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Bollywood News: Mary Kom 2. Priyanka Chopra - Sanjay Leela Bhansali - Full Promotions. Onler is mistaken for an insurgent and beaten when he tries to find a vehicle despite a curfew. The film shifts to a flashback with Mangte Chungeijang Kom, finding boxing gloves in the remains of an air crash in 1. During an early fight, she chases a boy and ends up in a boxing gym. Coach Narjit Singh is the coach of the Asian Champion Dingko Singh, and Kom tells him about her boxing aspirations. He asks her to visit the gym for next 3. Watch new movie trailers, clips, news, and reviews videos on Dailymotion. Watch Online Hindi Movie, Nepali Movies, South Indian movies and Much More. She starts visiting the gym, telling her mother but not her father. Day passes and her father does not enquire about her. However, due to Kom's dedication and stubbornness, Coach Singh starts training her, suggesting she change her name to Mary Kom. After winning the state level Championship, her father confronts her for hiding from him and taking part in the sport. Her father asks her to choose between him and boxing: Kom chooses her sport. Kom has to fight a wrestler in order to arrange money to get her household cow back, which is where she meets the footballer Onler Kom. After watching the 2. Women's World Amateur Boxing Championships on television, Kom reconciles with her father, who apologizes to her for not understanding her passion for the sport. Onler meanwhile proposes to her and agrees never to ask her to leave boxing. After she wins the 2. Women's World Amateur Boxing Championships, Kom agrees to marry him; however, her Coach shows his unhappiness towards Kom's marriage decision. After her marriage, Kom becomes pregnant. Although she misses participation, she gives up her career to look after her family. Kom's delivery in hospital is then shown. She gives birth to twins and applies for a government job. However, when offered the position of a constable she refuses, feeling that as a world- champion boxer, she is above that position. It devastates her to learn that people no longer recognize her. Onler encourages her to revive her boxing training. She joins the gym again, leaving her husband to look after the children at home. Her coach is still upset about her decision to marry, but Kom makes a comeback in the National Boxing Championship. Despite scoring better than her opponent, she looses the match due to the apparent partiality of the judges. Kom throws a chair in anger towards the judges, resulting in a ban. She later makes a written apology, and the official accepts it while at the same time insulting her. Kom then asks her coach asking to train her, as he is the one who can get the best out of her. He starts training her with grueling activities. She reaches the finals of the 2. AIBA Women's World Boxing Championships. 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NBC’s The Biggest Loser has inspired tens of thousands of people—including about 1. It’s also inspired all manner of speculation about the show’s behind- the- scenes happenings. How do contestants lose so much weight in about six months, and what’s life like on the ranch when the cameras aren’t rolling? Philadelphia DJ Nicole Michalik knows. She was a contestant on the fourth season of the show, and now hosts the weekly Biggest Loser podcast on the TV Talk network. She spent weeks eating healthy and working out for hours on end. She’s kept in touch with her trainer, Bob Harper, and other contestants from the show, and while she didn’t win her season, she has no illusions about the show and its fairy tales of transformation.
