Журнал Cosmopoliten провел опрос среди мужской аудитории на тему "Ты бы хотел прочитать статью о том..."  И вот так распределились ответы)))))

а. как заставить ее готовить                                          13%

б. как заставить ее мыть посуду                                   4%

в. как заставить ее заниматься сексом                      23%

г. как вообще ее заставить                                             60%

Вопросы вы можете писать на английском.

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В России началась "зачистка" школ от представителей молодежной субкультуры эмо, которую сотрудники ФСБ связывают с детскими суицидами.



По данным журнала "Город", идею госчиновников уже подхватили некоторые педагоги.

В указе директора одной из школ сказано:"Музыкальный стиль эмо объявляется запрещенным в гимназии, так как он пропагандирует насилие, межнациональную рознь и действия, являющиеся незаконными согласно Конституции РФ. В связи с этим запрещается носить в гимназии розово-черные кофты, рубашки и значки, браслеты с символикой этого стиля".

Призывы "не пущать" подкреплены аргументом ФСБ: "мечта каждого эмо -- умереть в ванне от потери крови путем перерезания собственных вен в области запястий".

Будущая секретарь-референт Надежда Долинина пыталась покончить с собой до знакомства с петербургскими эмо:

- Суицидники и без снэпов и розовых чулок с зелеными кедами найдут свой сук. Если вы снимете шмотки с людей, настроение у них не поменяется. И жизнь тоже. Просто молодежь взяла самоубийство за стереотип и выставляет напоказ свою депрессию. Но скорее обычный взрослый человек решится нажать на курок, нежели 15-летняя девочка с бантиком. Если бы в моей школе такое вывесили, я бы забила. Все равно выгнать не имеют права, такие указы ни на чем не основаны. Они ущемляют естественные права. С этим указом настоящие эмо пойдут в туалет...


У частного психолога Людмилы Колодиной есть опыт работы с так называемыми трудными детьми ЭМО:

-- Подростки эмо депрессивны и ранимы с детства. Оболочку субкультуры им навязывает мода. Да, это проблемный слой социума, но административные методы его не вычистят. Власть это прекрасно понимает и руководствуется не социально-психологическими мотивами. Прессинг эмо связан, мне кажется, с политикой. Эмо -- полная противоположность рафинированной, нацеленной исключительно на успех молодежи. Посмотрите на юных сторонников правящей партии "Молодая гвардия" -- улыбчивы, без вредных привычек и, главное без мыслей о смерти. Общество выбрало идеал гражданина -- политически подкованного, желательно с финансовым или юридическим образованием, с активной жизненной позицией. А эмо только, извините за грубость, мельтешит под ногами и портит светлую картину.

ДАЛЬШЕ

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Tokio Hotel были замешаны на порно-пати. Вытяжка из интервью где им об этом рассказали. Правда на немецком...

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ПЕРВЫЙ БЕРЕМЕННЫЙ МУЖЧИНА В МИРЕ СКОРО РОДИТ! - сообщает YES_Stars

И это, если ты следишь за прессой, не шутка!

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Томас-Трейси рос с двумя братьями на Гавайях. Их родители покончили с собой.
В юности Трейси была моделью и даже завоевала титул Юная Мисс Гавайи - но затем девушка превратилась в мужчину.
Сейчас Томас и его жена Нэнси ожидают рождения своей дочки через месяц.

"Я чувствую себя фантастически, - поделился с журналистами Томас. - Жду-не дождусь, когда увижу лицо моей дочурки".

Напомним, что 10 лет назад Томас сменил пол, однако женские репродуктивные органы у него сохранились.
Когда Томас с женой узнали, что Нэнси не может иметь детей, то пара решила воспользоваться данными Томаса.
Он прекратил пить гормоны тестостерона и у него снова начались овуляции.
Выносить ребенка удалось не сразу: сначала у Томаса зачались близнецы - но произошел выкидыш.
Вторая попытка оказалась удачной.


ДАЛЬШЕ...

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"I don't know if I made a good film, but I know I made the book." This is one of my all-time favorite quotes from a filmmaker. It comes from Terry Gilliam during an interview with Charlie Rose about Fear and Loathing in Las Vegas. This kind of statement opens a project up to merciless criticism and at the same time claims that boldly, good or bad, the book has been brought to the screen, from the tone to the style to the characters to the subtext. The latest book-to-screen translation that will be criticized, scrutinized, and deconstructed frame-by-frame is Watchmen, the acclaimed and beloved graphic novel by Alan Moore and Dave Gibbons.

