Celebrity Couples That We Wish Would Rekindle the Flame

Photo: Billy Farrell/BFAnyc.com 

It isn’t you, its me. Surely the couples in this category got their agents to whip up something a little more endearing to say. The truth is, breakups happen, but it so happens that these particular ones shouldn’t have.

1. Heidi Klum and Seal Mark-WoodworthPhoto: Mark Woodworth/BFAnyc.com 

These two were together and married ages ago (The ’90s) and we wish we could #ThrowbackThursday their relationship solely for that fact that she has the body of an angel and he has the voice of an one. It also wouldn’t hurt if they could make some more beautiful babies.

2. Vanessa Hudgens and Zac Efron Screen-Shot-2014-10-15-at-10.32.18-PMPhotos: Billy Farrell/BFAnyc.com & Matteo Prandoni/BFAnyc.com

Zac and Vanessa’s on-screen romance played out before our eyes in the wildly popular Disney movie series “High School Musical.” Hoping for these two to get back together is like hoping for Hilary Duff and Aaron Carter to get back together and that (thankfully) is not going to happen. But Zanessa will forever hold a place in our nostalgic hearts of couples that failed.

3. Miranda Kerr and Orlando Bloom The Metropolitan Museum of Art's Costume Institute Benefit celebrating ALEXANDER MCQUEEN: Savage Beauty Exhibition - InsidePhoto: Billy Farrell/BFAnyc.com

Miranda Kerr is a supermodel and Orlando Bloom is a movie star, these two were destined to find their way together at some point, and when they did the goddesses above were cheering. Unfortunately, these two are no longer. Yes, a hard pill to swallow. Orlando, stop throwing punches at Justin Bieber and start sending love letters to your ex!

4. Jennifer Lopez and P. Diddy Screen Shot 2014-10-15 at 10.32.52 PMPhotos: David X Prutting/BFAnyc.com & Billy Farrell/BFAnyc.com 

Jenny from the block has been around the block a couple times. Jennifer Lopez has had more men than she can count on her freshly manicured hand. One man that stood out (and stood taller than Marc Anthony) was none other than hip hop royal P. Diddy. Puffy is more of man than any Casper Smart could be, and will protect his girl ’til the end. It’s time for J. Lo to change “I luh ya papi” to “I luh ya Puffy.”

5. Reese Witherspoon and Ryan Phillippe Screen Shot 2014-10-15 at 10.34.25 PMPhotos: Joe Schildhorn/BFAnyc.com & Matteo Prandoni/BFAnyc.com 

We selfishly want to see these two get back together solely for that fact that we want to rewrite the ending of “Cruel Intentions” in real life. It would go a little something along the lines of Reese and Ryan marrying, having kids, and residing in a fabulous apartment on the Upper East Side.

‘Machete Kills’ Trailer Features Stacked Cast, Explosions

When we last left Danny Trejo’s gun-slinging grindhouse assassin Machete, he had just finished dispatching a corrupt, racist border patrol officer and his team to defend the innocent people they preyed upon in a cartoonish, gory and thoroughly entertaining manner. Now, Robert Rodriguez’s character is ready to return in a new sequel, Machete Kills, and this time, he’s working for the U.S. government.

When we first stumble upon Machete in the all-new international trailer for the film, he is hanging from a rope. He’s cut loose to talk to the president (played by Carlos Estevez, a former CBS sitcom headliner opting not to use his stage name), enlisting him to track down and stop a mad arms dealer (Mel Gibson for some reason) from launching a destructive missile.

The movie looks like explodey-gory summer blockbuster fun, and if either of the two aforementioned names turn you off, the rest of the cast sounds far more redeeming: Jessica Alba and Michelle Rodriguez return, and joining the fun are Sofía Vergara, the underrated Demián Bichir, previous Rodriguez collaborators Antonio Banderas and Alexa Vega (Spy Kids, y’all!), Amber Heard, special effects master Tom Savini, Cuba Gooding Jr., Vanessa Hudgens, and the mighty Edward James Olmos. Rodriguez has assembled quire the ensemble. The film hits theatres this September; watch the trailer below. 

