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I think the unifying theme for every person in their 20's, regardless of race, religion, or sexual orientation, is that none of us really has a clue what we're doing. Cole, the main character of Paper Boys, is no exception to this rule. He's trying to figure out how to land a job he loves (that will also pay the rent in one of the most expensive cities in the world), what to say to his straight best friend Daren who recently confessed he doesn't want to marry his fiancée, and why he can't seem to stop himself from stalking an old flame, Max, on Facebook. If all of this wasn't enough to worry about already, Cole has also discovered that his sketchbook is, well... enchanted. Whatever Cole draws seems to happen in real life, and while this newfound power could be the answer to all his problems, he hasn't quite figured out if it's only going to make his life even more complicated.

Written by Curtis Casella and Kyle Cabral (Cabral also directs the series and stars as Cole), Paper Boys is a delightful new web series that takes the sometimes harsh reality of being a confused millennial trying to juggle love, a career, and a new city, and spices it up with a bit of magic to make it all the more captivating. The first two episodes have already generated over 90,000 views on YouTube, and the creators have recently succeeded in raising $10,500 via their Kickstarter campaign to create two more full episodes (and are hoping to raise even more to keep the series going).

I caught up with Kyle and Curtis, as well as Henry Lee (who plays Max), Kai Liu (who plays Rebecca), Sarah Elizabeth (who plays Charlie), and Nathan Brown (who plays Daren) over email, and asked them all about the inspiration behind Paper Boys, as well as what we can expect from future episodes:

What do you hope viewers will take away from this series?

Henry: That, for the most part, as fantastical as the notebook element may be, we are showcasing real people who are struggling with the same issues that we all deal with. They're asking themselves the same questions we all ask ourselves, while trying to figure out where they fit in the world.

Kai: I hope that viewers will notice how diverse we are. The main character is Asian and the sisters are Asian and white. This dynamic is occurring more and more in the world we live in but the media tends to show only homogenous families. I hope we're helping to create a new normal.

In a lot of ways, Paper Boys is a show about ordinary life for your average millennial, and then you have this element of magic mixed in. What was the inspiration for this part of the story?

Curtis: When we set out to create Paper Boys, we didn't want to write something that was the same as other shows and web series with gay characters in them, and we ultimately decided on adding in this element of fantasy. We thought the sketchbook was appropriate because it gives Cole a degree of control over his life, which I think many of us millennials don't always feel we have, especially after the financial crisis. So we wanted to explore questions like whether Cole is better off? Will he be happier?

A lot of people describe Paper Boys as a "gay web series" -- this seems to happen a lot when a creator features a minority as a main character; the project becomes niche rather than general, it becomes a "gay web series" rather than just a "web series." What does Paper Boys do to transcend that label and appeal to the masses?

Curtis: One of the reasons we created the sketchbook was that a lot of gay media is very rooted in reality - Looking, Weekend - and we wanted to tell a story that wasn't just about being gay, but about a gay character making the discovery that he has this power.

Kyle: We'll also have more diversity and representation moving forward, so I hope our series does a good job of being inclusive and relatable. I think the mere fact that we have characters that are involved in such complicated relationships - in terms of family, friends, and love - is something that anyone and everyone can relate to regardless of gender, race, age, or sexual orientation.

Once you realized you possessed a magic notebook that made things happen in real life, what would be the first thing you'd draw?

Kai: I would give myself superpowers. Obviously.

Henry: Increase the size of my condo by a bedroom and a bathroom and pay off the mortgage. Boring, but practical.

Sarah: Me and Jennifer Lawrence eating pizza together. Obviously.

Curtis: Paper Boys season two (on HBO?). Or a puppy.

Kyle: I can't decide between drawing myself as a new mutant member of the X-Men, or sitting in the master suite office of my very own film and animation production studio. Both are practical, I think.

Nathan: ...there are too many things I'd want from comic books to say.

Head over to Paper Boy's official website to get caught up on the series, and make sure to "like" their Facebook page for updates on new episodes!

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What happens when you take all things awesome and put them in one place? The James Brown Dance Party happens!!! Live music is my happy place. When I'm at a show I feel free to let the wildest authentic expression of myself out to play. The more I expose myself to live music the easier it is for me to infuse those feelings of pure joy and happiness to seep into my everyday experience. The reason I'm writing about the James Brown Dance Party right now is that this is the band that does that for me to the max. My hope is that you read about them right here, check out the video of them at the bottom and are as inspired as I am to rock my life on a daily basis.

Photo cred Michael Weintrob

The band is a rotating cast of All Star Musicians that include members of James Brown's Original Band, Bootsy Collins Band, The J.B's, Trombone Shorty, Galactic, Snarky Puppy, Trey Anastasio Band, Lettuce, Pretty Lights Live Band, Dopapod, Break Science, Victor Wooten Band, and more!

The brainchild of brothers Adam and Matthew Chase came to light because they felt a very strong connection to the magic that is James Brown and the music he created.

"The great thing about this project is that it unites such a diverse audience with such a diverse group of musicians. In the world we live in today, music from every corner of the earth and every era are immediately at our fingertips. So many people regardless of where they are from, grew up on James Brown's music. There are so many great musicians that have his music in their DNA. As a result we have been able to put together diverse lineups of musicians. Black and white, male and female, Jews, Christians, Muslims...we have all shared the stage to honor the music that allowed us to know what true funk really is. In a world where there seems to be a strong racial divide, it is great to have an outlet like this that draws us together," said Adam.

Photo cred Mandy Chase

Have you ever seen an entire band channel the late James Brown? I love writing about bands and musicians who are so in their element and rocking their zone of awesome. It's inspiring because it opens my eyes to see that I can reside in my zone of awesome too.

With all that said, the best part is the music. Isn't the music always the best part? The James Brown Dance Party debuted in Manhattan and New Orleans at Jazz Fest to sold out crowds. They are so freaking funky, you can't help but to shake your booty and bust out your dancing shoes. Have you ever felt like you were stuck in a rut in your life? If so this band will kick your butt right out of that rut in the funkiest way possible!

Adam can see in the crowd when he's performing. "When we look out from the stage, we see people getting down and not worrying about anything. It's a beautiful thing!"

Check out the James Brown Dance Party in action. I challenge you to get up and dance wherever you are and leave a comment below sharing how you felt after you rocked out to them.

Is the James Brown Dance Party coming to you? Check out their tour dates at JamesBrownDanceParty.com

Friday June 19 Baltimore Soundstage
Baltimore MD
Saturday June 20 NOLA Crawfish Fest
Governors Island, NY
Sunday June 21 Hamilton Theater
Washington DC

The awesome in me sees and bows to the awesome in you,

Taraleigh

For even more musical inspiration go >>> here!

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There were so many amazing artists - small, medium, and large - that played this year's Governors Ball on June 5-7, it'd be impossible to review all of the fest. Nearly two weeks later, I've given up. Thankfully, I have a pair of interviews filmed at the Ball (hat tip to videographer by shootmepeter.com and super intern JJ Adrian) with two pairs of rising, awesome acts: Priory and Angus and Julia Stone. Watch it all unfold below, and question why Nicolas Cage came up in the first place.

Priory
The rock-pop Portland duo Priory (Brandon Rush and Kyle Sears) have been on an upward spiral since they dropped their first single "Weekend," which is featured on their appropriately titled Weekend EP. Over a brief period, the tandem have toured with the likes of Kaiser Chiefs and The Kooks, made their late night debut on Jimmy Kimmel, and received love from outlets like USA Today, MTV and SPIN. OK enough background. Watch the Gov. Ball interview below and the music video for their breakthrough hit.

Interview

"Weekend"

Angus and Julia Stone
We go from a pair from Portland to a indie-pop, folk bro-sis combo out of Australia. The well-traveled duo of Angus and Julia Stone have dropped their third album Angus and Julia and it killed in their homeland and has generated waves in the states. How could it not? It was produced by music master Rick Ruben. Anyway, I could list all the accomplishments over the last year - um, Coachella - but I'll jump ahead to the interview and music video for "From the Stalls." No sibling rivalry here, which makes me wonder if I should call my sister and start a band. Never mind. No musical talent there. Anyway, let's get to these talents.

Interview

"From the Stalls"

Bonus Jonas
Fat White Family weren't at the Gov. Ball, and will likely never make it to your dinner table. That's all you're getting for a segue. Sorry. Anyway, this South London outfit now based in Brixton have gained their share of buzz with their all-out raw punk-psych-rock. The band, comprised of Lias Saoudi (vocals), Saul Adamczewski (guitar/vocals), Nathan Saoudi (keyboards), Adam Harmer (guitar), Jack Everett (drums), and Taishi Nagasaka (bass), made their network television debut this spring on Late Show With David Letterman, and continue to tour off debut album Champagne Holocaust.

These freaks (and I mean that nicely) also stopped by Primary Wave to record an A-Sides session. Watch FWF in all their glory below.

"Who Shot Lee Harvey Oswald?"

Check out "Oh Sebastian" here and an interview there.

About A-Sides With Jon Chattman:
Jon Chattman's music series features celebrities and artists (established or not) from all genres of music performing a track and discussing what it means to them. This informal series focuses on the artist making art in a low-threatening, extremely informal (sometime humorous) way. No bells, no whistles, just the music performed in a random, low-key setting followed by an unrehearsed chat. In an industry where everything often gets overblown and overmanufactured, Jon strives for a refreshing change. Artists have included fun., Charli XCX, Imagine Dragons, Alice Cooper, Joe Perry, Gary Clark Jr., STP, American Authors, Echosmith,and many, many more!

Stay Connected:
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If the title of the compelling documentary, The True Cost, directed by Andrew Morgan, sounds a little mercantile, it is. Dealing with the dreadful reality behind "fast fashion," the greed behind low cost clothes, the exploitation of a work force in underdeveloped countries, and the marketing of unnecessary, non-biodegradable, expendable tee-shirts and other splurge purchases to a population that does not need them, the documentary makes you want to avoid H&M, Forever 21 and Zara. (This last, in particular is in a much-publicized suit regarding racism and anti-Semitism, but I digress.) The film makes it hard to rationalize patronizing these retailers, knowing that the low prices passed along to consumers are the result of dire costs in human lives.

At the New York premiere this week at Lincoln Center's Francesca Beale Theater, with an after party catered by Dean & Deluca, Georgina Chapman (without her husband Harvey Weinstein, one of the hosts), Regis and Joy Philbin, Anna Wintour, Christine Baranski, Anne Hathaway, Isabella Rosellini, Julia Garner, William Ivey Long and many others came to support Livia Firth, executive producer and champion of the film and its ideals in fair trade, fair wages, and care for our planet. Many in the room were entrenched in the fashion world, on the high end, and I wanted to know how the film's concerns affected their world. Firth, the wife of Colin Firth by the way, gave the example of conscious consumerism, buying some expensive Stella McCartney trousers, so well made she'd be wearing them for a long time. So, on the high end, the weight of this problem is not heavy, particularly when production is responsive to workers' needs and safety; consumers do not buy as much as is needed to stay competitive in the "fast fashion" business model, where the poor are at risk of deplorable work conditions and low wages to keep churning out goods that no one really needs, and actually makes no one happy. The film goes far to make this point: more stuff has never been a source of human contentment.

