Jimmy Kimmel Discovers Tuna Is the Latest Thing That Doesn’t Pair Well With Millennials

In the wake of a report that millennials are killing canned tuna, Jimmy Kimmel decided to find out if the generation even knows how to open cans.

Ahead of Monday’s episode of Jimmy Kimmel Live!, the late-night host sent his team out to Hollywood Boulevard to challenge people aged 22 to 37 (if they were all actually millennials, that is) to open a can of tuna fish.

“Sales of canned tuna fish have plummeted. Canned tuna consumption is down more than 40 percent over the past three decades and the tuna companies believe the reason is because millennials don’t want to go to the trouble of opening a can,” Kimmel explained. “I find that reason a little hard to believe so we decided to put the theory to the test. We went out on the street and we asked young people walking by to try to open a can of tuna.”

Unfortunately, it didn’t seem like many of the segment’s participants were up to the task.

Watch the full clip below.


Entertainment – TIME

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Steph Curry Says He Doesn’t Think Man Went to the Moon

Golden State Warriors star Steph Curry is giving Kyrie Irving some competition when it comes to being a player with a conspiracy theory in the NBA.

During an appearance with teammate Andre Iguodala on Vince Carter, Kent Bazemore and Annie Finberg’s Winging It podcast, the two-time league MVP revealed that he didn’t believe that man actually landed on the moon.

Curry initially asked the rest of the podcast: “We ever been to the moon?” Many others responded to the query with a resounding “nope.”

Curry then announced that he didn’t believe in the moon landing.

“They’re gonna come get us,” he said. “I don’t think so, either.”

Curry’s comments follow fellow NBA player Kyrie Irving’s multiple comments about the earth being flat, a comment he later retracted.

Sports – TIME

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De Blasio doesn’t care what parents think about his elite-school-quota plans

Deputy Chancellor Josh Wallack last week became the highest-ranking Department of Education official to face the public about the DOE’s plans for racial re-engineering of the city’s elite high schools. It didn’t go well: Most of the crowd of 350 parents from Manhattan’s District 2 jeered, booed and otherwise expressed their fury. Yet no amount…
Opinion | New York Post

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She Says Michelle Obama’s Right, ‘Lean In’ Doesn’t Work All The Time, Especially For Black Women

Recently, Michelle Obama criticized Sheryl Sandberg’s “lean in” approach for women to advance in the workplace, saying “that s–t doesn’t work all the time.” But the former first lady isn’t the only one who has challenged Sandberg’s commonly referenced business motto, which puts the responsibility solely on women to take ownership of their career without mentioning the systemic barriers for women of color in the workplace.

Earlier this year, during an interview with Fast Company, Minda Harts, the founder of The Memo, dismantled a few career strategies from Sandberg’s New York Times best-seller.

“Lean In was well-intentioned and opened up the conversation, but, you cannot effectively talk about leaning in for black or brown women without discussing the role that race plays and the barriers to even enter the room for a seat at the table,” said Harts. “Lean In didn’t talk about race and it was written from a white-privileged women’s perspective for predominately other white women. One size doesn’t fit all.”

Black and Brown Women Still Vie for Equal Footing 

For over three years, Harts has lead the charge to help women of color secure the seat while challenging companies to acknowledge their systemic racism and how that plays into career advancement opportunities. “Many black and brown women are still trying to earn equal pay, access to good education and healthcare,” she said. “There are so many barriers in place. Lean In once again affirms that it’s up to us to change societal norms. Black and brown women have always been leaning in, so, what do you do when you lean into a system that doesn’t recognize you? That is where we are now. For women of color to get ahead, it will require intentional solutions from our employers.”

Lean in

Minda Harts, Founder of The Memo

Beyond highlighting problems, Harts is a solutions-driven career revolutionary who is using every possible platform to help women prepare for their seat at the table. Earlier this year, she endowed a scholarship at her undergraduate institution for first-generation women of color students and put it in her mother’s name to honor her. Along with her co-founder Lauren Broussard, she created The Memo, a career development platform that provides access to career boot camps, resources, and real-world career advice. She also hosts a weekly podcast called Secure “The Seat.”

