Quote of the Day

It's okay to have fat knees. It just means you're, like, sturdy.
-Ross Ramone

Quote of the Day

You just loveee talkin' boutcha gadgets...
-Erica, from Shakespeare in the Park line

Quote of the Day

Ugh. Why are cargo pants coming back?

-Ross Ramone

Quote of the Day

She liked you, maybe you should have fondled Peg-Leg Pete.

-Roger Sterling, Mad Men (04.01 - Public Relations)

Understanding the Dream: An Answer to Owen Gleiberman on "Inception"

SPOILER ALERT: This post contains mild spoilers on "Inception." I won't be hashing out theories (if you want to have that kind of conversation, I'll need to do it in person - I need to be able to talk with my hands), but I will be mentioning some major moments that should not be spoiled. Go see the film, then come back and read. You have been warned!


Owen Gleiberman posted a maddening online editorial (it's a quick read) earlier this week about Inception, where he comments on not understanding the film at all (Entertainment Weekly's Lisa Schwarzbaum reviewed Inception for the magazine); he felt that with every passing scene, he was still struggling to understand the scene that had just passed. I try not to carry a film snob attitude when discussing other people's views on specific polarizing films, but I find Gleiberman's words frustrating and slightly idiotic.

Inception is masterful storytelling, and a shining example of Nolan's genius for creating an original, unique story in a Hollywood landscape that has become obsessed with sequels, remakes, and adaptations. Inception works so brilliantly because its storytelling mechanisms are startlingly simple and straightforward; there is nothing extremely convoluted about the film's plot, or the emotional connection to that characters. Nolan's world is explained in clear, precise language. Any attentive film viewer should not have a problem following the film's central tale at all.

That's not to say Inception doesn't demand every second of your attention, or that it's entirely easy to digest. The mind-numbing elements to the film come when Nolan's details and ambiguities are expertly piled on top of the skeletal plot structure. After watching the movie, I'm still puzzled by the purposefully vague understanding of dream "limbo," and how the perfectly-timed four-level kick worked with my understanding of a single kick. The wobbling top finale warrants a second view alone, to relive the film with the ending as a frame of understanding.

However, these moments of confusion are not why Inception demands another trip (or two) to the cinema. I'm excited to see Inception again because being immersed in Nolan's world was an addictive experience that I have never fully felt in a movie theater: invigorating, visceral, wholly engrossing. The special effects are awe-inspiring, and the acting demanded for each role is pitch-perfect. It's not often we get a summer blockbuster that's not only wholly entertaining, but also so entirely thought-provoking. That Inception has started such an intense conversation between moviegoers is a testament to what the film accomplishes.

I called Inception a masterpiece in my review because that film accomplishes inception on the viewer as well. Inception plants an idea inside the brain, an idea that expands and overwhelms as the film is picked apart. It's been eight days since I saw Inception, and I'm still spending moments every single day mulling over elements of this film. Everyone filmmaker wants their film to stay with the viewer long after they've left the cinema, and Nolan has achieved exactly that.

With this understanding, I found Owen Gleiberman's article sophomoric and irresponsible. I can understand the film not being everyone audience member's cup of tea, but I think not even understanding the film is a sad commentary on how moviegoers watch films in 2010. All Inception asks is that you engage your brain, pay close attention, and enjoy the incredible ride. The film opens in a confusing manner, but all is explained in plot by the film's end; I really believe there is not a single plot-hole in Nolan's script. Maybe dealing with six seasons of maddening clues during Lost trained me for something like Inception, but I don't agree with a word of Gleiberman's post. Above all else, Inception demands for the viewer to engage, and that's something like a dream from from a big-budget, studio-produced film.

Quote of the Day

I just want you to make my Macbook not smell weird. That's really all I'm asking.
-Angry New York Lady, at the UWS Apple Store

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William Shakespeare was almost certainly homosexual, bisexual, or heterosexual. [His] sonnets provide no evidence.

