I think it's fair to say that Chris Hemsworth has many talents, and it looks like he'll be adding "trolling makeup artist" to his repetoire.
Alberto E. Rodriguez / Getty Images
You've probably seen by now that basically the entire Endgame cast, or the ones who are still alive at least, are in the middle of a giant press tour to promote what's being billed as the most anticipated movie of all time.
Emma Mcintyre / Getty Images
But work doesn't have to be boring! Especially if you're an A-list actor who makes millions of dollars a year! It can be fun!
Proving that he's maybe a little more suited to playing Thor's brother Loki, the God of Mischief, Chris uploaded a video to Instagram where he could be seen making a couple of adjustments to some of the Endgame character posters.
Paul Rudd, who recently celebrated his 50th birthday, was first to receive a touch-up, gaining a little more facial hair in the process. When asked what he was doing, Chris said: "Just making some improvements." Yikes!
The other Chris, Mr apparently-soon-to-be-RIP Evans, got some glasses and freckles. Still handsome AF, even with pen on his face.
Robert Downey, Jr. got the face tattoo I've debated on getting more than once.
Queen of Goop, Gwyneth Paltrow, got away scot-free because she's "too pretty". I just think this is low-key contradictory because Chris Evans still got drawn all over but OK, let's not fight.
Finally, Hawkeye got new eyelashes and some lip art.
Hilariously, the video ends with Jeremy Renner, who plays Hawkeye, catching Chris in the act of vandalising his poster.
Robert Downey, Jr. could be found in the comments pretending to be sad that everybody now knows he loves Thor. Sis, join the club!
Meanwhile, Jeremy Renner revealed that he calls Chris "Hemi". Interesting choice.
And it looks like Chris might've started a war, as Jeremy posted a picture with his poster captioned "I'm coming for you".
I'm just glad to see it's all fun and games now before we find out who bites the dust (no pun intended) in Endgame.
Ben Henry is a celebrity reporter for BuzzFeed UK and is based in London.
4/9 -- We previously reported the Antonio Allen arrested with Boosie was a former NFL player with the Jets. That was incorrect ... it's a different Antonio Allen. Boosie has been busted on drug and gun charges following a traffic stop in Georgia ... TMZ has confirmed.
According to online court records, the rapper and another man, named Antonio Allen are currently being held in the Coweta County Jail. Boosie and Allen are each facing marijuana and narcotics possession charges, plus another charge for possession of a firearm.
Boosie and Allen were reportedly stopped by police Monday afternoon after an officer observed a white Dodge Charger swerving lanes and nearly sideswiping another vehicle ... and cops say Boosie was driving the car, which reeked of weed.
Police reportedly searched the vehicle and found a bag of marijuana and a loaded 9mm handgun under the passenger seat, where Allen was sitting. Investigators also say they found a bag of cash, plus a vape pen.
Boosie has gone to jail for drug charges before ... he was locked up in Louisiana in 2009 on a marijuana charge, and then got busted trying to smuggle drugs into prison and served more time. He was released in 2014 and had been on parole until 2018.
However, the Ava DuVernay-directed "When They See Us," in which Huffman stars as a prosecutor, will still be released May 31 on Netflix.
The Department of Justice revealed on Monday that Huffman was one of the 11 defendants, who was charged with one count of conspiracy to commit mail fraud and honest services mail fraud, and have agreed to plead guilty pursuant to plea agreements.
"I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions," Huffman said in a statement Monday.
She continued, "I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly."
The Associated Press and Fox News' Mariah Haas and Sasha Savitsky contributed to this report.
When Carol Danvers steps into Avengers headquarters in the trailer for Avengers: Endgame, she looks a little…different. Gone are the loose waves of hair and bare face of Captain Marvel, in which Brie Larson made her debut as the cosmically powered superhero just months ago. Instead, she rocked a smooth straight-ironed hairdo, red lipstick, and a full face of makeup.
The hair could be explained away by the 10-year absence (it was a little ridiculous that her hair was so bouncy after getting blasted by so many aliens), but fans wondered when Carol would have had time to stop by a Sephora while the world was ending. The new look incited more than a little outrage, as fans criticized directors Joe and Anthony Russo for needlessly dolling up Carol Danvers and subjecting her to the “male gaze.” But the Russo brothers have an explanation for the change in the Captain Marvel makeup look: filming schedules.
At the Avengers: Endgame press junket, /Film’s Peter Sciretta got a chance to ask the Russo brothers if they could address Captain Marvel’s changed look. The directors said that while they “set the parameters…in terms of what we need,” the makeup and hairstyles of all the characters are actually decided by the actors and their makeup team. “We give all the actors ownership over there,” Joe Russo said. That includes Scarlett Johansson’s shocking blonde hairdo in Avengers: Infinity War, which Joe Russo said was the actress’ idea. That and her ever-changing wigs, apparently. “Every hairstyle that Scarlet Johansson has had and every movie that we’ve done has come from Scarlet Johansson,” he said.
