Daniel.

I disagree with this, I loved pretty much eveything about Season Four (I'm counting both halves as I watched the last season the whole way through). The mutiny arch was one of the shows best and the political aspect of the first half in general I found utterly compelling, that side of the show is what grounds it. The relief the fleet feel after a certain success at the half way point of S4, and then the resulting devastion when it's not what they thought, was one of the best things I've seen on TV, not to mention the revelation of the final five and the fallout from that (there is one episode towards the end, that focused on them, that I remember not liking though) and the last few episodes of the show, was just. Wow. The final episode especially feels like it came straight out of the romanticism era. One thing I also want to add is the relationship between Will and Laura: it builds beautifully throughout the whole show, never before, outside of Six Feet Under, have I seen a relationship between two older characters being such a focus of a show, and given as much attention. It's like a breath of fresh air. :wub: Also another thing I love is the soundtrack by Bear McCreary, I own the soundtracks, and I still listen to them. He is my fourth most played artist on LastFM, tracks like 'Wonder My Friends', 'Reuniting The Fleet', 'Admiral and Commander' and 'So Much Life' are just breathtaking, and really sum up the love that the people on Battlestar Galactica feel for eachother. Easily the best original score for a TV show ever, it's like it belongs to a movie. Also the re-working of All Along The Watchtower is magnificent :wub: Ben, I really hope you do watch it next. Ka_sHy9cVH0 DZdS2KKvwVo OGcMPp7TNo4 HG-Js_rMEV4

Watch it NOW, NOW, NOW. I disagree with Ben, in that I found the last season gripping throughout, Frances Conroy acts her socks off in the first few episodes with George and Claire and I loved the Breanda/Nate relationship. I'm a Six Feet loon though, so I never found a single episode to be anything other than amazing. S5 starts off in quite a depressing way though. Oh you haven't seen the whole show. I actually loved David in Season One, as he is going through the stages that I am in discovering my sexuality, mix that aspect of David with Claire and it's pretty much me. In the last couple of seasons however, I went right off him, as he turned into a whiny bitch. Back to season one though, and SF really picks up in the latter half, the first half of Season One is probably my least favourite part of the entire show. Season Two onwards is perfection on every level :wub:

Battle for the Sun :wub:

I predict 1) JLS 75k 2) B.o.B ft. Hayley Williams 73k 3) Katy Perry ft. Snoop Dog 69k 4) Eminem & Rihanna 5) Yolanda Be Cool 6) Enrique Iglesias ft. Pitbull 7) 3OH!3 ft. Ke$ha 8) Lady GaGa 9) Eliza Doolittle 10) Kylie Minogue 11) Kelly Rowland Nothing too radical, but I think it will be close between the top 3, so I wouldn't be too surprised if the positions are different, but I think KP best shot is for #2 this week. Those sales figures are complete guesses, but I still don't think Club Is Alive will crack 80k + Personally speaking I want B.o.B to beat out JLS, as I think it's the better song, but either way I'm pretty sure it will outsell it in the long run, possibly with a chance of cracking the year end Top 40.

It really is, and also proves that gingers really don't have souls :lol: The last DVD I brought was Kill Bill last week - so beautifully directed (apart from the final confrontation between The Bride and O-Ren, which was really uneven). I also don't care there is no original score, the blend of east and west in song and style was done masterfully, it's very much a grindhouse film mixed with the classic martial arts genre. I can really see why this became a cult hit (I haven't seen it before, but I regognised some scenes, lines, due to how big a part of pop culture it became). I think the film, surprisingly, peaked at the start with the battle with Vernita Green, it was perfection, and the direction and pace never slacked. After the introduction, the following, 'beginning scenes' didn't top it, although the hospital section with Elle came close. Then, the bloated chapters based around the sword and the O-Ren backstory, while I can understand the reasoning, still slowed the pace. I'm also officially obsessed with Gogo, in the few scenes she was in, she just demanded attention, I love her, I really didn't want her to die :( Note: I'm also slightly bitter that Tarintino was forced to make the battle with the Crazy 88 black and white, due to the gore. Although Tarantino said he didn't mind, as it also pays as a homage, I still wish he was allowed to show people his original vision, without MPAA twisting his arm. Japan, I think, is the only territory where that scene was allowed to be shown in colour.

Just wow at You and I, that performance gave me chills, those vocals :wub: It made me laugh though when the presenters talk at the end so blandly, as if GaGa told them some mildly amusing story, even after this really passionate performance :lol: edit: Slightly underwhelmed by Alejandro, but Teeth was incredible, she just tore up the place, also I wonder who the "Some people say I'm not religious..." comment was aimed at. I seriously cannot stop listening to You and I, one of her best, I love the melody.