The book itself has a long and bloody history, from the frustrations of creator Alan Moore with DC Comics to the multiple failed attempts at getting the film made. But any geek worth their salt knows all this and can quote these trials as easily as a WWII historian could the trials of Patton. But now it's all been said and done, the film has been greenlit and the director and actors are deep into production and pics are making their way online. The pre-publicity is already gearing up and the questions and comments are already bouncing around the net, starting with "how does it look" and "How faithful will it be?" For me, there are two gauges I can use at this early stage to determine the possible quality of a film I have yet to see.

NOTE: that last sentence required that I take two shots of Bushmills in order to steady myself enough to type it out. Why, you ask? Because, in essence, I'm writing about the quality of a film that's still in production. That, in my mind, is akin to criticizing America on foreign soil -- it's not illegal, but it's very clearly taboo. The reason I'm willing to bend this rule till it breaks? Because I am excited about the film and I qualify this post as more of a pre-geek-out rather than any sort of critique.

Mr. Zack Snyder, the director, has shown impressive chops and vision with his filmmaking, from his clean and innovative remake of Dawn of the Dead to flying his geek-flag high and proud with the accurate-where-it-counts adaptation of Frank Miller's 300. After that cinematic explosion Mr. Snyder had a free pass to tackle nearly any project he so chose, and he went with another comic-book adaptation, Watchmen. That he chose another comic is telling enough of his mind-set that it deserves an article in and of itself. That the choice for his third film was one of comics' holy trinities (Watchmen, Dark Knight Returns, and Maus) is an indication that he may well be a filmmaker daring enough to tackle such a daunting task. This is not a project to be factory-produced and run by a committee. What we are getting via production pics gives me nothing but further faith in Mr. Snyder and the direction he's taking (read: faithful translation) the production.

The photographs that have made their way online are more than impressive. They carry with them the righteous attitude of the characters; if I had to pick one that interests me the most (and it is difficult to choose just one), it would be The Comedian. Mr. Snyder seems to be using the actual comic book as his storyboards. Every shot -- down to the character's poses, the lighting, and especially the facial expressions -- mirrors the brilliance of the book. Then came this shot as an exclusive to aintitcool.com, and for me, all bets were off. Sure the image looks a little goofy and dated -- that's what it's supposed to look like. If you've read the book, this image should seal the deal. They're doing everything they can to get the look of the project as accurate to the book as they can. The next big question I have is about tone. Though, we'll just have to wait until the first trailer hits to know what notes Mr. Snyder is using to carry his most unique and daring project to date.

If he pulls another trifecta with Watchmen (by garnering critical, financial, and core fan-base acclaim) similar to 300, he will have announced himself as a filmmaker not just worth watching, but one of the great filmmakers of his generation. The bar is set high for this one. The good news is that Mr. Snyder seems adept at making those impossible leaps with inches to spare. I wouldn't be surprised to see him on The Charlie Rose Show, answering the same question, "Did you make a good film?" with a more confident response than Gilliam: "I know I made a good film because I made the book."
Cole Drumb
www.film.com

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Today marks the one-year anniversary of the now famous cut to black that marked the ending of The Sopranos. The effect was immediate, and while the cultural ripples have faded some, the debate still roars on. David Chase's ambiguous and sudden end to the final Sopranos episode still hasn't escaped our collective psyche -- and ultimately, that's the genius of the ending.

Several TV blogs and websites are revisiting the debate today, with nearly all pointing to this nearly 2,200 word missive on the subject. It's a passionate argument for a "Tony's dead" ending -- all I need to say is passionate, though, and you could surmise that the author is in the "death" camp. Since death is the ultimate final answer, there's a black-and-white feeling to these interpretations, while people in the "life goes on" camp seem more willing to see gray. I, for one, still believe that Chase left it up to the viewer, so we're all right (even the ones who say the ending is a cop-out). The only clues Chase has left us with are what was shown on screen and very few post-finale words on the subject. The most recent statement was his recollection of another famous ending, that of 1968's Planet of the Apes:

When the movie was over, I said, "Wow, so they had a Statue of Liberty, too." That's what you're up against.

You could take that to be merely a joke, or an admission that he's much more willing to look at the ending a different way than most (which is how I interpret it). But once again, he's putting the burden on the viewer to interpret.

One thing that seems cut and dried, though, is the effect that the ending had on revitalizing the career of Journey. Downloads of "Don't Stop Believing'" skyrocketed in the following days, sending the song to #1 on iTunes 26 years after its original release. It's no coincidence that they released a new album called Revelation last week and that it's expected to chart in the top 10, their first major success since Perry's last album with the group, 1996's Trial by Fire, peaked at #3.

