by Hiko Mitsuzuka @TheFirstEcho First there was Britney...then J.Lo...and now, the seminal, turn-of-the-millennium boy band is heading to Las Vegas for a new residency at Planet Hollywood. At this rate, they might as well set up an entire TRL showcase...
First there was Britney...then J.Lo...and now, the seminal, turn-of-the-millennium boy band is heading to Las Vegas for a new residency at Planet Hollywood.
At this rate, they might as well set up an entire TRL showcase in Sin City for anyone who came of age during the late 90s.
Confirming rumors swirling for months, the best-selling boy band of all time (with over 130 million albums sold worldwide) is heading to the Las Vegas Strip. This afternoon, the pop juggernaut Backstreet Boys announced they will begin an exclusive Las Vegas headlining residency show, “Backstreet Boys: Larger Than Life,” inside The AXIS atPlanet Hollywood Resort & Casino beginning Wednesday, March 1, 2017.
Audiences will be captivated as Nick Carter, Howie Dorough, Brian Littrell, AJ McLean and Kevin Richardson take the stage with a one-of-a-kind, over-the-top production made exclusively for the Vegas stage. The show, promoted by Live Nation and Caesars Entertainment, will further cement Las Vegas as the entertainment capital of the world.
"We’re going to call the show Larger Than Life, and we’re taking that theme, and we’re going to run with it," says member Kevin Richardson, who took a hiatus from the band during two of their eight studio albums. “What can you expect?” Brian Littrell asks. “If you’ve ever been to a Backstreet Boys show… it’s going to be that -- on steroids."
"We’re excited to bring our experience from being a touring act with all of our hits to Vegas, so that it becomes something that you’ll never forget,” adds Nick Carter.
Tickets will go on sale to the public on Saturday, Oct. 1 at 10 a.m. PT.
Tom Ford's directorial follow-up to 2009's A Single Man is looking like a fine, cerebral piece of cinematic thrills that certain audiences will salivate over.
Starring Amy Adams, Jake Gyllenhaal, Aaron Taylor-Johnson, and Michael Shannon, the movie centers around a woman (Adams) whose ex-husband (Gyllenhaal) has written a book that may or may not mirror the haunting past they both share. The trailer thankfully doesn't give away major plot points (unlike certain summer blockbuster fare), so we still have no clue what's going on.
South Korean director Park Chan-Wook’s newest film The Handmaiden, an adaptation of Sarah Waters’s pulp crime drama Fingersmith reset in 1930s Korea and Japan, is his most sensual, lavish, and meticulous to date.
Handmaiden is the story of an illiterate peasant girl (Kim Tae-ri) named Nam Sook-hee who is also the film’s narrator. She is hired to be the servant girl of wealthy Japanese heiress Hideko (Kim Min-hee) whose palatial Korean home sets the tone for the wealth the Japanese possessed in 1930s Korea. Soon we learn that the person who actually took the peasant girl into the colonial estate to be a servant is none other than a Korean golddigger posing as a Japanese count named Fujiwara (Ha Jung-woo). This is where the story unfolds into a game of who’s manipulating whom. With an uncanny resemblance to 1920’s Japanese-American movie star Sessue Hayakawa, our Fujiwara sets off a chain of events that further complicates things. But ominously overseeing all of this may be Lady Hideko’s caretaker and uncle, Kouzuki (Cho Jin-woong) whose sadism is not only endless, his stories of sex and torture are shelved in his library. But as soon as we are made to believe that Fujiwara has the upper hand over the heiress and her servant girl, the narrative shifts stealthily to another character’s mindset, shifting perspectives.
At two-and-a-half hours, this film is more languidly shot and leisurely paced than Park’s previous directing efforts. And this is his first return to Korean cinema since 2011’s Thirst. The production design and attention to period detail of the era is impeccable. And though the story tries to cover new ground, some are outside Park Chan-wook’s previous milieu. It is feminist and degrading at the same time, which may be its very intention. What the first two acts build the third act kind of lets down as Park Chan-wook retreats to familiar Korean revenge-style fantasy. But at the end of the day, who walks away the true winner of this story may be for the viewer to decide.
To call Fingersmith itself a cult hit among lesbians throughout this writer's social circle, if not the world, is an understatement. And Park has done justice to the material by giving it such a lavish and elaborate treatment. The story, set in three parts/ perspectives, unfolds in a Rashomon-style fashion. Each segment provides more information to counterbalance what we’ve seen in the last part to bring the story to a conclusion as a whole. That is the brilliance with this particular filmmaking. Its parts are subjective while letting the viewer reach their own objective with the totality of the story as a whole.
Last week a bunch of people got shook when Lady Gaga released her first solo single in 3 years, "Perfect Illusion." What do these fans all have in common? They absolutely lose their shit when that key change hits. Take a look:
Marc Pagan felt like his heart was going to be "vomited out."
And then there's one emotional Zachary Campbell:
And Morgan Braastad totally fangirled out:
Last but not least, even Little Monsters in Ecuador were losing their minds.