So why is Carol Danvers’ look so inconsistent when Brie Larson has shown a passionate dedication to the character and what she stands for? It turns out that when they were filming Avengers: Endgame, even Larson didn’t have a total grasp on her character. “This was Brie’s first time playing the character,” Joe Russo explained, continuing:
“She [filmed Avengers: Endgame] before she filmed Captain Marvel, and I think she was experimenting with what the character was. And those were the choices that she and her hair and makeup team had made. And I think as she started to gain a deeper understanding of the character, especially as she approached her own movie. She started to make different choices and as an artist she should be afforded that right to make whatever choice that she wants to make.”
It was reported last year that Larson had shot her scenes in Avengers: Endgame before production for Captain Marvel started, which explains the inconsistent look and yes, the full face of makeup. But thankfully a little experimentation did Carol Danvers good, as her final look in Captain Marvel seemed truer to her personality — grungy and straight-to-the-point. However, Larson gives credit to Avengers: Endgame for helping her figure out her character for the first time.
“This film [Endgame] will always be personally dear to me because it was my first time playing Captain Marvel,” Larson said at the junket press conference. “We shot this first so I had to stumble and figure out who this character was with no script for this and no script for Captain Marvel, either, and perform for the first time in front of legends.”
Turner Classic Movies, the last cable channel launched by Ted Turner as an independent media mogul, is hitting its silver on-air anniversary this month. But the TCM brand is well positioned to enter a golden age as the tide turns in the marketplace for cable TV channels.
TCM has spent 25 years building up a community of film fanatics who love the channel itself, not just the movies it screens. The Turner Classic Movies seal of approval draws thousands of attendees annually to the TCM Classic Film Festival, which kicks off its 10th edition in Los Angeles this week, and to TCM-branded screenings in theaters around the country.
Since 2011, TCM has offered film-focused cruises in partnership with Disney and other luxury ship operators. Three years ago, it launched an official fan club — the Backlot — that now has 34 chapters, creating a grassroots network for local promotions such as the “TCM in Your Hometown” contest events.
The channel’s vibrant profile and dominance of the classic movie category makes it a must-have in a skinny-bundle world. That parent company WarnerMedia owns most (but not all) of the titles that unspool on the channel is fuel for the conglom’s plans to launch a broad-based streaming platform.
“TCM is a brand, not just a TV network,” says Jennifer Dorian, exec VP and general manager of TCM. “Much of our future growth will come from fan engagement initiatives.”
TCM’s 25th birthday arrives April 14, just a month after the Atlanta-based operation made a significant shift amid a broader shake-up of AT&T’s management of WarnerMedia properties. Oversight of TCM has shifted from Turner, which has largely been dismantled, to Warner Bros. For TCM, a closer alignment with the Warner Bros. shield that graces so many of its movies is a natural fit. After all, Warners is home to TCM’s most-screened movie to date — 1942’s “Casablanca” — with 150 runs and counting.
“We’re really energized by the new structure,” Dorian says. “Being in the Warner Bros. fold will put us closer to the movies and to creative ideas. There are new opportunities for fans, for consumer products that will really add to our business.”
TCM has a gold-plated brand because it was designed to appeal to movie devotees rather than a mass audience. The decision was made early on to keep it commercial-free, and the mantra of “no edits and no interruptions” has held firm through successive regimes at Turner, and now Warner Bros.
“Context and curation is what we’re known for,” says Charlie Tabesh, senior VP of programming for Turner Classic Movies. “We’ve never programmed the channel with ratings in mind. If we did, we wouldn’t be playing silent films or 1930s black-and-white movies.”
The decision to keep TCM commercial-free had financial consequences, but the executive team that developed the channel — authorized by a vote of Turner Broadcasting System’s board of directors on June 4, 1993 — knew it would be more valuable in the long run to cater to its core audience. Cable operators agreed. It didn’t hurt in the push to launch TCM that Turner at the time counted Time Warner Cable, Comcast and John Malone’s Tele-Communications Inc. among its sizable equity investors. (Time Warner swallowed up all of Turner in September 1996.)
CREDIT: Courtesy of TCM
A movie channel for Turner was a no-brainer given founder Ted Turner’s prescient move in the mid-1980s to acquire the pre-1948 MGM library, the early RKO library and broad rights to Warner Bros.’ golden age films. With that vault, the Turner team knew it would not be hard to best the primary competition, Cablevision’s American Movie Classics.
“This was not going to be a channel to celebrate old Hollywood,” says Brad Siegel, who headed Turner’s entertainment arm at the time TCM was conceived. “We wanted it to be something completely unique, like a magazine that was a smart read for people who love film.” TCM from the get-go has also shelled out to license movies from other studios and sources. “We wanted to lay claim to offering the best mix of classic movies — with a definition of ‘classic’ as something that was really good, not by a chronological time period,” Siegel says. “To do that we had to have more than just the movies we owned.”
