Sandra Bullock pulled out tonight’s premiere of The Blind Side in London, reportedly because her husband Jesse James did not pull out of his mistress.
Sandra Bullock recently won an Academy Award for her role in The Blind Side, but her win has been tarnished by the news that tattoo model Michelle “Bombshell” McGee was mounting her husband while she was away filming.
Bombshell told In Touch magazine that she and James had an affair for months while Bullock was filming in Atlanta in 2009, and claims that she thought that the couple had separated. She claims to have had sex with Jesse James at least once a week, and had originally contacted him seeking a modeling job at West Coast Choppers.
Sandra Bullock issued the following statement today:
“Due to unforeseen personal reasons a trip abroad to support ‘The Blind Side’ has been deemed impossible at this time, I apologize for any inconvenience this may have caused and thank you for your continued support of the film.”
I have a lot of respect for Sandra Bullock, and I think she’s a very charming, talented woman. I hope that these rumors are untrue, but I’m cynical enough to know that they probably aren’t.
Check out some pictures of Jesse’s (alleged) sperm bucket below.
(Click thumbnails for larger images)
Source: Tattoo model says she slept with Sandra Bullock’s husband while actress filmed ‘Blind Side’ [Fox News]
Yesterday it was announced that Kate Winslet and her husband of seven years, Sam Mendes, were divorcing. As we all know that if you win an Oscar there is a curse, it seems for women on top of their career dying they tend to end up divorcing. Here are some of the famous ones:
Benjamin Bratt was the lucky man on Julia Roberts’ arm when she won the Oscar for her role in “Erin Brockovich” in 2001. Three months later their relationship was over—he went on to marry Talisa Soto, while she’s had three kids with husband Danny Moder. She’s yet to be nominated for a second time, so hopefully this relationship is safe.
The second actress to fall victim to this trend? Halle Berry, who won Best Actress in 2002 for “Monster’s Ball.” She’d been dating hot musician Eric Benet for years, and the two got hitched in 2001. Shortly after winning her Best Actress Oscar, Benet started cheating on her and allegedly went to sex addiction rehab. But it wasn’t enough—the couple separated in 2003 and divorced in 2005.
Infamously, Hilary Swank forgot to thank her hubby Chad Lowe, brother of Rob, when she won Best Actress in 2000 for her role as Brandon Teena in “Boys Don’t Cry.” Still, Chad seemed ultra supportive of her, and they were the ultimate down-to-earth Hollywood couple. They had just crossed the 13-years-together mark when Hilary won again in 2005, for “Million Dollar Baby,” and she made sure to thank him, first thing. The two divorced a year later. Rumors circulated that he couldn’t handle the level of success she’d found.
Reese Witherspoon and Ryan Philippe met at her 21st birthday party—she supposedly walked up to him and said, “I think you’re my birthday present”—and got married less than a year later. Reese had already popped out two kidlets seven years later, when she won Best Actress for her role in “Walk the Line,” and the pair seemed forevers. Nope. They split eight months after she gave her acceptance speech. Many assume Ryan was cheating on her with Abbie Cornish.
Nicole Kidman and Tom Cruise had already shocked the world by getting divorced when she won the Best Actress Oscar for portraying Virginia Woolf in “The Hours.” But she was clearly still having a hard time with the split at the time of her win. “He was huge; still is. To me, he was just Tom, but to everybody else, he is huge,” she told Ladies Home Journal. “But he was lovely to me. And I loved him. I still love him.” After rumored flings with Jude Law and Robbie Williams, Nicole allegedly gave Best Actor winner Adrien Brody her number backstage at the Oscars, and the two dated for a little while. She, of course, ended up getting remarried to Keith Urban.
