Christina Aguilera Shows Love for Demi Lovato on Instagram – See What She Said!

Christina Aguilera is showing so much love to Demi Lovato!

The 37-year-old Liberation singer supplied some sweet words on the 26-year-old “Sorry Not Sorry” singer’s recent selfie on Instagram.

PHOTOS: Check out the latest pics of Christina Aguilera

“Sweaty, messy jiu jitsu hair,” Demi captioned her post-workout selfie.

“I’ve missed you so very much,” Christina then commented.

“And we keep on tickin – till the end of time – I looooove youuuuu! Can’t wait to continue to heave you by side now.”

The two also collaborated on “Fall In Line” off of Christina‘s latest album, Liberation.

Check out the post below!

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Sweaty, messy jiu jitsu hair.. 😝💪🏻 #BJJ #bluebelt #nevergiveup 💙🥋

A post shared by Demi Lovato (@ddlovato) on

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What Gifts Does the Royal Family Get Each Other for Christmas?

As you may already know, Christmas with the Windsors is a little bit different. One such difference? Gift-giving is reserved for Christmas Eve only so the following day can be devoted to going to church and listening to Queen Elizabeth’s speech. But that doesn’t mean the royals don’t know how to get presents for their loved ones! Here’s a look at the kinds of gifts the royal family gets each other for Christmas.

Prince George, Duchess Kate, Princess Catherine, and Prince William in the Royal Family Christmas Card 2015 | Kensington Palace via Instagram

For starters, they don’t typically give fancy gifts

Instead, the royal family is keen giving little cheap joke gifts when they do their present swap at teatime on Christmas Eve.

“The quirky tradition makes sense seeing as the royal family has access to everything they could ever want or need,” Business Insider points out. “Why bother trying to pick out something tasteful that no one has any use for when you can get something cheap that makes everyone laugh?”

We have to admit, it’s hard to disagree with that logic. Plus, giving silly gifts is a great juxtaposition to the black-tie formal set-up the royals partake in for dinner.

A Christmas tree at Windsor Castle | Jack Taylor/Getty Images

There’s an order to how the gifts are opened too

Former royal family chef Darren McGrady tells the Huffington Post gift-giving isn’t a free-for-all when the royals congregate at Sandringham Estate on Christmas Eve. McGrady explains “since the Royal Family is of German descent (on Prince Philip’s side and the Queen’s patrilineal side) they keep some of those traditions and exchange gifts after afternoon tea on Christmas Eve. The gifts are displayed on a table and the family takes turns opening them in front of each other.”

Which of course means nobody misses out on the goofy gag gifts that get passed around.

None of the gifts are serious or expensive. | iStock/Getty Images

What does the royal family get each other for Christmas?

According to the Huffington Post, Kate Middleton once gave a then-single Prince Harry a “Grow Your Own Girlfriend” kit as a Christmas present. Princess Anne once gifted her brother, Prince Charles, a white leather toilet seat — which, believe it or not, the heir apparent reportedly takes on overseas tours with him because he likes it so much. (Of course, that could totally be a rumor.)

But the award for reported best gag gift — surprise surprise — goes to Prince Harry. According to Wales Online, the red-headed royal once gifted his grandmother, Queen Elizabeth, a shower cap with “Ain’t Life a Bitch” scrawled on it.

The queen, in case you’re wondering, apparently loved it.

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Cors Anglais: Composer Max Richter Finds An Instrumental Voice For ‘Mary Queen Of Scots’

In Josie Rourke’s historical drama Mary Queen of Scots, composer Max Richter found a fresh, contemporary take on a familiar story. Centered on Queen Elizabeth I and her cousin Mary Stuart, who aggressively pursued her seat of power, the drama called for a score that was as unexpected and alive as its central characters, casting off the sonic preconceptions associated with the conventional period piece. Like Yorgos Lanthimos’ radically unorthodox The Favourite—which examined Queen Anne and her fleeting affections—Rourke’s film strongly juxtaposed the worlds of men and women, finding the latter party in power, even as their counterparts pursued every opportunity to take them down. While Mary Queen of Scots features scenes on the battlefield, neither of these films placed its focus in that realm—and while Richter offered up some heavy orchestral music and war drums for these moments, his real interest was in a different spectrum of musical colors, which were far more lyrical and lush. Putting women at the center of his score—as Rourke had put women at the center of her film—Richter came to a delightful creative epiphany, as he looked for a sound for Mary Queen of Scots, herself.

