#ew.com

[eddie-redmayne-italian-blog]

Eddie Redmayne says Day of the Jackal scripts 'discombobulated' him: 'It threw me off course'

Redmayne and his costar and co-executive producer Lashana Lynch preview Peacock's upcoming thriller adaptation.

By Ashley Boucher September 23, 2024.

Eddie Redmayne had an immediate connection to his latest project — even if it "discombobulated" him at times

The Oscar winner plays the titular assassin in Peacock's upcoming thriller Day of the Jackal, based on Frederick Forsyth’s 1971 novel of the same name. The mysterious killer for hire was first brought to life on screen in a 1973 movie adaptation starring Edward Fox as the Jackal, who is hired to take out French President Charles de Gaulle while a police detective unravels his true identity.

"It was one of those movies that my family would watch again and again and again,” Redmayne, who also serves as an executive producer, tells Entertainment Weekly. “And so I thought, wow, this is bold, that they're going to try and reimagine this. And what I read, I just found completely thrilling and compelling, and at each moment it threw me off course and it kind of discombobulated me, but I couldn't stop turning the pages... I hadn't done television for a few years, but the idea of getting to spend a proper amount of time with this enigma felt like great material to mine.” 

The scripts that made Redmayne's head swirl update the plot for modern times — and provide more insight into who the Jackal really is, making the 10-episode series "a completely different piece" that has "been reconceived and contemporized with a new target."

The series begins with the Jackal pulling off a high-profile kill from a distance that should have been impossible. The remarkable shot draws the attention of a client whose offer, risky as it may be, could mean retirement for the hit man. But, unfortunately for the Jackal, it also draws the attention of British Intelligence, turning the hunter into the hunted. 

“One of the things that appealed to me about doing this series was, in Edward Fox's version — it's two hours, that movie — Edward is so filled with charisma… and kind of wit and elegance, but you never get to learn anything about it,” Redmayne says. “I wanted to see if through this 10-hour thing, we could get to know someone, but always be second guessing.”

Entertainment Weekly

Eddie Redmayne says Day of the Jackal scripts 'discombobulated' him: 'It threw me off course'

Redmayne and his costar and co-executive producer Lashana Lynch preview Peacock's upcoming thriller adaptation.

Eddie Redmayne had an immediate connection to his latest project — even if it "discombobulated" him at times.

The Oscar winner plays the titular assassin in Peacock's upcoming thriller Day of the Jackal, based on Frederick Forsyth’s 1971 novel of the same name. The mysterious killer for hire was first brought to life on screen in a 1973 movie adaptation starring Edward Fox as the Jackal, who is hired to take out French President Charles de Gaulle while a police detective unravels his true identity.

“It was one of those movies that my family would watch again and again and again,” Redmayne, who also serves as an executive producer, tells Entertainment Weekly. “And so I thought, wow, this is bold, that they're going to try and reimagine this. And what I read, I just found completely thrilling and compelling, and at each moment it threw me off course and it kind of discombobulated me, but I couldn't stop turning the pages... I hadn't done television for a few years, but the idea of getting to spend a proper amount of time with this enigma felt like great material to mine.” 

Eddie Redmayne is a master of disguise in The Day of the Jackal first-look teaser trailer

The scripts that made Redmayne's head swirl update the plot for modern times — and provide more insight into who the Jackal really is, making the 10-episode series "a completely different piece" that has "been reconceived and contemporized with a new target."

The series begins with the Jackal pulling off a high-profile kill from a distance that should have been impossible. The remarkable shot draws the attention of a client whose offer, risky as it may be, could mean retirement for the hit man. But, unfortunately for the Jackal, it also draws the attention of British Intelligence, turning the hunter into the hunted. 

“One of the things that appealed to me about doing this series was, in Edward Fox's version — it's two hours, that movie — Edward is so filled with charisma… and kind of wit and elegance, but you never get to learn anything about it,” Redmayne says. “I wanted to see if through this 10-hour thing, we could get to know someone, but always be second guessing.”