Charlize Theron‘s relationship with actor Stuart Townsend seemed solid when she awed the Academy with her portrayal of serial killer Aileen Wuornos and won the Oscar. The two never officially tied the knot because they were waiting for same-sex couples to have the right to do the same. But Townsend said, “I don’t need a certificate or the state or the church to say otherwise. So no there’s no big official story on a wedding, but we are married … I consider her my wife and she considers me her husband.” Until the two sadly split up in January.
I guess that means Sandra Bullock should be worrying about her marriage to Jesse James could end up with the same faith since she won the Oscar this year.
source: Oscar Theory #5: Win Best Actress, Get Divorced [The Frisky]
Howard Stern has decided to add his two cents on Gabourey Sidibe, who he keeps referring to as the “fat black chick“, being nominated for an Oscar and what kind of future career she could have. Well as far as he is concerned she couldn’t have a career because she is too fat.
Stern and his sidekick Robin Quivers talk about Oprah being a liar for saying Gabourey will have a successful career. They then go on to call her an enormous woman the size of a planet and discuss how everybody in Hollywood is pretending that she’s going to succeed and that they have roles for her. He then says the only part she could play is the big football player in The Blind Side 2.
The two of them also go on to say that she should use her money from Precious to get thin, because she is sick and it’s a terrible thing what she has done to herself (they mean it’s terrible she is fat). They also say that she was seated in an aisle seat because she is too big for regular seats.
Now I’m not going to pretend that Gabourey Sidibe won’t have a hard time in Hollywood because she doesn’t look like the rest of them, but to say she won’t have a career is ridiculous — there are a lot of roles that she could do. The things that Howard Stern is saying disgust me. It takes a lot to pick on an easy target doesn’t it?
Bosses at the Oscars have defended their decision to leave Farrah Fawcett out of the memorial montage – insisting it’s impossible to pay tribute to every star who passed away in the last year.
The Charlie’s Angels actress, who died in June (09), was absent from the Academy Awards’ Tribute Montage section on Sunday night (07Mar10), which marked the deaths of stars including Brittany Murphy and Patrick Swayze.
The snub sparked speculation she was left out because of her predominant television career, with some online critics slamming the ceremony heads for not adding her to the clip. Jane Fonda was also shocked Fawcett was left out, and wrote on Twitter.com:
“Where was Farrah Fawcett? She should have been included. #oscars #FAIL”
“No Farrah in the memorial. They have a whole lot of ’splaining (sic) to do.”
And U.S. TV personality Star Jones is fuming the actress was not included, because she appeared in movies including The Cannonball Run and The Apostle and was even nominated for a Golden Globe for 1987 film Extremities.
“FYI (for your information)… Farrah had a very diverse career… that included Broadway, TV & Film. She even received a Golden Globe nom (sic).”
But Oscar bosses have defended their decision. Bruce Davis, the executive director of the Academy of Motion Picture Arts and Sciences, says,
“It is the single most troubling element of the Oscar show every year. Because more people die each year than can possibly be included in that segment. You are dropping people who the public knows. It’s just not comfortable.”
Hey Bruce, you also forgot Bea Arthur!
This isn’t rocket science people! Make the video long enough, or go through the celebrities who died faster. Don’t leave ANY of them out!
George Clooney, all cute at the Oscars with shaggy hair and his sparkly girlfriend, was hiding a secret on the red carpet. And no, it wasn’t a wedding ring, dream on!
Instead, still über-hunky Clooney was hauling around a different kind of silver accoutrement…
It was a flask!
Handsome George was reaching out to kiss this foxy femme and that gorgeous star, right and left, when he proudly displayed the goods.
Who knew this was George’s lady-killing secret weapon? Surely he doesn’t need liquid courage to charm all those Hollywood beauties?
I’m sure it was just an off night, king of like Kanye West.
source: What’s George Clooney’s Secret Sauce? [e! online]; That Explains It [dlisted]
The most riveting face-off during Sunday’s Oscar ceremony came early: When producer Elinor Burkett wrestled the microphone away from director-producer Roger Ross Williams after their film, “Music by Prudence,” won for best documentary short.