Just watched the first video, and one of my favourite live performaces by her; her vocals were fantastic for Watch Over Me, and they were great when she went into Bad Romance, despite the dancing - which was very energetic and on point. Plus, she looked really happy, bright and healthy. Maybe it has something to do with her being back in her hometown of New York? Watching the other videos now.

3. The Naked & Famous - Young Blood (7) (CR-7-3) Hell yeah, keep climbing! :D Here's hoping it's #1 next week!

It's a shame that people are saying she's mostly their for exposition, but I don't care, Ellen Page will rock it regardless. Did you watch the 'meet the character' trailer? She looks absolutely stunning at the end of that. Watching it the day it comes out (although I will be going alone haha), I don't think I've ever done that before. I hope it's 100% streak on rotten tomatoes continues. Nolan has wanted to make this film for years, I wonder if this really will become his masterpiece? If it's as good as they say, the Oscars should make up for their snub of The Dark Knight and nominate it; from the praise the photography is getting, it good well be a contender for the cinematography award. Edit: Here is the sampler of the soundtrack composed by Hans Zimmer. 4_TunQQRM58&feature=related

I've found a great website of recent songs that have been nominated for their lyrics, listening to the nominees and I think I'm going to be spoiled for choice :wub:

I prefer it being secret tbh, it eliminates any bias and it makes it more interesting.

I thought it was good too, but Craven himself and a lot of people didn't.

If for some reason you decide not to got with the N&F I will be there to snap them up :kink:

