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Diaz, who is filming What Happens in Vegas... in New York, split from longtime boyfriend Justin Timberlake in January. Mayer ended his on-again, off-again relationship with Jessica Simpson in June.
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Simon: "Congratulations, Jordin."
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But let’s set aside the heavy lifting for a sec and acknowledge that for most of “Mockingjay’s” target audience, those questions don’t much matter. This is a classic story of an adolescent pulling away from her elders and asserting her identity; if this particular adolescent is a combo of Joan of Arc and the goddess Artemis, who is tough as nails, can bring down a fighter plane with a bow and arrow and looks amazing in a skin-tight outfit, so much the better. I was all prepared to tell you that “Hunger Games” star Jennifer Lawrence and director Francis Lawrence (no relation) had gone over the top into inflated melodrama this time out, but it simply isn’t true. “Mockingjay – Part 1” is a penultimate chapter without a real ending, but it’s also a thrilling ride full of potent emotions, new characters and major twists of fate, built around another commanding star performance. Of all the big-budget popcorn movies of 2014, this one holds the screen with the least requirement for apology and speaks to the broadest possible audience.
I brought up Edmund Burke earlier because he drew an important philosophical line in the sand between the American Revolution, which he supported, and the subsequent French Revolution, which he despised. No doubt that’s inflating the coherence of the “Hunger Games” universe quite a bit, since it’s more like a combination of Burke’s aristocratic Whig caution and the humanist idealism of Jean-Jacques Rousseau, a major Burke adversary. We’ll have to see how Francis Lawrence and his team handle Collins’ violent and explosive final chapter, which delivers several different kinds of endings. (The second half of “Mockingjay” is still a full year away.) If this all adds up to a subtly self-sabotaging fable of rebellion that foregrounds the individual over the community, as I strongly suspect, that’s hardly a surprise. As a work of potent, ambivalent and open-ended pop spectacle, it’s first-rate.
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It??s a weird mix of politics like the Tea Party. It doesn??t know whether it??s conservative or libertarian, sort of populist. They want really strict border control, so it??s not fully economic liberalism; it??s like protectionism. The thing is, they??re not just concerned about the economic impacts of immigration. They??re also very worried about immigrants impact on U.K. culture.
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It’s no secret that we struggle to have coherent conversations about consent, and to grasp the (not particularly difficult) concept of willing participation in a physical or sexual behavior. But Bud Light’s latest misstep, and even its subsequent apology, illustrates just why this seems to be so damn challenging. There doesn’t appear to be a whole lot of reflection.
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“You are done,” Hoover writes. “There is but one way out for you. You better take it before your filthy, abnormal, fraudulent self is bared to the nation.”
But let’s set aside the heavy lifting for a sec and acknowledge that for most of “Mockingjay’s” target audience, those questions don’t much matter. This is a classic story of an adolescent pulling away from her elders and asserting her identity; if this particular adolescent is a combo of Joan of Arc and the goddess Artemis, who is tough as nails, can bring down a fighter plane with a bow and arrow and looks amazing in a skin-tight outfit, so much the better. I was all prepared to tell you that “Hunger Games” star Jennifer Lawrence and director Francis Lawrence (no relation) had gone over the top into inflated melodrama this time out, but it simply isn’t true. “Mockingjay – Part 1” is a penultimate chapter without a real ending, but it’s also a thrilling ride full of potent emotions, new characters and major twists of fate, built around another commanding star performance. Of all the big-budget popcorn movies of 2014, this one holds the screen with the least requirement for apology and speaks to the broadest possible audience.
I brought up Edmund Burke earlier because he drew an important philosophical line in the sand between the American Revolution, which he supported, and the subsequent French Revolution, which he despised. No doubt that’s inflating the coherence of the “Hunger Games” universe quite a bit, since it’s more like a combination of Burke’s aristocratic Whig caution and the humanist idealism of Jean-Jacques Rousseau, a major Burke adversary. We’ll have to see how Francis Lawrence and his team handle Collins’ violent and explosive final chapter, which delivers several different kinds of endings. (The second half of “Mockingjay” is still a full year away.) If this all adds up to a subtly self-sabotaging fable of rebellion that foregrounds the individual over the community, as I strongly suspect, that’s hardly a surprise. As a work of potent, ambivalent and open-ended pop spectacle, it’s first-rate.
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It??s a weird mix of politics like the Tea Party. It doesn??t know whether it??s conservative or libertarian, sort of populist. They want really strict border control, so it??s not fully economic liberalism; it??s like protectionism. The thing is, they??re not just concerned about the economic impacts of immigration. They??re also very worried about immigrants impact on U.K. culture.
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It’s no secret that we struggle to have coherent conversations about consent, and to grasp the (not particularly difficult) concept of willing participation in a physical or sexual behavior. But Bud Light’s latest misstep, and even its subsequent apology, illustrates just why this seems to be so damn challenging. There doesn’t appear to be a whole lot of reflection.
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,
“You are done,” Hoover writes. “There is but one way out for you. You better take it before your filthy, abnormal, fraudulent self is bared to the nation.”
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