Ecology suffers too, and the film does not shy away from exploring the contamination of cotton crops in Texas, pointing at Monsanto, as other films do. Many film images are grim, such as footage of the collapse of a factory in Bangladesh, resulting in the deaths of over 1,000 people. I asked director Andrew Morgan, what was the most difficult scene to shoot. The workers strike in Cambodia and subsequent crack down by police, he said. The crew was always at the edge of safety.

A version of this post also appears on Gossip Central.

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The Overnight is a deceptively light exploration of marriage and its rough relationship with autonomy. Imagine if Gone Girl was a raunchy comedy or American Pie was an art-house indie. In other words, it's a subtle yet dense character-driven film framed as an R-rated romp.

For my money, the most terrifying movies are never horror movies because they are meant to be scary. You know the ones, all cheap thrills and forced suspense. Adversely, here is a comedy that can shake a person to their core. Assuming the most terrifying thing in an average life is shame, the entire movie is a journey into fear. As the moon moves through the starless black Los Angeles sky, the lines between voyeur and exhibitionist are blurred, minds are altered, boundaries are stretched and twisted. If you are a free-wheelin' poet ramblin' from town to town, it's the kind of night you'd write a song about. But if you're a well-intentioned young married couple trying to build a life for your child, then a night like that has the potential to tear apart your world.

Taylor Schilling & Adam Scott star in THE OVERNIGHT. Copyright - The Orchard

Adam Scott and Taylor Schilling play the unassuming lead couple with the perfect blend of nuance, warmth and naiveté. Having just moved to Los Angeles from Seattle Alex (Scott) is anxious and eager to meet and make friends, while his wife Emily (Schilling) is content just to be in her new home with her husband and son. Enter the much cooler Kurt played with zeal by the always fantastic, Jason Schwartzman. The opening moments hint at something sinister, but we are consistently put at ease by effortlessly breezy performances of the competent cast. And every line and look thrown between characters has an impactful payoff later in the evening, as the layers of inhibition are slowly stripped away.

Adam Scott & Jason Schwartzman star in THE OVERNIGHT. Copyright - The Orchard

The strange thing about comedy is that in order for it to work we can't see it coming. It's like a magic trick. Sloppy slight of hand is not slight of hand at all. We shouldn't see the strings. The suspension of disbelief is so deep in comedy it becomes hard to analyze. Because if it's really working the act of laughter is intoxicating, and anybody who's been properly intoxicated knows that the details of the night before become hard to recount the morning after. Comedians cover their tracks. It's an incredibly illusive thing to pin down and discuss. This is why comedies don't win Oscars. If something is funny it is assumed to have little-to-no lasting resonance. But as current pop culture figures like Judd Apotow and Louis CK have proved time and time again, comedy can be the best place to reveal universal truths and affect waves of personal and societal progress. In this way, comedy becomes a thought ninja. You think you're laughing and everything's light and fun, meanwhile your brain is being boxed into submission by agitating ideas and illuminating exposures. The incredible thing about The Overnight is that the laughs come from the same place as the discomfort.

2015-06-18-1434627085-3712047-OVERNIGHTTaylorSchilling1.jpg

Taylor Schilling stars in THE OVERNIGHT. Copyright - The Orchard

This flick really succeeds in mind-expanding observations and a rich commentary on a suburban life in Los Angeles. In fact, a key to understanding the story is its location. Do the suburbs even exist in LA? It can be argued Los Angeles is merely a collection of suburbs with a small city downtown and a few film studios scattered around it. It's a weird place to grow up in some ways, but in large part the city of angles is nothing more than average people living quiet lives. Beyond that, it speaks to a generational truth. After all the dust has settled from the sexual revolution, and the advent of social media has penetrated the majority, what does the landscape of modern relationships look like? Movies like this are immensely important for the simple reason that they are attempting to expand our understanding of ourselves and our fears. It is art like this film that exposes urgent modern ideas to the close-minded collective unconscious and pushes oppression toward the wrong side of history.

The reason anybody has a closed mind is simply fear. The willingly ignorant mind harbors the deep fear of letting ideas slip in that they will have to see in the mirror every day. They are afraid of themselves. If you are truly tolerant others you have to expose yourself to your deepest inner fears. That's what progress is. In the popular 90s video game Mario 64 there are these white translucent ghosts. If you're not looking at them they sneak up behind you and kill you. However, if you look at them straight ahead, they disappear. Just like these false fears, when examined they are rendered powerless. Homophobia, transphobia, xenophobia of any kind, racism, sexism -- they are all just ghosts. Movies like The Overnight encourage people to look at those ghosts so they can disappear.

See The Overnight starting June 19.

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Back in April, Meet The Movie Press reported through agency sources that Warner Brothers is currently casting for a Green Lantern film in 2020. Though unconfirmed by the production company, it's exciting news for fans and nerds like me who would love to see the iconic character come to life on the big screen. And for me, the casting choice is obvious: John Stewart, the Black Green Lantern, should be played by Idris Elba.

Elba hinted his interest in playing John Stewart in 2013 when he responded to a fan-fiction Twit-pic of him in the Green Lantern suit. We don't know the details of his contract with Marvel, but who knows what could happen in five years.

Though Elba is a fan-favorite, there are other names attached to the Stewart character. Grammy award winning artist Common was rumored to play him in Justice League: Mortal, but the movie was shelved. R&B singer and actor Tyrese is campaigning to play Stewart and may have already met with Warner Brothers about the role.

With all due respect to Common and Tyrese, I don't think they are the best fit. Tyrese is frequently comic relief in the recent notable movie he's played in, such as Four Brothers, Transformers and Fast & Furious series, etc. Audiences may not take him seriously as super-hero of Stewart's magnitude. Common possibly could channel some of his LUV performance into Stewart, but he may be too smooth and laidback to play a man with the weight of the universe on his shoulders.

The actress/actor and the part need chemistry. This idea applies exponentially when to super-heroes, because directors are working to connect to fans' strong, nostalgic conceptions of who "should" play their favorite characters. It isn't only about star-power, one reason why the Green Lantern movie, starring Ryan Reynold's as Hal Jordan, flopped.

Another reason the film didn't work the first go around was because Hal Jordan's character was unfamiliar to many of the film's target audience members. Stewart was one of the most popular characters in DC's Justice League cartoons. For and a whole generation of millenials, John Stewart is the only Green Lantern we know. Yes, casting Elba in a genre dominated by white males is a progressive move, but the choice to use the Stewart character over the many other Green Lanterns is a legitimate connection to popular nostalgia, something comic-book adaptation film make billions off of. Though the issue of race is there, the bigger reason is that it just makes sense - and cents.

Some concerns about Elba playing Stewart is he's "too old" (even though Stewart's character in the JLU cartoon was a middle-aged man, and later appeared with grey-hair). But this isn't a big issue, since the directorial vision would probably be crafted around him and his age. Plus, we've seen older actors rock their super-hero roles. Christian Bale owned Batman and most of us can't imagine an Ironman other than Robert Downey, Jr. Age ain't nuthin but a number.

Elba also has the star-power to make the film a box-office success. Hollywood tends to pledge allegiance to A-listers, which is often a huge impediment to character diversity and limits the big roles actors and actresses of color can pursue. The Top 100 most successful science-fiction movies casted a person of color as the lead only eight times (and Will Smith was six of them). Though these statistics are problematic, casting Elba would "sell" the movie to wider audiences while still increasing the diversity in comic-book adaptation films, the film industry's hottest genre. Maybe it has and will take the success of the biggest stars of color for Hollywood to realize diversity doesn't hurt their bottom-line.

It's important for audiences to see three-dimensional characters of color at the center of their own narratives. Super-hero mythology is important facet of pop culture across gender, race, and class lines. Straight white men aren't the only people who can save the world, so the success of an Afro-futuristic hero is metaphor for much more than a sci-fi fantasy narrative. Casting Elba as John Stewart would be a major milestone, since neither Marvel nor DC has made a film with a Black lead character (though Marvel is scheduled to release a Black Panther film in 2017).

But the serious stuff aside, as a fan and a nerd, I think we've had many missed opportunities for perfect match (Though Halle Berry rocked it, I wanted Angela Bassett as "Storm", and we'll probably only see part of #DonaldForSpiderman come to fruition). There has also been a fan push for him to be the next James Bond. I'm sure many would be ecstatic to see him as 007; chasing villains in high speed sports cars, infiltrating enemy headquarters, radiating bad-boy charisma, charming seductresses, and using high technology to save the world.

But I think we could use a different type of hero. Let Idris to play the iconic green cosmic cop. If you can't see it yet, close your eyes and imagine this:

John Stewart (Elba) hovers over Earth from space, suspended in a bright green aura. The instrumental to Big K.R.I.T.'s "Cadillactica" plays in the backdrop, filling endless dark-matter with cosmic synths and planet-shaking bass. The glow of his neon ring reflects in eyes of his intense gaze, as he broods over his task to preserve justice in the galaxy.

"In brightest day, in blackest night, No evil shall escape my sight. Let those who worship evil's might, Beware my power, Green Lantern's light!"

Come on guys, this one is a no-brainer.

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While most Game of Thrones fans are mourning the loss of treasured characters, as a longtime admirer of George RR Martin, I wonder how the great man would have written the wedding the fans have been cheated of -- Jon Snow and Ygritte. Would the happy couple have ridden off into the sunset and bred a large family? Or would they have been slaughtered in a repeat of the Red Wedding. So, with apologies to the great GRRM, here is my tribute to arguably every GOT fan's favorite love birds -- now their watch has ended. Hopefully this chapter will ease the pain of grieving fans.

Jon Snow and Ygritte forever.

Thick and Tart. Jon Snow knew the taste of air before a battle and, tonight, the winter air had all the makings of a blood bath. He was surrounded by pageantry, warriors tall and proud in polished armor and stiffened tunics. A gallery of ladies swathed to their teats in garish finery, eager for a show.

Sam shook Jon from his glum daze. "Jon? Did you remember?"

"I did." Jon patted his hip. "It's right here."

Sam reached down and felt the hilt of Jon's sword beneath his tunic. "Not your sword, you bloody fool, the ring! You're gettin' married, remember?"

"The ring!" gasped Jon.

Sam held it up with a grin. "Calm down, Jon. And no one should have a hand on your sword this day except the lady Ygritte when you retire for the evening as man and wife!"

Jon sighed. "Of course you're right, my friend." He looked at the gathered crowd of guests. "But there's more bad blood out there than I care to think."