To help drive real change within companies and organizations that want to invest in women of color, Harts recently created The Women of Color Equity Initiative. “I am tired of us consistently falling below 10% in most of those workplace statistics,” says Hart. “Hundreds of women of color want access to leadership opportunities and they’ve added their name to the WOC equity career-sourcing database. I’m also partnering with companies and organizations who want to intentionally hire women of color to fill open leadership roles.”

“Part of The WOC Equity Initiative is making sure a cultural shift takes place from the top down. This will require real systems change,” she continues. “This isn’t a ‘binder full of women,’ this is a partnership to create equity once they are hired and a roadmap to the C-suite. I don’t want a woman to get hired and she’s miserable because she’s the only one or dealing with microaggressions. We are too educated and experienced to let our expertise go dormant. I don’t want my sisters to lean out because companies won’t lean into them. We have worked too hard to lean out now.”

 

The post She Says Michelle Obama’s Right, ‘Lean In’ Doesn’t Work All The Time, Especially For Black Women appeared first on Black Enterprise.

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Emantic Bradford Jr.’s Death & Why The 2nd Amendment Doesn’t Apply to Black Men | The Daily Show

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Cuomo: This President has made a practice of disrespecting anyone he doesn’t like

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Parents shouldn’t worry if their infant doesn’t sleep through the night by a year old

The authors of a study found that a large percentage of healthy babies don’t start sleeping through the night even at a year old. The research team also examined whether infants who didn’t sleep for six or eight consecutive hours were more likely to have problems with psychomotor and mental development, and found no association. The researchers also found no correlation between infants waking up at night and their mothers’ postnatal mood.
Child Development News — ScienceDaily

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Steelers’ Bell doesn’t show, won’t play this year

Steelers running back Le’Veon Bell didn’t report to the team by Tuesday’s deadline, meaning the former All-Pro won’t play this season and will miss out on $ 14.5 million.
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Claire Foy Doesn’t Want ‘The Girl in the Spider’s Web’ to Diminish #MeToo

Much has been said about both The Girl in the Spider’s Web and Claire Foy, the film’s star. The movie — Fede Alvarez’s adaptation of the first book in the Millennium series not written by Stieg Larsson — has seen its main protagonist, Lisbeth Salander, tagged ‘Lady Batman’ and labelled a poster girl for #MeToo. Meanwhile, Foy has been vocal about her dislike of the term ‘strong women’.

The Crown actress, it seems, doesn’t like labels – and though she’s reticent to attach the #MeToo tag to The Girl in the Spider’s Web, Foy does acknowledge the film’s relevance and importance to the cause. Lisbeth’s first #MeToo moment is addressed in the film – the abuse she endured at the hands of her father as a young girl. Lisbeth would also go on to suffer at the hands of her guardian – as seen in The Girl With the Dragon Tattoo – against whom she would eventually retaliate. Brutally. Salander, Foy admits, reacts to abuse like so many real-life women who’ve embraced #MeToo, only speaking out about their story, or taking action, some time after the event.

The Best Thing is to Not Fight


Girl-in-the-Spider's-Web
Claire Foy as Lisbeth Salander, complete with avenging hero make-up.

“I think that’s the point of why Lisbeth is moved to action,” says Foy of the impotence felt by women when it comes to speaking out. “I think she never felt when she was being abused by the guy that was supposed to be in charge of her — you know, he’s supposed to be a ward of the state, he was supposed to be taking care of her, was her caregiver, I suppose… she’s been so trained by the predator-victim dynamic that she knows there’s very little she can do and that there’s very little… she’s powerless. She knows that the best thing is to not fight, in a way.”

Foy explains that Salander chooses to act the way she does in order to take back control, to seize the power, to transcend victimhood – because she knows she’ll be let down if she goes the accepted route. A route established by a society that routinely shifts the blame or onus onto women when it comes to rape or sexual assault, and one that makes them feel ashamed and victimised. In the original film, Salander waits for the right moment to mete out her carefully plotted revenge on her abuser. In The Girl in the Spider’s Web, she is an avenging hero, taking revenge on abusive men on behalf of other women, but is only able to fully understand and confront the far-reaching effects of her father’s abuse in the film’s closing moments.

Women Are Made to Feel Shame

“But that’s the story of Lisbeth; that then she bides her time,” says Foy. “She waits, she’s like a spider, and she waits and then she will make him pay. And then she will make him feel more humiliated than he made her. Her moral compass is so strong, she knows that that is wrong and that shouldn’t be allowed, but she knows that the place where women seek protection is often the place where they’re most judged and most made to feel like a victim as opposed to a survivor.

