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<p>Matchbox Twenty in &quot;She's So Mean&quot;</p>

Matchbox Twenty in "She's So Mean"

Watch: Matchbox Twenty's video for 'She's So Mean'

'Mean' equals 'hot' in band's new clip

Warning: Several vinyl albums were harmed in the making of this video.

“She’s So Mean,” Matchbox Twenty’s video for the  first single from its first album of all-new material in 10 years, should be retitled "She's So Hot." As the lyrics state, “You want her, but she’s so mean,” as they detail a girl who wreaks havoc but you just can’t let her go. “Mean” = “Hot.” Trust me, no guy in the world would put up with this femme fatale’s antics if she weren’t a 10. Some guys like the cray-cray, but only when it comes wrapped in a very pretty package.

[More after the jump...]

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<p>Amy Adams, Philip Seymour Hoffman and the ensemble of &quot;The Master.&quot;</p>

Amy Adams, Philip Seymour Hoffman and the ensemble of "The Master."

Credit: The Weinstein Company

'The Master' will premiere at Venice - is Toronto next?

The festival scene gets a bit more exciting this year

Long rumored, but discounted by some, the Venice Film Festival has officially announced that Paul Thomas Anderson's "The Master" will make its highly-anticipated premiere at the prestigious European fest.

Anderson's follow up to the Oscar-nominated "There Will Be Blood," this new drama centers on a young drifter (Joaquin Phoenix in comeback mode) and the founder of a cult-like religion (Philip Seymour Hoffman) which is beginning to finally gain traction with the general public.  The filmmakers and their surrogates continue to deny the connection between the fictional religion and Scientology, but as more footage is revealed the allegory is becoming harder to discredit.  The picture also features Amy Adams and Laura Dern.

The Weinstein Company is releasing "The Master" in the United States and recently moved the film's limited opening up to Sept. 14.  Along with the Venice news, it's a slam dunk that the film will also screen at the 2012 Toronto Film Festival which takes place a week before its release date.

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Chris Brown releases cover art to next single 'Don't Judge Me'

Chris Brown releases cover art to next single 'Don't Judge Me'


Chris Brown's "Don't Judge Me" will be his next single, but the song isn't necessarily what you'd think it's about.

"And I've been through this so many times / Can we change the subject? / You gonna start asking me questions like..."

Will you continue to be a man-child in every interview you do? Will you hit a lady again? Can you please not slut-shame Rihanna? Why did you and Drake get in a public fight at a nightclub?

"...Was she attractive? Was she an actress?"

Oh, yes. That. Those are the kind of questions I'd ask Chris Brown.

Here is the emo cover art to "Don't Judge Me," off of his album "Fortune," out now.

Chris Brown's Don't Judge Me artwork

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Watch: Green Day wants you to 'Let Yourself Go' in new live video

Watch: Green Day wants you to 'Let Yourself Go' in new live video

Energetic clip showcases material from 'Uno'

Green Day continues to give fans peeks into “¡Uno!,” “¡Dos!,” and “¡Tre!”, the three albums coming out over a four-month period starting next month.

Today, we get a live video of “Let Yourself Go,” filmed Nov. 17 at a club in Austin, Texas.  The Alternative Press exclusive is a little slice of punk pop that is a straight-down-the-middle fastball from the trio: it’s propulsive, snarly, and energetic. Plus, Billie Joe Armstrong, Tre Cool and Mike Dirnt are appropriately scruffy, looking like they’re running on no sleep and caffeine for days on end in the black and white clip.  The live version stretches out a bit after a great, anthemic start. We’re hoping the album version is a tightly-wound, 2:30 version.

[More after the jump...]

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Credit: The CW

Press Tour 2012 Live-Blog: The CW Executive Session with Mark Pedowitz

Expect updates on 'The Selection' and possibly 'Battle Royale' and more

BEVERLY HILLS - It's time for the last of the network executive sessions from the Television Critics Association press tour.


Click through to see what Mark Pedowitz has to say about the network's present and future...

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<p>Karl Urban gets his kill on in a scene from 'Dredd 3D,' which will have its gala premiere at this year's Fantastic Fest</p>

Karl Urban gets his kill on in a scene from 'Dredd 3D,' which will have its gala premiere at this year's Fantastic Fest

Credit: Lionsgate

First wave of Fantastic Fest 2012 titles features 'Dredd' premiere

Strong revival programming also features heavily in this batch of titles

It's the most wonderful tiiiiiime of the year.

Sure, most people sing that phrase as part of a Christmas carol, but for me, September is the month when I get all my presents, and once again, it's looking like it's going to be a month overstuffed with pleasure.

Last week, we heard the first batch of titles that were announced for the Toronto International Film Festival, an amazing overabundance of movies I am absolutely dying to see.  That's what Toronto normally is for me, a collection of things I've already heard about that I'm eager to finally lay eyes on, while Fantastic Fest tends to be the opposite.  That's more about me discovering films I've never heard of and would otherwise never see, and I simply trust that the programming team, which has done an amazing job each and every year so far, is going to once again lay out a buffet of amazing treats that I'm going to savor.