Robert Osborne was Siegel’s first choice to be the face of TCM as its principal host. Siegel had tried to hire Osborne a few years before when Siegel was working at AMC, but his recruiting effort was blocked by a management turf war. Osborne, a former actor turned columnist and Hollywood historian, set the perfect tone for TCM. He remained with the channel until he retired in 2016, the year before he died, at age 84.
“We put together a team of people who lived, ate and breathed classic movies,” Siegel says. “Robert was a definitive expert on classic movies.”
Osborne and Ted Turner did the honors in Times Square when the network held its launch event, complete with an oversize switch to pull when the channel went live at 7:10 p.m. ET. The April 14, 1994, date was timed to sync with the 100th anniversary of the first commercial exhibition of a motion picture in the U.S. — a nickelodeon theater in Times Square playing a Thomas Edison-produced Kinetoscope production.
Osborne launched the channel with a three-minute introduction, explaining TCM’s mission to present “the finest films ever made, 24 hours a day.” A nine-minute Chuck Workman documentary titled “100 Years at the Movies” played, followed by “Gone With the Wind.”
Writer-producer Ben Mankiewicz was only the second person to serve as TCM host when he signed on with the channel in 2003. He’s now the main primetime host, although he shares duties with Dave Karger and Alicia Malone. Mankiewicz credits Osborne’s style — a mix of scholarly knowledge and a fan’s enthusiasm for obscure gems and long-forgotten shorts — for allowing TCM to establish a “meaningful connection” with viewers.
“Context and curation is what we’re known for. We’ve never programmed the channel with ratings in mind. If we did, we wouldn’t be playing silent films or 1930s black-and-white movies.” Charlie Tabesh
“It’s the only fan-driven network like this on television,” says Mankiewicz, who brings a Hollywood pedigree as part of the Mankiewicz clan of writers. (His grandfather, Herman Mankiewicz, wrote “Citizen Kane.”) “It is so satisfying to be part of that connection,” Mankiewicz says. “I’ve had discussions with some of the biggest artists in this business, who tell me that the channel is always on somewhere in their house.”
The TCM vault is stocked with so many thousands of titles and obscurities that even 25 years later, “detective work” is still required to keep on top of everything there is to offer, according to Tabesh. To wit, eight 1930s titles from the RKO days recently surfaced that have never played on the channel. To Tabesh, that’s a big score.
“Even when you think you’ve gone through everything, you start finding things,” he says.
One of the biggest challenges in recent years has been grappling with the march of time and changing cultural attitudes and social norms. There are plenty of films with material that is viewed through a contemporary lens as at worst offensive or unenlightened. Notable examples are the depiction of slavery in “Gone With the Wind” and the use of blackface in films of the 1920s and ’30s.
TCM has sought to tackle some of these issues with its original documentary series and themed programming initiatives such as the “Race and Hollywood” series presented by African-American film historian Donald Bogle. As a mirror of the times in which they were made, movies offer a kind of road map to how attitudes evolve.
D.W. Griffith’s 1915 epic “The Birth of a Nation” is a landmark film, but it presents a horrifyingly racist view of African-American life in the post-Civil War era. TCM runs “The Birth of a Nation” and movies with similar backgrounds, but only with appropriate introduction, context and, when necessary, warnings to viewers.
“We don’t want to deny history. We don’t want to pretend that certain movies were never made,” Tabesh says. “We want to educate.”
Mankiewicz says considerations about how to handle problematic material, particularly in important works like “Gone With the Wind,” are part and parcel of the mandate to help audiences’ frame their viewing experience.
“We care about putting these movies in the context of their times. We tell you that this would never get made in 2019,” Mankiewicz says. “This is when the job is most challenging and most exciting.”
The couple is among the slew of parents who have been offered plea deals in the case, sources told TMZ.
Prosecutors gave the allegedly crooked parents the same ultimatum — take a deal or potentially face extra charges, like money laundering, from a federal grand jury.
The plea-deal sentences are determined, in part, by the amount of bribes paid and acceptance of responsibility — and prosecutors are said to only be accepting pleas that call for prison time.
Loughlin, the former star of “Full House,” and Giannulli are accused of paying $500,000 in bribes to get their decidedly unathletic daughters, Olivia Jade and Isabella Rose, into the University of Southern California as rowing recruits.
Giannulli and Loughlin following their April 3 court appearance in BostonBoston Globe via Getty Images
The amount of bribes they allegedly paid raises the couple’s minimum sentence to two to two and a half years behind bars.
“Desperate Housewives” star Felicity Huffman — who was charged with paying a college fixer at least $15,000 to fudge the answers on her daughter’s SAT test — announced Monday that she would plead guilty to charges and apologized for her role in the scheme.
Huffman could serve as little as four months in jail, TMZ said.