How did you come to Mary Queen of Scots, and why was this a film you had to take on?

A lot of different things came together. Obviously, the story is well known. We all think we know the dynamics and the story between Elizabeth and Mary, but this was a new take on it. It puts the women very much into the center of the thing, in opposition to the world of men that they inhabited. It makes their relationship feel different, and it casts that in a new light. I was really interested in working with Josie Rourke, who is a fantastic theater director. This was her first film project, and it’s always exciting to be in the beginning of somebody’s journey.

Reading scripts as a composer, what are you looking for?

It’s usually a lot of dimensions coming together. For me, one of the big things with Mary Queen of Scots was that it’s a period film, and it’s 16th century. That immediately chimed in with some of my own musical interests; I’m very involved with Renaissance music. Some of my favorite listening music comes from that time, so that was quite exciting, to think about trying to develop a musical language, which could be dramatic and contemporary, but at the same time had a shared DNA with the music of that period. That technical challenge was exciting. There was something quite inviting about that.

In early conversations with Josie, what was discussed?

Josie was brilliant in that she gave me completely free rein to imagine a musical universe for the story. Obviously it’s a period film, and there was going to be historical music as well. There are various formal entertainments and those kinds of things, where we felt it obviously needed to have actual period music in it, which we sourced. But beyond that, she was completely open for me to bring my vision into the thing. I made sketches, we tried a few things out, and honestly, it all came together quite easily.

There’s a certain balance you strike here between the expected colors of war—of the world of men—and a more light and lyrical sound. How did you conceive of this story’s emotional core?

There’s a few colors that I was playing with in navigating the story. The first thing is that I wanted to have these quite abstract women’s voices—there’s no text, but there are these sustained tones, and they provide a psychological context, I think. It’s a female-driven piece of storytelling. It’s kind of a love story; it’s multiple love stories, really. It’s the two of them navigating their relationship, and they also have love relationships with other people, and it’s about how that plays out against the historical backdrop. I wanted women’s voices really at the center of the score, and that’s why the work is lyrical.

Then obviously, there is the world of men, and the world of men in this film is generally associated with brutality of various kinds. There are lots of quite heavy drones, and a lot of heavy orchestral music, with low-register instruments, bass instruments as pulsation. Then you’ve got war drums, evoking this idea of the drums being used to propel the various combatants in these various battles and skirmishes. But also, ultimately propelling Mary to her execution. It’s the executioner’s drum. That’s the psychological dynamic of the various colors of the score.

What part did the harp play in your musical palette?

The harp works, in a way, as a domestic storytelling color. There are many scenes where somebody’s talking in a room, and I wanted something which felt a bit lighter and more domestic, more everyday for that material. So the harp is playing, and it also connects to the Gaelic harp at one point; you have this classical harp, and then you have the Gaelic harp. One of the main, big themes is played quite often by a cor anglais. I wanted to use that because it does have a reedy, almost Renaissance-y color, this modern cor anglais. It’s like a big oboe, but I also wanted to use it because of its name, actually. Because in a way, it’s a little Easter egg: Mary was [raised] in France, and then came to Britain. I liked the idea of having this instrument with a French name, playing her melody. It’s Mary’s voice, really. The instrument was perfect for that story.

Were there other ways in which the film’s 16th century setting manifested in your work?

There’s a lot of choral music in the score, and there are these wordless female drones, but then there’s also more written-out choral music, and that uses the language of 16th century Elizabethan, polyphonic choral music. It uses that grammar, so it’s written in that style, and it feels in some ways embedded in that period. Apart from that, a lot of the orchestral music is built around these repeating bass phrases, and again, that’s very Elizabethan. At that time it was called a “Ground bass”; now, there’s usually a loop. But it’s this idea of a repeating bass line, and a lot of the music is built around that. So, there are technical little procedures, which I’ve pulled out of Renaissance music, and I’ve just imported them into the score.