"Keep calm," said Sam as Ygritte appeared at the back of the hall with her court. "Even bad blood likes a good party."

As Ygritte made her way down the aisle toward Jon, the guests snapped to attention. Armor clanked as esteemed knights jostled for a closer view. Jon stiffened.

The wedding felt like a betrayal, but Jon was determined to marry the woman he loved. Jon's vows to the Night's Watch were not as strong as his duty to avenge the massacre of his family. Perhaps, if he had never fallen in love with Ygritte, he would have remained on the Watch. Yet, as he gazed into her beautiful face, a vision of fire amid the frost, he realized that she was the worth his status as a deserter.

"Do you, Ygritte, take Jon Snow...?"

"I, Ygritte, take Jon Snow..."

Moments later, Jon had exchanged his old vows for new. He kissed Ygritte, hugged Sam, and shared a roar of approval of his wife from the guests.

Yet only a pitiful number of friends had gathered to cheer the newlywed couple. All but a handful of the Night's Watch abandoned Jon after he accepted Stannis's offer to join forces. And, still many Free Folk were angry with Ygritte for forgiving the man who betrayed them. The wedding hall was mostly filled with Stannis's army. Soldiers always do, of course, excel at merriment.

The Wedding that Never Was.

There was no shortage of ale, flowing freely from silver goblets, and what food the icy north could provide was laid out as a splendid feast. Those remaining friends of Jon's on the Watch joined Stannis's soldiers in song.

Ygritte squeezed Jon's hand and gestured at a young Watchman arguing with a knight over a pitcher of wine. "These crows of yours are not so bad once you get some drink in them!"

Jon kissed his wife and laced his fingers through her hair. A train of guests snaked to the head table, bearing gifts for the newlyweds.

There was jewelry, gems, leatherwear, ceremonial weapons, ornate flasks and clothing, spiritual trinkets and more. Jon found this part of the ceremony tedious. Thank goodness for Ygritte's poise. Ah, to be alone with her now, Jon thought. Ygritte caught his sly grin and responded in kind before sliding back to her duties.

It was deep into the night and deep into the ale, when an exotic woman with amber skin reached the front of the gift line. She was streaming in shimmering silks that struggled against her suggestive figure. In her hands, an oblong orb of dull luster, the size of a man's head.

"My lady," she said, "please accept this humble offering from my family."

"Your family?" said Ygritte. "Please forgive me if your face and dress are not familiar to me."

"Mine is a distant family," she purred

"Distant? How so?"

She cast an eye to Jon and then held Ygritte fast with her stare. "Beyond your walls. Beyond your lands. Beyond the ice."

"Beyond the ice?" mused Ygritte.

Jon glanced at the doors of the hall. Where were the guards?

Ygritte absorbed the tension unfazed. "As intrigued as I am by your homeland, I'm more so by this gift you bear."

The visitor set it gently before Ygritte. "It is a treasure unique to my home."

The guests were crowding around for a closer look and Jon felt his pulse rise.

Ygritte shook her head. "... Forgive me, but, what is it?"

A light chuckle rose from the crowd.

"A dragon's egg."

"I'm sorry," interrupted Jon, "what did you say your name was?"

Without a glance Jon's way, she continued. "You won't find one in all your kingdom or anywhere in this realm. I would hide it, if I were you."

Jon stood. "My lady ..."

"From whom?" said Ygritte, showing her growing impatience.

The woman grinned and slowly pointed her finger behind them to a trail of smoke, rising from the fire. A massive glistening form uncoiled from the shadows of the ceiling beams high above the hall. Silence fell. Claws settled silently about the bottom beams. A studded tail longer than the dinning tables drifted from the dark into the light of the hall.

"A dragon? What have you done?" hissed Ygritte.

THWACK! Sam's sword took off the stranger's head and left it wobbling on the table next to the egg. "She was a witch. I hate witches."

"TO ARMS!" bellowed Jon, dragging Ygritte under the table with him.

You can't have GOT Without a Dragon

The room erupted into chaos. The sound of freshly drawn steel rang out, tables crashed, nobles shrieked. The dragon wailed and smashed through the beams as it sprang to the floor, crushing a knight fumbling for his sword.

When the first belch of flames came from the beast, a throng of terrified guests was madly pressing for the doors. The wave of fire left a smoldering mass of melted dead and dying smeared down the center aisle.

Jon and Sam were at the dragon's tail as the flames receded, but Ygritte struck first with an arrow from her bow. It sunk deep into its neck, sending the beast whipping about in pain.

Jon spun on Ygritte. "Get out of here!"

Jon threw himself to the floor as the dragon's tail crushed a group of guests huddled under a table. The dragon spat a ball of flame that charred dozens of people, burying the exit in broken burning debris and bodies. The room was thick with burning hair and flesh and the stone floor was slick with blood. Desperate calls to action and pleas for mercy joined with the dragon's thunderous rampage to rattle the old stone hall.

The dragon raised up to fill its lungs. Its wings splintered beams and crumbled the brick walls. Its tail sent screeching soldiers tumbling through the air smashing into walls and tables.

Before the dragon could draw another fiery breath, Jon roared and hacked off two of its toes. The beast shrieked and whipped around on Jon, but another arrow from Ygritte found its mark at the base of its neck. The dragon foamed with rage as dark blood splashed across the floor and walls.

Jon saw his chance. He jumped on a table and leapt through the air toward the dragon's belly, sword poised to strike. The dragon swatted him from the air and bit an attacking knight in half. Sam bellowed and charged head-long at the beast.

"NO!" demanded Ygritte.

Sam slid to a stop through a puddle of blood.

The dragon loomed, chest heaving, tendrils of smoke slithering from its nostrils.

Sam turned to see Ygritte poised over the dragon egg with a battle axe. Her dress was splattered with blood and matted with ash and sweat.

The great dragon recoiled to its full height, sword quills sprang erect down its neck and back. Its eyes smoldered yellow and crimson.

Groups of huddled survivors whimpered in corners, small fires crackled.

"Take your egg, and go," said Ygritte.

The dragon wheezed and snarled but did not move.

"I know you understand my words. Take your egg and go."

The dragon lumbered slowly through the carnage, its head swaying back and forth and its eyes locked on Ygritte. She could hear its teeth grinding together and smell its foul blood leaking hot from its wounds.

Slowly, the beast crouched and took the egg in its massive jaws and in a wash of air, it swooped up through the beams and crashed out through the roof.

Ygritte and Sam scrambled to Jon's side, lying flat on the floor. Ygritte took his head in her lap as he regained consciousness. "It's okay," she said.

Jon smiled wearily and looked at Sam.

"I'll admit it," Sam said, "You were right to keep your sword close by."

Jon smiled at Sam and then looked lovingly at his wife.

"What other gifts did we get?" said Jon.

LJ Charleston is an Australian author & journalist who loves GoT and George RR Martin and hopes he forgives her for writing a chapter that can never, ever really happen but might lessen the heartache of his fans. @ljcharleston

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Next week, June 25 I will perform again at the renowned supper club 54 Below in New York City. It has become a very special place for me, as last year I got very lucky there. So much that it changed my life. It is also a story of never, never give up.

In an article about Donald Trump I read once that he said that to be successful you need luck. He was adding that to be lucky you need to work hard, be prepared and get out there. Mr. Trump was telling that in the period that he almost went bankrupt he pushed himself to go to a fundraiser and ended up sitting next to a banker that helped him safe his business.

In his new book also Joe Plumeri describes being out there and networking as "playing in traffic" an important factor for success.

Although I'm not (yet) wealthy like Mr. Trump or Mr. Plumeri, I think I got some luck in the last couple of years, by networking, by playing in traffic as Mr. Plumeri would say. That has also been the way I had the honor to meet Mr. Plumeri a few years back, while performing at a fundraiser where he was honored.

A few years ago I started to think about this big idea to film a television special for PBS that would promote a national tour with concerts in big theaters, a bit similar to what Andrea Bocelli is doing. A project that would cost at least half a million dollars. I'm not signed to a major record label, so where to find that kind of money was the challenge. In 2012 had been also seriously ill. I had used all my savings to pay the rent and the medical bills as I was hardly able to work. Therefore my own money wasn't an option for sure.

I knew I had something special to offer with my music and I knew there were people that would have love to be part of such a beautiful project. I just had to find the right people with love for music and love for Italy. I started to attend seminars about fundraising for the Arts with my manager and we were learning every little detail.

With my music I was already meeting interesting people. My wonderful manager arranged performances at Charity Events of respected organizations like the Columbus Citizens Foundation, the National Italian American Foundation, the Order Sons of Italy and the American Italian Cancer Foundation. Through those events I had the honor to meet some great people, from Chairmen & CEOs of very large companies to the Chairman of the Joint Chiefs of Staff of the US Armed Forces to highly successful entrepreneurs. I started to ask around if they were willing to help me.

I had to master something that was new for me. I was used to give and not to ask. At the seminars I had attended I had learned to be ready for the no and not to be upset! And there were indeed many no-s and some serious disappointments here and there. But I was keeping strong. I knew I had something special I just needed to address my request to the right people.

My manager and I had so my passion for this project that we were unstoppable.

Many people that I asked for help were often pointing out to this one man. Someone that had very successful career on Wall Street. This guy was known for liking music, he even had invested big on Broadway. However he was really difficult to reach always in a meeting. My manager and I send him a package with a presentation of my project. But he declined for the opportunity.

Then, one night I was chatting with the owner of a restaurant and it turned out he knew him very well. I got the tip to call him at the certain time of the day and invite him for dinner. And, I got him on the phone and he accepted my invitation. Over dinner my manager and I were able to show our passion for our project and explain more in detail what our plans were. He agreed to come see a showcase I was doing a few weeks later. He wanted a chair near the door so he could leave early if he thought the show was not to his likes. But he stayed the whole show, and was even singing along at the end of the show. But he still was not sure.

Then June exact a year ago I was performing at 54 Below and this wealthy man wanted to see the show again, this time with some more friends to see if I was able to impress also a more sophisticated and critical audience.

Luck is when preparation meets opportunity. I had worked for a year perfecting the show, from the songs to sing, to my stage presence working with a great choreographer. Also that night at 54 Below I sang with passion and sang my heart out.

And I got lucky. He had agreed there on the spot that he was on board and would help my project with funding. Because of his participation I got the help of more people. It gave me a boost a confidence. The saying "NEVER NEVER GIVE UP" was so on the spot.

At my upcoming performance at 54 Below, Thursday, June 25, an important talent agent will come check me out together with some corporate sponsors. I need to set up a tour of 45 cities for next year and I could use some help. Will I be lucky again? All I know for sure is that I will be singing my heart out and my audience will have a night they will remember. Love will be in the air and hopefully luck will be a lady once again.

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"Besides the noble art of getting things done, there is a nobler art of leaving things undone...The wisdom of life consists in the elimination of nonessentials," said Chinese writer Lin Yutang.

