’s powerful Captain Hook.”

Though some fans on Twitter have questioned why NBC cast a female actress to play the boy who never grew up, Peter Pan has traditionally been played by a woman in the musical (most famously by Mary Martin).

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