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<p>Fleetwood Mac's &quot;Rumours&quot;</p>

Fleetwood Mac's "Rumours"

Credit: Warner Bros. Records

Looking back on Fleetwood Mac's 'Rumours' more than 35 years later

A new deluxe set drills deep on the classic album

Fleetwood Mac’s “Rumours” came out in 1977, before the internet and tabloid TV.  Instead, all we had to do was listen to the lyrics to get all the drama.  The album, which celebrates its 35th anniversary  (one year late) with today’s release of a four-CD deluxe edition, chronicled the break-ups of three relationships: singer Stevie Nicks and guitarist Lindsey Buckingham were splitting after seven years together, keyboardist/singer Christine McVie and hubby/bassist John McVie had just divorced. Drummer Mick Fleetwood’s marriage to wife Jenny, who was not in the band, was unraveling, in part because she was having an affair with his best friend.

To be sure there were break-up albums before theirs: Bob Dylan’s “Blood on the Tracks” comes to mind, and ones after, Bruce Springsteen’s “Tunnel Of Love,” but no album has ever been quite so public a bloodletting as the life drains out of the various relationships.

The quintet took a year to record “Rumours” in Sausalito, Calif. at the Record Plant. While they were in the studio, their self-titled 10th album (and the first to feature Buckingham and Nicks) was gaining traction and was a clear sign that moving from the blues-based sound of the previous efforts to a pop-oriented sound was the right move commercially. That was only confirmed with "Rumours," which spent 31 non-consecutive weeks at No. 1 on the Billboard 200.

Most of the songs for “Rumours” were written was done on the spot, with the songwriters bringing their not-so-fully fleshed ideas into the studio for the others to noodle on.  Often, as in the case of “Second Hand News,” Buckingham withheld revealing the lyrics until the last moment since he knew they weren’t likely to go down well with Nicks.

I got a copy of the deluxe set a few weeks ago and for the first time in years listened to the  “Rumours,” as it was originally released 36 years ago, from start to finish.

How does it hold up? Remarkably well. It’s like visiting an old friend. The songs easily move into the next and weave everyone’s stories together.  Even more fascinating is revisiting how the couples are talking to each other through the songs.  For example on “The Chain,” (the one song co-written by all five) Buckingham sings, “And if you don’t love me now/You will never love me again/I can still hear you saying you would never break the chain.”   On “Oh Daddy,” which Christine McVie wrote from Jenny’s perspective, she laments “Why are you right when I’m so wrong/I’m so weak but you’re so strong.” On “You Make Loving Fun,” Christine McVie is singing about her new love, the band’s lighting director (much to John’s dismay).Despite all the cocaine and alcohol that fueled the sessions, or maybe because of them, the overall effect is a voyeuristic look at three break-ups that are raw and complex, and despite their specificity, have a universal appeal for anyone who has found him or herself similarly entangled. The raw immediacy of the tracks still remains.

All the songs individually have held up as well, especially “Second Hand News,” “Dreams,” “Go Your Own Way,” and “I Don’t Want To Know.” The quintet created music that was not of the day —there’s no ‘70s equivalent of a dubstep drop or a hint of electroclash. Instead the production still sounds fresh and clean and not dated.  Buckingham’s guitar playing is crisp, with John McVie and Fleetwood Mac’s rhythm section propulsive when need be and totally in retreat when a gentler touch is demanded.

Of course, the big mistake with “Rumours,” one due to time limitations on the vinyl and internecine fighting, is that Nicks’ delicate, searing “Silver Springs” was left off the album. That was corrected in 2001 on a DVD-Audio version and subsequent pressings have included “Silver Springs.”

The other three discs are fun, but not essential unless you're a big fan.  Disc 2 includes live versions of much of the album from 1977, as well as other hits, including “Rhiannon” and “Monday Morning.” The other two discs feature outtakes, alternate versions of songs, and demos from the recording sessions, including two songs that didn’t make the album, “Planets of the Universe” and a lovely duet, “Doesn’t Anything Last.”  The last disc, originally issued in 2004, also includes rough takes and outtakes. It's very fun an instructive to hear how the songs morphed and were constructed. For example, the demo of "The Chain" is slow and acoustic, but no less haunting.

A super-expanded version also contains “The Rosebud Film,” a 1977 doc looking at the making of “Rumours” and the original album on vinyl.