•LOTS OF speculation these days about how to get a small movie made, since the big Hollywood powers are throwing everything they've got into big brash action sequels that outstrip even the basic creation. And they don't balk at the millions being spent because usually any sequel at all will beat anything else to pieces at the box office.

The exception? You might get something small made on your reputation, or the reputation of your star, that is if you are aiming for an Oscar or Golden Globe. Then, you night get a good picture like The Grand Budapest Hotel.

Someone at the party where this was discussed asked, "What is the antidote for those wanting to make an extraordinary little movie? How do you finance it?"

The maven who was speaking, shrugged: "Get yourself a big billionaire or a high finance genius who wants to be seen in the movie business, to rub shoulders, or be invited to those "parties" and have fun meeting the stars. Take him to Sundance where he will see how much fun and desperate movie-making is for those outside the "studio system."

Question to myself. Do I know any philosophical billionaires who I could talk into this? Yes to the first part, no to the second. But maybe there is someone who wants to be, on the side, in 'the business.' To meet the famous. To find a tax bracket for their money. As Jack Benny said to the robber who is pointing a gun yelling 'Your money or your life!'

Jack Benny: "I'm thinking. I'm thinking..."

•WE WERE in the beautiful glamorous outdoor garden of Barbetta on West 46th Street, Restaurant Row, it's called. This is the oldest single family-owed eatery in New York City. Upon leaving, I ran into tobacco's chief enemy, Joseph Califano and his wife, Hilary. He, of the LBJ inner circle; she, the daughter of the late William Paley of CBS. Those two look just the same as when I scooped their romance back in the 80's and they have stayed married since 1983. So there is something to be said for happy marriages after all.

•Recently, there was a bit of nostalgia on the death of 93-year-old Monica Lewis, a name better known in advertising than in the movies. It was Monica who shot to a kind of Mad Men fame for singing the song that put bananas on the map -- "Chiquita Banana."

Believe it or not, I had been listening to this for so long, that when I inherited baby-sittingroutines, some 15 years ago, I used to sing this captivating song because I didn't know any of the then popular lullabies for youngsters. It became my charge's favorite:

"I'm Chiquita Banana and I've come to say
Bananas have to ripen in a certain way
When they are fleck'd with brown and have a golden hue
Bananas taste the best and are best for you
You can put them in a salad
You can put them in a pie-aye
Any way you want to eat them
It's impossible to beat them
But, bananas like the climate of the very, very tropical
equator
So you should never put bananas in the refrigerator"

• Then I was reminded that the late great actress Ingrid Bergman will be celebrated this August in Sweden to memorialize her 100th birthday and I remembered another version of the "Banana" song, with lyrics by two young Bergman fans.

They were Audrey Clinton and Iris Love who, as 12-year-old students at Brearley, hounded Miss Bergman as only childish movie fans can. Their truncated version of "Chiquita Banana" went like this:

" I'm a Bergman fan and I am here to say,
" You have to treat Miss Bergman in a certain way!

"When she is hot and tired
it isn't fair, to bother her with questions
or to sit and stare.

"But remember...Miss Bergman likes
the climate of a very very frigid Sweden--
if she could ...
So never, never put Miss Bergman
back -- in Hollywood!

(spoken) "No, No, No, No!"

Misses Clinton and Love were so devoted in their fandom that they finally met Miss Bergman through her agent and she was charming to them, backstage at "Joan of Lorraine" on Broadway.

This all inspired Nora Johnson and her father, Nunnally Johnson, to work together to create a 1964 movie titled "The World of Henry Orient" -- about a musician driven mad by obstreperous little girls.

The great comic Peter Sellers plays the musician -- the Ingrid Bergman character! Angela Lansbury and Peter Duchin are also in this movie and the latter surprises us by appearing as a sex symbol in the nude.

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Julie Taymor's latest triumph is the movie version of the play, A Midsummer Night's Dream, she debuted in 2013 at the Theater for a New Audience in Brooklyn. Her film of A Midsummer Night's Dream, is a mesmerizing and indeed, dream vision composed of the Shakespeare's scenes and characters, made into a surreal at times, slapstick at times, genuinely delightful version of this, one of the bard's most popular comedies. Composer Elliot Goldenthal's whimsical music enhances the dreaminess and shenanigans of the carnival of lovers, spirits, royals and workmen in this gorgeous confection.

At this week's New York premiere, at the DGA theater, and after party at Hudson New York, Taymor explained that the movie was not 100% the play we saw last spring on opening night. How could it be? The mediums of live theater and film are so different, so the idea was to translate one to the other without compromising artistic value. Elliot Goldenthal composed at least one third more music, Taymor said. Film could get up close to the extraordinary Kathryn Hunter who plays Puck as if she were Charlie Chaplin. You want to see those precise and delicate movements, as well as the reaction shots. The film is an example of a brilliant transformation from one medium to another, making two distinct works of art, cut from the same cloth.

The premiere was also a who's who of actors and artists who have worked with Julie Taymor in the past: her Prospera from The Tempest attended, Helen Mirren, fresh off her Tony win, with husband Taylor Hackford. Anne Hathaway, fresh off her one-woman Taymor- directed show, The Grounding, at the Public Theater, with music by Elliot Goldenthal, just back from Poland where he received a major award. Tim Rice, lyricist for Taymor's The Lion King. Reeve Carney, one of the several Spidermen, along with Matthew James Thomas, and nearly the entire Midsummer Night's Dream cast, all exceptional. We talked to Max Casella, a funny as hell Bottom, Lilly Englert and Mandi Masden, Hermia and Helena, Tina Benko who plays Titania and Joe Grifasi, the play's Peter Quince. A Midsummer Night's Dream will be screened in theaters on June 22, for one night only. You must see it.

A version of this post also appears on Gossip Central.

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Whether you are a single parent, co-parent or a happily married couple or in a committed union, raising children comes with many challenges. As a co-parent living over 3,000 miles away from my son, it's never easy. My son, Isaiah, lives in Washington, DC, and I live in Los Angeles. From the time Isaiah was 1 month old, he was bicoastal. During the early months and up until the time he started school, I would travel to and from Washington to bring Isaiah to Los Angeles. It was the most incredible bonding time during the early days of his life.

Now, at 9 years old and attending school, Isaiah still travels back and forth and we spend time together during his days off from school. He often travels to Los Angeles on a Thursday or Friday and he returns on a red eye flight on Sunday, just in time for school on Monday morning. I frequently fly to Washington on my days off. I also have him during the summer months and most holidays. Although I make every effort to spend as much time with Isaiah as possible, at times, it's still not enough. I miss being a part of his day-to-day routine, helping with his school work and participating in various extra curriculum activities. It's a sacrifice, and it's well worth it because you will never get that time back.

I am extremely grateful for the relationship that I have with Isaiah's mother. She is beyond incredible. I have learned and discovered a great deal about co-parenting. It's been a growing process for us, with many teachable moments. The most important lesson is that both parents must work together to make sure that they continue to bring balance in a child's life. It's about both parents having respect for each other. And it's so important at this junction in Isaiah's life for him to see that his parents have a healthy, communicative and friendly relationship.

I admit that I am a bit old-fashioned. For me, I believe a child needs a mother and a father under the same roof. A man cannot teach a girl how to become a woman and a woman cannot teach a boy how to become a man. I realize how important that is, and though it can be tough without both parents, it can be done.

My father, the late Johnny Gill, Sr., instilled in me a great work ethic and I hope to impart that same quality in Isaiah by example. When he asks, "Daddy, where are you going this weekend?" I let him know that I'm going to work. I always remind him that the clothes and the toys that he enjoys and loves that Daddy works very hard to provide those gifts to him. He also gets to travel with me during my concerts. I want him to see firsthand what Daddy does for a living and all the things involved in my work. I want him to see that it's hard work and that I'm committed to it because I chose something that I love and feel passionate about. When I have to get up early for promotional appearances and interviews, he's got to get up too. I want him to experience all of it so that he understands, appreciates and knows the value of hard work and commitment.

I'm very fortunate to have a career that affords me the opportunity to spend time with my son. I know that parenting is difficult for lots of young men -- especially young black men. But I am concerned with the number of black males growing up without fathers. I think men must understand that it doesn't take someone being a biological father to get involved in a young man's life. I think we all need to do more and help steer some of these young men in the right direction. They need leadership and people who are willing to lead by example. Every young man needs a male figure in their lives -- we just do. As I always say, when you're young, you're still being programmed; you're still going through the process. So many young men are still trying to figure it out by themselves. They don't know it all, but it's our responsibility to teach them. It's so important and necessary.

Also on HuffPost:

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Since I first saw the Houdini biopic and read his biography as a kid, I've wanted to see Houdini's famous Chinese Water Torture escape performed live, and I finally got that opportunity last night at Seattle's 5th Avenue Theatre. The 5th Avenue is presenting a short run of The Illusionists - Witness the Impossible, and the Chinese Water Torture was the finale of Act I.

To make it more interesting, escape artist Andrew Basso performed the escape without the traditional curtain covering the water cell in which he was lowered after being handcuffed. The show also had a cameraman positioned in front of the cell broadcasting live to a huge video display above the stage. Add to that the digital stopwatch counting the time Basso had to hold his breath (just over 3 minutes) and tense music provided by the band "Z," and you have an experience that had most of the house watching on the edge of their seats.

Although at times a bit risqué and raunchy (Anti-Conjuror Dan Sperry has a certain Marilyn Manson way about him), The Illusionists is a family show, and the audience was filled with young children eager to "witness the impossible" and believe it to be real magic.

Most impressive to many adults was not the spectacular large stage illusions, but, rather, 24 year old Korean manipulator Yu Ho-Jin who created a great sense of wonder as he made cards and other small objects seemingly appear out of thin air. This was even more amazing because every move of his hands was projected live onto the enormous overhead screen. Still, Ho-Jin seemed to seamlessly create and manipulate cards at will.

All in all, The Illusionists was highly entertaining and genuinely spectacular. It continues at Seattle's 5th Avenue Theatre through June 21 before continuing on its extensive North American Tour.

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Breckin Meyer and Ryan Phillippe star in Lionsgate Home Entertainment's 54: The Director's Cut

17 years after 54 originally opened in theaters, the filmmaker, Mark Christopher, is finally able to share the movie he wanted to make in the first place. 54: The Director's Cut premiered this year in Berlin and continues to be a hit at the film festival circuit. As Christopher notes, it's not so much a "director's cut" as it is an entirely different movie. Over 40 minutes of 1998 version's footage was replaced with the footage that was initially deleted from the film, altering both its plot and the overall tone. Starting with its ominous opening titles that suggest equal measure of fun and encroaching dread, the new (or rather the original) version is darker and more atmospheric. The central love triangle is more fleshed out and compelling, while Shane's (Phillippe's character) bisexuality is uncensored, including the much talked about kiss between Phillippe and Breckin Meyer. Christopher credits Cabaret as one of his influences and it shows in this release. The touching bond between the three main characters (played by Ryan Phillippe, Breckin Meyer and Salma Hayek) seeking comfort in each other and their found family is nicely juxtaposed against the wildly decadent and exhilarating world of Studio 54. The film may be a deliciously sexy and glittery spectacle but, just like Cabaret, it exists in the looming shadow of the impending catastrophe. Although, 54 doesn't touch on the AIDS epidemic, for anyone familiar with that era, it's hard to watch 54's pansexual abandon and debauchery without thinking of what the 80's were about to unleash on the world - the new plague and the rise of the Religious Right. And so for better or for worse, 54 becomes as much about what it doesn't show as it is about what it does.