Indeed, the Jackal keeps not only the audience, but those around him constantly on their toes — particularly MI6 arms specialist Bianca Pullman, played by No Time to Die star Lashana Lynch. Bianca becomes obsessed with finding out the Jackal’s identity, to the detriment of her career and family. “She is so determined to be this strange version of human superhero — and I say strange version because it's all the twisted elements of things that you would hope that a human wouldn't do when doing good for the world,” Lynch, a co-executive producer, tells EW, adding that, “The way that she goes about her work means that there has to be a fall off and a sacrifice somewhere. And unfortunately for her, that sacrifice and the racking of the brain is worth it.” 

What both Bianca and the Jackal put themselves through — and the destruction they leave — as they traverse Europe to carry out their missions will surely have viewers questioning their judgment. “People working for good and people working for bad can have such similarities,” Lynch says. “At the end of the day, they both just have jobs to do.”

Those jobs just might cost them everything.

The Day of the Jackal premieres Nov. 7 on Peacock.

Source ew.com

[stopandimagineloveforever]

The best lesson Jackman taught him didn't actually take place on the dance floor, but rather over a cup of coffee. "He reminded me of something that is so vital with almost anything that you're doing in the arts," Reynolds recalled. "He said, 'Just remember to enjoy it, because if you're enjoying it, we'll enjoy it.'"

[callmebyyournamephoto]

When it came to casting someone to play Wonka in his youth, King counts himself lucky to have landed Chalamet. "I really don't think there are many people who could play this role at all," he says. "Those are mighty big shoes to fill." The Dune actor, he recalls, was able to find "the manic and mischievous and mysterious energy you'd expect from Willy Wonka," but also the heart. "He's such a brilliant actor at expressing really deep emotions within the context of a family movie. He's just extraordinary as well at singing and dancing. He's got the voice of an angel and the toes of... I don't know what toes. I can't wait for people to see it. I think it's gonna blow people away."

Director Paul King for Entertainment Weekly - July 11, 2023

[khakilike]

“Tyler Christopher, the actor best known for his work on General Hospital as Nikolas Cassadine, died from a cardiac event in San Diego at age 50 on Tuesday. Cameron's former GH costar Maurice Benard announced the news on Instagram, which was reposted by the official General Hospital account.”

EW.com's report about Tyler Christopher's death, leaving everyone reading it to wonder "Who the hell is Cameron?"

[notesonartistry]

This very old interview is a bit interesting. Her mom said "Don’t ever say never or can’t do to Taylor. " Taylor has always had that perseverance

My mum would call this "sheer bloody-mindedness". She always wanted to prove people wrong ... and she has on multiple occasions.

[funeraldoomed]

in love with my bf. massive cringe moment

[4eternal-life]

Ronette Pulaski walking the railroad tracks

In a series filled with haunting scenes, the long, slow shot of Ronette might be the most unforgettable. Between Badalamenti’s score and the blank look on Phoebe Augustine’s face, it underscores just how much trauma she and Laura really experienced — and it’s devastating.

[neil-gaiman]

Hi Neil:

Sweet, funny interview with David Tennant and Michael Sheen over at Entertainment Weekly: https://ew.com/tv/good-omens-season-2-preview-michael-sheen-david-tennant/

Thanks

Randi

Poor David and Michael. The indignities their hair goes through.

[epiphainie]

can you tell me where tim minear said he couldn't involve the LIs authentically in the plot and wanted tomm y to be different?

hi anon. he says it in this interview https://ew.com/911-showrunner-tim-minear-interview-buck-bisexual-kiss-tommy-8625081#:~:text=Stark%20tells%20Entertainment%20Weekly%20he,have%2C%22%20Minear%20tells%20EW.

[alltimefail]

Entertainment Weekly just placed Dead Boy Detectives on their "Top 19 Best Supernatural Shows to Stream Right Now" list.

Mind you, Dead Boy Detectives is making these lists AFTER cancelation! IT RANKED AT NUMBER 5/19 (and beat out some pretty big names, I might add). The EW is a hugely popular publication! It's so bonkers to me that Netflix would cancel such a highly beloved, successful show that I had to write them about it, yet again!