What was your process in finding recurring melodic lines that felt right?

Honestly, I write them down on a piece of paper. [Laughs] That’s the starting point: I sit at the piano, and I just find things, and play things, and slowly, the thing takes shape. Once I have the bare bones of it, then for Josie or anyone I’m working with, they need to be able to hear it in its orchestral presentation. Then I’ll move over to the computer, and use the softwares and everything there. But it really starts with notes on a piece of paper.

When you set out to record your music, do you prefer to have a full orchestra in the room, or take your instrumental sections one at a time?

I tend to record in sections. We’ll build it up in layers, and as we go, we remove the sampled layers until in the end, we’ve got all real stuff. The choir was all recorded completely separately in different days, different sessions. Then we built up from the strings, and did a bunch of string sessions, and a bunch of brass and woodwind and percussion sessions, all separately. Then we assemble it all. So, we’re recording basically in stems, and that allows a lot of flexibility in terms of how the music is presented.

One of the film’s memorable scenes was set at a wedding, with a crowd of people marching back and forth in time to your score. How was that moment approached?

That came very early on from Josie and Wayne [McGregor], a choreographer who is responsible for all the movement. Josie and Wayne came up with this idea that they wanted to make the wedding as this ritual, so there would be the wedding itself, and there would be this formal dance, which is a bit spooky. Then they would intercut that with the drama taking place between Mary and her new husband, and various darker, more threatening bits of material. The idea was to tie all of this together with a pulse that would then be picked up within the music in the scene; there’re bits of light music in the scene being played. And also, of course, that gave me the engine for the score, that pulse. We picked a tempo, and that seemed to have worked for that plan. Then that was all choreographed and made, and once they got some way along in their process, I started to score it. All these elements pulled together, and I think it works really effectively, all these things all locked in that grid.

Were there other major hurdles you confronted with Mary Queen of Scots?

There were just a couple of things. The first is that there are battles, and we wanted to try to avoid just massive percussion going off during the battle. We wanted to try to do that in a different way. There’s quite an extended battle sequence, where it actually plays very much against that traditional battle music. I feel like it works in an interesting way. Then, the other thing was the whole last section, which is a very long piece of music, around nine or 10 minutes. It took a bit of time to get the architecture working exactly as we wanted it.

Having created so much compelling music to date, presented in various ways, what are you thinking about, career-wise, as you look to the future?

I’m always looking for the next surprise, really. Obviously I’ve always got plans for my own next project, what I might want to do next, in terms of record releases. In a way, that’s something that I can control, but there’s always that out-of-the-blue phone call, where you’re just thinking, “Yeah, that sounds good.” Film is a bit like that; you get the call, and it just sounds fantastic. A bit like this call, you just think, “I should be doing that.”

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Betty's In Serious Trouble on This Week's 'Riverdale'

Let’s play a drinking game: for every piece of evidence that Hiram Lodge is the Gargoyle King, take a shot. (Do not actually attempt this game—your liver deserves better.) This week’s episode, “The Man In Black,” is named for Hiram, and breaks down into three distinct parts, chronicling Archie and Jughead’s adventures on the road, Veronica’s adventures at the speakeasy, and Betty’s adventures at the Sisters of Quiet Mercy. The only character who appears in all three storylines is Hiram, whose villainous schedule honestly seems flat-out exhausting.

Here are five things to note from the episode.

Fizzle rocks are the new jingle jangle.

You heard it here first, kids! The ‘90s nostalgia is strong even on Riverdale, a show that never quite seems to know what decade it’s in. Fizzle rocks, the party drug that Hiram, Alice & co. were on back in their Midnight Club days, has made a major comeback in a nearby town, where Jughead and Archie wind up staying after several days on the road. Calling themselves “Biff and Cal” (a bold move to choose pseudonyms that are even less believable than their actual names), Archie and Jughead stay the night at a farm run by two gals named Laurie and Gracie. Their father isn’t around—in fact, none of the men in this town are around, because they’ve all been employed by The Man In Black, who’s building a prison-slash-drug lab on the outskirts of town. Seems legit!