-Stephen Booth, 1977

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I do worry that the neon orange jumpsuit might clash with the stringy white tendrils she calls hair. Little bit a glitter may have perfected her jailhouse chic.
-Ross Ramone, on Linsday Lohan's big day - watch the paparazzi glitter bomb while entering court, and see Lilo's new mugshot

Quote of the Day

I WILL CUT YOU.
-Debbie Pelt, True Blood (03.05 - Trouble)

Film Review: Inception

Movies are meant to entertain. On rare occasion, a movie surpasses entertainment and overwhelms, creating an unforgettable experience. Inception does that, and so much more - I walked out at the end knowing I had just watched a masterpiece unfold. Christopher Nolan has once again proven to be the premier filmmaker of our generation, a man who has crafts one brilliant picture after another; he meshes modern techniques with classic film sentiments, blending a history of film with his unmistakable style and skill. More directors should be making films like Nolan. I haven't been so completely enthralled by a movie in a very long time, so lost in a film without any desire to escape.

Cobb (Leonardo DiCaprio) is a master of dream technology, entering another's subconscious through dreams; Cobb uses his skills to steal valuable information that other's keep locked away in the mind. When a big job comes along, with an invaluable reward attached from Saito (Ken Watanabe), Cobb assembles a team and attempts the impossible. However, Cobb must also grapple with his own subconscious and haunting memories. Inception is a truly powerful cinematic experience, and should be seen with as little knowledge necessary. Do yourself a favor: do not search for information about this film. It's maddening to try and describe this film. Nolan has created a full-fledged word, deftly blending the dream with reality, and his process needs to be seen to believe. Remember to just revel in it. People will be talking about Inception for a very long time.

Nolan has put together a impeccable cast - DiCaprio, after his great work in Shutter Island, shows again why he's one of Hollywood's most talented leading men; Joseph Gordon-Levitt, as dream technician Arthur, is perfect for his suave role (two summers in a row!); Ellen Page's Ariadne (wonderful name choice, Mr. Nolan...) is utterly charming, and the audience's thankless guide as a newcomer in this world. I'm obsessed with Marion Cotillard, and I think she is stunning as Mal. Some critics have faulted the film for a cold emotional center; the film's emotional connection with the audience hinges on Cotillard's twisted femme fatale. I found her performance moving and believable. Yes, I cried. In smaller supporting roles, Michael Caine and Cillian Murphy (Batman vets!) turn in winning performances, making the most of their limited screen time. This cast hits every moment perfectly. Interesting note: James Franco was Nolan's first choice for Arthur, and he initially wanted Evan Rachel Wood to play Ariadne.

The idea for this film was born when Nolan was 16, the script took eight years to write. Inception demands your every fiber of attention. Drawing upon modern film nostalgia for sci-fi classics like Blade Runner and The Matrix, Nolan has crafted a gripping, evocative, and visceral blockbuster for the thinking man. Inception earns its own place in the pantheon. This is a "psychological thriller" (if this film fits into a single genre) of epic proportions; prepare to feel your brain humming in your skull. Every technical aspect is superb - editor Lee Smiths should certainly win an Oscar for his exceptional juggling of the film's complex segments, the cinematography and visual effects are jaw-droppingly gorgeous, and Hans Zimmer's score is pitch-perfect. Come Oscar night, the cast and crew of Inception should be all over the Academy's official ballot.

While Inception is almost unfathomably deep with ideas, Nolan's execution is what makes this film so accessible. The story is meticulously crafted, the plot itself not overly complicated. While Nolan played with linear storytelling in Memento and The Prestige, here Nolan is exploring multiple levels of understanding; Inception is vertical in its exploration, rather than horizontal. The confusion comes in some (purposefully) ambiguous details regarding the rules of the dream, especially in the film's final act. Nolan proves his genius, above and beyond, in the film's final frames. The end of Inception is not only perfect (and the only way I can see this film ending), but also the definition of ingenious in its power and imagery; I have never heard an audience react so audibly to the moment a film ended.

Inception demands multiple views and multiple interpretations. When the lights went up in my theatre, I was shaking, giddy but completely drained; it was almost like I was waking up from my own dream. This is how a sweeping summer movie event should feel. This is cinematic brilliance disguised as a summer blockbuster. This is art, original and engrossing. Inception messed with my brain, heart, and idea of what cinema can accomplish. There's nothing like it. Let this big, bold, riveting, and provocative film overtake you. Inception is like a worm, burrowing inside your head and slowly taking over. Give in. The results are breathtaking. A

Quote of the Day

I fuckin' hate popcorn, why the hell would you buy popcorn?!!