If you need inspiration to keep talking about Dead Boy Detectives and hold out hope that we can save this show, THIS should help. Keep streaming, keep promoting it EVERYWHERE, keep creating for it, and for the love of all things wonderful keep bothering Netflix. This show shouldn't have been canceled, and we need to keep reminding them of what a poor decision they're making. ESPECIALLY with GeekedWeek coming up, we need to be SUPER noisy for and about Dead Boy Detectives.

A transcript of the email I sent out today can be found below the cut! A list of Netflix exec emails can be found HERE.

!!!! Note: you can use my email as a framework or as inspiration, but DO NOT copy and paste it word-for-word, or else it will be marked as spam !!!!

Dear [Insert Recipient's Name],

I hope this email finds you well! I previously reached out regarding Netflix's unfortunate decision to cancel Dead Boy Detectives, but since our previous correspondence, there have been several articles admonishing the surprising and untimely cancelation of Dead Boy Detectives. The publications include but are not limited to BamSmackPow, CBR, CHIP, Quotenmeter, Serienjunkies, Serienfuchs, Filmstarts, Movie Pilot, Kino, Vodafone Deutschland, Dread Central, Pop Culture, Sentidog, Geek Girl Authority. and Animation World Network.

Three notable articles have come out post-cancelation that I'd like to highlight due to their succinct, well-informed perspectives on why canceling Dead Boy Detectives was a poor decision are as follows:

The Death of 'Dead Boy Detectives' Was Untimely by Lacy Baugher at Tellyvisions.org

Dead Boy Detectives: The Latest Casualty in a Concerning Trend of LGBTQ+ Show Cancellations by Sam Huang at TellTaleTV.com

Netflix made a grave mistake canceling 'Dead Boy Detectives' by David Opie at YahooNews

It would be remiss of me not to emphasize how these publications are not just central to the US and UK; the cancelation of Dead Boy Detectives is being reported and scrutinized internationally, in several languages and countries.

What truly prompted me to contact you again is an article that was released by Entertainment Weekly today, September 11, 2024. In the article, "The Best 19 Supernatural Shows to Stream Right Now," EW placed Dead Boy Detectives in the #5 slot: it outranked other shows on your platform such as Stranger Things (#13) and Wednesday (#18). The Sandman, the show which Dead Boy Detectives is a spinoff of, is notably not present on the list at all. You can find the article here on ew.com.

Dead Boy Detectives was also ranked as the #1 Best DC Live Action Show available on Netflix by MovieWeb, outranking titles such as The Flash (which has a whopping 9 seasons), Lucifer (a show that was so loved by fans that Netflix picked it up after its own untimely cancelation, mind you) and, yet again, The Sandman.

All this to say, Dead Boy Detectives is still making "Best of" lists even after its cancellation, and it is ranking exceedingly well on said lists! This speaks volumes in and of itself; people are just as outraged today as they were the day it was canceled and it's abundantly clear that critics and audiences alike love this show and want to see more of it! You have a hit show on your hands that is growing in popularity daily, meaning Netflix truly has everything to gain by listening to customers and rethinking this objectively unpopular and unfounded decision.

Please do not waste the immense potential of this incredible show that means so much to so many people. I appreciate your consideration today and implore you to listen to the outcries of fans and critics alike, to do right by the cast and crew of Dead Boy Detectives, and ultimately repeal its cancelation.

Sincerely,

[Your Name]

[twinklestarss]

New photos from Tlovm season 3!

Link to article: https://ew.com/the-legend-of-vox-machina-season-3-first-look-exclusive-8699274

[onlydylanobrien]

Dylan O'Brien, Rachel Sennott, Cory Michael Smith, Ella Hunt, Gabriel Labelle, Lamorne Morris and writer-director Jason Reitman photographed for Entertainment Weekly at the Entertainment Weekly Studio during the “Saturday Night” press day at the Toronto International Film Festival (TIFF) in Toronto, Canada. (September 8, 2024)

📷©: ew.com

[notesonartistry]

Taylor Swift's road to fame

Behind the scenes of the teen sensation's career, from guitar lessons to sold-out shows

By Chris Willman

Updated February 05, 2008 at 05:00 AM EST

”I love turning on pop radio and hearing my song,” allows Taylor Swift, the 18-year-old country music sensation. ”But,” she adds, mindful of her base, ”I don’t look at it as crossover as much as spillover.”