What really happened? We reached both shortly after by cell phone, and got both sides of the story. We first reached Burkett – a onetime Salon contributor who spends much of her time in Zimbabwe – as she took a smoking break as the proceedings continued inside:
People are already saying you “pulled a Kanye.” What happened?
BURKETT:What happened was the director and I had a bad difference over the direction of the film that resulted in a lawsuit that has settled amicably out of court. But there have been all these events around the Oscars, and I wasn’t invited to any of them. And he’s not speaking to me. So we weren’t even able to discuss ahead of the time who would be the one person allowed to speak if we won. And then, as I’m sure you saw, when we won, he raced up there to accept the award. And his mother took her cane and blocked me. So I couldn’t get up there very fast.
Can you explain the reason behind the conflict?
BURKETT:The movie was supposed to be about the entire band, Liyana. And the [band members] were very clear they did not want to participate if it ended up being just about one person. The director and HBO decided to focus solely on Prudence . . .
About 15 minutes later, Salon reached director-producer Roger Ross Williams by cell phone as he celebrated backstage with family and friends.
How did that happen?
WILLIAMS:Only one person is allowed to accept the award. I was the director, and she was removed from the project nearly a year ago, but she was able to still qualify as a producer on the project, and be an official nominee. But she was very angry — she actually removed herself from the project – because she wanted more creative control.
But couldn’t you decide ahead of time who would speak?
WILLIAMS:That was handled by the publicist for the academy. I don’t know what they told her. The academy is very clear that only one person can speak. I own the film. She has no claim whatsoever. She has nothing to do with the movie. She just ambushed me. I was sort of in shock.
You seemed to run up there pretty fast. Didn’t you see her coming up the aisle? What did you think was going to happen when she got there?
WILLIAMS:I just expected her to stand there. I had a speech prepared.
She claims she found the movie’s story, that she brought it to you.
WILLIAMS:No, not at all. The truth is that she saw the band perform [in Zimbabwe], and told me about that, and then I opened up a dialogue with the [King George VI School & Centre for Children with Physical Disabilities] school and went on my own – which you would’ve heard about in my speech — and spent $6,000 going to Africa shooting myself. And when people expressed interest in the film, I asked her to come on board. And then I regretted that decision. Then she sued.
They’re saying it looked like she pulled a Kanye.
WILLIAMS:She did! She pulled a Kanye. And it’s a shame, because this is such positive, happy film.
source: The story behind Oscar’s “Kanye moment” [salon]
You may have heard that the 2010 Oscars took place at the Kodak Theater in Hollywood last night and for once they picked out all the right winners, well in my opinion at least.
Unlike most other websites I’m not going to babble on for hours about who wore what or what the speeches were like because frankly I don’t really care, I’m just happy that The Hurt Locker beat Avatar for the best picture award.
As predicted Sandra Bullock picked up the award for Best Actress, Jeff Bridges for Best Actor and Mo’Nique won for Best Supporting Actress. While perhaps a surprise win was Kathryn Bigelow being the first woman ever to pick up Best Director and beating out her ex James Cameron. The full winners list:
Best Picture – The Hurt Locker
Best Actor – Jeff Bridges, Crazy Heart
Best Actress – Sandra Bullock, The Blind Side
Best Supporting Actor – Christoph Waltz, Inglourious Basterds
Best Supporting Actress – Mo’Nique, Precious: Based on the Novel Push by Sapphire
Best Director – Kathryn Bigelow, The Hurt Locker
Best Original Screenplay – The Hurt Locker
Best Adapted Screenplay – Precious
Best Animated Film – Up
Best Foreign Language Film – El Secreto de Sus Ojos
Best Art Direction – Avatar
Best Costume Design – The Young Victoria
Best Sound Editing – The Hurt Locker
Best Sound Mixing – The Hurt Locker
Best Cinematography – Avatar
Best Original Score – Up
Best Visual Effects – Avatar
Best Editing – The Hurt Locker
Best Documentary Short – Music By Prudence
Best Makeup – Star Trek
Best Short Film (Animated) – Logorama
Best Short Film (Live Action) – The New Tenants
Best Original Song – “The Weary Kind” from Crazy Heart
And there it is – the award season is over, well for a few months at least.