Jughead is the one who figures all of this out, because Archie is too busy living his best farm boy life to care, just shirtlessly slinging bales of hay and making bedroom eyes at Laurie. Meanwhile Jughead’s like “Archie, hi, can you stop being a f*ckboy for long enough to notice that this town is extremely creepy?”

Archie almost kills Hiram.

Or at the very least, he almost gives it his best shot. He also makes out with Laurie for a pretty damn long time before conscience gets the better of him (has it even been a week since Varchie’s breakup?). “Something about this place just makes me feel at home,” he says.” I don’t know why.” Archie, bless your heart, it’s because there’s a hot girl kissing you and you are very, very, very, very dumb. Laurie then hits Archie over the head with a frying pan and ties him up in a barn, right after Jughead learns that Hiram Lodge employs Laurie’s father and owns this entire town.

Hiram arrives at the farm to… kill Archie, presumably? Jughead shows up just in time to save Archie, but instead of getting the hell out of there, Archie is determined to stay and “end this nightmare once and for all.” Jugheads points out that it’s two against four, and though Archie seems beyond reason, he finally talks him down with this trump card: Veronica would never forgive him for killing Hiram. (Honestly at this point, she might, but that’s by the by.)

The boys escape right before Hiram gets into the barn, and once they’re back on the road, Jughead suggests that they take a trip to go see his mom. At this point, she can’t be a worse bet than the rest of the parents on Riverdale!

Veronica briefly starts to trust her father again.

Thanks to the chronic lack of short term memory that afflicts so many Riverdale residents, Veronica is almost won over by Hiram swooping in to save the day at her speakeasy. Realizing that Pop’s is in dire need of a cash influx, she hosts a one-off casino night, and enlists Elio to bring in high-rolling clientele in exchange for a cut of the proceeds. But Hiram tips her off that Elio is planning to cheat on the night, and provides her with the means to out-scam him by stacking the deck.

“It doesn’t matter how you win, as long as you’re the last woman standing,” a triumphant Veronica later tells Pop, echoing her dad’s advice to her. Pop warns her not to turn into Hiram, and Veronica actually says the sentence: “Deep, deep down, maybe my dad’s not so bad.” (I’m telling you: short term memory loss is an epidemic in this town!) Pop then reveals that Sheriff Minetta’s decapitated, handless body has been found in a ditch, and Veronica is like “Oh, riiiiiight, my father is a sociopath, never mind.”

The Gargoyle King ships Jughead and Ethel.

Stop trying to make Jethel happen, Gargoyle King! It’s never going to happen! Having discovered that the Sisters of Quiet Mercy is under the Gargoyle King’s thrall, and that patients are being dosed with fizzle rocks, an unfazed Betty gets right into investigative mode. But there’s a whole lot more bad news coming Betty’s way: for instance, Ethel Muggs is her new roommate, and Ethel Muggs is now also fully insane!

“This psycho bitch,” Betty mutters in a very enjoyable voiceover, as Ethel tries to pretend that her coerced kiss with Jughead in the bunker was a “hot and heavy” makeout sesh. She informs Betty that the Gargoyle King wants her and Jughead to be together. The smart move here would’ve been to play along and get more information, but Betty’s too pissed for that, openly telling Ethel, “In your dreams.” Ethel poutily tells Betty that she’ll never meet the Gargoyle King because she’s not worthy, but the end of the episode proves otherwise.

Betty is in serious trouble.

Hard though it is to believe, things have become even creepier at the Sisters of Quiet Mercy since Cheryl’s stay. First off, Hiram seems to be running the show here too: Betty sees him show up to exchange some mysterious envelopes with Sister Woodhouse, the nun overseeing the patients’ fizzle rock dosage. Hiram is an “angel donor” to the facility, apparently. Later, Betty fakes a seizure to get into the infirmary, and finds some very poorly-hidden paperwork which shows Hiram is using the sisters’ patients as lab rats.