Her cup definitely runneth over. In 2007, Swift’s debut album was one of the top 10 all-genre SoundScan sellers. And all those sales came in while a lot of non-country-lovers had yet to hear of her…or, if they had, were still asking, ”Taylor Swift? Who’s he?” She’s harder to escape now: Besides several smash hits at country radio, she’s moved into the upper levels of the Top 40 format with a remix of her heartbreak ballad ”Teardrops on My Guitar.” (In recent years, only Carrie Underwood, with ”Before He Cheats,” has successfully managed that leap.) MTV is even playing it. And since the album has such legs, it’s a good bet to cross the triple-platinum mark, almost unheard of in this era of plunging record sales. She’s got to be the most popular high school senior in America right now. So: teardrops, schmeardrops… Did being 18 ever suck any less?

But she wasn’t always the belle of the ball, personally or professionally; those rejection anthems she’s so adept at writing weren’t penned purely as fiction. We profiled the rising siren in this week’s issue of EW. But for this exclusive EW.com bonus feature, we also talked with some of the people who were with her on the way up, including her mother, manager, and label president, to find out some of the strategizing that went into achieving one of the last year’s few true musical success stories.

NEXT PAGE: From karaoke to Nashville

The chipmunk years. ”When I was 10, or younger than that, even, I would watch these biographies on Faith Hill or the Dixie Chicks or Shania Twain or LeAnn Rimes, and the thing I kept hearing was that they had to go to Nashville,” Swift remembers. She talked her parents into letting her fly out for a visit. ”I took my demo CDs of karaoke songs, where I sound like a chipmunk — it’s pretty awesome — and my mom waited in the car with my little brother while I knocked on doors up and down Music Row. I would say, ‘Hi, I’m Taylor. I’m 11; I want a record deal. Call me.”’ They didn’t. (But you have to wonder how many of the folks who answered those doors suddenly flashed back to that moment when they saw a grown-up Swift screaming over her Best New Artist nod at the Grammy nominations press conference.)

Rather than discouraging her, that rejection was like rocket fuel. It dawned on her that karaoke-style singing wasn’t going to cut it at any age; she needed to become a full-fledged guitar-picking singer/songwriter. ”She came back from that trip to Nashville and realized she needed to be different, and part of that would be to learn the guitar,” says her mother, Andrea Swift. Earlier, she had tried picking up an acoustic guitar and had no interest in it, but things had changed. ”Now, at 12, she saw a 12-string guitar and thought it was the coolest thing. And of course we immediately said, ‘Oh no, absolutely not, your fingers are too small — not till you’re much older will you be able to play the 12-string guitar.’ Well, that was all it took. Don’t ever say never or can’t do to Taylor. She started playing it four hours a day — six on the weekends. She would get calluses on her fingers and they would crack and bleed, and we would tape them up and she’d just keep on playing. That’s all she played, till a couple of years later, which was the first time she ever picked up a six-string guitar. And when she did, it was like, wow, this is really easy!”

She started writing, too. Two of the songs she’d recorded (”The Outside,” on her debut album, and ”Christmas Must Mean Something More,” from a Target-exclusive Christmas EP she released) were written when she was 12. When she went back to Nashville with her own songs in tow, people took notice: At 13, she signed a development deal with RCA Records, working with that label’s Joe Galante and Renee Bell, a couple of legendary figures in town. But when the deal came up for renewal after a year, she opted out, because she felt she’d have to record outside material if she got to the point of cutting her debut — and at 14, she was already married to the idea of only recording material she had a hand in writing. Not coincidentally, at 14, she became the youngest person ever signed to the major songwriting company in Nashville, Sony/ATV Publishing.