The 2010 Academy Awards take place next month but Time Magazine have gone ahead and put up a list of the biggest 10 Oscar nomination snubs.
Best Actor: Fred Astaire, Top Hat (1935)
The Academy has traditionally thought of movie acting as dramatic acting: tearing a passion to tatters, preferably while speaking in an accent and wearing eccentric makeup. That excluded the swellegant, elegant Mr. Fred Astaire; all he did was sing and dance with greater craft and feeling than anybody in movie history. His duets with Ginger Rogers — “Isn’t This a Lovely Day” and “Cheek to Cheek” in Top Hat and “Never Gonna Dance” in Swing Time — are not just superb examples of Terpsichore’s art but among the most powerful expressions of courtship, love and loss in screen history. Astaire was never nominated for these musicals, or for any other — though the Academy did insult his dance legacy by nominating him for Best Supporting Actor for a nothing role, played long past his prime, in the 1974 disaster pic The Towering Inferno.
Best Actor: Cary Grant, His Girl Friday (1940)
Golden-age Hollywood promoted glamour all year long and then, when it came to the Oscars, rewarded anti-glamour. To understand the Academy’s prejudice against its richest resource, consider that by 1941 Walter Brennan — who specialized in playing cunning, toothless galoots — had won three Oscars, while Cary Grant had not even been nominated. By then Grant had starred in The Awful Truth, Topper, Holiday, Bringing Up Baby, Gunga Din, Only Angels Have Wings and The Philadelphia Story — fashioning the indelible template of the attractive, self-deprecating movie male, and doing it with superb comic timing or action-adventure gruffness, as the role demanded. In His Girl Friday he’s a ruthless newspaper editor who browbeats his writer-wife (Rosalind Russell), all other journalists, the city’s mayor and cops and a condemned killer, just because … he’s Cary Grant. It’s a fast, gorgeous comic turn, for which Grant got no nomination. He would be cited for two dramatic performances, in Penny Serenade and None but the Lonely Heart, yet Hollywood’s greatest comic actor was never nominated for a comedy role.
Best Actor: Bill Murray, Groundhog Day (1993)
Selfish and snarky, Bill Murray’s Phil Connors is a Pittsburgh weatherman who plans to be in Punxsutawney, Pa., for just one day: Feb. 2, Groundhog Day. Except that the day repeats itself, with infinitely minute variations, until Phil gets it right. In a minor scandal, the film got no nominations. An Oscar should have gone to Harold Ramis and Danny Rubin for the script, which deftly balances comedy and philosophy (Is God a groundhog? Discuss), and another to Bill Murray for acting. From Caddyshack to What About Bob?, Murray had refined his amiable doofus into the minimalist modern man: his posture a question mark, his face a concrete poem of anticipated disappointment. In Groundhog Day he rises to romance and sinks to despair — and is wonderfully funny — all in the same day after day after day.
Best Actress: Barbara Stanwyck, The Lady Eve (1941)
The Hollywood screen’s all-time toughest, smartest dame, Barbara Stanwyck played comedy and pathos with equal agility, yet she never won a competitive Oscar. Her scheming adulteress-murderess in Double Indemnity, for example, lost out to the harried wife played by Ingrid Bergman in Gaslight, as Hollywood chose to reward the noble victim rather than the brilliant predator. Some of her tangiest roles flew right under the Academy’s radar, like the career gal who literally screws her way up the corporate ladder in Baby Face. Her sharpest comedy performance, no question, was playing the cruise-ship con artist who seduces a hapless Henry Fonda in Preston Sturges’ The Lady Eve, probably the all-time top screwball comedy. She is the devil every man would gladly play the sucker for; but neither she nor Sturges got a nomination. The movie’s only reward was immortality.