This morning, we've got the official announcement of the first wave of titles, and while I don't recognize many of them, it sounds like a really weird batch of titles.  Sure, they announced that "Frankenweenie" would open the fest recently, but there's a lot of truly low-budget and obscure titles mixed into some amazing revival titles in this announcement.  In other words, it sounds like Fantastic Fest.

Have I mentioned that I can't wait?

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<p>Christian Bale and Anne Hathaway in &quot;The Dark Knight Rises.&quot;</p>

Christian Bale and Anne Hathaway in "The Dark Knight Rises."

Credit: Warner Bros.

Is it too early to talk about Oscar and 'The Dark Knight Rises' again?

When can respect for the victims and the business of the movies co-exist?

In the early hours of July 20th, I found myself starring at a tiny video screen inches from my seat.  My JetBlue flight had just landed at LAX after a five-hour flight from JFK and I'd randomly turned to CNN as my plane was taxing toward the gate.  There I discovered that a shooting had taken place at a midnight screening of "The Dark Knight Rises" in suburban Denver.  Turning on my phone, I discovered twitter was being overrun with messages of disbelief and anger. Only a few hours before, on the same plane, I'd completed a lengthy article on "Rises" Oscar chances.  My intent was to post it when I got home, just in time for the film's opening day.  As the details of the shooting became more and more horrific, it became clear publishing my commentary anytime soon would be incredibly inappropriate.

It's been less than 10 full days since one of the worst single shootings in American history, but even for someone not dealing with the tragedy on a day to day basis it feels more like 10 weeks.  Cable news networks devoured the story like the fire that enveloped the Hindenburg.  Within half a day the shooting had been politicized and over-analyzed in everything from theater safety to the depiction of violence in movies. However, like so many events in our 24/7 news cycle, the public's attention has ultimately been diverted - mostly to the non-stop barrage of Olympics news and imagery (HitFix included).  And to be frank, while the thriller's box office has been slightly under its processors haul, its 60% drop this past weekend had as much to do with the nation sitting in front of their televisions and watching tape-delayed opening ceremonies and swimming from London than the Aurora shootings.  And for every friend or acquaintance who admits they are weary of seeing "Rises" because of Aurora, there are there or four who have already seen the film multiple times. Make no mistake, James Holmes is as disturbed as they come, but what happened in that theater could have taken place in a health club, a shopping mall or your local McDonald's. The reality of how it could have been prevented is another conversation entirely and will no doubt become a bigger issue when the story circles back when Holmes eventually faces a jury of his peers.

In Hollywood, the industry has been so shocked by the events that it's seemingly been frozen like a deer in headlights. The other major studios quickly realized they needed to join Warner Bros. in keeping the box office grosses for that weekend under wraps, but many of them are trying to quickly forget what could have been their own greatest nightmare.  Warner Bros., the studio behind "The Dark Knight Rises," has been taking what can only be described as a day by day approach and trying not to over publicize its charity efforts. This is uncharted waters for any entertainment company or corporation.  Some might see their conservative actions as callous, but the legal ramifications for any public move the Time Warner division makes at this point is serious business.

Happily, Christian Bale took it on himself to visit the survivors of the shooting and the only real evidence of his trip was the Facebook and twitter photos he took in the hospital, because this was for the fans, not the local or national news media (as one publicist friend at a rival studio remarked, "He can now pretty much run for president now," which of course he can't because he's British).  The tributes continued Friday when the consistently remarkable composer Hans Zimmer released an original track titled "Aurora" from which digital sales go directly to a victim's fund.  

So, with the Olympics in full swing and social media more obsessed with the Olympics and Kristen Stewart and Robert Pattinson's "break-up," does it break the bounds of good taste to discuss the awards season chances for "Rises" now?

Other pundits had weighed in "Rises" chances before the film opened.  One respected Oscar expert even reported on the film's triumphant response at the official Academy screenings on opening weekend after the shooting (and "moment of silence" or not, its something I personally would have postponed, if possible).  At the moment, Warner Bros. is trying to delicately walk the balance of convincing moviegoers to return to the movie theater without disrespecting the victims.  Sort of like the fear of flying for some. You have to remind everyone a major jetliner hasn't crashed in over a decade.  This "shouldn't" happen again tomorrow.  Truth be told, no one will know the true effects on movie going habits until after the Olympics.  Or, at the tail end when "The Bourne Legacy," "The Campaign" and "Hope Springs" debut on August 10. So, wondering whether a full fledged awards campaign is still in the cards for "Rises" has to be the furthest thing from the minds of anyone on the Warner Bros. lot.  Will that be the case two or three months from now?  We'll see.  "Rises" earned somewhat unexpected rave reviews from influential critics at the LA Times, Time, Salon, the Hollywood Reporter and the New York Times (it got a solid B+ in my book). It's likely to land on the top 10 lists of a number of major critics and will have grossed over $425 million in theaters when all is said and done. All notable facts and figures for most tentpole awards season contenders.  But, still. Even writing this post we wonder: Is it too early to talk about awards season and "The Dark Knight Rises" again?