Armed with her suspiciously easy-to-find evidence, Betty tries to escape using the same route that Veronica and Toni used to break Cheryl out—but it’s been blocked off. She’s captured by Sister Woodhouse, forcibly dosed with fizzle rocks, then dragged into the Gargoyle King’s chamber, where misbehaving patients are sent to be traumatized into compliance. We don’t see what Betty sees in that chamber, but we do hear her scream. Later, Betty appears to be fully brainwashed, placidly undergoing a Rorschach blot test we previously saw her giving false answers to. As the Gargoyle King appears behind Sister Woodhouse’s head, Betty’s voiceover ends with, “My king, my savior, guide me through the night, gift me with your darkness, bless me with your flight.” Eep.

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Julia Roberts Majorly Mixes It Up with 5 Outfits in 24 Hours (Plus More Celebrity Quick-Change Artists)

The star of Mary Queen of Scots is ruling the red carpet while promoting the movie, wearing (from left) Chanel twice, head-to-toe Isabel Marant, Brock Collection with Jimmy Choo heels and Mizuki jewelry and – if you couldn’t guess – Chanel again. (Makes sense: She is a face of the brand after all.)

The superstar – known for her love of stylish suits – has been mixing it up this week with outsized outerwear (her Max Mara coat, worn with orange boots), rainbow stripes (her Valentino dress and coat), polka-dots and chunky Oxfords (in Derek Lam 10 Crosby and Christian Louboutin) and what her stylist Elizabeth Stewart called Derek Lam “Tuffskins.”

The future Mrs. Nick Jonas had a high-fashion Fashion Week, hitting the town in looks by Longchamp, Ralph Lauren Collection, Kate Spade New York (with Stuart Weitzman heels and Karen Walker shades) and boyfriend jeans with a Fendi bag.

It wouldn’t be a Blake Lively press tour without a gazillion outfit changes, and the one for A Simple Favor was no different – she packed five equally over-the-top suits (including one that walked down the Givenchy men’s runway, left) into 24 short hours.

Not to be outdone, Blake’s costar in the film went through a number of outfits herself, including (from left) David Koma, Cushnie, David Koma again and Fendi.

Oh, did you think we were done with Blake? Last month, the star kicked off her parade of pants looks on her Simple Favor press tour, including (from left) frayed orchid denim, a Zimmermann pinstripe and lace look, a graphic-print purple shorts look, multicolor plaid Roland Mouret, a layered velvet outfit by Brunello Cucinelli and neon Versace menswear – all topped off with oodles of Lorraine Schwartz jewelry.

In one day, the star’s style ranged from edgy (with a Mulberry bag) to retro (in Rochas with velvet Chloe Gosselin pumps) to ladylike (in a Valentino dress, Mulberry bag and Giuseppe Zanotti shoes) to comfy.

For a full day of meetings and events, the Honest entrepreneur had an equally full day of outfits, including a windowpane plaid Sea New York matching set, a pussybow blouse and pencil skirt (by Lela Rose, with Via Spiga sandals), a pink party dress and embroidered purse (all Dior) and an Onia cheetah-print kimono and pant to travel home in.

Over the course of 24 hours in two countries, the Duchess of Sussex looked impeccable in five very different outfits, including, from left: a Roland Mouret dress with Paul Andrew heels and Fendi bag; a Givenchy pantsuit with Sarah Flint heels; an Emilia Wickstead dress with Aquazzura pumps; a Givenchy skirt set with Strathberry bag and Paul Andrew suede shoes; and a Dior dress with heels by the brand.

Ocean’s 8…appears to be the number of looks Anne is trying to wear in one short day while out promoting the film. Over 24 hours, the star has worn everything from a slinky lamé jumpsuit to an office-appropriate blouse and A-line skirt; from a Bottega Veneta sparkly pocketed dress with Jenny Bird earrings to a turquoise-theme print outfit; from a Stella McCartney tiger-stripe skirt suit with Karen WAlker sunglasses to a white pants look with Alexis Bittar jewelry.

Kendall actually had five outfit changes during her busy day in N.Y.C.: In between her two Longchamp ensembles (leave it to a supermodel to look comfy in a long-sleeve dress and suede boots on a 90° day), high-waist jeans and white tee and the Elie Saab mini she wore to the Tiffany & Co. party, she posed for a pic in lingerie and hot rollers.