WES HURLEY: You've spent so many years working on this film, from the initial research to actually making the film in the studio system to fighting to bring your original vision to the audiences. What is it about this project that drew you in and sustained your passion for so many years?

MARK CHRISTOPHER: What drew me initially was the love of disco music. The good stuff. Not Disco Duck, and not the big car commercials, but the sexy primal dance music that also has violins, horns and fantastic vocals. Disco music represented this sort of freedom.

I was in graduate school at Columbia, and I wanted to do a disco American Graffiti. One of my teachers, Paul Schrader, suggested that I do my disco American Graffiti at Studio 54. So that was the initial draw. Also, I was a waiter in college and I decided to do a project from the point of view of kids who worked there. Perhaps the reason why the film got made is because there were so many competing Studio 54 projects at the time.

Shooting was a wonderful process. Everyone was thrilled with the dailies. When scenes were cut, I wanted to have a VHS copy of our vision, but then this bootleg got out there somehow and it gained a life of its own. Fans have been emailing me ever since, hunting me down, asking when the director's cut is going to come out. It really became a cause for me and my producer, Jonathan King, to get this movie out there.

WH: Can you talk about the inspiration behind the characters you created, especially Shane, Anita and Greg? How much of them are real people that you've encountered in your research?

MC: Shane, Anita and Greg were all composites. The nice thing about having Ian Schrager as your mentor is he can introduce you to a lot of people because he went to Studio 54. He introduced me to some rich and famous people, but also got me hooked into the world of the kids who worked there. I interviewed a ton of bartenders, bus boys and coat check girls. They really are a nice amalgamation.

There's one guy in the film named Patrick 54, and he plays Tarzan in the movie. All the bartenders had their nicknames. In the director's cut, when you see Shane pulling money out of his boot and handing it to this guy he owes money to, that's Patrick 54. He was one of the many bartenders that I had spoken to.

Ryan Phillippe in 54: Director's Cut

WH: I think one of my favorite things about the film is how perfectly it was cast and the lovely chemistry between everyone: from Ryan Philippe creating one of the sexiest film characters of all time to Mike Myers doing his first dramatic role, to Heather Matarazzo's memorable cameo as Shane's sister. Can you talk about the casting choices for the film?

MC: Casting took a year. I was a first-time filmmaker, and for some reason I really had to dig my heels in with the studio. We had a lot of back and forth, and ultimately that back and forth was really healthy because they wanted names, and I wanted the right person. Getting Ryan took a while because when he first came in, I think I saw him in White Squall, he seemed very much like a 16-year-old kid. But a year later, he looked like a young man, so I cast him right away.

Breckin was the first person I cast. I think he has the heart of the movie. Ryan's character is more of the viscera and soul of the movie, and he's a part of its heart. But the good guy is really Breckin. They're actually best friends in real life, so Breckin recommended Ryan. Breckin kept saying, "You have to talk to my friend Ryan." And I would say, "Well, I've seen Ryan and he is a little too young." But when Ryan showed up, he looked like a perfect fit. I immediately sent Ryan to the gym. We worked his hair to get a look similar to the statue of David. It's kind of a joke, but not really.

Heather auditioned and I was a huge fan of Welcome to the Dollhouse. She gave a perfect audition and I thought they would make a wonderful brother and sister.

WH: How did filmmaker David Kittredge come on board as the editor of The Director's Cut? How close is The Director's Cut to your original vision? Is it exactly what you wanted to release in 1998? Or was some footage irrevocably lost?

MC: My good friend Jim Fall, who's the director of Trick, stored the underground footage under his house in Hollywood Hills. Jim introduced me to David, who was a big fan of the original film, and he was excited to work with us. I was thrilled to have him. He really worked tirelessly on it. Unfortunately, we weren't able to find all of the footage so we had to make some concessions. There's more to some scenes. We really had to pick and choose, and it was really tough to decide what can stay and what has to go. The lab did a brilliant job to help us match footage.

It's very close to my original vision. In some ways it's better because of David. Overall, I'm very happy with this cut.

WH: I'm sure you've befriended some original Studio 54 regulars and employees while researching the film. What was their reaction to the film when they saw it? Have any of them seen The Director's Cut and if so what did they think of it?

MC: They had mixed reviews for the studio version. In terms of this version, they haven't seen it yet, but I'm excited to hear what they think.

Neve Campbell in 54: The Director's Cut

WH: 54 has a loyal army of fans who've been waiting for a director's cut for years. Can you talk about the audience reception of this cut so far?

MC: It's been thrilling. From Berlin, Mexico, Switzerland, Italy to San Francisco, the screenings were absolutely wild. It's almost a Rocky Horror picture show. Seattle was phenomenal. I'm thrilled, astounded and blessed. The film plays well with a large audience.

WH: Now that you are finally able to share you original vision with world, do you have a profound sense of closure? What's your next project?

MC: I do feel a sense of closure. I'm still doing festival circuits, but it's fair to say that.

As far as next projects, I'm keeping busy. I'm writing a script with Warner Horizon, which is a WB TV arm, and have a TV deal with Miramax. I'm also writing a feature.

54: The Director's Cut is now available on Digital HD (iTunes and Amazon).

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The world continues to be stunned and confused by the announcement that Kristen Wiig and Will Ferrell are starring in A Deadly Adoption, a Lifetime movie premiering this weekend. Not much is known about the elusive project, but from the trailer it appears to be a straight Lifetime movie--just Wiig and Ferrell in the dramatic roles that are usually reserved for Canadians who look like B-level versions of famous American actors.

Will the movie be funny? Of course! Most Lifetime movies are. But I have a hard time believing that this movie--written by comedy writer Andrew Steele--will live up to some of the funniest Lifetime movies of all time. Because just as Tom Servo and Crow would never sit around making fun of Sharknado when they could be making fun of a real terrible sci-fi movie, I'm not sure how much fun ripping on a Lifetime movie will be if its cast knew it was bad when they were making it.

Even if we find ourselves laughing that Wiig and Ferrell are playing such soapy roles, it can never compare to the "WTF" moments that accompanied seeing a respected film actor in the following bombs. These are the actors and movies A Deadly Adoption has to beat if it's going to go down in history as one of the most memorable so-bad-it's-good TV movies of all time.

Anne Heche, Fatal Desire (2006)
Even if you're not a Lifetime movie junkie, it probably won't surprise you to hear that Anne Heche has starred in her fair share of made-for-TV films. But perhaps you didn't realize that Lifetime movies are really where she shines--no one plays crazy like Heche, and no Lifetime movie is better than one where there's a crazy person having a freak-out. Heche might be most memorable in 2004's Gracie's Choice, where she plays Kristen Bell's drug-addict mother. While Bell struggles to raise her three younger brothers, Heche careens in and out of her life so believably that if you're about to get your period you'll cry at least five times by the time Bell gains legal custody at the end.

But my favorite Anne Heche role is in 2006's Fatal Desire, the best Lifetime movie ever made about love on the internet going wrong (and that's saying a lot!). Heche stars opposite Eric Roberts, who she meets at the Atlantic City casino where he works. Although she's married, they quickly start up an illicit affair, with juicy Lifetime sex that includes silhouettes of Anne's pointed toe up in the air, close-ups of Eric's hands grabbing her body, and her crazy head lolling all over the bed. Anne goes back home, but the affair continues online...until Eric stars getting all-cap emails from Anne's husband that tell him something so shocking that he flips over his coffee table. By the end of the movie, Anne has crushed Eric's soul in some of the most awful ways imaginable, and that's all I really want out of a Lifetime movie.

Diane Keaton, On Thin Ice (2003)
I don't care how so-bad-it's-good Deadly Adoption is, it can't top the plot holes, bad acting, and terrible dialogue in Diane Keaton's Lifetime disaster, On Thin Ice, in which Keaton plays a mother who's forced to deal meth to pay her bills. I'm a huge fan of Diane Keaton's, so believe me when I tell you that this is by far the worse movie she's ever made, and I'm sorry to say she was also one of the executive producers. Not only is she completely unbelievable as a meth head, she doesn't even pull off being a cigarette smoker in this movie.

Like Walter White in a flappy sun hat, Keaton's character in the film only gets into the meth game to pay her bills--she would never touch the stuff! That is, until her supplier forces her to try it...because every knows meth users make the best employees! The scene reads like it's a script right out of the DARE program that was supposed help kids learn to say no to drugs:
Drug Lord: I don't care if you never try meth again, but I have to know if I can trust you.
Diane Keaton: Why would that make you trust me?
Drug Lord: Because it would.

I should mention that the drug lord, named "Hopkins," is wearing a burgundy robe and drinking red wine out of a goblet as this happens. Shortly thereafter, Keaton double-crosses him by getting all the names of other local drug dealers off his laptop. Yep, Keaton isn't long for the drug game, which is probably good anyway, because her preferred method of dealing is to park her giant station wagon in a middle of an empty field and have people come up to her window.

Now that A Deadly Adoption is here, I hope that Keaton comes out and says On Thin Ice was just one big joke on us. Even if it's not true, I'd rather believe that than that she made a movie where she portrays running out of meth like a hilarious, Father of the Bride-esque romp.

Hilary Swank, Terror in the Family (1996)
Academy Award-winner® Hilary Swank cut her teeth on TV movies, beginning with when she was kicked out of the house for being pregnant by her abusive stepdad in Cries Unheard: The Donna Yaklich Story (Swank played Donna's daughter). But the most universally revered Hilary Swank role (in the circles I run in, at least) is as an out-of-control teen in Terror in the Family. Her parents just don't know what to do with her! And they're also the perfect combo of 80s TV nostalgia: they're played by the mom from Growing Pains (Joanna Kerns) and the dad from The Wonder Years (Dan Lauria). This movie is kind of sad and a bit boring in places, but it's worth a watch just to see Swank play tambourine in her boyfriend's band and cry out in frustration that she thinks she has too many rage hormones. Is Will Ferrell going to dramatically yell out the word "hormones" in Deadly Adoption?! He'd better.