-A large Hispanic woman, screaming before my showing of Inception

Film Review: Despicable Me

Pixar already struck mega-gold with Toy Story 3 a few weeks ago; is there room for another wonderful animated flick this summer? While Despicable Me is nowhere near the caliber of films that Pixar produces every year, it is still a delightful, heartwarming, and hilarious experience. Despicable Me follows super villain Gru (Steve Carrell), upset that he is no longer the world's greatest villain; young newcomer Vector (Jason Segel) stole one of the Great Pyramids in Egypt, and is the new talk of the world. Gru plans to get his title back by shrinking and stealing... the Moon. However, to pull off his elaborate plan, Gru must adopt three orphaned sisters (Miranda Crosgrove, Dana Gaier, Elsie Fisher) into his home. The plot is utterly predictable, but every moment is still truly charming.

Put up by Universal, Despicable Me is a wonderfully entertaining flick. The film plans to have fun and leave the audience howling, and it certainly accomplishes this; it is totally aware how over-the-top and ridiculous its very premise is, but I couldn't stop grinning. The voice work is incredibly inspired - Steve Carrell is pitch-perfect, from his slight Eastern European accent to the amusingly stilted delivery; Russell Brand turns in a hilariously unrecognizable performance as Dr. Nefario; Agnes (the youngest of the three girls) and Gru's horde of squat yellow minions are the most rousingly hilarious characters, with some truly quotable moments. Regardless, it is fun to see a wicked man as the main character in an animated film; the elaborate details of Gru's "evil" lair are pretty damn awesome. The 3D is a tad gimmicky at times (here's looking at you, roller coaster sequence), but is also an addition to the rollicking good time this film is having. Be sure to stick around for the credits, where the amazing minions have an adorable gag that plays on the current audience fascination with 3D films.

Despicable Me is the type of laugh-out-loud summer animated comedy that every family should check out. While it isn't as sentimental or nostalgic as Toy Story 3, and isn't nearly as smart, you won't be able to deny that the film is a blast. The trailers promoting this film seem to press the manic segments, but should also focus on lovely interplay between Gru and his "daughters." See Despicable Me for the beautifully slick animation, stellar voice work, and unfaltering cuteness of the three little girls. B+

Quote of the Day

IT'S SO FLUFFY I COULD DIE!

-Agnes, Despicable Me

Quote of the Day

So you know how in Star Wars they shoot a million little laser shots...? Either people in the future all have Parkinson's and can't shoot accurately, or laser technology is not a logical direction for warfare.

-Nick Barron, thinking about the future

Film Review: The Girl Who Played With Fire

Stieg Larsson's Millennium trilogy has become a worldwide literary phenomenon. The Girl With The Dragon Tattoo, a Swedish import (a Hollywood remake with David Fincher is in pre-production), is virtuoso filmmaking - brutal, visceral, extraordinary; it was a very different cinematic experience than anything I've felt during a Hollywood thriller. All three films have been released in Sweden (Dragon Tattoo in theaters, Played With Fire and The Girl Who Kicked The Hornet's Nest for television), and are quickly being rolled into American cinemas. Dragon Tattoo made nearly $10 million in the U.S. box office, a huge number for a summer foreign film.

This sequel deals, once again, with hacker extraordinaire Lisbeth Salander (Noomi Rapace) and superstar journalist Mikael Blomkvist (Michael Nyqvist). Millennium is working on another controversial magazine issue, this time dealing with the Swedish sex trade. When Salander becomes the suspect for a gruesome triple murder, she becomes deeply involved in the dangerous world surrounding this sex trade conspiracy. Both Salander and Blomkvist focus in on the mysterious Zala; the search for Zala's identity, and his role in the nationwide scandal, brings up frightening memories from Salander's past. The film ends with some shocking reveals and a big cliffhanger, setting up the final chapter of the series.

Played With Fire feels slight in comparison to the brilliance of the first film. Ultimately, the source material isn't nearly as strong as the first novel. This comparison is glaringly evident through some horrendous choices in the screenplay. The foremost transgression is the question of Salander's innocence in the triple murder, which on screen lacks the unbearable tension of the novel; the screenplay leaves absolutely no ambiguity, where the book keeps Salander missing for nearly 200 pages while the police debate what actually happened. Some changes make perfect sense, but many seem awkward and unreasonable (for example, why alter the novel's fantastic warehouse fight sequence?). However, the film's final act does pack the horrific punch that the novel's climax provides. It's possible that the film even slightly improves on some moments during the climax, as the novel occasionally teeters into the overly ridiculous; the movie tones does some of the outrageous elements.