The current band, which does not include Christine McVie, will start a tour April 4 in Columbus, Ohio.

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<p>Bradley Cooper, Jacki Weaver and Robert De Niro in &quot;Silver Linings Playbook.&quot;</p>

Bradley Cooper, Jacki Weaver and Robert De Niro in "Silver Linings Playbook."

Credit: The Weinstein Company

'Silver Linings' big winner at AACTA International Awards

Australian Academy hands five awards to David O. Russell's film

For the second year, the Australian Academy of Cinema and Television Arts -- which hands out their own local industry awards on their home turf -- held a separate ceremony in LA to honor their top international choices. And it turns out the Aussies like "Silver Linings Playbook." A lot.

The romantic dramedy, which led the AACTA nominee list with five mentions, won Best Picture, Director and Actress for Jennifer Lawrence, while the Board of Governors handed it two extra awards for the supporting performances of Robert De Niro and Jacki Weaver. (You might detect some national favoritism in the award for Weaver, as well as in a couple of nominations -- notably Ben Lewin for Best Director.) "Lincoln" and "Django Unchained" were the only two other films to get a look-in at last Friday's ceremony, which was hosted by Russell Crowe. Full list of nominees and winners after the jump, and at The Circuit.

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<p>Keri Russell and Matthew Rhys in &quot;The Americans.&quot;</p>

Keri Russell and Matthew Rhys in "The Americans."

Credit: FX

Review: FX's 'The Americans' brings the Cold War back to life

Keri Russell and Matthew Rhys play KGB agents undercover in Reagan's America
The world is such a flaming hot mess today that you might think the Cold War era of FX’s “The Americans” — a new drama about a pair of deep cover KGB operatives living in Washington, D.C. at the dawn of the Reagan presidency — would feel almost quaint and reassuring. But what makes the series (it debuts tomorrow night at 10) so impressive is the way it treats the 1980s as its present, not its past.
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<p>John Krokidas and Daniel Radcliffe at the world premiere of &quot;Kill Your Darlings&quot;&nbsp;at the 2013 Sundance Film Festival.</p>

John Krokidas and Daniel Radcliffe at the world premiere of "Kill Your Darlings" at the 2013 Sundance Film Festival.

Credit: AP Photo/Danny Moloshok

'Kill Your Darlings' director on the 'fearless' Daniel Radcliffe and Ben Foster's flaming finger

An epic and blunt Q&A with filmmaker John Krokidas

PARK CITY - To say the filmmaker sitting in front of me is having a good week is something of an understatement.  John Krokidas and I may share 24 mutual Facebook friends, but I don't know him well enough to gauge if his current euphoric demeanor is his normal disposition or the result of too many energy drinks combined with the thin air of Park City, Utah.  I'll take a wild guess that only an upbeat and energetic person could have spent nine long years endeavoring to shoot his first feature.  I'll also assume having said film, "Kill Your Darlings," debut at the 2013 Sundance Film Festival to strong reviews might be a huge relief. Moreover, having distributor Sony Classics acquire "Darlings" a few days after can't hurt either.  Yes, it's been a great festival for Krokidas.

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<p>The official U.S. poster for Danny Boyle's &quot;Trance.&quot;</p>

The official U.S. poster for Danny Boyle's "Trance."

Credit: Fox Searchlight

Danny Boyle's 'Trance' with James McAvoy and Rosario Dawson arriving in April

Heist drama Boyle's follow up to '127 Hours'

If you're expecting this Spring to be lacking in prestige fare, Fox Searchlight made an announcement today which may perk your interest.  Danny Boyle's follow up to 2010's "127 Hours" is heading to theaters.  "Trance," which stars James McAvoy, Vincent Cassel and Rosario Dawson, will debut in limited release on April 5.  The thriller is currently scheduled to open in Boyle's native U.K. on March 27. 

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<p>Denis Lavant in &quot;Holy Motors.&quot;</p>

Denis Lavant in "Holy Motors."