Best Director: John Ford, The Searchers (1956)
It is now widely regarded as the greatest western of the 1950s, the genre’s greatest decade. The tale of a loner searching for a missing daughter has been remade scores of times (most recently in Mel Gibson’s Edge of Darkness). But John Ford’s darkly profound study of obsession, racism and heroic solitude was shrugged off when it first appeared. Though Ford was Hollywood’s most honored auteur, with four Oscars as Best Director, he got nothing when he made his masterpiece. The Academy also ignored the towering performance of John Wayne as the scarred Civil War veteran Ethan Edwards, who either exorcises his demons or surrenders to them in violent revenge. Wayne would finally get an Oscar for his assured but much less complex performance as Rooster Cogburn in True Grit. But reward his most powerful role? That’ll be the day.
Best Director: Martin Scorsese, Taxi Driver (1976)
The movie got a Best Picture nomination (losing to Rocky) — as well as nominations for Robert De Niro and Jodie Foster (Best Actor and Supporting Actress) and for Bernard Herrmann’s creepy score — but its gifted director was ignored. Like Hieronymus Bosch working with spray paint, Martin Scorsese visualized a Manhattan hellscape with steam, blood and vomit everywhere, and in the center a crazed cabbie who literally gets away with murder. By rights, Scorsese could have been nominated three times in the ’70s: for Mean Streets and Alice Doesn’t Live Here Anymore as well as Taxi Driver. But America’s most astute and passionate picture maker had to wait until 2007, and The Departed, to get a Best Director statuette. By then it might as well have been a lifetime achievement award — or the Academy’s public apology for more than 30 years of myopic calls against him.
Best Director: Steven Spielberg, Jaws (1975)
The opposite of Sally Field’s gushing “You like me, you really like me” upon winning an Oscar was Steven Spielberg’s response when his first big movie, Jaws, was nominated for Best Picture but stiffed in the Best Director category. Jaws had only become the top-grossing film since The Sound of Music a decade before, and Spielberg had managed to wrangle Bruce — the production’s balky mechanical shark — into a creature of demonic intent and satanic power. The tarring of Spielberg as a maker of “just movies” would continue through Close Encounters of the Third Kind, Raiders of the Lost Ark and E.T.: The Extra-Terrestrial, for which he was nominated but lost. The year of E.T., the Academy gave the Best Picture and Director prizes to Richard Attenborough’s worthy but plodding Gandhi. Spielberg had to make his only true-life epic, Schindler’s List, before he finally won an Oscar.
Best Picture: King Kong (1933)
In 1934, for the first time, the Academy allowed 10 Best Picture nominations. All those slots, and not one of them could be filled by the greatest fantasy in Hollywood history? Cavalcade, the stately, starchy filming of a Noel Coward play, took the Best Picture award, and King Kong received no nominations at all, not even in the technical and engineering categories. So much for Willis O’Brien’s construction and stop-motion animation of the 18-in.-tall ape, which gave Kong gravitas as he battled dinosaurs on a jungle island and soul as he wooed Fay Wray and took her to the top of the Empire State Building. King Kong inspired generations of boy geniuses, from Steven Spielberg to Peter Jackson (who did a loving though oversize remake in 2005), while Cavalcade slipped into oblivion.
Best Picture: Some Like It Hot (1959)
Voted the best American comedy of all time in an American Film Institute survey 10 years ago, Billy Wilder’s fizzy farce earned nominations for screenplay, direction and Jack Lemmon’s performance as a Prohibition musician who goes on the lam disguised as a woman. (Tony Curtis, Lemmon’s partner in drag, deserved a nod too.) But the movie was denied one of the Best Picture slots, which were filled by two religious epics (Ben-Hur and The Nun’s Story), two “daring” melodramas (Anatomy of a Murder and Room at the Top) and The Diary of Anne Frank. Back then, elevated sentiments and hot-button social issues seemed so much more important than an ephemeral comedy starring Marilyn Monroe and two guys in dresses. Today, it’s the ephemeral that has lasted.