“And so her lack of trust in authority is something I think is probably what a lot of women feel. And a lot of women feel that there isn’t a safe space for it because the shame often… we’re so ashamed of things like that in our society. The shame often lies with the woman or the ‘victim’ — for want of a better word, because I don’t really like that phrase — being made to feel shame. We’re so ashamed. And that’s wrong. I think that’s why people are able to come out more now because there are more voices. As long as there are more voices saying: ‘This also happened to me, this is also what I’ve been through’, as long there are more representations of women like Lisbeth on screen [demonstrating that it’s] not something that people need to be ashamed of, and we can allow people to speak and express themselves in that way, [all] the better. I think #MeToo is very much a catchphrase for a lot of the media. I can’t tell you how many interviews I’ve done where people have said: “It’s #MeToo, this film” and I’m like, I don’t want this film to diminish the MeToo movement. By attaching it to a movie [that’s a danger].”

Weakness Is Also Part of What It Is to Be a Woman


Girl-in-Spiders-Web-Claire-Foy-Header
Claire Foy rejects the idea that Lisbeth is merely ‘strong’.

A term that often gets attached to characters like Lisbeth Salander is “strong woman”. Foy recently spoke out against this overused pairing of words, and explains why she dislikes it so much.

“I think strength and power is something that’s very much deemed to be masculine,” she says. “I think they’re trying to make women being strong [seem like] a positive; it’s something that someone is like: ‘That’s what you want to see. You don’t want to see weak women. Why do you want to see a weak woman?’ And you sort of think weakness isn’t part of it, [the ‘strong woman’ character represented on screen].

“[In fact,] we all have weaknesses and that can make us ‘stronger’. We all have so many different facets to our character and I just find that the ‘strong’ thing makes it seem like a woman is more acceptable in what has always been… that as the protagonist of a film, it makes her seem allowed to be there because she’s ‘strong’. And I just find that really reductive and slightly embarrassing. And I think that a lot of the time, we haven’t been given the opportunity to explore female protagonists who have that depth. Who are as complicated as, you know, the guy in Breaking Bad, or The Weather Man, [in which] Nicolas Cage is playing an incredibly complex person. [Women] haven’t been given that range, we haven’t had that opportunity. And therefore to try and say that we have to be strong, it’s just: ‘Oh god, how boring — just to play strong women all the time.’”

Lady Batman She Ain’t

By extension, Foy also rejects comparisons to Batman and James Bond, prefixed by the word ‘lady’.

“I’m just, like, she doesn’t have a batcave, I know that she had an apartment that could be seen as that, and this could be seen as that, and blah blah blah. It’s always going to be recognisable, and it’s a genre film in the sense that it’s a thriller — there are elements of it that look like those sorts of films,” says Foy. “Of course, they do. Because you can’t get away from it, because that’s the way that Fede shot it. It is noir, kind of — even the tone that Pedro [Luque] the DOP uses, lots of greys and things like that — so that is how it’s going to look. But I’m like, just piss off.”

Why does Foy think we have an impulse to make those comparisons then?

“Because, like you say, you want to label something,” she says. “You want to make it understandable. And also you want to attract an audience to it, I guess. I completely get that. It’s not like I’m talking down about Batman or James Bond. I think they’re both amazing. But also, we’ve got to leave room for Lisbeth to find her own space in that. She deserves to. Yes, she’s going into a genre, into a realm, which no real female complex characters have been before, so obviously that [comparison] has to be drawn. But at the same time, I’m just like, I think we can just let her be for a minute. I don’t think we have to decide she’s Batman just yet.”

The Girl in the Spider’s Web is out now in the US and Australia, and hits UK screens on November 21.

Chris Pine Nude Scene: ‘Outlaw King’ Director Talks #BallsForBoobs

The post Claire Foy Doesn’t Want ‘The Girl in the Spider’s Web’ to Diminish #MeToo appeared first on FANDOM.

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Benedict Cumberbatch doesn’t expect ‘Sherlock’ to return anytime soon

“Sherlock” fans sleuthing for answers about a possible fifth season will need to keep on waiting.

Benedict Cumberbatch, who stars as Sherlock Holmes in the popular detective series, says there are no imminent plans for the show to return with new episodes.