Featurette d8kCPCx5JXE&feature=related Showbiz feature on Inception 7_2ACsuuP1Q 'Meet The Characters' Trailer vFjAbCl6m1Q&feature=related TV Spots (continued) #10 RfJpqCgCTrA #11 KjTVWwd1AZw&feature=related #12 -lfXy4LQfo8&feature=related #13 cMrAhAfuik8&feature=related #14 KApXtjVJpkQ&feature=related Here is the excellent review from Empire. "Plot Corporate spy-for-hire Dom Cobb (DiCaprio) steals ideas in dreams, but then he's hired to achieve the impossible: "inception" - planting an idea in the mind of a target. If he succeeds, he can see his estranged children. If he fails, he'll be trapped forever. Review If you know nothing else about Inception, at least know this: it is not a trick. It is ingenious but not crafty, knotty but not duplicitous. It has neither Memento’s method conceit nor the smoke and mirrors of The Prestige. To contrast it with the latter, in particular (fine film though that is), is to appreciate the difference between stage-magic and a real miracle. The director-as-magician analogy feels least tired when applied to Christopher Nolan, given his body of work, its formal and mental layers and precisely engineered reveals. At best, this approach can be exhilarating. At worst — as with the narrative drip-feed of Insomnia, his weakest picture — it is obfuscation masquerading as artistry, aka not half as bloody clever as it thinks it is. Given its setting is largely the subconscious, though, Inception can’t work with a rug-pull denouement. Every scene — let alone the movie — could be punctured with that postscript beloved of primary school story scribblers: “And I woke up and it was only a dream...” So, don’t brace for a “ta-dah!” moment — it will impede your enjoyment and waste your time. Instead, marvel at the effrontery of a filmmaker who asks you to emotionally invest in avowed mental constructs — and succeeds. In one sense, admittedly, this is what every filmmaker asks us to do: engross ourselves in their imagination. The movie, then, could be interpreted as being about craft and inspiration — one character even says, of constructing the architecture of dreams, “It’s just... pure creation.” But there are bigger things in play here than simply Art, and Nolan isn’t given to self-referential indulgence. This is about life and death and what might be beyond and between. It is also about blazing gun battles, zero-gravity fist fights and stars you’d like to sleep with. Fret not, Batfans — Nolan hasn’t turned into Andrei Tarkovsky. The muscular action that distinguished his Bruce Wayne pictures is again in evidence, but whereas Gotham in the Nolanverse is bound by at least some constraints — you know, little things like physics — here all bets are off. It’s not that Inception doesn’t have rules: like any convincing science-fiction, it has rules and boundaries it will not break. But those boundaries are pretty broad — they are the limits of each character’s imagination. The images deserve to be untarnished by much explanation — you should see them for yourself and on the biggest screen you can (it’s coming to IMAX — book now) to best appreciate Wally Pfister’s excellent, expansive photography. Funny, though, how moments that make the memory boggle when you recall them pass naturally in the moment because you are rooted in the world Nolan has created, in the reality(s) of the characters. This is testament to the physical prowess of the production and thorough thought that’s created this world, but also to the actors. Some rise to particularly fascinating challenges (hello, Tom Berenger) and some surprise — principally Cillian Murphy, who can do danger and insolence in his sleep, but here shows a tenderness and vulnerability crucial to the story. Others exert a personality and appeal on parts that on the page would have played very close to ‘types’ — particularly Ellen Page, exuding a prim sexiness as, really, Basil Exposition, and Joseph Gordon-Levitt, who somehow manages to appear both ambiguous and dependable as essentially a sidekick. The pair share one of the movie’s best comic beats, too, though most of the sly laughs come from Tom Hardy’s roguish Eames. It will be fascinating to read the hypotheses that percolate about Inception after release and no doubt what characters are called will be explored. That Page is Ariadne — the name of a figure in Greek myth who guides a hero from a maze — has already been noted. Eames shares his name with seminal designers/architects Charles and Ray, who made a celebrated short film, Powers Of 10, about the magnitude of the universe. Marion Cotillard is Cobb’s wife, Mal — which means “bad”, but can also derive from the Hebrew for messenger or angel. Cobb itself comes from Jacob, who, when fleeing from his murderous brother in the biblical book Genesis, dreamt of a ladder to heaven... Based on his previous behaviour, Nolan isn’t likely to explain what he thinks Inception is actually about, but it’s certainly possible to see it as a blockbuster allegory about grief, faith and the desire for an afterlife — to be reunited with those we love and have lost (those with even a passing knowledge of Catholicism may note an interesting use of the word ‘limbo’). You could argue it’s about suicide and the fears and hopes that can both power and prevent it (for in that sleep of death, what dreams may come?), just as was Soderbergh’s Solaris. Nolan, though, doesn’t muse; he motors. This is no sombre meditation. The themes are there to be explored (there will be more theories about this movie than about the killing of JFK), but you can just as well sit back and enjoy the spectacle. And what a spectacle. In terms of scale and style it is, as Nolan intended, comparable to Bond’s best excursions — yet filtered through a brain-frying, subconscious-spelunking, time-dilating structure that boldly frames action sequences around each other. So we get an explosive Arctic mountain vault-storming within a zero-gravity scramble within a vehicle-crunching chase. In effect, the set-pieces are simultaneous. Which is insane, but brilliant as, while he at times boggles through the necessarily complex editing, Nolan never corrupts his multiverse’s internal logic. When you’re not basking in the visuals, you can always lean into DiCaprio and appreciate the emotion. He anchors everything. An actor who has long borne the blessing and the burden of being hailed a genius before he was even a man, he has never been less than good, but can appear either callow or try-hard, like a child dressing in daddy’s suit. Not here. He shows a depth of feeling rivalled only by his work in Shutter Island. To deliver two such turns in a career would be impressive. In a year, it’s just showing off. What makes it work, really, though, is how unfussy he is, how unselfish — there’s no showboating. Good as he is in The Departed or Gangs Of New York, you could sometimes feel the Weight of his Acting. Here, paradoxically, he appears effortless, even though he’s the beam on which the whole mighty edifice rests. It’s because you believe his journey, his heart, that you buy into Inception. If he failed, so would the movie. This isn’t the sort of performance that usually wins Oscars — it’s not ostentatious or superficially transformative, but by God it is brilliant. The strength of it is that you remain emotionally engaged, even if you’re not entirely sure what’s going on. The third act makes Memento seem about as complex as Bear In The Big Blue House. And while there is remarkable clarity given the complexity, you are pummelled with information and have to keep up — pay attention, figure it out. Only repeat viewing will reveal if this comparison is truly justified, but it feels like Stanley Kubrick adapting the work of the great sci-fi author William Gibson (Neuromancer) — except Nolan appears to like people more than the 2001 auteur. So, you have a film that embraces intellect and emotion but also sheer entertainment — that can include a character staring at what looks like one of Francis Bacon’s tortured self-portraits, but also has the best EXPLODEY BUILDING sequence since Zabriskie Point. That film was a notorious bomb, ignored by audiences and pilloried by critics. And some, who may find Inception exposition-heavy and bewildering, will no doubt argue that, drunk on the freedom of The Dark Knight, Nolan has spent $170 million disappearing up his own arse. He hasn’t. On this form, wherever he goes next, be it Batman 3 or something else, we’ll be the first in line to follow. Verdict Like The Matrix mated with Synecdoche, New York — or a Charlie Kaufman 007. To paraphrase Casino Royale’s Vesper Lynd, it’s a meaningful pursuit in a summer of disposable entertainments. With physics-defying, thunderous action, heart-wringing emotion and an astonishing performance from DiCaprio, Nolan delivers another true original: welcome to an undiscovered country." Source: http://www.empireonline.com/reviews/review....asp?FID=136118 It's also got a 100% rating on Rotten Tomatoes after six reviews.