Besides the Sopranos bump, Neil Schon and company took other measures to get to this success. First, they needed a new singer -- one who more closely sounded like Perry to take advantage of the opportunity at hand. Schon found his prize via YouTube -- the lead singer of a Phillipino cover band called Zoo. Arnel Pineda, whose incredible back story requires its own "Don't Stop Believing" song, leapt at the challenge, and the band went about recording an album in the style of Escape. They still didn't have a label, but they decided to follow The Eagles' lead and release the album exclusively through Wal-Mart, using no record label at all. And now they're in the Top Ten again. Wonder how record labels are interpreting that ending? Well ... it's not actually an ending -- if there's anything we learned from The Sopranos, it's that it goes on and on and on and on.)

Drake Lelane

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MaryAnn Johanson

Oh my god, really? Sixty million bucks for Kung Fu Panda? Not that this ain't a delightful, charming, utterly enchanting -- and very funny -- flick. But still! That's one of the biggest June openings ever, and the second best animated opening in June ever (it's just a smidge behind 2006's Cars, and I bet it bypasses that one when the final numbers come in), and the third biggest opening weekend of 2008 so far.

I don't think anybody called this... okay, someone did. But most predictions were lower, some far lower. And those prognosticators were even more wrong when it came to this weekend's No. 2 movie, You Don't Mess With the Zohan, which hauled in $40 million. Forty million! (And boy, am I glad I overcame my initial reservations to skip this one, because I discovered that it's surprisingly not horrible, and now I don't have to complain about how undiscriminating movie audiences are for throwing $40 million at it.)

The biggest upset, though, might be at the No. 3 spot, where Indiana Jones and the Kingdom of the Crystal Skull held strong by taking in another $22.8 million -- bringing its total gross over $250 million -- and dropping only a single slot in the roster. Sex and the City, on the other hand, plummeted from No. 1 last week to No. 4 this week. The film added another $21.3 million to its coffers, but that was a drop of almost 63 percent from its opening weekend, which indicates the movie will not have legs throughout the summer, or even over the next month. At No. 5, The Strangers also took a big drop, of almost 56 percent, to take in another $9.3 million... but that's about as much as the movie was expected to earn in its opening weekend, last week, so the studio folks are probably happy about that.

The indie side of things is quiet at the moment, as you might expect at this time of year. But a new historical epic from Kazakhstan, Mongol, a bio of legendary warlord Genghis Khan, rather invaded the five theaters it was playing in, earning $26,600 at each of those venues. That leaves the top movies in the dust, even with their impressive takes: the panda earned $14,584 per-screen, and the Zohan $11,554. Looks like it's the Khan you don't mess with.

film.com

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ДАЛЬШЕ...

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ГИБДД Москвы предлагает наделить сотрудников дорожно-постовой службы правом эвакуировать автомобили, мешающие механизированной уборке улиц, сообщает пресс-служба Московской городской думы.

Проект соответствующей законодательной инициативы в Госдуму рассмотрели во вторник на совместном заседании комиссии МГД по городскому хозяйству и жилищной политике и по безопасности.

Сейчас автоинспекторы могут задерживать и эвакуировать на спецстоянки автомобили за нарушение правил остановки или стоянки на проезжей части, повлекшее создание препятствий для движения других транспортных средств, а также за остановку или стоянку в тоннеле.

"В случае принятия законодательной инициативы сотрудник ДПС будет иметь все законные основания на задержание и эвакуацию транспортного средства, мешающего уборке улиц. Сегодня же сотрудник ДПС не вправе задержать такое транспортное средство, потому что для этого нет правовой основы", - сказал на совместном заседании думских комиссий начальник первого отделения отдела организации дорожно-патрульной службы Управления ГИБДД ГУВД Москвы Сергей Лебедев.

По его словам, пресечение нарушений правил остановки и стоянки машин на проезжей части крайне актуально для такого мегаполиса, как Москва, и особенно ее центральной части, где неправильно припаркованные автомобили мешают движению транспорта, прежде всего общественного.

"Машины, припаркованные с нарушением правил, мешают и механизированной уборке улиц. Такая проблема наиболее остро проявляется в осенне-зимний период, когда неправильно припаркованный автотранспорт делает невозможной уборку от снега участков улично-дорожной сети города, снижая тем самым и без того недостаточную их пропускную способность", - говорится в пресс-релизе.

Как сообщил Лебедев, около 42,8 тысячи неправильно припаркованных транспортных средств эвакуировали городские службы за пять месяцев 2008 года с улиц Москвы. В среднем за нарушение правил стоянки в Москве ежедневно эвакуируется 350-400 машин.

Председатель комиссии по городскому хозяйству и жилищной политике Степан Орлов предложил поддержать предложение ГИБДД и продолжить работу над проектом законодательной инициативы.


МОСКВА,РИА Новости. www.rian.ru