Vanessa Hudgens Explodes Her ‘High School Musical’ Image in Harmony Korine’s ‘Spring Breakers’

Harmony Korine’s dizzying, trashy, and bold new film Spring Breakers stars Selena Gomez, Vanessa Hudgens, Ashley Benson, and Rachel Korine as four bored and sexy college girls on an uninspiringly small and vapid university campus, who, like most of their peers, can’t scrape the cash together to go down to Florida for Spring Break. So, what do they do? What most of us would us would—they don their ski masks and rob the local Chicken Shack, ya’ll!

Reeking of sex, pot, highly-stylized violence, Southern Florida skank,  and James Franco sporting a gold grille and cornrows as white rapper Alien (“That’s A-leen!”), the film is an enormous, gutsy leap forward in the career trajectory of its three leads—namely Vanesa Hudgens. They literally blast their Disneyfied images to high Heaven (or hell, depending on your moral stance) with the controversial new film. But Korine also shows us the little girl that still lurks within the souls of these characters, and casting Gomez and Hudgens drives the point even further home with a sledgehammer—leaving us inquisitive to his views on the current, online and violent pop cultural climate, and how could be radically affecting our very malleable youth.

No actress bares more and has the biggest transformation as such a known and beloved childhood performer than Hudgens, who, to this viewer’s eyes, was nearly unrecognizable for the first fifteen minutes of the movie. And she is fantastic in her role as Candy—vibrant, bitchy, confident in her sexuality, and fearless.

Last week, I got the chance to chat with Hudgens to find a smart young actress taking the reins of her career with a vengeance.

As a young woman phasing into a new aspect of your career, Spring Breakers is an enormous departure for you. What were you looking at when you took the role of Candy in Spring Breakers?
Vanessa Hudgens: I mean, I’m looking at my career. I’ve always been looking for projects that would push me, that would be fun. But especially now. I mean, I’m 24, and I’m growing. I want to be able to have my body of work grow with me. This is a project that was very special. Stuff like this does not come around that often. Harmony is such an amazingly special filmmaker, as well. He normally doesn’t even use ‘actors.’ So, to have the opportunity where he was actually hiring real actors, it was just a no-brainer.

There’s so much humanity in what he does.
Yeah! I mean, you have to give him props for shaking people up. He gives people an experience. He wants it be something unfathomable, something that you can’t put into words. He wants the film to be a feeling, a real experience. It’s rare that you actually even get that from a movie. Isn’t that why we go to the theatre, so that we can feel something, and be taken on a journey, and an adventure, and be completely submerged into a different world. That’s what he does.

Can you tell us about how you and Ashley researched your characters? They’re so completely different from how we usually see you.
Yes. We would watch movies, and pull from robbery scenes. The robberies weren’t scripted at all. We pulled from The Town, from The Dark Knight, and Heath Ledger’s character. We worked on being fearless, and feeling empowered, as much as we possibly could. We had to stick with that, those feelings, throughout the whole duration of filming.

I agree with you completely. Do you see yourself directing at all? Where do you see your career moving forward from here?
 Still acting; I want to be able to be a chameleon, and blend myself into these characters. You look at Johnny Depp, he’s such a transformational actor, and James Franco! James plays a character in this film that you’ve never seen before! On paper, it could have been really silly and tacky but he brings such an authenticity, and believability to his character. I think that’s’ the most empowering thing for an actor to be able to do. When they can really take something, like a different kind of person, a real character you’ve never seen before, and bring them to life. That’s what I want to do.

Did you feel on the set that the film transformed you as an actress?
Yeah! Totally. It was almost like an acting workshop. It didn’t feel like a normal movie set  where the film is so structured and people are telling you your continuity and your lines. But with this, it was so exploratory; we did so much improvisation, every single day, that you didn’t know where the day would end up. It would always take a different direction. We would just surprise ourselves every day. And that’s the most rewarding thing for an actor.

Spring Breakersis in theaters now. And for more insight into the film, check out our interview with Harmony Korine.