This news really pissed me off! There is no alternative to Blast. On a brighter note, I'm ecstatic they decided to keep the station.

The Weinstein's meddling is blamed for how the third film turned out, and it's looking like they are doing it again.

Hell no! Mary McDonnell is stunning :wub: Here is an article about the apparant production troubles. "Problems For Scream 4? New decade. New rules. New writer? Source: Zap2it / Shocktillyoudrop Is there trouble at the Scream 4 mill? Or are the usual comings and goings of a Hollywood production getting blown out of proportion? Here's what we know so far. Screenwriter Ehren Kruger (Scream 3, Transformers: ROFL) has been brought in to tinker with Kevin Williamson's script, while actress Lauren Graham has left the production. Two questions then: 1) Where is Williamson? and 2) What happened to Graham? There are differing answers. Zap2it, who broke the story, reported that Williamson has walked away from Ghostface and co entirely (calling into question the rest of the projected new trilogy), and that Graham, disgusted with her reduced role in Scream 4 Kruger-style, quit in high dudgeon. According to this version of events, Hayden Panettiere is also "beyond frustrated" at the whittling and dumbing down of her own role. But a sceptical Shocktillyoudrop got in touch with "a source close to the production", who reassured them that Williamson is still intimately involved with the series, but is simply busy at this very moment with his commitments to the second season of The Vampire Diaries. Kruger, according to this version, was just available at short notice for touch-ups, and Graham, like Williamson, was forced to pull out due to her own scheduling conflicts: in her case with the Parenthood TV series. The voice of reason or damage limitation? Williamson's involvement with Scream 3 was reduced due to similar TV obligations (at that time to Roswell) and there's not yet any published evidence to suggest a falling out with the production. Then again, he's not been using his Twitter account to deny anything. Significant? Marielle Jaffe Facebooked yesterday that "filming has been going great! We are so lucky to be in the hands of the mastermind, Wes Craven! Genius!" And we'd be surprised if Craven himself, not a fan of Scream 3 and quite equivocal about Scream 4 before his involvement was secured, must have received some pretty serious reassurances from the Weinsteins before he came aboard. But then again, there's the rather ominous Craven tweet, "I have not been given control of the script." It's Independence Day weekend in the States, so they're all at the beach right now, but expect some official statements and updates shortly..." Source: http://www.empireonline.com/news/story.asp?NID=28269

I found the Fellowship of the Ring too hard to get into so gave up after a few chapters, but then again I was 10 at the time. I've read the Hobbit though which I really enjoyed and is quite lighthearted in tone. And agreed that the movies, especially FOTR, are magnificent. Some of my favourite films of all time, and some of the best cinema experiences I've ever had :wub: (I saw ROTK five times, my mum is a bit of a loon.)

Well, that's not as bad as my dad, who actually went to sleep during the first film and started snoring, so embarassing -_-

I agree with you about the films. I was comparing how big the LOTR books were for that generation to how big the HP books are for are generation.

No problem, I am obsessed with that show (Alan Ball is a genius). And I was exactly the same as you during the finale, it's just so real, especially when the family parted and the realistic commentary by Nate, I especially love the line that Nate says to Claire "You can't take a photograph of this, it's already gone." and the way she watches him disappear in the mirror as she drives away :wub: not to mention the flashes of them all dying made me cry like a bitch. No show had the impact on me that SFU had, and snap, Claire is me. With a bit of David thrown in. I would say give Battlestar Galactica a go (it has one of my favourite characters of all time in President Laura Roslin), even if your not into sci-fi, it draws paralles to many real world problems, such as government, policing, military, religion, racisim, and war, and the characterisation, writing and acting was only beaten for me by SFU. It's ranked alongside The Wire, West Wing and Sopranos as one of the best TV shows of all time and won a peabody award so it's def worth your time.

:o seriously?

I bet that trailer on the big screen is orgasmic :wub: and I know, it's wierd looking back - we've grown up with the books and films, the first film came out when I was 9 and I started reading the books when I was even younger (the PS was my first novel). There's always been one or the other on the horizon, to think it will have a definite end next July is actually quite upsetting. HP is really our generations Lord of the Rings.