“No time soon. Don’t hold your breath,…

/entertainment – New York Daily News

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Bohemian Rhapsody Doesn’t Straightwash Freddie Mercury. But Is It Edgy Enough?

What made Freddie Mercury such a captivating public figure is the same thing that makes him such a difficult subject to capture fully on film: his multitudes. Examine his sexuality alone and you have contractions twisting and knotting within one rather petite man. He never formally came out, yet his queerness was imprinted on the very band he fronted and named, Queen. He is said to have had an insatiable appetite for sex with men, yet his most enduring relationship seems to have been with a woman to whom he was once engaged (and who inherited the majority of his fortune when he died of AIDS in 1991), Mary Austen. He fluidly presented along the femme-butch spectrum, equally convincing in glam drag, in drag drag, and in the cartoonishly masculine “Castro clone” uniform (tight jeans, tank top, an imposing mustache, muscles) that originated in San Francisco in the early ’70s.

Compressing this one aspect of Mercury’s life into the Hollywood biopic template would be a difficult task in itself. Anthony McCarten’s screenplay for director Bryan Singer’s new movie Bohemian Rhapsody, though, attempts to do that and then some as a rock musical that spans the early ’70s origins of Queen through the band’s triumphant turn at the 1985 charity concert Live Aid. Complicating matters further is the tameness imposed upon this movie, which was either devised with its eventual PG-13 rating in mind (which is somewhat baffling, considering that today’s tweens were decades from being born during the band’s heyday) or has been edited to secure the rating. By all accounts, Mercury (and his bandmates) did not live a PG-13 lifestyle.

What we are presented in Bohemian Rhapsody then is, in fact, a little silhouette of a man. The questions that open Queen’s signature song, for which this movie was named—the mad-scientist-esque creation of which provides a thoroughly exhilarating extended sequence in the film—haunt the movie throughout: Is this the real life? Is this just fantasy?

Probably more the latter than the former, although the depiction of Mercury’s gay life isn’t the disaster some internet thinkers predicted earlier this year when the film’s first trailer left out Mercury’s battle with the disease to which he would succumb. His AIDS is in there, albeit via inventive tinkering: Bohemian Rhapsody portrays his diagnosis as occurring in 1985, in the days leading up to Live Aid, though Mercury reportedly was actually diagnosed in 1987. In an attempt to cover all the bases, Bohemian Rhapsody sometimes drops the ball.

And yet, there is the distinct feeling that you are watching LGBTQ history here and for underfed queer audiences, that alone may be moving. This is a movie that will, at the very least, make it impossible for its viewers to conveniently ignore the real, queer life behind “We Will Rock You” as it blares on the speakers in sports arenas. Mercury cruises a beefy dad at a truck stop during the band’s first American tour. Later, as “Another One Bites the Dust” resonates in all of its 1980 disco-fondling glory, Mercury visits a gay bar that’s probably supposed to represent the Mineshaft with its red lighting and leather-clad hunks. (Mercury’s time at the spot, which was eventually shuttered in 1985 in New York City’s feeble response to the mounting AIDS crisis, was reportedly transformative.)

Are you hanging on the edge of your seat? Well, get used to it. Whether Mercury is indulging or merely a looky-loo is never fully explored. Queer audiences know the answer, but straight viewers who still find gay sex icky are never forced to encounter it.

Bohemian Rhapsody doesn’t mince around Mercury’s identity any more than he did, but by focusing on the pain resulting from an intense hobby of casual anonymous sex (the loneliness, the life-threatening diseases) and not the pleasure, the depiction here is unfortunately warped.

Still, looking for nuance in this kind of big-budget biopic is like looking for love on Grindr; it happens, but rarely. Though its direction is credited to a gay man—Singer, who was fired and replaced by Dexter Fletcher during filming—this movie was made to speak to the masses. Its attempt to make Mercury’s story universal isn’t entirely unreasonable, either: He was, after all, a superstar. We’re given enough to piece together how the otherness he felt as a queer and Parsi man positioned him as a champion for outcasts. Bohemian Rhapsody dazzles most consistently during its musical numbers, in which Malek channels the real Mercury with drool-inducing accuracy. Mercury’s charisma was a force of nature, his appeal so widespread as to be an objective truth. That the movie really sings when Mercury does makes Bohemian Rhapsody ultimately shallow but that’s exactly the point. A pivotal scene features Malek’s Mercury explaining to Mary (Lucy Boynton) that onstage, “I’m exactly the person I was always meant to be.”