‘Spring Breakers’: Not Just a Movie, Now Also a Vaporizer

Like a leaky, treacherous basement, the Internet is already knee-deep in reviews and think-pieces relating to Harmony Korine’s Spring Breakers, premiering this week in Austin. You’ve seen the beautiful posters and hazy trailers, and James Franco doing that which James Franco does, but A24 Films and Silver Surfer have added another unsurprising but still kind of ridiculous marketing tool: the official Spring Breakers vaporizer. The Silver Surfer apparatus sports a colorful rendering of the film’s title, so you can remind everyone you saw the thing.

The vaporizer in question isn’t available commercially yet, but you can make it your own if you can prove, via social media narcissism, how boring your life is and why you need to smoke to escape the clutches of its mundanity. The World’s Best Ever is giving away the vaporizer through, of all things, an Instagram contest. They write:

“Since Spring Break is all about escaping your present situation, we’re running a contest over on instagram highlighting a place that you want to run away from. Simply photograph your own everyday banality and upload it to instagram with the hashtag #SBEscape.”

Well, if you want a vaporizer commemorating Vanessa Hudgens and Selena Gomez’s romp gone wrong, this is your opportunity. Perhaps this will lead to other drug paraphernalia based on James Franco movies. Oh, wait

The American Way, Gangster Mystics, & Violent Pop: Talking ‘Spring Breakers’ With Harmony Korine

Sure, Spring Breakers has an easy allure: sex, drugs, violence, and gun-toting saccharine-sweet Disney stars in bikinis. But there’s more to Harmony Korine’s neon-fueled rite of passage tale than meets the bloodshot eye. Like a candy-coated nightmare, Korine gives a raw portrayal of what at first appears to be a fun and breezy ride filled with sparkles and the promise of escape from life’s mundane ennui, but Spring Breakers cuts deep and goes dark and filthy into places that frighten, mystify, tantalize, and thrill with a mix of pure pleasure and pain.

Getting his hands dirty in just about every medium, the 40-year-old auteur has been working for nearly two decades now, creating work that’s unapologetic and uncompromising, filled with morally ambiguous and socially maligned characters that exist in a very specific world on the fringes. Although Korine’s work breathes with a mise-en-scene of the hyper-real, there’s an element to his films that holds up a rusty, all too familiar mirror for ourselves in the most unexpected way. And with Spring Breakers, this is a new side to the director who has been warping our minds ever since the premiere of the Korine-penned Kids eighteen years ago.

Like a scratched album stuck on repeat, Spring Breakers follows four college girls (Selena Gomez, Vanessa Hudgens, Rachel Korine, and Ashley Benson) who rob a diner a in order to fulfill their escapist fantasies of heading down to St. Petersburg, Florida for a debaucherous once-in-a-lifetime vacation. But when their beer-soaked and sexually charged trip goes sour, it’s rapper and drug and arms dealer Alien (Jams Franco) that comes to their rescue. And that’s when the nefarious story really kicks in as the world becomes much more rough and dark. With the tone of a haunted pop song, the film evokes something physical, leaving you in a trance that’s both erotic and dangerously chilling. It’s entertainment with a bullet, cinema with a bite of fantasy—it’s fizzing and bursting to the surface with color and entirely intoxicating.

Back in December I got the chance to talk with Korine about the metaphor of spring break, reaching horror and beauty simultaneously, gangster mysticism, and making films in his own very specific way. 

Can you tell me about how you began writing the film? Did it come from an image you had of these young girls looking for an escape or a specific situation that struck you?
Yeah, I think it was about two or three years ago I started collecting spring break imagery from teen sites, even from like co-ed porn sites and things. It was kind of fascinating to me. I remember when I was a teenager growing up in the south it was a big event for most kids, just a redneck riveria thing happening with everyone going to Florida for a week and going back to school after that. I just liked all the colors and that world. So then I was alone over Christmas and just stared dreaming up this idea, and it just kind of came to me.