Alec Baldwin, Mini's First Time (2006)
OK, so technically Mini's First Time wasn't made for TV--but it was only released on seven screens and made less than a teacher does in a year, so it's never going anywhere other than the Lifetime Movie Network, where it's played at least once a month. Alec Baldwin's Lifetime movie is so bad that it's worse than Daniel Baldwin's Lifetime movie, Family Under Siege, which at least features an ingenious game of Scrabble where the family that is under siege spells out some important info to each other without their kidnappers (one of whom is Baldwin) seeing. But I digress, because Mini's First Time is so bad I don't even want to tell you about it.

OK, so Alec Baldwin is in a loveless marriage to Carrie-Anne Moss from The Matrix (yes, really...Jeff Goldblum and Luke Wilson are also inexplicably in this movie), and he has a vapid stepdaughter who's a senior in high school, Mini. Like so many slutty high school girls on Lifetime, Mini decides to become a hooker just for fun, and is shocked when one of her first clients turns out to be her own stepfather. Instead of running away or confronting him, Mini goes into the bathroom, looks at herself in the mirror, and says in voice-over narration, "I mean, why not? He wasn't my real dad." (Yes, the fact that they even tried to release this movie rather than just selling it directly to Lifetime is incredible.) So, in a Southern accent, she yells through the door that he should turn off the lights, then comes out and blindfolds him with his tie.

Who among us hasn't had sex with someone without seeing them well enough to decipher whether or not they're our stepchild? When Alec Baldwin falls into this trap, he decides to just go along with it and bang his stepdaugther all over his house. Carrie-Anne Moss is a total ho who's drunk all the time anyway, so who cares? And Mini likes sex and is 18, so we're supposed to find it all Cruel Intentions-y and not totally gross when Baldwin performs oral sex on her under her bearskin comforter while wearing pleated khakis.

Mini's First Time came out right before 30 Rock, and if anything this movie will make you thankful that Baldwin will never have to stoop this low again, even if he's married to someone who's was only nine years older than Mini when he met her.

Rita Wilson, Invisible Child (1999)
While Mini's First Time is one of those Lifetime movies I wish they'd stop airing, Invisible Child is one of those rare treasures that pops up so infrequently on Lifetime that it's become urban legend among Lifetime movie aficionados. (Every now and then someone uploads it to YouTube before it's pulled off, so I suggest you do a search and watch it immediately if you find it.)

Invisible Child is the unpredictable story of an English nanny who goes to work for a new family with a secret. No, the secret isn't murrrddderrr, and no, the nanny doesn't sleep with the dad, even though they do have a platonic hot tub scene together--I told you this Lifetime movie is unpredictable! Except for the fact that its title is its subject--in this case, the invisible child of Rita Wilson, the family's matriarch.

Rita also has a couple of real children--the older of which is the stereotypical 90s wise child (back then it was just cheekily hilarious when children were wise beyond their years due to having awful parents) played by a brilliant Mae Whitman, who refuses to answer the glowing tweets about her performance that I send to her every single time I watch this movie. Whitman even has the perfect 90s wise child name, Doc, and she goes along with her mother's delusion in order to make everyone happy.

Things are laid out pretty quickly for the new nanny. Before she even gets the job, the dad (played by Victor Garber) tells her about their "other" daughter. "Her name is Maggie," he intones, "and she exists only in the mind of my wife." Dad explains that he doesn't want to have to lock his wife away, so they all just play along, and the nanny will be expected to do the same. Inexplicably, she takes the job, and while Doc cheerfully shows her the ropes ("Don't forget to eat Maggie's lunch!"), Rita plays tag with her imaginary daughter in the backyard.

But the nanny gets worried...Doc has a little brother who believes he has an invisible sister. And the psychiatrist she visits on the DL agrees that while Doc will be fine (she's just enabling her mother's weird fantasy while teachers look on confusedly, NBD!), the little boy could be in trouble. Meanwhile, Maggie's grown ill.... Invisible Child isn't as flashy as some Lifetime movies, but if you pretend Rita Wilson was totally in on the joke while she sits at Maggie's bedside, I guarantee it will be funnier than Deadly Adoption could ever be, every time.

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Before I get started with the third part of these series of articles that look at several songs by The Beatles that may have slipped through the cracks and minds of casual fans I would like to clarify something: every single song that I have listed in these articles is one that I have listened to many times and I obviously know its value and importance. I also understand that most people reading this post are in the same position. Last but not least, I would like to wish Paul McCartney a Happy 73rd birthday.

5. Two of Us

"Two of Us" is a song written by James Paul McCartney that appears in Let it Be, The Beatles' penultimate album where recording is involved, but the last one to be released. The song was recorded live during The Beatles' famous rooftop concert at London's Apple Studios on January 30, 1969. Paul McCartney claims that he wrote this song for his first wife Linda, but several critics have expressed their belief that part of the lyrics at least are aimed at John Lennon. Their friendship was in shambles at that point in time.

The story behind the song's lyrics is filled with nostalgia. The first verse talks about two people going on a drive on their way back home. The second one is about writing cards and sending letters, while the third talks about standing in the sun. The most important part of the lyrics is arguably in the chorus, though.

Throughout the entire song McCartney is speaking to an unidentified person, to whom he is basically asking the other person to look at all the memories that they have constructed together and to see how far they've come and how far they could still go.

4. Yes It Is

"Yes It Is" is a song written by John Lennon, credited to the Lennon-McCartney songwriting team that came out in 1965, as the B-side to The Beatles' highly successful #1 single, "Ticket to Ride".

The lyrics tell the story of a sad love song. In it, Lennon remembers a past love that he has been unable to get over completely and how it affects his current life. This is shown given that aspects of his present all seem to go back to his past love, as different things seem to remind him of her, no matter what he does.

The most important musical element of this tune, and the reason it stands out, is its three-part vocal harmony. They are both complex and dissonant, and an early example of the band's experimentation in music, which would be more pronounced in later albums and works. "Yes It Is" also serves as one of the first compositions in which George Harrison used a volume pedal guitar.

The feeling expressed in this composition is universal. Anyone that has ever loved and lost that love can relate to it, given that at times it seems that no matter how hard you try, any random thing reminds you of that loved one, whether it be a sight, a smell, or a sound, it is inevitable.

3. I've Got a Feeling

"I've Got a Feeling" is one of the most interesting pieces of work from The Beatles' final album, Let it Be. The main reason being that it could very well be the last true 50-50 collaboration between Paul McCartney and John Lennon, since it's the combination of two unfinished songs.

The instrumental part of the tune in itself is completely optimistic. Its opening riff is electric, optimistic, and cannot help but bring a smile to one's face, given that it is filled with energy.

The most important aspect of the composition, in my opinion, is in the lyrics, where the collaboration between the two geniuses is more noticeable. The words written by McCartney are brimming with happiness and optimism. He wrote them for his then girlfriend but soon to be wife, Linda Eastman, declaring how throughout his entire life all that he had been looking for was someone just like her. Anyone who has ever been in love with a special person can relate to that sensation, as it is without a doubt the greatest on this planet.

Lennon's lyrics, however, send a different message. The previous 12 months had been among the most difficult in Lennon's adult life, given the personal and professional pressures he had been facing. Instead of using a first-person point of view, however, he generalized his hardships, making his part in the song a recognition that one is never alone nor the only one to go through difficulties, that we are all in this together. This, in a way, complements excellently with McCartney's lyrics, as they also have a touch of optimism in them.

In all, "I've Got a Feeling" is a true gem from The Beatles discography and a great song to listen to improve one's mood.

2. Dear Prudence

The fourth song in this list, "Dear Prudence", has always been a personal favorite of mine. It was written solely by John Lennon, but as used to be the case with most if not all of their compositions, credited to Lennon-McCartney.

Lennon wrote it while on the famed trip to India with the other Beatles and their wives to visit the Maharishi Mahesh Yogi. This where the band wrote most of their 30-song two-part album simply titled The Beatles.

The instrumental part of the song reflects the effect that the visit to India and its purpose (the study of transcendental meditation) had on Lennon and the rest of the band, given that one almost gets the impression that it is being played, recorded and composed out on a field. This sensation is heightened by the gust of wind with which the song opens.

The lyrics, on the other hand, are pretty straightforward. The song is directed at Prudence Farrow, sister to Mia Farrow, who was also in their travel group. She had gotten so involved in transcendental meditation, that she would lock herself up and not spend time with the rest of the group.

The main reason for which I picked this song is the part that it plays in some really macabre Beatles and pop culture trivia. It is written for Prudence Farrow, whose sister Mia acted in a movie titled Rosemary's Baby that came out later that year in 1968. Roman Polanski, whose wife was murdered the following year by Charles Manson and his family, directed the film. Manson was obsessed with The Beatles. Rosemary's Baby was filmed on location at The Dakota building in New York City, where in 1980 John Lennon was shot and killed by a mad man.

1. Long, Long, Long

"Long, Long, Long" is a song written by George Harrison. It was published as a part of The Beatles' massive album titled The Beatles, which came out in 1968. It tops this list due to the fact that is arguably the less well known song appearing in this list, especially given that it was written by Harrison, the youngest and quietest Beatle and that it appeared in an album with many excellent songs. It is, however, one of The Beatles' most beautiful compositions and one of the hidden treasures of their discography.

The instrumental aspect of the song is Harrison at his best, as it captures his very essence. "Long, Long, Long" is a quiet tune, song almost in a whisper or as if the vocals are coming from far away, as well as the music. The music, however, gradually increases its volume, as if it is getting closer to the listener, before distancing itself again, to create a sense of loneliness, broodiness and desperation. The composition, however, is also peaceful and calm, which is a testament to Harrison's deep connection to spirituality and nature.

The most beautiful part of this tune, however, is the lyrics. They also, in my opinion, give it its power. "Long, Long, Long" is a sad love song, as many of Harrison's compositions at the time. The song begins with the singer wondering after a lot of time has passed, how he could have lost a past love, given how much he loved her.

He then goes on to express how he is happy to have found that love once again, and how much he cried for it over the years. In the end he goes on to express his undying want and need for that love. The lyrics are a testament to the depth a love can reach over time and the devastating effects of losing it, seemingly out of nowhere, and the inconceivable joy that comes with recuperating it. "Long, Long, Long" is without a doubt one of the sweetest and most pleasing songs to listen to in The Beatles' catalogue.

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ACT Theater Seattle recently opened the intriguingly titled Threesome, which one might be led to believe is a play about sex and relationships. Threesome is that and more. It's a complicated story of an Egyptian couple (Leila and Doug) that invites a man to join them in what is to be a first threesome for all the players.

Threesome opens with Leila and Doug sitting in bed innocently dressed in pajamas and awkwardly discussing what is about to happen, how it will affect their relationship and man / woman issues. Everything shifts when (spoiler alert, but you might want to know this before attending) Doug bounds on stage fully naked and ready for the adventure of a threesome.

Then, things get really awkward, funny and interesting as the three novice swingers attempt to discuss their way through something very unfamiliar and far more complicated than it appeared on the surface. Throughout the first half of Threesome, we learn much more about the three character's history and how they got into what becomes a far more complex and political (both individually and culturally) situation.