While most of Rosie’s outfits may be ambitious for anyone but a supermodel to pull off, even the mortals among us can agree it’s time to invest in some fabulous boots and a great red lipstick.

No time to get sick of the same old outfits! Selena didn’t stay in any one look for too long while on a press tour in London, changing from a Proenza Schouler jumper and top to an floral Isabel Marant dress and Mansur Gavriel shoes to an off-the-shoulder mini and Trademark slides to an all-black outfit and plaid coat with the Mansur Gavriel slippers again.

When you’re already known for your everyday style, as Kate is, you’ve got to go all-out for a press tour, as she did, wearing (from left): head-to-toe Coach; Oscar de la Renta with an Edie Parker bag; Mother Jeans with Roger Vivier accessories; a Rochas dress with Roger Vivier heels. 

She may only be 13, but the Stranger Things star pulls off the dramatic outfit changes as well as far more seasoned stars. She wears (from left): a Miu Miu jumpsuit with Giuseppe Zanotti boots; a Rodarte three-piece ensemble; a Gucci dress; a Wolford bodysuit under a brocade skirt suit; and a Louis Vuitton mini.

If you think that four outfits in a day is impressive, you need to see the rest of Gabrielle’s nonstop wardrobe changes during her book tour. (She’s in: a full Gabriela Hearst look; red velvet pants with a cropped turtleneck; a full Proenza Schouler look; Stella McCartney separates with a Danse Lente bag.)

Blake is in a category all her own when it comes to press tour outfit changes (seen here promoting All I See Is You) especially because she says she doesn’t have a stylist to wrangle all the outfits. You’ll often find her in a pile of beautiful shoes. (From left: she’s in Chanel, Oscar de la Renta and Brandon Maxwell, with shoes by Christian Louboutin and jewelry by Lorraine Schwartz.)

Because you deserve to see the rest of the outfits Blake pulled off in a day: See her in Monse, Chanel, Jonathan Simkhai (with a Bottega Veneta coat) and Ralph Lauren Collection.

A diva is the female version of a hustler, and noted diva J.Lo definitely had to hustle to squeeze five outifts into one day, including: a peplum Zuhair Murad outfit; Sophie Theallet jumpsuit; a Saint Laurent metallic ensemble and a Lilly e Violetta coat. 

Selena swapped outfits six times in June, including: a Miu Miu look; Victor Glemaud slip dress and top; Jacquemus mini; Christopher Kane dress and black-and-white tea-length dress (many worn with a favorite pair of Louis Vuitton sandals). 

Just imagining the suitcases Blake had to bring to Cannes to accomodate all her outfit changes (including, from left, Giambattista Valli Haute Couture, Versace, Preen and Vivienne Westwood Couture) makes us exhausted.

While promoting her book, Graham changed four times in a day – but kept the corsets consistent. She wore: a beige dress topped with an August Getty Atelier duster and Fleur du Mal belt; Nili Lotan dress; black turtleneck dress; and August Getty Atelier sheer dress. 

Another street style star who’s no stranger to a quick change in the back of the car: Jessica, who swapped styles four times in 24 hours but kept her Tod’s bag consistent. 

Multiple Dior looks in one day? Yes, she Cannes! While promoting Catching Fire at the French film festival, the star hit multiple events in four neutral-hued finds from the fashion house of which she’s the face. 

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Rio Ferdinand knocks £2.5million off mansion he shared with late wife

The former Man United and England defender put the mansion in Alderley Edge, Cheshire, up for sale at £4.5million.

It is where he lived with Rebecca and their three children before she died from breast cancer three years ago aged 34. TV pundit Rio, 40, cut the price to £3million but is so keen to start afresh with new love Kate Wright that it’s now on the market for £2million.

A source said: “This house holds many happy memories. But Rio’s life is in London and he’s trying to move on.

“He got engaged to Kate recently with the blessing of his children and there is no need for them to keep hold of this place 200 miles away.”

Rio made a BBC documentary after Rebecca’s death which followed him for a year afterwards as he tried to come to terms with the loss and its effects on him and his children. The programme – called ‘Rio Ferdinand:Being Mum And Dad’ – won a BAFTA.