Entertainment – TIME

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Ari Fleischer: Legal immigration enriches America – Illegal immigration doesn’t

The caravan of would-be asylum seekers marching through Mexico to the U.S. represents all that is wrong with our immigration system.
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The Federal Reserve doesn’t need to ‘keep our foot on the gas pedal’ anymore, Fed’s Bostic says

The risk of a powerful economy overheating is the reason the Fed should stick to its schedule of interest rate increases, Atlanta Federal Reserve President Raphael Bostic said Tuesday.
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Trump calls Khashoggi arrests ‘good first step,’ adds that he doesn’t want to put arms deals at risk

Trump added that he'll work with Congress on what the U.S. response should be, but that he would prefer not to hurt American companies and jobs by cutting billions of dollars in arms sales to the kingdom.
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Why Trump doesn’t want to punish Saudi Arabia

The Trump White House may have too much at stake to make Saudi Arabia pay a proportionate price for the apparent murder of Jamal Khashoggi.


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Stephen Colbert doesn’t think much of Trump’s ‘natural instinct for science’

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Despite his resistance to believing climate change is manmade, which is in opposition to his scientists’ beliefs, Donald Trump told the Associated Press yesterday that he has a “natural instinct for science.”

It’s because of the president’s uncle, MIT professor Dr. John Trump, who it turns out he didn’t talk to “about this particular subject.”

“Why did you bring up your science uncle if you’ve never talked to him about science?” Colbert asked on The Late Show Wednesday night.

“And second, you have a natural instinct for science? That’s not how knowledge works. You don’t inherit it from your uncle. The most you get from your uncle is your own nose back,” he joked. Read more…

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Tevin Campbell Doesn’t Care If You Call Him Gay Because He Can Sing: “Y’all Homophobes Gotta Do Better”

2015 Soul Train Music Awards - Arrivals

Source: Earl Gibson/BET / Getty

via MadameNoire:

Tevin Campbell may not have released a new studio album since 1999, but the 41-year-old is still considered a beloved musical figure. However, that hasn’t kept the trolls of today’s social media culture from persistently trying to paint Campbell a certain way.

There have been questions about drug use, rumors that he’s been a victim of molestation, and all sorts of comments about his sexuality. Whether or not he was gay became a big question following his arrest for soliciting oral sex from an undercover policeman in 1999. When it comes to his sexuality, the “I’m Ready” singer decided to let folks know this week, after being weary of ugly comments about it, that no matter what they say, it doesn’t matter. He can still sing circles around your faves.

“Y’all homophobes gotta do better,” he wrote on Twitter. “The thing you will never ever be able to say about me is ‘that boy can’t sing.’ That’s the day I will be sitting at home crying and that day will be never.”

Campbell has spoken about his sexuality in the past. During an interview with former publication Sister 2 Sister, he told Jamie Foster Brown that he’s “try-sexual,” which is a way of saying he’s “open-minded.”

“I’m not gay, but there’s a lot of different things that I do like, sexually,” he said. “Being in the business, you are introduced to a lot of different things. I’m not gay, but I’m a freak and I think a lot of people know what a freak is.”

He also told IMissTheOldSchool back in 2009 that his sexuality shouldn’t be of concern to others.

“That’s nobody’s business. If someone is interested in me and they wanna be my friend or whatever, then we can talk. It’s nobody’s business what I like to do behind closed doors, just because I am a celebrity,” he said. “I hate that. And I like the fact that people wanna know. Let ‘em wonder. I like to leave a little bit to the imagination. But if you happen to get to know me and we hit it off… I share a lot of personal things with friends, which is a normal thing to do.”

After Thursday’s tweet, the real question is…when are we getting some new music, Tevin?!

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Why Richard Lawson Doesn’t Like When Tina Knowles Lawson Tries to Dress Him | Black Love | OWN

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US moves ahead with plan to give Mexico $20M that it doesn’t want to deport migrants

The Trump administration is moving ahead with a plan to pay Mexico $ 20 million to deport migrants from that country and prevent them from reaching the U.S.
ABC News: U.S.

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