Best Picture: The Dark Knight (2008)
Why did the Academy decide to reinstate the 10-film field for Best Picture in 2010? Because the year before, The Dark Knight wasn’t voted into the top five. At the time the second biggest dollar earner in movie history (now passed by Avatar), Christopher Nolan’s saturnine fantasy was a film that kids and critics alike appreciated, less as a live-action comic book than as a triangular battle of stern Good, giggling Evil and two faces in between. The Academy members didn’t go bats for this Batman; instead, they filled out their Best Picture cards with their favorite fallen President (Frost/Nixon), a Nazi warden (The Reader), a civil rights martyr (Milk), an old guy who gets younger (The Curious Case of Benjamin Button) and the eventual winner, Slumdog Millionaire. Except for a Heath Ledger memorial citation (Best Supporting Actor), The Dark Knight was ignored in all major award categories, earning only doorstop prizes like Best Sound Editing and Sound Mixing. Safe to say that the Academy won’t shut out the big action-adventure movie of 2009. Avatar is a sure nominee for Best Picture, and a likely winner.
I agree with the majority of these, I enjoyed The Dark Knight but I really don’t the movie should have gotten a nomination so I would take that off the list. Instead I would put on Alfred Hitchcock, it’s a disgrace he never got an Oscar. What do you think? Any movies or people who should have received nominations?
The nominations for the 82nd Academy Awards were announced early this morning at 5:38 am in Los Angeles by Anne Hathaway and Academy President Tom Sherak.
There was no big surprises, in fact all the previous award nominations for the Golden Globes, SAGs etc are pretty much the same as the Oscar nominations.
Avatar and The Hurt Locker both lead the pack with nine nominations each, which also sees directors (and ex-husband/wife) James Cameron and Kathryn Bigelow going up against each other.
Alec Baldwin and Steve Martin will each co-host the ceremony which airs live March 7 on ABC. What are your picks to win the awards?
Best Picture
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious: Based on the Novel “Push” by Sapphire
A Serious Man
Up
Up in the Air
Best Director
Avatar, James Cameron
The Hurt Locker, Kathryn Bigelow
Inglourious Basterds, Quentin Tarantino
Precious: Based on the Novel “Push” by Sapphire, Lee Daniels
Up in the Air, Jason Reitman
Best Actor in a Leading Role
Jeff Bridges in Crazy Heart
George Clooney in Up in the Air
Colin Firth in A Single Man
Morgan Freeman in Invictus
Jeremy Renner in The Hurt Locker
Best Actress in a Leading Role
Sandra Bullock in The Blind Side
Helen Mirren in The Last Station
Carey Mulligan in An Education
Gabourey Sidibe in Precious: Based on the Novel “Push” by Sapphire
Meryl Streep in Julie & Julia
Best Actor in a Supporting Role
Matt Damon in Invictus
Woody Harrelson in The Messenger
Christopher Plummer in The Last Station
Stanley Tucci in The Lovely Bones
Christoph Waltz in Inglourious Basterds
Best Actress in a Supporting Role
Penelope Cruz in Nine
Vera Farmiga in Up in the Air
Maggie Gyllenhaal in Crazy Heart
Anna Kendrick in Up in the Air
Mo’Nique in Precious: Based on the Novel “Push” by Sapphire
Best Animated Feature
Coraline
Fantastic Mr. Fox
The Princess and the Frog
The Secret of Kells
Up
Best Foreign Language Film
Ajami, Israel
The Milk of Sorrow, Peru
A Prophet, France
El Secreto de Sus Ojos, Argentina
The White Ribbon, Germany
Best Adapted Screenplay
An Education, Nick Hornby
District 9, Neil Blomkamp & Terri Tatchell
In the Loop, Jesse Armstrong & Simon Blackwell & Armando Iannucci & Tony Roche
Precious: Based on the Novel “Push” by Sapphire, Geoffrey Fletcher
Up in the Air, Jason Reitman & Sheldon Turner
Best Original Screenplay
The Hurt Locker, Mark Boal
Inglourious Basterds, Quentin Tarantino
The Messenger, Alessandro Camon & Owen Moverman
A Serious Man, Ethan Coen & Joel Coen
Up, Pete Docter & Thomas McCarthy & Bob Peterson
Did you see Jennifer Lopez in her film El Cantante? No? Me either, in fact I had never even heard of the movie until I came across her whining about how she deserves an award for the movie.