NEXT PAGE: Taking chances

Nashville acceptance, hometown alienation. Swift started to feel cut off from some of her friends, since she was writing songs while they were either playing soccer or partying. ”A lot of people ask me, how did you have the courage to walk up to record labels when you were 12 or 13 and jump right into the music industry? It’s because I knew I could never feel the kind of rejection that I felt in middle school. Because in the music industry, if they’re gonna say no to you, at least they’re gonna be polite about it.” (Being unusually tall for her age, or any age — she’s now 5’11”, without her cowboy boot heels — may have made her more of a junior high outcast.)

Now that she had publishing and recording deals in hand, she convinced her parents, when she was in the eighth grade, that it was time to move where the action is. ”I was from a small town, and nobody really expects you to leave, especially before you graduate. That doesn’t happen. I actually went back a couple months ago and played a sold-out show in my hometown, and it was amazing; ever since all this stuff started happening, the people in Pennsylvania have been the most supportive people I’ve ever known. But I wouldn’t change a thing about growing up and not exactly fitting in. If I had been popular, I probably wouldn’t have wanted to leave.”

The Swifts never pushed their daughter toward a music career, and the family uprooted itself from the Christmas-tree farm where they lived only after it was clear that her stockbroker dad could do his job just as effectively down South. ”I never wanted to make that move about her ‘making it,”’ says her mom, Andrea. ”Because what a horrible thing if it hadn’t happened, for her to carry that kind of guilt or pressure around. And we moved far enough outside Nashville [to nearby Hendersonville] to where she didn’t have to be going to school with producers’ kids and label presidents’ kids and be reminded constantly that she was struggling to make it. We’ve always told her that this is not about putting food on our table or making our dreams come true. There would always be an escape hatch into normal life if she decided this wasn’t something she had to pursue. And of course that’s like saying to her, ‘If you want to stop breathing, that’s cool.”’

After getting out of her RCA deal, Swift found a believer in Scott Borchetta, who was then a big cheese at the Universal label group. ”I thought, ‘Oh, awesome, I’m gonna get to deal with Universal!’ I get this call a couple of weeks later, after I do this showcase and Scott’s on board and everything’s rocking. He goes, ‘I have good news and bad news. The good news is I want to sign you, and the bad news is I’m not gonna be with Universal Records anymore.’ Because he was leaving to start up this whole new record label.” She took a chance and went with what would become a new powerhouse indie label, Big Machine, figuring that at least she’d get more individual attention there. ”They only had 10 employees at the record label to start out with, so when they were releasing my first single, my mom and I came in to help stuff the CD singles into envelopes to send to radio. We sat out on the floor and did it because there wasn’t furniture at the label yet.”

NEXT PAGE: The viral marketing plan

The MySpace triumph. Swift’s album wasn’t Big Machine’s first release, or even its first relative success. Another early signing, Texas rocker Jack Ingram, had a song go to No. 1 on the country chart — but he still didn’t sell boatloads of albums. That would be up to Swift, and her success would help little Big Machine go on to become Garth Brooks’ new label, not to mention giving Borchetta the heft to sign Jewel (one of Swift’s childhood influences) to a country deal.

”The story that everyone is gonna tell with Taylor is her use of technology and viral marketing techniques — MySpace and texting — that are non-traditional for the country format,” says RJ Curtis, country editor for the weekly trade magazine Radio & Records. ”This kind of flies in the face of how to market a new artist from Nashville. It’s partly her being in that life group and using the things teens use to communicate and spread music around, but her label had a lot of savvy in that area too.”

But Swift’s manager, Rick Barker, gives the singer and her family most of the credit for working the Web. ”The parents already had her MySpace and her website up and running,” he says. ”The mom and dad both have great marketing minds. I don’t want to say fake it until you make it, but when you looked at her stuff, it was very professional even before she got her deal. And we put her music up there on MySpace before it was out, to help decide what was gonna be on the record. ‘Our Song’ made it to the record because of MySpace.” That song has been her biggest radio hit to date — written about her first real romance, premiered at her ninth-grade talent show, and nearly lost to the cutting room floor. ”If you notice the running order on the record, ‘Our Song’ is No. 11,” the manager points out. ”It was the last song added to the album, and a lot of that had to do with buzz that was being created on MySpace.”