This film is on a much larger scale than your previous films. Did you have the idea to make something different from the start, or did it happen as you started developing it further?
I mean, I don’t know, it started with the story. I had this idea about girls in bikinis, ski masks, and guns robbing tourists—it was more like an image, like a photograph. And then I started to imagine and build a story around that image. I didn’t want it to just be a pure spring break film. Spring break is actually almost more metaphorical than anything. I wanted it to start out that way and end up more on the fringes, in the back alleys, and the towns away from the tourists and what happens. It was almost more like trying to create a beach noir or something.

And it’s very specifically a female story. Was there a reason why you wanted it to be driven by these young girls rather than a guy’s view of spring break?
Girls seemed more interesting to me. Also, I like the idea of girls doing things you would normally see boys do, and doing it in a way that was even more severe and hard. It was a better dynamic. Images of, like, thick-neck jocks with guns isn’t as good to me.

I feel like if it had been a male-driven story it would have been this very macho thing, whereas with girls it does evoke a darker feeling.
And when it goes into the world of Alien and the drug culture, and the gangster culture, I wanted these girls to transcend all that stuff and go beyond any of the stuff you’ve seen male gangsters do.

Your films feel unique to themselves because there’s no sugar coating of anything, and it’s almost this hyper-reality where you feel really uneasy watching because it’s too familiar. You almost recognize yourself in the worst parts of these characters.
When I write, when I think of characters, I never see people as all bad or all good. I always think characters with moral flaws or extreme characters are the most interesting for me. I don’t feel like anything begins or ends, I don’t think anything is ever one way. I never really felt like it’s good or bad. And I wouldn’t even say it’s completely honest; it’s more of a feeling. So, like, these girls do things and they reach levels of horror and beauty simultaneously, and that makes things fun.

And personally, as someone who’s not too far off in age from these girls, it was even more uncomfortable to watch because I think of myself only a few years ago and, yeah, I could have totally found myself in some pretty bad situations. I recently found a bucket list I made for a summer and it basically read like something one of these characters would have had in mind. You know, minus the guns.
It is a very American rite of passage. There’s something awesome about the idea of it, of, like, destroying shit and blowing shit up and fucking and puking and then just going home and forgetting about it.

This film really puts a finger on that recklessness of youth and having no conscience about anything. In your films, people are able to do this kind of shit and then go home and be okay with themselves. Is that something you try and expose?
Yeah, I think that’s the American way.

Well would you say this film is even more aggressive than your other work?
Stylistically, it’s something more aggressive. It’s something I’ve been working for. I’ve been trying to get to the point of being able to make a film like this for a while. On a technical and aesthetic level I’ve wanted to try this almost, like, mania in a different type of movie. It works like music or something; it’s meant to be more like a feeling, more aggressive, something that’s difficult to articulate. I wanted it to work on you in a very physical way, to wash over, to look like it’s been lit with Skittles.

Their entire world was pure pop and pleasure, even as we see them always watching those cartoons.
When I was writing the movie, I was thinking, in terms of narrative, the film being more like a pop song—like a violent pop song. That’s why a lot of the sequences have this sort of looping effect, this trance effect.

And Cliff Martinez’s score really adds to that trance quality as well.
It was the score, the sequences, the images looping, and these micro-scenes. The idea was that maybe in some ways it could almost lull you in this weird way. I always love the physical element, the idea of the experiential element of films and people don’t explore that enough. So the movie—the girls and the whole thing—is a lot about capturing that energy of that world.

When you talk about the film being like a pop song and the looping, the repetition of that voicemail saying, “Wish we could be here forever,” feels more like music than voiceover.
It’s almost like a chorus. The dialogue is meant to be more choral, it’s almost like a hook. And so yeah, that’s what I meant about it being more like a song. For a long time, I’ve been imagining my films being made in this way, you know, like the more I make movies, the less talking scenes there are. I don’t even know what it is; dialogue is starting to seem less and less interesting. It’s just a strange thing.