When victims of Aurora are still in the hospital?  Perhaps I'm oversensitive, but that's the easy reminder that Oscar should always take a back seat to the real world.

"Rises" and its Oscar chances can wait.

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Alexander Skarsgard and Stephen Moyer in 'True Blood'

Alexander Skarsgard and Stephen Moyer are still stuck at the sucky Vampire Authority in 'True Blood'

Credit: John P. Johnson/HBO

'True Blood' recap: Bill's dark side emerges in 'Somebody That I Used to Know'

Also, Alcide gets frisky, Jessica's in chains and Sam sees double

"True Blood" has already passed the point of no return to salvage this season. We're stuck with the storylines we've got, and most of them are lemons. But at least now that we're heading into the final four episodes the writers will be forced to stop dragging their feet and start delivering some payoffs.

That was sort of the case tonight, as we saw some real progress in Terry's ghost story and Sookie and Jason's investigation into their parents' murder. There was also a bit of closure for Jessica and Hoyt, the return of sassy Lafayette and a good old fashioned "True Blood" sex scene (something that's been surprisingly rare this season).

Let's break it down:

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<p>&quot;Nothing Suits Me Like a Suit&quot;&nbsp;will be one of 20 songs on the &quot;How I&nbsp;Met Your Mother&quot;&nbsp;soundtrack.</p>

"Nothing Suits Me Like a Suit" will be one of 20 songs on the "How I Met Your Mother" soundtrack.

Credit: CBS

'How I Met Your Mother' soundtrack coming in September

Songs by/about Robin Sparkles, suits, Puzzles, and more

In general, asking questions of the "How I Met Your Mother" creators at press tour is a fool's errand. Because of how they've designed the show, and because they've decided they want to preserve every secret, Craig Thomas and Carter Bays have made an art of coming to press tour events, not saying anything, and apologizing for doing so. And with CBS being "pretty optimistic" about closing a deal for a ninth season (i.e., one past the upcoming one that everyone assumed would end the series), Thomas and Bays have to be even more mum than ever.

(We can discuss the ramifications of a ninth season if/when that happens. All I'll say now is that if Thomas and Bays stick to their original plan for the eighth season and do something different for the ninth, it could work, but if they just wind up elongating the season 8 story arc over twice as many episodes, it will be... ungood.)

But at CBS' press tour party, Thomas actually had some concrete show info he could reveal for once:

After many years of many goofy, catchy, memorable original songs, "How I Met Your Mother" is finally getting its own soundtrack album.

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<p>Jonathan Banks as Mike on &quot;Breaking Bad.&quot;</p>

Jonathan Banks as Mike on "Breaking Bad."

Credit: AMC

Review: 'Breaking Bad' - 'Hazard Pay'

Walt, Jesse and Mike set up their new business, and Skyler surprises Marie

A review of tonight's "Breaking Bad" coming up just as soon as I run down to Costco to get a couple of dehumidifiers...

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"Big Brother"

"Big Brother"

Credit: CBS

'Big Brother' recap: Who will Shane nominate for eviction?

The Coaches' Challenge changes everything

So, JoJo's gone, Shane's HOH and Danielle is feeling lucky. I think she'd like to assist Shane in feeling lucky, as she has overcome her resentment toward JoJo (hey, she's gone, why bother?) and is feeling pretty forgiving toward Shane. Or at least it seems that way after she gives Shane a big, sticky hug. Time for showmance!

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<p>'You're going to make a prequel to WHAT? Ahahahaha...&quot;</p>

'You're going to make a prequel to WHAT? Ahahahaha..."

Credit: Warner Bros.

Warner Bros. reportedly exploring the idea of a 'Shining' prequel

So... who wants to step into Kubrick's shoes?

For the last few years, we've been hearing about "Doctor Sleep," a sequel to "The Shining" that Stephen King has been working on, with a January 2013 release date still rumored for it.  The idea that Dan Torrence is now middle-aged sort of makes me want to jump off a building, but it makes perfect story sense that King would want to return to the character and check in on him.  After all, he had to have been marked by the extraordinary events of "The Shining," and he wasn't exactly a normal kid to begin with.

What I'm not as sold on upon first hearing about it is a potential sequel to "The Shining."  I guess the Overlook Hotel has been around for a long time, and terrible things have certainly happened there over the years, but I'm wondering why "prequel" continues to be the go-to default position for studios looking to squeeze a little extra life out of something.  By now, I think even the most accepting audiences have realized that most prequels are creative dead-ends where there's very little chance for dramatic engagement precisely because we already know what comes afterwards.

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