Once the album was actually finished and ready for promotion, MySpace came in even handier. ”People laughed at me,” says Big Machine founder-president Borchetta. ”They said, ‘You’re starting a new record label and you signed a 15-year-old female country singer — good for you! You have a teenager — there’s a lot of those on country radio. You have a new female artist — there’s a lot of those on country radio.’ They were looking at me like I had two strikes. But I knew we didn’t want to count on country radio out of the box. So we went heavy on TV, putting the video out before the single, and doing a special with [cable channel] GAC, and we went heavy on her MySpace and online stuff. By the time we got to country radio, we said: We have you surrounded and you don’t even know it.”

It still wasn’t an easy sell. ”Her records are not records that researched fantastically,” says R&R‘s Curtis — and he ought to know, because when Swift’s single ”Tim McGraw” was first coming out in late 2006, he was then the program director of L.A.’s KZLA, and one of the guys balking at putting her on the air. ”But the radio guys hung in there because anybody who’s programming a station wants to get some younger listeners. Country does a good job of naturally getting 35-plus listeners, so getting someone who fits the image of the 18-to-34-year-old, that’s an asset. There’s a need for [youthfulness] in the format. When Gretchen Wilson and Big & Rich and the whole Muzik Mafia thing came along a few years ago, I said that, for the first time since the Garth phenomenon in the early ’90s, there seems to be a real movement happening here. It didn’t last long, because it was more of a fad than a trend; Gretchen really only had that one huge hit, and while Big & Rich have continued to have big songs, it’s been with their more traditional-sounding ballads. But there is definitely a need for a younger artist, younger feel.” Curtis thinks Swift’s adolescent-themed songs have a dual appeal to older and more youthful listeners: ”A lot of the theme of the album is first love, and those are things everybody can get sentimental about, no matter the demo. With things like ‘Our Song,’ a lot of people can relate because it takes them back to their innocent years — and in her case, she just happens to be living her innocent years right now.”

Barker, her manager, offers up some specifics about how they used MySpace to make the Taylor Case to radio. ”Radio does research, and we have no idea who they’re researching, but it was saying people weren’t digging ‘Tim McGraw.’ So we had to go out and create our own research — and that’s what we did with MySpace. What she did was put up a blog on her MySpace that said, ‘Guys, I would like to thank whatever station you’re hearing my song on.’ And people started telling us” — even with stations that were only tentatively programming the song in the middle of the night. ”We were able to take those comments back to radio in individual markets and say, ‘You’re saying researching is telling you it’s not doing that great, but here are 85 people who are telling us they love your station because you played ‘Tim McGraw.’ What MySpace and online told radio stations was: She’s already familiar to your audience. And radio loves familiarity.

”MySpace allowed us to tell the story about Taylor. And it really is her space,” adds Barker. ”She wrote her bio, writes her blogs, and if someone gets commented back to, it’s from Taylor. A lot of times, you can tell it’s somebody else hired to sit there at a computer. Taylor’s space is her space — that’s our secret.”

NEXT PAGE: Embracing the fame

Taylormania. On a brisk night in late January of 2008, the nexus for all this popularity is the Rabobank Theatre, a sold-out 3,000-seater in inland California where Swift is doing a headlining show. About a third of the way back, one delusionally hopeful suitor holds up a sign with his plea: ”PROM? 343-7547.” In the front row, a college-aged dude in a cowboy hat patiently waits for a break in the shrieking before finally blurting out, with half-shy boisterousness, ”Taylor, you’re hot!” But it’s hard for a male fan to get a word in edgewise when the young women in the house spend the entire show standing and screaming, much as their little sisters would for Hannah Montana. There are enough kids and parents on hand that it’s clear she has some appeal to the Disney Channel demographic, as well as to the 17- to 25-year-olds who make up most of the audience, though she writes about adolescent romance not as an aspirant but a fellow survivor. Swift represents the countrified missing link between Miley Cyrus and Alanis Morissette.