After Rebecca passed away, he released a heartbreaking statement saying: “My soul mate slipped away last night.

“Rebecca, my wonderful wife, passed away peacefully after a short battle with cancer at the Royal Marsden Hospital in London.

“She was a fantastic loving mother to our three beautiful children. She will be missed as a wife, sister, aunt, daughter and granddaughter.

“She will live on in our memory, as a guide and inspiration.”

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PM suggests Serbia could intervene if Kosovo sets up full army

BELGRADE (Reuters) – Serbia’s prime minister suggested on Wednesday that any creation of a standing army in Kosovo could provoke a military intervention by Belgrade, two decades after Kosovo Albanians’ uprising against Serbian rule.

The predominantly ethnic Albanian Kosovo parliament is set to vote on Dec 14 on whether to transform its 4,000-strong, but lightly armed, defense force into a regular army.

Though that process could take years, Serbian politicians maintain that a Kosovo army could be used to expel remaining minority Serbs from Kosovo, an accusation denied by Kosovar leaders who rely on European Union and U.S. support in reforms and development of the impoverished, small Balkan state.

“I am hoping we would never have to use it (the army), but this is currently one of the options on the table as we do not want to watch this … ethnic cleansing,” Prime Minister Ana Brnabic told reporters in Belgrade.

Balkans analysts said that any action by Serbia’s 28,000-strong army against Kosovo is highly unlikely given Belgrade’s aspirations to join the EU and that Brnabic’s remarks appeared to be a sop to Serbian nationalists.

“Brnabic’s claims…are in conflict with a recent statement of President Aleksandar Vucic who said that sending the (Serbian) army to Kosovo would lead to direct conflict with NATO,” said Milan Karagaca, a former military diplomat and a member of Belgrade’s Center for Foreign Policy think-tank.

Fraught relations between Serbia and Kosovo, which declared independence in 2008, soured further when Pristina slapped 100 percent tariffs on imports from Serbia and Bosnia on Nov 21 in retaliation for Belgrade’s lobbying against Kosovo’s admission to Interpol, the international police group.

NATO’s Secretary General Jens Stoltenberg described the idea of creating a Kosovo army as ill-timed.

“Such a move … goes against the advice of many NATO allies and may have serious repercussions for Kosovo’s future Euro-Atlantic integration,” Stoltenberg said in Brussels.

He also described the tariffs introduced by Pristina as divisive, adding that such steps are making EU-mediated dialogue between Serbia and Kosovo “even more difficult.”

He urged both sides to refrain from provocative steps and statements and to seek compromises if they want to move “toward a better future.”

Brnabic said the tariff hike would bring trade with Kosovo to a halt, costing Serbia 42 million euros a month. But Vucic said on Tuesday there would be no counter-measures.

The EU has said Belgrade and Pristina must normalize relations and resolve territorial and other outstanding disputes as a condition for progress toward EU membership both seek.

Kosovo’s independence came almost a decade after a NATO air war halted a two-year crackdown by Serbian security forces against Kosovo Albanians including arrests, killings and expulsions of ethnic Albanian civilians.

Kosovo has since been recognized by more than 110 countries. A group of nations including Serbia, China, five EU members and Russia have refused to recognize it.

Although Serbia maintains military neutrality, it belongs to NATO’s Partnership for Peace Program, while retaining its longstanding political and security ties with Russia.

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Joe Jonas & Sophie Turner’s Comments Defending Nick & Priyanka’s Wedding Are So Epic

When it comes to Sophie Turner and Nick Jonas, family always comes first. And the famous couple is proving that with their reaction to an article from New York Magazine’s The Cut that heavily criticized Priyanka Chopra and Nick Jonas’ marriage. Joe Jonas and Sophie Turner’s comments defending Nick and Priyanka show just how fierce and protective they are, especially when it comes to family.

In The Cut’s article, which was called "Is Priyanka Chopra and Nick Jonas’s Love for Real?" and has now been removed from the site, the author accused Priyanka of being a “global scam artist.” The author also claimed that Nick had entered into a fraudulent relationship and needed to get out ASAP.