Credit: Indomina Releasing

International Cinephile Society big on 'The Master,' 'Holy Motors'

Nominations for the group's awards were announced last week

Amid the Sundance rush, it slipped my mind to list the nominations for the International Cinephile Society's awards -- for which I had a hand in voting. The ICS is a diverse group of over 80 film journalists, academics and the like, so their picks tend to veer a little off the beaten track. Here, for example, you'll find no mention of "Argo," "Les Mis" (no, not even for Anne Hathaway), "Life of Pi" or "Silver Linings Playbook," but plenty for foreign standouts like "Tabu" and "Once Upon a Time in Anatolia." "The Master" leads with 10 bids; "Holy Motors" follows with nine. Winners will be announced on February 9; check out the full list of nominees after the jump, and at The Circuit.

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<p>&quot;Painting the way I feel today. Focus on what matters!&quot;</p>

"Painting the way I feel today. Focus on what matters!"

Credit: Chris Brow/Instagram

Hey Chris Brown, come down off that cross

A few thoughts on the pop star's most recent dust-up

He’s kidding, right? That was my first thought when I saw Chris Brown’s Instagram from yesterday.

In case you missed it, Brown, that paragon of all this is virtuous in this world, posted a painting of Jesus Christ hanging on the cross yesterday alongside the words, “Painting the way I feel today.  Focus on what matters.”

Doesn’t he mean “focus on what martyrs” because we’ve never seen an artist with such a persecution complex and a complete inability to grasp the role he has played in his own ongoing conflicts.

Apparently, he’s feeling a little misunderstood due to his latest dust-up. Yeah, the one where he and Frank Ocean got into a tiff over a parking spot at Westlake Recording Studios on Sunday in Los Angeles. While the facts are blurry, it appears that push came to shove and Brown left the scene before police could question him.

Instead of painting or comparing himself to Jesus, maybe Brown needs to climb down off that cross and go talk to the Los Angeles County sheriff’s department, who wants to question him about the incident.  (Sheriff department spokesman Steve Whitmore says that Ocean wants to press charges and told The Los Angeles Times that Brown is “a named suspect in a battery report”). 

Or maybe, just maybe, he needs to have a long time out to figure out why the public just won’t give him a break and realize he’s not such a bad guy. C’mon, people! It’s been four years since he tried to meld Rihanna’s head with a car door and she’s not only forgiven him, they’re seemingly off in their own little twisted loveland again and they tweet and Instagram a near-constant stream of selfies together to prove it.

After every incident—whether it’s throwing a chair after a “Good Morning America” interview doesn’t go the way he’d planned (in that Robin Roberts deigned to ask other than fluff questions) or he and Drake are in a fight in a club or he makes gay slurs he later has to apologize for—the now inevitable and predictable pattern follows. Somehow, Brown makes himself out to be the victim: He’s misunderstood, he didn’t throw the first punch, he was insulted, he’s already apologized, he’s a target because he’s famous, he’s young... what more do we want from him?

What we want from him is some sign that for more than five minutes he can act like an adult. Yes, being a pop star keeps one in perpetual adolescence...and keeps one surrounded by people on the payroll whose main, if not only, job is to constantly reassure the artist the he is right, everyone else is wrong and is just jealous.

If Brown so badly wants to compare himself to Christ, maybe he should think about turning the other cheek.

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Watch: Animal Collective's 'Applesauce' video directed by Gaspar Noé

Watch: Animal Collective's 'Applesauce' video directed by Gaspar Noé

Model Lindsey Wixson eats a peach

Animal Collective's music video for "Applesauce" is directed by Gaspar Noé and features a long, close shot of a model eating a peach in the dark in front of flashing multi-colored lights.

According to a release, "It is intended to be viewed in complete darkness for maximum effect." Taking this video into a dark closet (with at least three days of dirty laundry piled up), it turns into a video of a long, close shot of a model eating a peach in the dark in front of flashing multi-colored lights.

Noé -- who also directed Nick Cave's highly repetitive "We No Who U R" video -- is making use of avant-garde filmmaker Paul Sharits' 1968 short film “N:O:T:H:I:N:G,” which soundlessly loops flashing multi-colored lights.

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<p>Tony Kushner, screenwriter of &quot;Lincoln.&quot;</p>

Tony Kushner, screenwriter of "Lincoln."

