The life of Dr. Sandeep Kapoor was turned upside down when he's implicated in the wrongful death trial of one-time Playboy centerfold Anna Nicole Smith.
A terrible virus finally brings down the internet, and humans look out from the wreckage in the aftermath. Five weigh in with personal recollections: pensive, disbelieving, grieving, philosophical. We used to have movie stars and famous musicians. Now we had each other.
Home videos, TV appearances and performances from the King's early films (including Love Me Tender, Loving You, Jailhouse Rock, and King Creole) tell the story of Elvis Presley's 1950s movie career in this fascinating documentary. Also included are interviews with co-stars and remastered songs such as "Anyplace Is Paradise," "Money Honey," "Blue Suede Shoes," "Heartbreak Hotel" and "Long Tall Sally."
Sidney Young (Simon Pegg) está desiludido com o mundo das celebridades. Ele trabalha em uma revista chamada Post Modern Reviews, cujo conteúdo principal é ironizar e flagrar pessoas famosas em atos obcenos. Um dia, após um trabalho de grande repercussão, o editor Clayton Harding (Jeff Bridges) decide oferecer a Sidney um emprego em uma grande revista de Nova York, a Srarps Magazine. Sidney aceita a oferta e, aos poucos, torna-se também uma celebridade. É desta forma que ele conhece Sophie Maes (Megan Fox), sua musa secreta. Sidney então se vê no dilema entre adentrar no mundo das celebridades de vez ou manter-se fiel às suas origens, em especial à sua colega Alison Olsen (Kirsten Dunst).
Jovem surdo, mudo e cego torna-se mestre no fliperama e conquista seguidores, o que cria uma aparente religião.
A satire about the power of publicity. Robert Montgomery plays Jeff Bidwell, a dashing Broadway press agent who has his own private club where he cultivates the rich and powerful. With the help of his selfless ex-wife (Madge Evans), Jeff molds an illiterate, suicidal young woman (Sally Eilers) into a celebrity socialite.
In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.