She is introducing her soon-to-be-released fourth single, the gleefully vengeful ”Picture to Burn,” which, like many of her songs, was inspired by an old school flame she refers to as ”Bad Cheater Guy.” Swift’s so impressed by the screaming, while going into her nightly spiel about getting back at the boys who spurned her, she adds a nod to tonight’s host city. ”Please know that I try to be a really nice person, in general,” she says as her band vamps through the intro. ”But, if you break my heart, or if you hurt my feelings — or ANY OF MY FRIENDS FROM BAKERSFIELD, CALIFORNIA — well, I will have to write a song about you!” Total eruption, as she marches across the stage in her spangly sun dress and cowboy boots, strumming on her six-string and singing: ”I hate that stupid old pickup truck you never let me drive/ You’re a redneck heartbreak who’s really bad at lying…”

Before the show, we watched her pose for photos for an hour at a meet-and-greet full of fan-club and radio-contest winners. (That’s nothing, for her; at most of the hundreds of shows she’s played so far, she stayed afterward to sign autographs till the last fan was gone, which might last anywhere from two-and-a-half to four hours. But as the crowds grow, those late-night signings are becoming increasingly more difficult to work in.) It’s clear that Swift doesn’t have the steeliness of a lot of starlets her age who were groomed for that by their parents almost from birth. Maybe because this whole massive career thing was her idea, she’s still digging it. When a little kid approaches, she gets down on her nyloned knees and cranes her neck in so that it is pressed against the tot’s. In pretty much every picture, she will look like that person’s conjoined twin. Every so often, with someone closer to her own age, she’ll say, ”Let’s do a funny one,” and urge the fan to screw up his or her face with her.

”She can’t go now to a store without having people come up to her — which she loves,” says her mom, Andrea. ”It makes her day when she’s gone somewhere and people have come up to her and said, ‘I love your music — can I take a picture?’ She’s always grabbing the camera and going, ‘Come here’ and getting the MySpace shot, holding the camera and posing together. She likes that attention. I think where she differs from some people who get to that spot and realize that they don’t really like their privacy sort of being restricted — well, for her that’s not an issue.

”But she never in her life ever said, ‘I want to be famous’ or ‘I want to be rich’ or ‘I want to be a star.’ Those words absolutely never came out of her mouth. If they had, I would have said, ‘Honey, maybe you’re doing it kind of for the wrong reasons.’ For her, the happiest I ever see her is just after she’s written a killer song. As a parent, I felt really good about that. If that’s where she draws happiness from, she’ll have that the rest of her life. She’s not always gonna have the awards, or the attention, or the celebrity, but she will always have the ability to write a song.”

”She has the combination of that 30-year-old business mentality with a real innocence,” says R&R‘s Curtis. But can country fans and programmers — who tend to be a little bit territorial — expect to keep Swift to themselves? Will the pop crossover success get to her? ”We’re talking about an 18-year-old, so it’s hard to know for sure what she’ll be doing five years from now,” Curtis says. ”But just from talking with her, I would say that her value system is a really good fit for country.” And though MTV recently did its first airing of her ”Teardrops on My Guitar” video on TRL, it did look a little bit uncharacteristically wholesome, programmed between Britney and Pitbull, so it’ll be interesting to see how things play out.

In the meantime, there’s still high school to finish up — home-schooled version, while her mom accompanies her on some dates this spring, when she’ll be opening an arena tour for Rascal Flatts. Says Swift, ”I already finished most of my course work, so I just have two electives left.” Which are? ”Public speaking and vocal performance. I guess I’m kind of coasting.”

[xofeno]

New Photo of Jesse Lee Soffer as Wes Mitchell on "FBI: International"

source: ew.com

⬇️spoilers⬇️

“He sort of flies by the seat of his pants,” Soffer says while filming in Budapest. “He has a really carefree attitude about it and he's just going to do his thing and he's a breath of fresh air. He's a lot of fun.” But that insouciance hides a darker side, as it so often does. When Mitchell’s partner is shot in Los Angeles and the suspects flee to Budapest, Mitchell follows after them on the fourth season premiere. Mitchell also shares a history with Cameron Vo (Vinessa Vidotto) which we’ll see play out over the season.

[beebore]

Apparently Benny and Garth are getting MARRIED?? (link to the article: https://ew.com/supernatural-stars-dj-qualls-ty-olsson-engaged-8650555)