Credit: AP Photo/Jeff Chiu

Roundup: Kushner honored with WGA's Selvin Award

Also: Michael Moore on 'Zero Dark Thirty' and Dr Ruth's Oscar night tips

Guild favorite "Argo" may be closing in on "Lincoln" in the Best Adapted Screenplay race, but even if it continues its sweep, the WGA has ensured Tony Kushner won't go home empty-handed on February 17. The "Lincoln" scribe will be presented with the group's Paul Selvin Award for the script that "best embodies the spirit of the constitutional and civil rights and liberties, which are indispensable to the survival of free writers everywhere." If that award sounds pretty much tailor-made for "Lincoln" (hey, it wasn't going to go to "Django Unchained") it isn't: last year's winner was Tate Taylor for "The Help." [Deadline

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<p>David Fincher directing Kevin Spacey in Netflix's &quot;House of Cards.&quot;</p>

David Fincher directing Kevin Spacey in Netflix's "House of Cards."

Credit: Netflix

'House of Cards' director David Fincher on making 13 hours for Netflix

Acclaimed director has toyed with television before, and now has Kevin Spacey and Robin Wright with him
David Fincher’s directing career was built on works that aired on television — just not the series kind. He made his bones as a director of commercials and music videos, before graduating to movies in the early ‘90s.
Now 20 years later (and after a few near-misses) Fincher is finally working on his first scripted television series, the political drama “House of Cards,” adapted from the acclaimed early ‘90s UK miniseries.Only it’s not technically a television series, but rather an original series produced for Netflix’s streaming video service, which will debut all 13 episodes of the first season (a second is already in the works) on February 1. It’s the approach Netflix used for a previous original series, “Lilyhammer,” and the way that Fincher has himself consumed the few TV shows he watches. But as an expensive production with big stars — Kevin Spacey plays the ruthless congressman at the show’s center, and Robin Wright his calculating wife — it’s something of a canary in the coal mine for this approach.
Earlier this month, another reporter and I sat down with Fincher to discuss the project’s origins, what he learned about telling a 13-hour story as opposed to a 2-hour film, and more.
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"The Real Housewives of Beverly Hills"

 "The Real Housewives of Beverly Hills"

Credit: Bravo

'The Real Housewives of Beverly Hills' recap: 'Stars and Stripes'

Brandi takes the girls on a strip trip and Yolanda bakes

Tonight's episode of "The Real Housewives of Beverly Hills" contains no fighting. I'm not joking -- no fighting at all. None. I know, hard to believe. But it does include roast chicken and Suzanne Somers, so that's something. Look, I'm really trying here, but this episode was dull as an Amish frat party. I mean, a significant part of the episode was devoted to a sixth grade graduation party. A sixth grade graduation party. I dearly hope never to attend one of these in real life, at least not without a sharp object with which to stab myself to stay awake. But let's get to it, shall we?

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<p>Which Spider-Man do you think resonates more with young fans who see both the Raimi and the Webb version back-to-back?</p>

Which Spider-Man do you think resonates more with young fans who see both the Raimi and the Webb version back-to-back?

Credit: Sony Pictures

Film Nerd 2.0: A Tale Of Two 'Spider-Man's

Raimi or Webb... which one do the boys prefer?

About a week ago, my kids walked into the office where I spend most of my time, the two of them both smiling broadly.  

I knew as soon as I looked at them that they were struggling not to laugh before revealing their joke.  Toshi spoke first, and he sounded completely rehearsed, like he and Allen made a plan.  "Daddy, you know how you said we could ask you any question?"

"Yes," I replied, and I got scared, flat-out scared that they were about to ask me something like "What's a blow job?"  On the day they do ask that, I plan to reply, "Five dollars, same as in town," and then vanish in a puff of smoke.

Thankfully, though, this was something more innocent, more fitting of the mindset of two comic-book crazy kids who are mainlining pop culture.  Toshi nudged Allen, giving him his cue to ask the question, and even before Allen started speaking, he started laughing, and when he talks and laughs at the same time (which is often because he is a very silly little boy), it's like Woody Woodpecker trying to describe something to you.  Waves of giggles as he struggled to ask, "When Spider-Man has to go poop, does he have to take his whole costume off?"

So of course I'm in tears from laughing, too, at this point, trying to stop, and I finally managed to answer, "Yes, but he has to leave his mask on."  Because that image entertains me mightily.

Allen nodded as I spoke, satisfied with the answer, and walked away with a single "Cool."  And that was that.  Pleased with themselves for asking it in the first place, still trailing little flurries of self-satisfied laughter, Toshi and Allen left my office and went back to the playroom.  As they pulled my office door closed, Allen's last comment to Toshi was, "I knew it. I told you."

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