As the show only has three characters, each actor really has to be fully present at all times. There's no hiding of anything (both figuratively and literally as clothing and body image become more of an issue as the show progresses) as the characters delve deeper into their past and present motivation.

In Act Two, everything changes as Doug works on a photo shoot of Leila for her forthcoming book. Only then does the audience begin to see the full-blown issues of politics and gender bias emerge as the whole story materializes.

This is a show that is both entertaining and thought provoking - leaving the audience talking about many different issues as they walk out the door. It is beautifully portrayed by the three actors who ease the audience through a complex journey of exploration and insight.

Threesome continues at ACT through June 28 when it moves to New York's Off Broadway 59E59 Theater.

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"You really like those AMC shows don't you?" a woman asked me recently. To which I said, "Yes, I do." For AMC means it when they say story matters here. Also, it's their compelling characters who give depth to their stories. Therefore, both story and characters matter at AMC.

Furthermore, it's the stories that really capture us, when a character starts out good and ends up bad, or vice a versa. "That's a bildungsroman," another woman said to me a while ago. For if I hadn't met her, I perhaps never would have heard of such a word. Bildungsroman, a German word, is basically about a main character in a novel going through moral and psychological growth. Like in the book and film Captains Courageous when the spoiled rich boy begins bad, to become good. Or in the Star Wars saga when Anakin Skywalker begins good, turns bad as Darth Vader, to be finally redeemed by his son Luke Skywalker in Episode VI: Return of the Jedi.

On good vs. bad, much has been discussed about the character Don Draper of AMC's Mad Men, as the series finale aired last month on May 17, 2015 concluding seven seasons since 2007. Monster, bully, selfish, Don Draper, exceptionally acted by Jon Hamm, has been called all of that and more, all basically, to be left and free for anyone's assertion. Nevertheless, faithful fans never intended to watch Mad Men every Sunday night expecting Don Draper to one day become Gandhi. Only because, it has been consistently shown to fans that there's more to Don Draper than his vices, and about the show itself, all taking place mostly in the 1960s.

Such as, on the surface, it may appear that Don Draper is a selfish person. But is he truly a selfish person? In season 4 episode 12 titled, "Blowing Smoke," the year is 1965. The start-up ad agency Sterling Cooper Draper Pryce (SCDP), formed on December 16, 1963 to evade a takeover by rival giant McCann-Erickson, is now trying to sail afloat. Lane Pryce asks the partners to each contribute a set amount of cash to stay in business. Don, Roger Sterling, and Bert Cooper to each give $100,000, with Lane and junior partner Pete Campbell to each give $50,000. Only Pete didn't readily have $50,000, who afterwards said so to Don. Then Don says, "Pete, I'm doing everything I can." Later, Pete tells Lane. The Englishman then smiles while saying, "Calm yourself. Don paid your share." "What?" Pete replied. To which Lane added, "Perhaps, you weren't supposed to know that." Later on Pete sees Don across the hallway. Their eyes meet. Pete gives a grateful nod. Don also nods. Then both men walk purposefully away.

Yes, we're in 2015. And $50,000 may not seem much to some. Still, $50,000 is a lot of money. Need proof? Just ask anyone with college loans.

Though in the year 1965, it helps to pause to appreciate the magnanimity of what Don Draper had done. According to dollar times dot com, in 1965, $50,000 had the same buying power as $376,301 now (bls dot gov figure is $375,554). Furthermore, Don also paid his share along with Pete's, to combine at $150,000 then, having the same buying power as $1,128,904 in 2015. Also earlier in the same episode, Midge Daniels seeks Don, catching him as he just left work while in the grand lobby of New York's Time-Life building. Don helps her out at her apartment by giving her $120.00 for one of her paintings, which has the same buying power as $903.00 in 2015. And speaking of college loans earlier, the cost of tuition at Harvard in 1965 was $1,760. So make no mistake, both $50,000 and $120.00 had amped-up turbo powered worth in 1965.

True, Don Draper is not a saint, for even both actor Jon Hamm and Mad Men creator Matthew Weiner have been known to agree, in their own words, during countless interviews. One such interview is in GQ magazine's April 2015 edition. For on page 171 of the article titled, "Don Draper's Gonna Die!" by Brett Martin, lead actor Jon Hamm states, "I'm the guy who lives with the guy every day, and I'm like, 'No, no, no, no, no,'" he says to those people who would excuse Don's behavior. Even so, Don Draper, advertising creative director, whose real name is Richard "Dick" Whitman, is not at all the sociopath some readily claim him to be. For on Quora, titled, "Does Don Draper have some traits of a psychopath?", Liz Mullen, sports writer, gives a sterling, thoughtful, balanced answer. The following are excerpts as she says, "He feels guilt and remorse. He feels more love for his children than Betty Draper Francis, the mother of his children. Sociopaths feel nothing." By also mentioning his ex-wife, Ms. Mullen makes another good point in that Mad Men is not all about Don. For Roger, Bert, Pete, Harry Crane, Peggy Olson and Joan Holloway all have some culpability about them, making them all believably multi-dimensional.

Don has done bad things, but he's no Walter White. Leading us to Walter White from AMC's Breaking Bad that began in 2008, and concluded on September 29, 2013 after five seasons. A great show, which exceeded in every way in acting, writing, directing and cinematography.

A true bildungsroman character to the max! For in the online article titled, "Breaking Bad: How Vince Gilligan Created TV's Greatest Anti-Hero," by Sanjiv Bhattacharya on September 22, 2013 for Esquire, it stated that lead actor Bryan Cranston was blown away by the pilot script. Then afterwards, it states, "... when Gilligan explained that he wanted to change this chemistry teacher from good to bad. 'My jaw just dropped. I told him, I don't think that's been done in the history of serious television.'" And after all was said and done, Breaking Bad would go on to win 16 Primetime Emmy Awards and well deserved every one.

Breaking Bad wasn't monochromatic. Shot in Albuquerque, New Mexico as the story unfolds of a high school chemistry teacher turned meth cook, drug dealer, and killer, with wife Skyler White, acted by Anna Gunn, trying to maintain home and hearth, Breaking Bad also showcased a colorful diverse cast, like AMC's other yet current great show, The Walking Dead. Besides Walt, Skyler, son Walt Jr., baby Holly, DEA agent brother-in-law Hank and his wife Marie (sister of Skyler), and Walt's accomplice former student Jesse Pinkman, there are many ethnic characters such as Hank's friend DEA agent Steven Gomez, assistant principal Carmen Molina, Krazy 8, Combo, Huell, Gus Fring, Andrea Cantillo, son Brock, Tuco, Hector and the deadly Salamanca Twins. And there's another character, the beautifully shot desert panorama by Michael Slovis.

About Breaking Bad's popularity, Melissa Bernstein co-exec producer on season 5's DVD sums it up by saying, "Vince is very much about what would a real person do?" Another reason of the show's success is that it blends humor with drama. And this leads to The Walking Dead.

The Walking Dead is quality drama. For the central theme is not about the gore or survival, but about cherishing humanity. We cherish that which is elemental if it is on the verge of being lost. Lead character Rick, acted by British actor Andrew Lincoln, and his group have moved into new digs this past season 5. A walled community of spacious homes so beautiful, you'd think each could be on the cover of Architectural Digest. And it's a show truly worthy of an Emmy.

In fact, I've gone as far by sending a one-page letter this past March 20, 2015 to the head of the Television Academy, Chairman Bruce Rosenblum. For within I stated, "As a fan of The Walking Dead, I implore you to please become aware of the Emmy worthiness of this AMC TV drama." Yes the ballots are out, as mentioned recently on June 15, 2015 in USA TODAY. And Mad Men may take it all. Still, to use the words of Badger in Breaking Bad's series finale, he says, "Damn, man, couldn't he [Jesse Pinkman] at least throw a brother a bone?" And so to the voters of the Television Academy, on behalf of all The Walking Dead fans, please grant the show at least an acting, writing, or a directing nomination. Long live The Walking Dead, and AMC.

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50 Cent and his A+ abs. (Photo: Frigo / Splash News)

By 50 Cent as Told to Ashley Weatherford

A decade after his debut album, Get Rich or Die Tryin', 50 Cent is a very different man. He's eschewed his trademark bulletproof vest for tailored suits (or no shirt at all, if you consider his most recent campaign for underwear brand Frigo), acts now more than he raps (he'll join Jake Gyllenhaal in Southpaw this summer and has a leading role in Starz's crime drama Power), and launched health brand SK Energy shots. The Cut spoke with 50 Cent about his surprising admiration of Floyd Mayweather, how he staves off boredom at the gym, and why he always surrounds himself with cheese.

Related: Rob Lowe on Dadbod, Wellness, and So Much Coffee

How I start my day: It fluctuates, but this morning I got up at 7 a.m. to be at the gym by 7:30 a.m. I usually wake up at 9 a.m. to be at the gym by 10 a.m. I'll have liquid protein before the gym. I'm not really a breakfast person. Like this morning, I was like: I'm not hungry yet. I was still wiping my eyes at the gym. When I do have breakfast, it's at 11 a.m. I'll train and go to the office by 11:15 a.m. If it's a press day, a stylist meets me there to figure out what I have to wear, and after I get dressed, I make my way over to start publicity and professional stuff.

How I like to sweat: I have a trainer because it's easier for me to take my mind off of how much I'm doing. If you concentrate too hard and you're writing down how many sets you did, then you'll only do a few and feel like you did enough. Without the trainer, I'd be walking around, looking at people, and listening to music. I could sit there for two hours and do half the work. When I go to the gym casually without him, it doesn't feel like a workout. I'm not really into lifting heavy weights, but using smaller weights as cardio. It keeps your heart rate higher and I keep track of my heart rate on my tablet to make sure it stays high. I only take 30 seconds of recovery.

To me, wellness is: Just being conscious of your physical [body]. When I work out, I feel better. Everything about me -- my spirits -- is just in a different space. Because I do it before work hours, it gives me a chance to think about everything that's in front of me for the day. Like me, females will go towards cardio. They'll go for cardio work and while they're there, it gives them a chance to think for a while.

Related: Jordana Brewster on Chocolate Pizza, 'Uplifting Podcasts,' and Being Well

How wellness has changed for me: Watching professional fighters and their process changed everything for me. I don't care how out of shape they are, they can make weight. [Editor's note: Boxers frequently gain or lose weight to fight within a particular weight class. It's referred to as "making weight."] They're training to perform on the highest level. In four weeks, you can see a guy who's 180 pounds drop to 154 pounds. Like Floyd [Mayweather], he's naturally 147 pounds, and he'll fight at 152 or 154. He has Fatburgers during training camp. He doesn't even like to stretch. Before his fight with Ortiz, we were in Orlando together and I was like, "Yo, when are you going to start [training]?" This was two in the morning in the nightclub. He goes: "I'll start tonight." When we left the nightclub, he pulled around the corner, put his clothes on in the backseat, and ran six miles.