The style of the film feels like it’s told in these bits, like splices from internet clips. Did you want to reflect something about this generation of kids being raised in a time when personal connection is kind of lost and your actions are so disconnected and distant from who you are and without feeling?
I never try to do anything or speak to anything specifically; I never try to prove a point. But at the same time, it’s definitely of that world. It’s the idea of that world, that sort of post-everything. I wanted the filmmaking style to be very much of that. There was no real conscious referencing of other films, just more the idea: now things just live inside of me and of people and images and sound coming from all directions and falling from the sky. I wanted the film to never stop moving; I wanted it to be floating and falling and breaking apart and coming together and then smacking the shit out of you and then disappearing. And at the same time, there’s a world that’s created—the way things look and feel—that I want people to identify with that and say, "I’ve been to those places and have experienced those things."

You’ve spoken before about being drawn to this sort of gangster mysticism.
In the film, these things in some weird way collide. There’s a collision of those two things: they’re gangster mystics. But then there’s something behind it, too. There’s something just behind it in the air, a violence and color and a swagger to it.

From the beginning, the girls are enticed by this sense of violence and power. They’re turned on by it. They started from nothing, and it just builds and builds until they fully take control. It’s a pretty happy ending for them because they get what they wanted all along, but it’s also terribly gruesome and awful.
Right, exactly. In the movie, it was meant to work on it’s own logic. It was like the real world that’s maybe slightly pushed into some hyper-reality—some mirror world or something. So I guess they are happy at the end. It’s really up to you to interpret, but it’s also difficult to say what happens to them five minutes after the film is done. A million things could happen: do they go back to school, are they arrested, do they evaporate? I like the idea of them just driving off.

One of the scenes I cannot get over or out of my mind is the Britney Spears sunset gun ballet. Like, what even was that?
That was something I was just dreaming up when I was writing. I was listening to that song and I always loved the sound of that piano in that song, it’s like this airless piano where the keys are made of candy. It’s real inspiring but there’s also something I find very aggressive and violent about it. I was writing the script and I wrote it pretty quickly in a hotel room during spring break in Florida, and I was just listening to it over and over again while writing that sequence. You know how sometimes you just pluck things out of the air?, I don’t really know why I knew it would work or why it would be so beautiful. It’s like some horrific opera or something—pop opera. But yeah, it is, there’s something really gorgeous about those images.

That pink candy sky was amazing.
Yeah, I worked hard to try to make that shit look good.

Well, good thing it worked out.
Yeah, that sequence is pretty cool.

How did you sort of form who you wanted these girls to be and also who Alien was?
A lot of them were like kids I’d grown up with in the South. The girls are composites of people I went to school with, or relatives, or my wife. And you know, Franco’s Alien character is a white drug dealer… a white gangster southern drug dealer. I mean, I’ve always loved that whole thing. And then we just went out, going to public schools here, it was a real sub-group here, a real thing here. There’s something obviously hilarious about that whole thing, but then the idea was also to make him have menace and poetry as well. It’s the most exciting thing for me to find someone like an Alien—a character who on the outside is almost laughable, but in my experience, those guys are the most interesting because what I was saying about gangster mysticism, it goes from someone that’s like and then in one second deadly and for real and thugged-out and the next second turns on a dime and becomes kind of rambling and insane.

I mean, when he’s playing a white grand piano at sunset and singing, he seems so gentle and pure.
As much as Alien is into his look and his appearance, he’s also very pure with his emotions and very un-self conscious and non-ironic.

Did you know you wanted James Franco to play him?
Yeah, that’s kind of how the movie started. I had this idea, and when I wrote it down in a quick treatment—this idea of just characters and scenes—I emailed it to James and he was like, "I’m down, let’s do it." And it just happened to coincide with spring break and I just hopped on a plane. There were all these girls dressed like Taylor Swift fucking in the hallway at the Holiday Inn where we were staying.

And in terms of the girls, did you know whom you wanted to cast? Was there always this idea of casting these people with very squeaky-clean personas and strip them of that?
That was the dream. That was the ultimate to me, to have those girls be in the film. When I was writing it, when I was trying to come up with who should do it, I was like, those girls are of that culture and of that world and I like the idea of it working both ways. So yeah, that was the dream. I wanted that.

