The Iron Lady Poster Online

Never compromiseWhile we understood many people considered Margaret Thatcher being under friendly and, sometimes, somewhat evil, we never recognized they really was an alien who sprouted strange tendrils within the side of her face... RRUUUN!!! Oh, wait. No. (Turns picture clockwise). This is actually the Houses of Parliament. Not to mention. Keep calm and on: it's just the initial poster for your Iron Lady, which you'll want to see below. To look for the poster full-sized at Yahoo, click the image above. Just just in case you had been unaware, Phyllida Lloyd's film finds Meryl Streep playing Maggie as she takes stock of her existence both personally too as with politics. Now fighting ill medical health insurance and annoyed by retirement, she's also haunted by the presence of dead husband Denis. We track her rise to energy as well as the toll it needed on her behalf account existence - its her political triumphs, she made many competitors and was castigated for any couple of of her options. Using the type of Anthony Mind, Jim Broadbent, Richard E Grant, Olivia Colman and Harry Lloyd among the cast, The Iron Lady will probably be around the month of the month of january 6.

VIDEO: The 6 Best Jokes From Charlie Sheen's Roast

Charlie Sheen While Charlie Harper was getting destroyed off two and a half Males, Charlie Sheen was getting roasted on Comedy Central.Whoever else consider Ashton Kutcher's two and a half Males debut?Seth McFarlane emceed the festivities, which featured such roasters as Jeffrey Ross, William Shatner and, yes, Kate Walsh.Listed below are the six best jokes within the roast. [Warning: Videos contain profane language.]6. "Hookers cost a lot of money, Charlie. Hasn't anybody stated stars will sleep together with you totally free? That's Hollywood 101." - William ShatnerComedy Central Roast of Charlie Sheen5. "If you're winning, this should not be described as a child custody of the children from the children hearing. Really the only time your kids achieve assist you to is at reruns. Charlie, don't you have to live to find out their first 12 steps?" - Jeffrey RossComedy Central Roast of Charlie Sheen4. "Charlie can get slightly confused sometimes. He's really the only guy who pulls a knife around the lady who's already ready to f--- him." - Kate WalshComedy Central Roast of Charlie SheenFall Preview: Get scoop inside your favorite returning shows3. "Everybody knows there is a high probability Charlie will probably be dead soon, therefore i written an obituary. 'Charlie Sheen, who increased to become tabloid fixture due to his difficulties with alcohol and drugs, is discovered dead within the apartment' - really, you know what happens? I kind of really just duplicated Amy Winehouse's obituary. I only required to change three things, though: the sex in the deceased, the positioning of the body, as well as the part that states a talent which will be missed." - Seth MacFarlaneComedy Central Roast of Charlie Sheen2. "Really the only reason you've on tv to start with is really because God hates Michael J. Fox." - Anthony JeselnikComedy Central Roast of Charlie Sheen1. "You're similar to Bruce Willis - you're large inside the eighties now your old slot continues to be filled with .Inch - Amy Schumer Comedy Central Roast of Charlie Sheen

Olivia Munn on I Don't Know How She Does It, Her Feminist Critics, and Trying to Do it All