In contrast, Dragon Tattoo made serious changes with central details, but these changes enhanced the film; the taut dramatic arch was intact, and the novel's tone was perfectly transfered. However, as with the first film, casting and acting in the sequel are superb. Rapace delivers another unbelievably searing performance as Salander, committing her ever fiber to transform into one of the greatest literary anti-heroines ever (Rapace won the Swedish equivalent of the Oscar for Dragon Tattoo); Fincher has his work cut out finding a Hollywood actress to match Rapace's intensity. Nyqvist is also wonderful, bringing the low-key intensity of heartfelt Blomkvist to life again.

It's unfortunate that this series started so incredibly (Dragon Tattoo is currently one of my favorite releases of 2010), only to be followed by a film that is disappointing and flat. With Dragon Tattoo clocking in at over two-and-a-half hours, Played With Fire should be longer - the film lacks serious expository material, especially for characters with heightened significance in the sequel. The Girl Who Played With Fire, with a new director and cheaper production for television, feels unimaginative and underwhelming. See The Girl With The Dragon Tattoo on DVD now, and read the blistering Millennium Trilogy. D

Quote of the Day

Really, I'm either gonna hug you... or just not speak to you.
-Ross Ramone, on meeting new people

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:) Where thers is will,there is way. :)

-Fortune cookie

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My Mom says no one can hold their breath forever, but I know she's lying because she forgot about mermaids.
-Bruno, my (other) five-year-old lesson

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Howie [Mandel] and I are good friends now. I also know what's going on in All My Children. It's kind of sad...

-Ross Ramone, on his new television habits

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A lovely, sparkling angel by the name of Cat Deeley almost stopped it. Proving for the 1,678th time why she deserves an Emmy nomination, our host stepped up and confronted the judges... Slow clap for Cat, guys!

-EW's Kate Ward, on Cat playing "devil's advocate" during So You Think You Can Dance (and on her Emmy snub)

2010 Emmy Nominations

The 2010 Emmy Nominations were released this morning! Celebrate! For once, the snubs aren't maddening! There are certainly snubs, but each category is incredibly strong this year, reflecting what an astounding year this was in television. Below are what I consider the "big" awards (excluding miniseries, television movies, and reality television). Under each category, the actor or show I want to win is in bold; this is not necessarily who I think will win. The telecast is Sunday, August 29th at 8:00pm on NBC.

Outstanding Drama
Breaking Bad
Dexter
The Good Wife
Lost
Mad Men
True Blood

Actor in a Drama
Kyle Chandler, Friday Night Lights
Bryan Cranston, Breaking Bad
Matthew Fox, Lost
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House, M.D.

Actress in a Drama
Connie Britton, Friday Night Lights
Glenn Close, Damages
Mariska Hargitay, Law & Order: SVU
January Jones, Mad Men
Julianna Marguiles, The Good Wife
Kyra Sedgwick, The Closer

Supporting Actor in a Drama
Andre Braugher, Men of a Certain Age
Michael Emerson, Lost
Terry O'Quinn, Lost
Aaron Paul, Breaking Bad
Martin Short, Damages
John Slattery, Mad Men

Guest Actor in a Drama
Dylan Baker, The Good Wife
Beau Bridges, The Closer
Alan Cumming, The Good Wife
Ted Danson, Damages
Gregory Itzin, 24
John Lithgow, Dexter
Robert Morse, Mad Men

Guest Actress in a Drama
Ann-Margret, Law & Order: SVU
Shirley Jones, The Cleaner
Elizabeth Mitchell, Lost
Mary Kay Place, Big Love
Sissy Spacey, Big Love
Lil Tomlin, Damages

Outstanding Comedy
30 Rock
Curb Your Enthusiasm
Glee
Modern Family
Nurse Jackie
The Office

Actor in a Comedy
Alec Baldwin, 30 Rock
Steve Carell, The Office
Larry David, Curb Your Enthusiasm
Matthew Morrison, Glee
Jim Parsons, The Big Bang Theory
Tony Shalhoub, Monk

Actress in a Comedy
Toni Collette, The United States of Tara
Eddie Falco, Nurse Jackie
Tina Fey, 30 Rock
Julia Louis-Dreyfus, The New Adventures of Old Christine
Lea Michele, Glee
Amy Poehler, Parks and Recreation