1. Kylie Minogue - All The Lovers Nice No.1, hope it can reach a new peak tomorrow. 2. Shakira feat Freshlyground - Waka Waka (This Time for Africa) I love this song, out of all the world cup songs, just behind Wavin' Flag for me (not that there is much more quality world cups songs bar those two.) 7. The Naked & Famous - Young Blood I think you already know how I feel about this song :wub: hope it climbs and gets that No.1 smash :kink: 8. Katy Perry feat Snoop Dogg - California Gurls (4) (CR-6-3-4-4-7-4-4-8) 11. Lady GaGa - Alejandro (7) (CR-45-24-37-32-23-23-OUT-40-34-30-34-38-9-5-8-7-11) 12. K’Naan - Wavin’ Flag (5) (CR-23-32-8-5-5-12) Such an anthem. 14. Yolanda Be Cool & D Cup - We No Speak Americano (9) (CR-41-31-9-14) 17. Vengaboys - Rocket To Uranus (30) (CR-22-24-30-17) 20. B.o.B feat Hayley Williams - Airplanes (25) (CR-42-24-22-40-OUT-41-36-30-25-20) 24. Lena Meyer-Landrut & Ellie Goulding - Not Following (11) (CR-5-3-6-11-24) 25. Robyn - Dancing On My Own (13) (CR-7-4-8-11-13-9-6-14-7-13-25) 26. Fallulah - Bridges (10) (CR-12-10-26) 28. Sarah McLachlan - Loving You Is Easy (19) (CR-31-26-OUT-19-28) 29. I Blame Coco - Self Machine (16) (CR-13-9-16-29) 31. Sarah McLachlan - Forgiveness (NEW) (CR-31) 37. Marina & The Diamonds - Oh No! (38) (CR-50-40-OUT-42-33-38-37) 39. Diana Vickers - The Boy Who Murdered Love (26) (CR-41-32-OUT-36-31-18-26-39) 44. Kelly Rowland - Commander (Re-entry) (CR-47-30-36-OUT-44) 45. Eminem feat Rihanna - Love The Way You Lie (37) (CR-32-OUT-37-45) 46. Flo Rida - Club Can’t Handle Me (33) (CR-43-22-33-46)) Great chart ^_^

Daniel Gleek's Weekly Chart Another big gap, making the weekly part of the title kinda laughable, but here is my third offical chart of 2010 regardless. WdO85Qf4Poc Position/Artist/Song/ChartRun 1) The Naked and Famous - Young Blood 1 2) The Naked and Famous – All Of This 2 3) The xx – Stars 3 4) The Naked and Famous – The Sun 4 5) Paramore – Brick By Boring Brick 5 6) Lady GaGa – Alejando 12-9-6 7) The xx – Intro 7 8) Sia – The Girl You Lost To Cocaine 8 9) Moby – In My Heart (Live) 9 10) Flyleaf – I’m So Sick 10 11) The Naked and Famous – Serenade 11 12) Paramore – Misery Business 12 13) Flyleaf – Cassie 13 14) Moby – Temptation 14 15) Snow Patrol – You Could Be Happy 15 16) Flyleaf – Again 16 17) Kate Bush – Running Up That Hill 17 18) Rihanna (feat Slash) – Rockstar 101 19) Imogen Heap - I’m a Lonely Little Petunia 19 20) The xx – Fantasy 20 21) Sia – Breathe Me 15-12-21 22) Sia – Soon We’ll Be Found 22-22 23) Sia – Sunday 23 24) Paramore – crushcrushcrush 8-24 25) Florence + The Machine – Heavy In Your Arms 1-25 26) Lady GaGa – Summerboy 26 27) Thomas Newman – Dead Already 37-27 28) Paramore – Ignorance 28 29) Paramore – All I Wanted 5-29 30) Hayley Williams – Teenagers 22-7-30 31) Sia – My Love 31 32) Florence + The Machine – Cosmic Love 32 33) Flyleaf – Broken Wings 3-33 34) Kate Bush – Violin 26-32-34 35) 30 Seconds to Mars – Alibi 35 36) 30 Seconds to Mars – Vox Populi 36 37) Lady GaGa – Bad Romance 37 38) The Alarm – Be Still 2-38 39) Paramore – Where The Lines Overlap 27-39 40) Flyleaf – So I Thought 40 Songs of the Week The Naked and Famous - All of This mCHuNpkGvSo The xx - Stars Fp9xHu8AA6Q Previous Songs of the Week Flyleaf - Broken Wings Death Cab for Cutie - Transatlanticism http://www.youtube.com/watch?v=qNqQC7R_Me4 2010 2nd July - The Naked and Famous - Young Blood (1 week) 15th June - Florence + The Machine - Heavy In Your Arms (1 week) 8th May - Placebo - Every You Every Me (1 Week)