Olivia Munn first became known for keeping geeks everywhere enthralled on a daily basis as the co-host of G4’s Attack of the Show, but since leaving the program to pursue acting she’s hit the ground running by joining The Daily Show, starring in the short-lived sitcom Perfect Couples, and snagging roles in upcoming projects from the likes of Aaron Sorkin and Steven Soderbergh. Speaking with Munn over the weekend about her latest film, I Don’t Know How She Does It, Movieline was determined not to ask the pun-tastic question of how, in fact, she does it. What we discovered instead was the story of how, in the course of following her Hollywood dreams, she tried to do it all. “I wanted to be at G4, doing what I was doing, and also be able to pursue acting and other creative outlets,” said Munn, wistfully explaining how she came to part ways with the network that launched her career. “I just wanted to make some other dreams come true.” Munn adds a strong credit to her resume as Momo Hahn, a Type A career-oriented analyst with a severe outlook on life and a bone-dry delivery in the Sarah Jessica Parker vehicle I Don’t Know How She Does It. She spoke with Movieline about her character, battling female stereotypes on and off-screen, being both sexy and smart despite what her critics say (and the infamous backlash to her Daily Show hiring), the frustrations that led to her split from G4, her work on Steven Soderbergh’s Magic Mike, and more. I wanted to make a point not to start by asking you how you do it, because I’m sure you’ve gotten that question a lot already. [Laughs] Yeah, I have! ‘How do you do it all?’ It’s always like, ‘This movie’s called I Don’t Know How She Does It and we watch Sarah Jessica doing that, but you with the movies and the show, how do you do it all?!’ I’m like, well, I don’t have children right now. So how are you going to start it off instead? By asking you how you found you related to the women in this film. I’m 30, I don’t have kids, and so I don’t necessarily relate to Sarah Jessica’s character as much as I do to your character, Momo. So when you first read the script, who did you find yourself relating to most? You know, the only similarity I find between my character and myself is that we’re both hardworking. I actually relate more to Sarah Jessica’s world — not that I’m in it, but it’s something that I would want one day, to be able to have children and a family and also have my work and my career. So my biggest thing was, Momo has a filter, she just chooses not to use it. She has a very structured, very specific outlook on life. That’s why I wanted to cut my hair, too. I wanted there to be nothing that was going to get in her way, even something as trivial as her hair. But she has one goal in life. I think what I loved about the role so much was that I could see how she is perceived, and you want to break down the character in a way that is harder to break down. She’s robotic, and phobic of children. ‘Oh, you want kids one day?’ I get asked that a lot. And it’s more of a rhetorical question. ‘Do you want kids one day? Do you realize that your eggs are literally falling out of you, one by one?’ And I’m like, okay, I’ve picked up on your tone. Thank you for that. Momo starts out as a career woman who doesn’t see the appeal in motherhood but then reveals a surprising maternal instinct. In that, she’s probably the most interesting character in the film. What I love about this is that some people want to put these people in a box; Momo has a very specific view in life. My mother and my aunt, they all went to university and worked really hard and got their degrees and they got married and had children and thought they had to make a choice, one or the other. And our generation, I think that’s what we see when we look at our parents. We’re not going to let family and all that stuff get in the way of our dreams. My mom growing up said to me all the time, one, ‘Don’t get pregnant.’ And ‘don’t do drugs.’ Then the last one was, ‘Never just marry a man and become his wife. Make a name for yourself.’ That’s something that she said to me all the time, and it stuck with me. But here’s the thing; my whole life is work right now. And like you’re saying, you don’t have children and you’re career-oriented, but it doesn’t mean that you don’t want to have kids. Also, if you don’t have kids it doesn’t mean that you picked your career over it. Some people don’t want to have kids. So what I wanted to do with Momo was show someone from that point of view, but also she’s an extreme version of a lot of people that I’ve seen or I’ve heard about. How do you see the women in this film? There are two people: The women who stay at home, or the women who work and have a plan in life and that’s it. But the most important thing for me was to show that if you’re a real human being you’re not just a caricature. A real human being has to be more than just that. The main storyline is, how can a woman be a great mother and a great wife and great at her job at the same time; how do you juggle that? But the B storyline to me is showing that women in different forms can be really horrible to each other, like Busy Phillips’ character, or we can be really supportive of each other if we understand each others’ world like Christina Hendricks, but what I play is that we can be women with two completely different outlooks on life and different agendas, yet be supportive and be friends and love each other and need each other. My choices with Momo, it was always coming from a place of, ‘I’m rooting for you. I’m on your team.’ Sometimes people, and even women, perpetuate this stereotype themselves, not realizing it, wanting to hold each other down. Did that come up during scenes? Sometimes we would be doing a scene and as with any great project, everyone’s really collaborative and talking about it. But one time there was a note for me to be more catty, or to say something that I just said, ‘It doesn’t matter what my delivery is on this, it doesn’t sound supportive. I won’t do it.’ The women that I know in my life, the reality, is that we are really supportive. My two best girlfriends, one’s an architect and one’s a nurse. We couldn’t be more different. Many chick flicks and romantic comedies these days do that as well, it seems. Like Something Borrowed, which actually is about two female friends competing for the same man. It’s a plane movie — you watch it on the plane. [Laughs] But that movie is like a lot of movies, not to just single that one out, where one woman is so oblivious to her best friend’s feelings about somebody else, and on the same token where one woman is so closed off to her best friend about her feelings about somebody else. Then later on when you can go and sleep with your best friend’s fianc… I’m literally like, push her off a bridge! To me, that is real in some women’s worlds. Those are the women who want to, I think, hold back other women who actually want to be more progressive. I think it’s dangerous, and people make the joke, ‘Women dress for other women.’ I’m like, no I don’t! Because one, it’s not 1995, because that joke’s old. And two, I don’t want that girl to want to have sex with me. I want that guy to want to have sex with me, and let’s just call it like it is. And sometimes, I just want to feel good for me. I don’t walk through life dressing up for other women, and I never have. It’s just obnoxious. And we have to be accountable for what we put out there, and I know how lucky we are. In the beginning when you start to do different jobs you’re just thankful to get any kind of work and do it, and people are guiding you, but you have to have a sense of self. How does that translate into your career and how it’s evolved in the last few years? From G4 to now, at what point did you try to start transitioning into acting? From the very beginning. I moved down here in 2003 and was going out for every commercial audition, doing everything I could. I got a small Nickelodeon show right before I went to G4, and they offered me a job and I actually turned it down three or four times. I thought it was a great opportunity but they were like, ‘It’s 9 to 5, Monday through Friday’ — oh no, I have to be able to continue auditioning and all that crap. They were like, what’s good for you is good for us, we want you here and we’ll work it out. I said, great! And for the first six months I dedicated everything, and after that I started auditioning for stuff. I was actually offered a TV pilot but at this point the ratings for Attack of the Show had gone up a lot. They were like, ‘Oh no, you can’t do it.’ I was like, ‘What? You promised me I could!’ ‘Well, we just can’t really afford to have you off our show right now…’ And I wasn’t going to be off, I was going to do them both. But I think the fear there was that I wouldn’t be able to do both. I said OK, I cried, the next one came around a few weeks later and they said, ‘The next one that comes around, we’ll let you do.’ They wouldn’t let me do it. Alright — hold on. You guys promised me this! They said, ‘Well, in good faith…’ Good faith! Good faith, as in their faith. I’m big on loyalty and sticking by my word. So long story short, they worked it out with the lawyers to try and figure it out, but I wanted to be able to live my dream. I wanted to be able to do this, it was a dream of mine, but I also wanted to be able to be creative in other ways. And that’s when I said, I really want to start doing comedic skits. Doing things like comedic acting pieces, and I could put on different characters and make sure the audience was always seeing me in a different character with a different name and being different people, so that when the transition did happen, if I was lucky enough for it to happen, they wouldn’t be like, ‘That’s Olivia!’ The first one we did was ‘It’s hard to be a female superhero’ with Wonder Woman… ‘There’s no pockets for your mirrors and your brush!’ ‘The invisible jet is really hard to find!’ I think that became the calling card for the network, and for myself.