"At times, marriage can be a beautifully wonderful union that warms even the coldest of hearts, but sadly, this union evokes no such feeling," the post read, according to screenshots published by India Today. "All Nick wanted was a possible fling with Hollywood’s latest It Woman, but instead he wound up staring straight at a life sentence with a global scam artist … Nick, if you’re reading this, find that horse and gallop away as fast you can!"

Yikes. Those are some seriously misguided and ill-informed assertions. And Joe and Sophie made that clear with their reactions to the article.

In a Dec. 5 tweet, Joe took aim at The Cut, calling the article “disgusting.”

"This is disgusting. @TheCut should be ashamed to have someone write such evil words," he tweeted. "What Nick & Pri have is Beautiful Love. Thank u, Next."

I don’t know about you, but I’ve never seen a better use of “Thank U, Next” than right here in this tweet.

Joe’s fiancée, Sophie, also decided to tweet about how “inappropriate” she thought the article was.

"This is wildly inappropriate and totally disgusting. Very disappointed that The Cut would give anyone a platform to spew such bulls–t,” she wrote.

The two stars were clearly upset by the fact that The Cut would ever publish such an article, especially since Nick and Priyanka literally just got married days prior. The famed couple tied the knot in the early days of December in an extravagant multi-day celebration at the Taj Umaid Bhawan Palace in Jodhpur, India. Obviously, it’s a very happy time for Nick, Priyanka, and their families, so for such a negative and outlandish article to be published by a major publication has to sting a little bit.

It seems that The Cut, which was subjected to some serious fan backlash via social media, recognized their lapse in judgment in publishing the article and, in turn, decided to take it down. In an editor’s note on the article’s original page, the publication apologized for having published the story at all.

"Upon further editorial review, we found this story did not meet our standards,” the editor’s note reads. “We’ve removed it and apologize.”

At least the article is gone for good and The Cut has realized their mistake. Hopefully, Nick and Priyanka won’t have to deal with anymore hot takes like that again.

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The Cut apologizes for article calling Priyanka Chopra a ‘scam artist’

The Cut took a big swing at the outrageously acquisitive wedding of Priyanka Chopra and Nick Jonas. But it ended up giving itself the black eye — and then apologized to its readers.

While editors’ inboxes were still being sprinkled with a confetti of press releases about what brands Chopra and Jonas wore, ate, rode on, slept under, flew in and dreamed about during last weekend’s nuptials, the Cut published an article that laid the whole freebie vacuum on Chopra, calling her a “scam artist” and identifying Jonas as her mark. (For our money, the newlyweds are equal co-conspirators in the greatest swag caper of the century.)

It made the case that Chopra — after becoming successful in India — had coldly set her sights on America, and bagging an American star.

The predictable monsoon of Twitter criticism became somewhat awkward when “Game of Thrones” star and Chopra’s soon-to-be-sister-in-law Sophie Turner tweeted, “this is wildly inappropriate and totally disgusting. Very disappointed that the Cut would give anyone a platform to spew such bulls - - t.”

The site took down the story and replaced it with a statement reading: “Upon further editorial review, we found this story did not meet our standards. We’ve removed it and apologize.”

The Cut declined to comment further.

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Sandra Oh and Andy Samberg Are Hosting the Golden Globes


Sandra Oh and Andy Samberg will host the Golden Globes, the Hollywood Foreign Press Association just announced today. The awards, which honor TV and movies, will air January 6 on NBC.
(The Oscars just chose their host yesterday: Kevin Hart.)
Oh and Samberg memorably presented at this year’s Emmy awards where Oh ad-libbed that “La La Land” was the winner. And gave a shout-out to one of her old boyfriends.
“Sandra and Andy are the perfect choices to host this world-class event,” Paul Telegdy and George Cheeks, co-chairmen, NBC Entertainment, said in a press release. “They bring wit, charm and style to a room filled with the very best of film and television. It’s sure to be another unforgettable fun-filled night.”
The Golden Globe nominations will be announced tomorrow, December 6,  at 8:05 a.m. ET/5:05 a.m. PT. You can stream the announcement  on the Globes site.
Oh is likely to be get a nod for “Killing Eve.” And Samberg could repeat his 2014 Globe win for “Brooklyn Nine-Nine.”

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