In the new issue of Latina Magazine, Lopez opens up about being married to Marc Anthony, having children and past relationships. But of course she being who she is, has to talk about her fame and how she feels got robbed of an award.
Why El Cantante was Oscar Worthy: “I feel like I had that [Oscar worthy role] in El Cantante, but I don’t even think the academy members saw it. I feel like it’s their responsibility to do that, to see everything that’s out there, everything that could be great. Well, it is a little bit frustrating. It was funny; when the Oscars were on, I had just given birth on the 22nd, and the Oscars, I think, were a day or two later. I was sitting there with my twins—I couldn’t have been happier—but I was like, ‘How dope would it have been if I would’ve won the Oscar and been here in my hospital bed accepting the award?’ ‘Thank you so much! I just want to thank the academy!’ But we joked about it. It’s all good. Things will happen when they’re supposed to happen. I have the utmost faith and no doubt that it will one day, when and if it’s supposed to. You can’t get all crazy twisted over it.”
On Fame: “Your world becomes smaller, so yeah, it is a weird reality. You stop doing things like having a key in your pocket, opening the door for yourself because you become so busy. All of a sudden, somebody takes that over for you. You do lose touch a little bit; anybody who says they don’t is a liar. Your life is not like a person who goes to work, opens their door, goes to the grocery store. I lived that life for 20-something years, and now my life is different, but I have my foot in both worlds. I have found myself lately saying it needs to be more simple. I can’t have all these people around, especially once you have children. I’ve been able to always keep a good perspective. I’ve never, thank God, gone completely off into the stratosphere. I’m not saying I haven’t had my moments [laughs], but I’m always able to come back.”
Again, I’ve never seen the film nor did I know it existed. For some reason though I just don’t see Jennifer Lopez up on stage accepting an Oscar and I certainly don’t see her doing it from the hospital bed after having twins. As for her quote on how she still thinks she is normal .. no comment from me.
source: Jennifer Lopez Exclusive: “I Can’t Regret the Things I Did in the Past” [Latina Magazine]
Even though the rest of the country is in a recession, Madonna brought out the bling for the Vanity Fair Oscars after-party.
They don’t call her the “Material Girl” for nothing, you know. She earned the nickname last night as she literally piled on the diamonds for the post-Oscar festivities.
She was seen wearing millions of dollars worth of Neil Lane diamonds to the Vanity Fair post-Oscar bash.
Here’s a run-down of the jewelry she was sporting, along with those big guns:
• A black and white diamond chain with 500 carats of the shiny stones
• A diamond bangle with 25 carats of diamonds and platinum
• An onyx and diamond bracelet with 50 carats of diamonds
• A pair of diamond pear shape earrings of 20 carats each
• A square diamond and onyx ring
And if that wasn’t enough, she piled on even more diamond jewelry for her private party. She was said to have put on a cross and chain with 100 carats of diamonds, along with bracelets with 50 carats of diamonds, long diamond earrings worth $1 million and a gigantic diamond and platinum ring.
It’s all borrowed, of course, but it was a bit of overkill.