That add to the sort of nature that it was frightening and such a deviation from these people you always see in this one way.
Of course! That’s what’s so exciting. It’s great to see people in a way you’ve never seen them. I find it’s exciting to see people you’re used to being one way going the other. Anyway, it just made sense.

And did they have any reservations about the things they had to do in the film?
I would honestly say, working with those girls and the whole Disney thing and everything, I didn’t know what to expect, and I didn’t know how far to push them. It was one of the most surprising parts of making this movie, how bold they were and how hardcore they are. And obviously, it’s a movie and these are characters and it’s a different type of thing. I explained to them, it’s a different type of thing than you’ve ever done before and a different type of filmmaking, and the idea behind it is something you haven’t experienced, and the way I make films is something different, and the acting style is different. Once they understood that, it was pretty obvious they were excited and went for it. It was crazy how good they were and how they were always there. There weren’t any arguements about anything.

That scene in bed with James with the gun… that was the first time the girls really surprised me.
That’s a good example, because that scene came out of rehearsals. It wasn’t written like that. If I can remember, it was mostly written where they just put the gun to his head or something and they fuck with him a little bit, and then that sequence came out of rehearsals and just watching and seeing where things went. I think they just took it there and, woah, it’s good, and you think it’s going to go one way and then it goes the other. You think they’re going to freak him out but he’s actually turned on by it and they got completely taken with him. It’s almost like game recognizes game, like this slightly sociopathic sexual wink that happened.

Were you thinking about who would actually be seeing the film or into it?
I want everyone to see it. I want it to be mandatory for all schools. No, whatever. You just want people, whoever there is, to see the movie. It’s not just a film about getting their fans to see it, but it would be great. That’s exciting for me—their fans, the ones that are old enough to see it, if they can be exposed to this sort of thing it’s good.

How have you felt about the reception thus far?
It’s been awesome. It’s the movie I’ve waited a long time to make, and it’s exciting for me to be able to, you know, to be able to potentially to have a different type of audience to watch a film that I made.

The landscape of film in general has changed since you first started writing and directing, but you’ve always stayed very much in your own vision and been radical throughout. Have you ever found yourself adapting or changing at all? Or has that never been a concern?
For me, I just always do what I do. I make films in a specific way, I’ve always made them in that way. I have an idea about the way I should make films and I see images and sounds in a certain way and I’ve only ever had interest in doing what I want to do. At the same time, I just do my own shit, I just make it happen. Honestly, I don’t really pay attention to a lot of that other stuff. I make these images because no one else is.

And you seem to have a very strong attraction to these stories about a specific class of people, as well as these sort of abandoned American landscapes that are rough and cracked.
It’s probably like being a skateboarder and being very young and free and, like, "My parents are letting me do what I want to do," and spending the summer on rooftops and just floating and hanging with different characters and getting drunk in abandoned parking lots. It becomes that world, that vernacular—it just becomes part of what you know. It’s hard to say what attracts you to a blonde-haired chick with big tits—it’s just like, you go where you go.

Was that pretty much your adolescence?
It was all like that, it was all about that. It was also a different. My adolescence was different. It was pre-internet, pre-cellphones, so I could be away from my parents for a week and forget to call them and they would understand there were no pay phones where I was. It’s not like that anymore. Basically just being free, not having money, and just exploring, it was great. It was awesome.

Two Full-Length Trailers for ‘Spring Breakers’ Finally Hit the Internet

I went away for Spring Break once, during my junior year; two friends and I went to Savannah, Georgia and Charleston, North Carolina, which is where old ladies and young gay guys go away on vacation, I suppose. It’s safe to say that the dirty streets of Rainbow Row and in front of the Midnight in the Garden of Good and Evil house were nothing like the hot nights of Southern Florida, full of beer bongs and drugs and bikinis and drugs. It’s safe to say that I never did Spring Break like the gals in Spring Breakers did, but after finally seeing a trailer for it, I think I’m OK with that?