My biggest wellness struggle is: Dieting. It is the toughest part and the most important part. Usually, when people try to lose weight, they start eating less and it's the exact opposite of what they're supposed to be doing. You're supposed to be continuously eating. If you eat one meal a day, like a salad, your body is just holding onto the fat from the dressing because it's in survival mode. People don't make the adjustments well.

How I eat when I'm alone: I can have a cheese sandwich and feel like it's a full-on meal. That's what was in the house when I was growing up. If you ask my grandma, she'll tell you I like cranberry juice and that cheese always has to be around.

Related: Can Lemon Water Really Help You Lose Weight?

My wellness advice is: To be conscious of what you think is the best version of yourself. To create those goals and not necessarily feel like you have to do it the first day you go to the gym. What happens is, people will go in, they'll train hard, and it will hurt. The recovery process will make you not want to come back tomorrow. If they haven't stopped by GNC to get something that will help them recover, or they're not taking any amino acids or something that would help them not feel completely fatigued following their workout, then there's going to be a point when they won't show up to the gym anymore. Also, trying to adjust to a healthier lifestyle. Child obesity in America is an extreme issue. It's because kids are at the computer or on Playstation instead of at the park. Creating situations where kids can be active and physical is also the responsibility of the parents. If there are things like organized sports, they can actually get in and get out and get moving.

This interview has been edited and condensed.

More from The Cut:
A Guide to Matcha, the New Green Drink of Privilege
Can Gummy Candy Make You More Beautiful?
5 Easy Workout Moves That Will Make You Stronger
A Sports Illustrated Model on Being 'Well'

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Lindsay Mendez, Carra Patterson, Sas Goldberg and Gideon Glick in
Significant Other by Joshua Harmon. Photo: Joan Marcus

Playwright Joshua Harmon burst into view in 2012 with Bad Jews, one of those plays that sounds like a bad idea but turns out to be very good. The Roundabout produced Harmon's comedy at their intimate Black Box Theatre and remounted it the following season, upstairs in the Laura Pels. Now Harmon returns to the Pels -- no need for a bare-bones tryout, this time -- with his new play. Significant Other is another smart, laugh-a-minute, contemporary comedy from the author of Bad Jews.

From the first moments of the first scene--with lovelorn college friends Jordan (Gideon Glick), Laura (Lindsay Mendez) and Vanessa (Carra Patterson) at the bachelorette party of their pal Kiki (Sas Goldberg) -- it is immediately clear: Harmon has a knack for very funny dialogue and--as it turns out -- endearing, contemporary characters. His story follows 29 year-old Jordan as he anxiously watches his three best (and only?) friends get married, leaving him all alone despairing that "no one has ever told me they love me."

Glick--an original cast member of Spring Awakening--is familiar to Roundabout audiences from Speech and Debate; he also played Jack in the Shakespeare-in-the-Park Into the Woods, and will be remembered by early attendees of Spider-Man as one of the leaders of the Geek Chorus before they were ignominiously cashiered. Glick gives a lovely performance here as the needy, nerdy, obsessive hero, an ugly duckling who frets and frets that he will never turn into a swan. (Harmon is to be commended by the manner in which he remains dramaturgically true to his protagonist.) Glick--who seems fabricated of rubber cement and pipe cleaners--is marvelous, endearing enough to win us over despite his character's complaints and kvetches.

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Lindsay Mendez and Gideon Glick in Significant Other by Joshua Harmon.
Photo: Joan Marcus
Director Trip Cullman--who has a string of strong off-Broadway credits, including the rousing Choir Boy (which--alas--has gone unseen here since its 2013 production at MTC's Stage II)--does a wonderful job as Harmon's play fluidly moves along from scene to scene. This is facilitated by a compartmentalized set by Mark Wendland (of Next to Normal and If/Then) which incorporates a half-dozen distinct playing areas. These are well defined by lighting designer Japhy Weidman, whose recent efforts have included such impressive items as The Visit, Of Mice and Men and The Nance.

The trio of friends is excellently played by three disparate actresses. Goldberg is the abrasively shrill, spoiled bride with a hapless groom from Kentucky. (The role is somewhat reminiscent of the character portrayed so memorably by Tracee Chimo in Bad Jews.) Patterson does well as the sensitive counterpart to the hero, while Mendez--who garnered strong reviews as the heroine of Dogfight--gets the best material and makes the best showing of the three. Late in the proceedings, she joins Glick in a lacerating scene which provides the heart of the play; the two are well-matched, and it makes for a gripping exchange. The six male characters who float through the proceedings are split between John Behlmann (as the handsome ones) and Luke Smith (as the others).

Barbara Barrie brightens the stage as Jordan's grandmother, coping with the ravages of time while light-heartedly pondering methods of suicide. Normally in cases like this, viewers marvel at the age of veteran actors on the stage. In this case, no issue need be made of Barrie's age; it's simply a lovely performance from an actress best-remembered for her karate-practicing Sarah in the original 1970 production of Company.

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Barbara Barrie and Gideon Glick in Significant Other by Joshua Harmon.
Photo: Joan Marcus

Barrie's presence, once or twice, might actually remind you of Company; Harmon's play can be seen as a contemporary handling of the Sondheim/Furth musical, with the hero turning thirty (instead of thirty-five) surrounded by those "good and crazy people" his friends. This is countered by the notion of Significant Other as a modern-day equivalent of what Wendy Wasserstein might have done with a male protagonist. (After writing the above sentence, I looked in the Significant Other script and found that this might not be incidental: the author prefaces his play with a quote from Wasserstein's Isn't It Romantic.)

Sondheim or Wasserstein, both or neither; Harmon is in good company with Significant Other. This one is not as immediately startling as Bad Jews, but every bit as rewarding and funny. Keep 'em coming, Mr. Harmon.

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Significant Other, by Joshua Harmon, opened June 18, 2015 and continues through August 16 at the Laura Pels Theatre

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Tori Amos has long been my favorite musician (singer/songwriter, composer, flame-haired goddess). Recently I have, like much of the world, become obsessed with Taylor Swift. What do Amos and Swift have in common, other than Swift's 2014 Grammys piano head-banging performance, a clear homage to Amos and her unmistakable style (I doubt Swift would be offended -- she has been known to cover Amos in concert, like me, she's clearly a fan)? They both wrote their best albums when they decided to ditch the boys to light their own fires. What unites them, is what also inspires me and many others.

The albums I am referring to are Amos's 1996 "Boys for Pele" and Swift's "1989." Beginning with the former, "Boys for Pele" is a sonic novel that sees Amos riding horses from childhood fairytales in order to find the dark prince within. Translation, instead of staying in a spiral of being attracted to talented guys who can't give her what she really wants, she seeks to stop looking to men for inspiration and instead, inspire herself. In the climax of the album, the hit "Caught a Lite Sneeze" (my personal favorite), Amos ditches her talented exes like Trent Reznor and instead vows to "make her own Pretty Hate Machine" (the title of a smash Nine Inch Nails album). "Boys for Pele" is indeed her very own "Pretty Hate Machine." Amos ends her sonic novel in an Abbey where she escapes the boys to follow her own creative path. One might say, she is "clean" (that would be Taylor, nearly two decades later). As one of the most prolific artists of our time, Amos has an enormous catalogue, releasing studio albums about every two years for the last 22 years, as well as many special collections and live albums. But it is "Boys for Pele" that remains a source feminist empowerment for devoted fans. It's not just the message of the album, but it's damn good art. I think the two go hand-in-hand.

Enter Swift with her mega-hit album "1989" which is busting all kinds of sales and awards records. Is there anyone on the planet who has not been singing along to songs like "Blank Space" and "Style"? While Swift has not described this album as a sonic novel, I would. There is a clear narrative, made all the clearer by a read of the secret messages in the liner notes of each song, which when strung together present the storyline of the album. I believe that "1989" is Swift's version of "Boys for Pele"-- more commercial, more pop, but with a strikingly similar narrative. And while Swift, known to be a class-act, won't reveal the ex-boyfriend the album laments, it's no secret that it's Harry Styles (hmmm... Amos and Swift both said goodbye to a famous male singer of their generation and said hello to the best art of their careers). For anyone who does not think "1989" is all about building your own identity instead of attaching yourself to some guy in order to have an identity, the secret message in the liner notes for "Clean" the album-closer says it all (as does the song itself). The secret message reads: "She lost him but she found herself and somehow that was everything." I think Amos would tip her hat.

The strength in these feminist empowerment projects is clear to fans who use them to navigate their own lives, but I want to highlight the message for other artists: use creativity to carve your identity and empower others. My own experience as an author has taught me this lesson.

I'm an independent sociologist and I have published 18 books (and no, none of them are self-published although I remain open to that). I had published about a dozen nonfiction books before I wrote my first novel, Low-Fat Love (the original released in 2011 with an expanded anniversary edition just released this year). Low-Fat Love was loosely based on interviews I collected with women for nearly a decade about their relationships, body image and self-esteem. I heard over and over again about how women settled in love and life because they didn't think they deserved better. They settled for love L.I.T.E. (yes, the novel title pays tribute to Amos). To be honest, the book was also inspired by my own life, including a devastating break-up that left me, metaphorically, gasping for oxygen. Creativity was that oxygen. I wanted to take what I had learned to help other women reflect on their relationships, and most importantly, the relationship they have with themselves.

Writing the novel, which I did secretly, was not easy. I was an emotional wreck, excavating deep and dark pieces of myself and others. It was painful and freeing. Amos has said that she can hardly listen to "Boys for Pele" now because it is so raw. I get that. (For those interested, my daughter and I had back stage passes at a 2011 Amos concert and I was able to give her a copy of my book and thank her for the inspiration -- when I saw her at a private event in 2014 she told me she read it).

I was truly blow-away by the audience response to Low-Fat Love, the title of which became a term that others started using. Everywhere I went women stopped me in hallways, at book talks and even in public restrooms to tell me their relationship stories. I received countless emails and notes. The novel struck a chord in a way I couldn't have imagined, I think because it was brutally honest and hopeful. I had published many books before, including a best-seller, so I was truly stunned by the emotional nature of readers' reactions.

What I took from my experience and watching the media fire storm surrounding Swift's "tour de force" is that in a commercial culture that is often unkind to women, we crave art that allows a way out of toxic relationships, and a way into ourselves. Our process of self-discovery may be painful, but we can use it to build better lives and make more impactful art. We can also inspire each other. I wrote Low-Fat Love with "Boys for Pele" on repeat and I am now working on a follow-up with "1989" on repeat.

Patricia Leavy, Ph.D. is the recipient of the American Creativity Association Special Achievement Award (2014) and the youngest recipient of the International Congress of Qualitative Inquiry Special Career Award (2015). Her best-selling novels Low-Fat Love: Expanded Anniversary Edition and American Circumstance are available widely.

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