Supporting Actor in a Comedy
Ty Burrell, Modern Family
Chris Colfer, Glee
Jon Cryer, Two and A Half Men
Jesse Tyler Ferguson, Modern Family
Neil Patrick Harris, How I Met Your Mother
Eric Stonestreet, Modern Family

Supporting Actress in a Comedy
Julie Bowen, Modern Family
Jane Krakowski, 30 Rock
Jane Lynch, Glee
Holland Taylor, Two and A Half Men
Sofia Vergara, Modern Family
Kristen Wiig, Saturday Night Live

Guest Actor in a Comedy
Will Arnett, 30 Rock
Jon Hamm, 30 Rock
Neil Patrick Harris, Glee
Mike O'Malley, Glee
Eli Wallach, Nurse Jackie
Fred Willard, Modern Family

Guest Actress in a Comedy
Christine Baranski, The Big Bang Theory
Kristin Chenoweth, Glee
Tina Fey, Saturday Night Live
Kathryn Joosten, Desperate Housewives
Jane Lynch, Two and A Half Men
Betty White, Saturday Night Live

For all of the 2010 nominees, check out the 62nd Primetime Emmy Awards website.

Concert Review: Lady Gaga's Monster Ball 2.0

She's taken the music industry by storm, redefined pop star fashion, has the most viewed video on YouTube, and just today set the digital album downloads record for The Fame. Now, Lady Gaga has finally achieved her childhood dream - headlining at Madison Square Garden. The Monster Ball 2.0 (the Ball's first incarnation swept through the United States early 2010) is a true eye-popping, theatrical spectacle; the concert's loose narrative is told in four acts, as Gaga and her dancers trek through a dangerous cartoon version of New York to reach the Monster Ball, the "greatest party on the planet" in the heart of Central Park. Outrageous costumes (a lampshade-birdcage creation during "Monster," the animatronic Living Dress from "So Happy I Could Die), campy call-and-response banter with the audience, artistic video interludes, and elaborate sets were abound.

Gaga opened with "Dance In The Dark," posing on a make-shift fire escape, backlit by colored lights behind a white screen. The sound in the Garden reached a high when the curtain was finally pulled away, and Gaga strutted down onto the stage. She rocketed through her two albums, stopping often to interact with the crowd. At times, she looked truly overcome with emotion, close to breaking down in tears from the deafening screams. One touching moment came early in the show, when she recounted her memories of sitting in the nosebleed seats, watching her idols (Madonna, Cher, the Rolling Stones) and dreaming that one day she'd be on stage.

With inspirations including New York, Broadway, The Wizard of Oz, The Rocky Horror Picture Show, and even black-and-white monster movies, Gaga infused her show with an array of awe-inspiring visuals. She also proved her raw, powerful talent; when she sat down at her deconstructed piano for "Speechless" (for her Dad, in the audience) and the Elton John-tinged "You and I" (off of her third album, to be released early 2011), Lady Gaga's scorching voice reigned supreme. When she played big hits like "Just Dance," "Poker Face," "Telephone" (with Gaga's delivery, everyone thought Beyonce was about to jump on stage for a few seconds), and show-closer "Bad Romance," the energy was unbelievable - the entire stadium was screaming, dancing along with the superb choreography (give Laurie Ann Gibson a raise!), and simply having the time of their lives.

Seeing Gaga at Madison Square Garden was an interesting experience after seeing her at Radio City in January - some of the banter and imagery were recycled, she opened both shows with "Dance In The Dark," etc. Radio City was more intimate, with Gaga performing on a legitimate stage; MSG had a size and roar that infused the arena with remarkable energy, and her work as a performer has matured. Sometimes I felt like the scattered "plot" of the MSG show took away from the strength of Gaga's vocal talents and brilliant hooks, a feeling never experienced during the more stripped-down Radio City show. Both concerts where incredible, and probably the two greatest shows I've seen; it's still hard to compare the two. The sheer magnitude of show Gaga put on at MSG rivaled the work of Madonna.