Finally, after months of anticipation and teases, here are two new trailers for Harmony Korine’s tale of recklessness and lost youth. Revel in the sight of James Franco in cornrows and Selena Gomez brandishing a pistol. You’ve earned it.

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Afternoon Links: Madonna Is So Over M.I.A.’s Super Bowl Stunt, Hilary Duff’s Dog Is ‘Doing Great’

● Madonna is so over M.I.A.’s "adolescent" and "irrelevant" hijacking of the half-time show. "I understand it’s punk rock and everything, but to me there was such a feeling of love and good energy, and positivity, it seemed negative," she explained this morning on Ryan Seacrest’s radio show. "What was the point?" [TMZ]

● Hilary Duff’s chihuahua, Lola, is "doing great" after her brain surgery. [PopEater]

● Macaulay Culkin skipped out on his monthly DJ gig at Le Poisson Rouge last night after pictures of him looking awfully gaunt made their way onto the internet. Instead, he dropped off an iPod and bounced. The people must dance! [People]

● Tag along with Charlie Rose and Lara Logan while they tour George Clooney’s home via video. "This is where the magic happens," and etc. [VF]

● Vanessa Hudgens lived in a homeless shelter for two weeks to prepare for her role in Gimme Shelter, and she sort of liked it. "I think that it’s really interesting because you find so much more about yourself,” she said. [Gossip Cop]

● A tip of the hat to the Village Voice‘s Maura Johnston for doing her part to prevent things like this from happening in the future with this "How Not To Write About Female Musicians: A Handy Guide" post. [VV]

Morning Links: Justin Bieber’s First Paternity Suit, Rick Ross Speaks on His Seizures

● A California woman has filed a paternity suit against Justin Bieber alleging that she took the pop star’s virginity in a backstage hook-up and ended up pregnant. Bieber and co. are saying, of course, that the baby ain’t so. [Radar] ● E! plans to continue airing the now obsolete Kim’s Fairytale Wedding because, as one exec explains, “The program model of television doesn’t exactly keep up with the life model of real people… if Kim gets to keep her gifts, why can’t E!? [NYT] ● Speaking of lost innocence: still mostly precious teen queens Selena Gomez, Vanessa Hudgens, and Emma Roberts are allegedly in talks to join James Franco in Harmony Korine’s upcoming film, Spring Breakers, about a spring break gone terribly wrong. [EW]

● Rick Ross says that he’s cleared a “battery of tests,” and that his two-seizure day was the result of his hard hustle. “I would get two hours of sleep and keep moving,” he explained yesterday on 106 and Park, adding that, “that has to stop.” [OnSmash] ● The guy who co-wrote Kreayshawn’s “Gucci Gucci” says it’s “a weird thing” that Kreayshawn is so famous, because he’s still “eating Spam for dinner.” [LA Weekly] ● Vampire Weekend’s Rostam Batmanglij has a new song, and it’s real nice. [Rostam]

Morning Links: Beyoncé’s Pregnancy Cravings, Lil Wayne’s Personal Skate Park

● Charlie Sheen was roasted last night on Comedy Central. Mostly people just thought it was funny when an otherwise incomprehensible Mike Tyson ended his bit by calling himself the “greatest poet alive” and threatening, “I will eat your children!” [AP/Yahoo] ● BFFs Ashely Tisdale and Vanessa Hudgens ducked out of New York Fashion Week and into an East Village tattoo shop to get inked together. Tisdale went for “jamais seule” (french for “never alone”) on her food, and Hudgens got the symbol for “Om” on her hand. [NYDN] ● Lest the bump not be proof enough, Beyoncé is reportedly “bonkers” for bananas dipped in ketchup and definitely pregnant. [The Sun]

● Evan Rachel Wood has been carrying around that tooth she lost in a little jeweled box. [Us] ● 17-year-old Justin Bieber says he definitely wants to be married by 25, which, let’s talk about this again when you turn 20 and aren’t a teenager anymore. [WWD] ● According to TMZ, Lil Wayne keeps a skate ramp with him at all times so he can “rip it whenever he wants.” Wrist Gaurd Weezy is real. [TMZ]