Fox defends edit of phone-hacking joke

Because the clock ticks lower towards the 5 pm start of Emmycast, Fox executives do some behind the curtain damage control regarding the choice to yank a tale concerning the News Corp. phone hacking scandal by Alec Baldwin within the pre-recorded opening skit. Fox stressed that the choice to remove the road is made since the internet did not desire to be viewed as using the scandal gently. When Baldwin requested he be erased in the entire sketch, the internet agreed from courtesy. Internet also stressed the phone-hacking crack wasn't the only real edit produced in the skit, which your decision is made by internet executives, not in the greater News Corp. corporate level. Emmycast professional producer Mark Burnett has guaranteed the telecast may have an abundance of surprises. Contact Cynthia Littleton at cynthia.littleton@variety.com

Veteran Grandmotherly Actress Frances Bay Dies at 92

Frances Bay, most broadly known on her behalf little old lady roles in David Lynch’s films, Happy Gilmore, and numerous TV episodes, died Friday Bay dies at 92 veteran character actress at 92. She didn’t are available in films until 1978’s Foul Play costarring Chevrolet Chase and Goldie Hawn, but she’s an very memorable actress with great charisma. Recently she made guest appears to be quiet Aunt Ginny on ABC’s The Middle. Let’s watch Ben Stiller terrorize her following a jump. Frances Bay dies at 92 veteran character actress [LA Occasions]

Crazy Horse: Film Review

The very first scene in Frederick Wiseman's very first documentary, 39 films and 44 years ago, focused on a song-and-dance number being performed on a cabaret-sized stage. Granted, the entertainers were male inmates at the Bridgewater State Hospital for the criminal insane in Massachusetts, the subjects of the shattering and depressing Titicut Follies. Much of the running time of Crazy Horse is spent watching performers cavort on a small stage as well, but this time they are the virtually naked young women with perfect bodies who star in the most celebrated and venerable exotic dance club in the world, the eponymous club at 12, Avenue George V in Paris.our editor recommendsMartin Scorseses George Harrison Doc, Frederick Wisemans 'Crazy Horse' to Run in San SebastianRelated Topics•Toronto International Fil... On can scarcely blame the great veteran filmmaker for being tempted by a better looking cast and more congenial location at this stage in his career, as he's certainly earned it. Much as he did in his two previous dance films, Ballet and La danse-Le ballet de l'Opera de Paris, Wiseman has perceptively revealed the process and the result of an intricate group artistic enterprise. Already shown at festivals in Telluride, Venice and Toronto and upcoming in San Sebastian, NY, London and elsewhere, the film opens throughout France on Oct. 5 to coincide with the 60th anniversary of the boite. There are many things Wiseman's film is not: Eschewing, as usual for him, any voice-over or historical information, it offers no background about the launching of "Le Crazy" in 1951 or its colorful founder and longtime operator Alain Bernardin, nor are there clips of what the shows were like in the old days. There is no information about what has taken place since the Bernardin family sold its stake in the enterprise in 2005, which leaves one guessing about the existing power structure, how long the people onscreen have been there and what the pecking order is. There's no backstory at all, which proves frustrating when the dynamics of running the club and creative control are at issue, which is often. Most disappointingly, the dancers never get their close-ups; whether by choice or by some enforced arrangement, Wiseman doesn't approach the gorgeous women to give them the chance to tell their side of what it's like to work at the Crazy Horse, if this is something they dreamed about, how it effects the rest of their lives, how people perceive them and so on. We observe the technical, operational and artistic sides of what goes into putting on this particular show, but never from the performers' point of view. What Wiseman seizes, however, is the opportunity to create an impressionistic portrait of a highly rarified realm, a tiny sanctuary from real life where the refined expression of sensuality, eroticism and, as per the name of the new show the film documents, desire is the be-all and end-all. Beautifully wrought images capture the dancing, the costumes, the simple but elegant and settings and, of course, the exquisitely shaped girls, very often enhanced by striking and sophisticated lighting techniques and backed by generally catchy songs and techno rhythms. One could simply experience the film as a warm, gentle, seductive shower of similar but ever-changing images and be happy with that. But the film is divided up between the presentation of finished numbers and the demonstration of what it takes to get there, from the selection of costumes and the brushing of wigs to the taking of reservations and the setting out of champagne on each table. We see rehearsals, in which we learn, among other things, that the girls don't much like touching one another during the numbers. Then there are the artistic strategy sessions, in which the choreographer, identified only as Philippe in conversation (but who is, in fact, Philippe Decoufle, a highly respected dancer and choreographer hired in 2008 and assigned to stage the new "Desirs" show, which opened on Sept. 21, 2009) tries to convince his bosses that they should shut down for a while to give him time to exclusively work out the fresh production. It doesn't seem that he succeeded, but it's never entirely clear. Artistic director Ali Mahdavi (similarly unidentified) goes on and on philosophizing in a very French and almost amusing way about the philosophical and emotional aspects of female erotic dance. There's a wonderful throwaway sequence in which the girls, backstage, watch hilarious bloopers from Russian ballet performances showing great dancers staggering around and unintentionally sliding offstage. In an absorbing audition interlude, the film ironically offers more individualization of contenders than it ever does of those already in the company. The ideal Crazy body is easy to describe: Uniform height, nice legs, protruding roundish derriere, smallish breasts and trim physique. The tryouts make it clear that overly vulgar or rock-style dancing is out-of-place here, as would be the more obvious and voluptuous bodies of strippers. Reportedly, most of the dancers at the club these days are from Russia and Eastern Europe but, since they're allowed scarcely a word, it's a rumor the film does not verify. If you're not taken with, or have some objection to, watching beautiful girls dancing in their birthday suits, this could be a long sit, more than it already is at 128 minutes. But even brief exposure to the artistic impulse and visual creativity behind the numbers here confirms the appeal the Crazy Horse has for both men and women, something underscored by the predominance of couples in the audience. Both the film and what is captures are striking and true, which means Wiseman has traveled both very far and not at all from Titicut Follies. Production: Zipporah Films Sales: Celluloid Dreams Director: Frederick Wiseman Producers: Frederick Wiseman, Pierre Olivier Bardet Director of photography: John Davey Editor: Frederick Wiseman 128 minutes Toronto International Film Festival International