Gaga's live show proves she's here to stay, and has become an irreplaceable part of the industry. Gaga is no flash-in-the-pan, trashy starlet. She is pure unbridled talent, a true star who will do anything for her fans and her art. Seeing her live also shows that beneath the insane performance art attitude, Gaga is still a 24-year-old girl, with dreams and passions like all of us... It just happens she also owns a mechanical bra that shoots sparks. Gaga ended the show saying, "We made it to Madison Square Garden. Thank you for making my dream come true. I love you so much." As she walked off stage, the two-hour-plus spell this young woman had cast on 18,000 Little Monsters still lingered in the air. The night was electric, magical, and empowering. Isn't that how every show should end? Rah rah. Paws up.

The Monster Ball 2.0 Set List, 7/6/10

Dance In The Dark; Glitter and Grease (unreleased); Just Dance; Beautiful, Dirty, Rich; Vanity (unreleased); The Fame; LoveGame; Boys Boys Boys; Money Honey; Telephone; Speechless; You and I (unreleased); So Happy I Could Die; Monster; Teeth; Alejandro; Poker Face; Paparazzi; Bad Romance (encore)

Quote of the Day

Out of all the drunk men in my life, Dad, you're my favorite.

-Lady Gaga, during "Speechless" at the MSG Monster Ball 2.0

Trailer Alert: Let Me In

One of the greatest foreign films in recent memory is the Swedish Let the Right One In. Released in 2008, it's a vampire fable based on a best-selling novel. Check out the DVD; this is an art-house twist on the vampire craze, with some wonderfully deep and bizarre moments. When Hollywood announced plans for an adaptation, I was more than worried; there are edgy, original elements that I see Hollywood shying away from, or simply cutting, to ensure a PG-13 rating and a teenage girl audience... Then, the trailer came out. Despite the butchered title (resulting in the loss of central thematic allusions), Let Me In seems to have captured the haunting atmosphere and grizzly tension of the original. Let's hope it also captures an R rating. With Cloverfield's Matt Reeves directing the project, the perfect casting of Richard Jenkins as The Father, and featuring Chloe Mortez (one of my favorite current child actresses, brilliant as Hit-Girl in Kiss-Ass), I'm officially excited. Let Me In hits US theaters October 1st, 2010.

Harry Potter and the Deathly Hallows - Movie Poster

OH. MY. PATRONUS.

Quote of the Day

When was American born? 1964?

-Ethan Smith

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No dude, you shoulda thrown your poop at him!
-Random Nationals fan, about taking revenge on a Mets fan

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Disaster alert - they want Betty White to be the baby in the next Twilight [Breaking Dawn], a la Benjamin Button.

-Nate Mormann, on the hilarious news from the Eclipse press tour

Who Is Jo Calderone?

Mysterious pictures of "male model" Jo Calderone have surfaced on the internet over the past few days. New outtakes from the men's fashion shoot for Vogue Hommes Japan have been posted online every day over the past week at Show Studio. Search for the model Jo Calderone - nothing, no previous work, no big ad campaigns. Regardless, this petite male model is causing quite a storm of buzz. Take a close look at the model's jaw line, that nose, the lips, eyes... Notice anything familiar?

Yep, Jo Calderone has been all but confirmed as the one and only Lady Gaga. Rumor has it she takes the male alter-ego name from her own middle name (Stefani Joanne Angelina Germanotta). Another clue, beyond Jo's striking resemblance to Gaga, is that the shoot was styled by Gaga's renowned stylist Nicola Formichetti. Nick Knight is the photographer, known for his experimental style and over-the-top editorials; Gaga has also worked with Knight multiple times, and his famous London-based Show Studio was home to a long and intimate interview with Lady Gaga just a month ago.

Gaga has always been one to play with her image, along with the well-circulated rumors (and yes, they are just rumors) that she is a hermaphrodite. In one interview, she said "I love the rumor I have a penis, I'm fascinated by it." She also stirred the pot while posing topless and wearing provocative gloves on the cover of Britain's Q magazine, saying "We all know [the hermaphrodite rumor was] one of the biggest talking points this year... so why not give them what they want?" Gaga has never been one to shy away from shocking performances, a controversial quip, or simply baring her soul to uncover a new layer of her art. Her intoxicating mixture of catchy pop music and high performance art seems to be adding drag to its arsenal of bold, brilliant imagery. Watch out for the official images when the Japanese magazine is released in September. Gaga continues to amaze, and elevate the music industry with every new jaw-dropping move.

Quote of the Day

Mmm, smell the olive oil!

-Mama Smith