Harry Potter and the Deathly Hallows Watch Online Free

Rupert Murdoch and News Corp. Target of Fresh Attacks From Investors and Congress

Some investors and congressional Dems took their campaign against News Corp. up a notch.our editor recommendsJames Murdoch Remembered to Parliament for additional Phone-Hacking Questions Rupert Murdoch, James Murdoch To Manage Questioning Under Oath In Phone-Hacking Judicial InquiryRupert Murdoch Ally L'ensemble des Hinton Resigns as Boss of News Corp.'s Dow Johnson Unit Among Phone Hacking Scandal On Tuesday, two pension funds along with a bank that own shares from the media conglomerate added more charges to some previous suit that alleges mismanagement and corruption at the organization. Tuesday's inclusions in the initial suit, first filed in March, accuses News Corp. board people Rupert and James Murdoch, in addition to Chase Carey yet others, of neglecting to correct illegal conduct that battered the business's status and stock cost. Past the hacking scandal, the amended suit accuses News Corp. of anti-competitive behavior at U.S. subsidiaries News America Marketing and NDS Group which has already led to nearly $1 billion in damages. Within the original complaint, News Corp. was charged with nepotism in the $615 million purchase of Shine Group that allegedly led to a $250 million windfall for Elizabeth Murdoch, Rupert's daughter. "The facts surrounding News Corp.'s corporate governance lapses worsen with each new disclosure," stated Grant & Eisenhofer partner Jay Eisenhofer. "Actually, our new complaint implies that the illicit phone hacking and subsequent cover-ups at News around the globe were a part of a significantly larger, historic pattern of corruption at News Corp. underneath the acquiescence of the board which was fully conscious of the wrongdoing, otherwise directly complicit within the actions." The new accusations in the pension funds and bank came a next day of several Democratic people of the home Oversight and Government Reform Committee became a member of an early on two people in with research into, amongst other things, whether News Corp. compromised the voicemails of 9/11 terror sufferers. Politico reported Monday that Repetition. Bruce Braley, D-Iowa, authored another letter to committee chairman Repetition. Darrell Issa, R- Calif., which was cosigned by six House people, whereas his previous letters were co-signed just by one member. "We now have just observed the tenth anniversary from the Sept. eleventh attacks on our nation which sufferers should know whether or not they were specific within this offesive and potentially illegal manner," the letter stated. A spokesperson for Issa accused the Dems of attempting to divert attention from their mandate, that is oversight of the us government, including labor force guidelines, the Postal Service and expenditure of cash. "This is an additional whiny admission through the minority of the ineffective method of oversight that's focused on impeding current research than you are on utilizing their assets to discover waste and abuse in government," Issa's spokesperson told Politico. Related Subjects Rupert Murdoch News Corp. Chase Carey News around the globe James Murdoch