Club talked to Michalik about the contestants’ food and workouts, as well as whether The Biggest Loser is a realistic portrayal of weight loss. Club: How did you get on The Biggest Loser? Nicole Michalik: I got cast because I was overweight my entire life, but I was a ham and always liked to talk and entertain. I never watched the show before, but I was sitting on my couch, probably just finishing an order of mozzarella cheese fries, and I actually turned it on. It was season two and right at the end, it says, “Do you think you have what it takes to be on season three of The Biggest Loser?” And I’m like, “You know what, I’m fat, I’m a ham, I’m competitive, I definitely think I can do this.” So, I did an audition tape. At that time I was working part- time as an on- air DJ, and I was working full- time as a receptionist. I did a whole thing about how I work all the time and I’m trying to make it full- time in radio. And I want my own show so, between working these jobs, what do I do? I go to the menu drawer. I had this drawer in my house that had all different kinds of menus from Philly. There was a place that delivered burritos, so I did that whole thing and then I’m like, “To prove to you I’m going to do it, I’m going to run up the Rocky steps.” Halfway through, I started pretending I couldn’t go and started crawling. I was like, “Please, Biggest Loser. Help me make it to the top,” and got down on my hands and knees. Then, I sent it with very Philly- centric items: Tastykakes, soft pretzels, and take out menus. The Biggest Loser: Second Chances 2 is the fifteenth season of the NBC reality television series entitled The Biggest Loser. The contestants competed to win the. I was like, “I surrender these to you, Biggest Loser. Please pick me.” Fast- forward to about a month later, I got an email saying that they need more information. So I sent them more pictures and a little bit more information. Then I never heard anything. I knew I was supposed to be on the show, but I just forgot about it and kept eating mozzarella cheese fries. In February of 2. I was just sitting on my couch, watching something on Ti. Vo and I got a phone call. They said, “Is this Nicole? Congratulations, you're a semi- finalist for season four of The Biggest Loser.” I never reapplied; they just kept all my information and used me for the next season. So they’re like, “You have to drive to Norfolk, Virginia, or Columbus, Ohio to do an on- camera interview.” So my two best friends and I drove to Norfolk, and we stayed at the Double. Tree, which means we got free cookies. And I did this two- hour, on- camera interview with two of the casting directors. Then for the next six weeks, every day was like, “Send pictures of when you were at the prom, send pictures of when you were 8. Do you know how to swim? Do you have any tattoos?” It was a million questions and a million phone interviews, and that went on for about six weeks. And this was before smart phones, so my poor mom and dad had to go to CVS to scan pictures and send them in. They really make you jump through a lot of hoops, because I think they want to see how bad you want it. In entertainment, an awful lot of stuff happens behind closed doors, from canceling TV shows to organizing music festival lineups. While the public sees the end. Created by David Broome, Mark Koops, Ben Silverman. With Bob Harper, Alison Sweeney, Jillian Michaels, Dolvett Quince. The simple idea of The Biggest Loser, familiar. Then it was a Friday night—I remember it felt so poetic, because I was at the Cheeseburger In Paradise restaurant—and I got the phone call. You’re locked away in this hotel room and the casting people have your key. We met with the executives, we went to the doctor, and we had to do a photo shoot. One day you would see somebody and the next day you wouldn’t, because producers were weeding everyone out. That was a weeklong process of every kind of interview and test you could imagine. Then they pulled us in a room and said, “Congratulations, you are season four of The Biggest Loser. Your life will forever be defined as before The Biggest Loser and after.” And I remember thinking to myself, “Who do these assholes think they are? My life is not going to be defined by a reality show.” But they were a 1. I always say, “Oh my God, that’s when I was fat,” or, “Oh my God, that was before the show.” That’s totally how I define: before and after. Anyway, then I had to run down to my hotel room and call my parents, call my best friends, and email my boss. I said, “I have no idea when I’ll talk to you,” and then they came knocking at my door and I had to hand over like my wallet, my ID, my cell phone, my computer and that was it. The next day we started shooting episode one. AVC: So it just starts right away? You can’t go home and eat a whole cake? They don’t tell you anything that’s going on. You’re locked in this hotel room, and I thought they were going to watch us so I started eating healthy that week. I didn’t even eat poorly, because I didn’t want them to think I wasn’t committed. It turns out that I probably should have, because the higher your weight when you start, the better. But I was so nervous that I actually ended up losing five pounds just being in the hotel room, because I was afraid to eat. You go to sleep, and the next day you wake up and you’re in a van. They took us to the Mojave Desert, and we shot episode one. AVC: Do you have a sense of what producers were looking for when they picked you over someone else? NM: I think it’s a combination of things. We spent an entire day getting medical tests. A lot of people aren’t actually physically fit to be able to do it. We worked out six to seven hours a day. Even though we were fat, we still had to be healthy and there were some people that just weren’t healthy enough. They also typecast every season. You have the mom who wants to be a better mom, and you have the dad who lost his father to alcoholism and doesn't want to be the same kind of dad. I was the single girl who wanted to lose weight so I can come home and slut it up around Philly. I was the typical single girl that was living in the city and working on her career and just wanted to be hot, basically. My whole thing was that I wanted to wear skinny jeans. AVC: What’s a normal day of shooting like? NM: It depends. Out of seven days, usually five days were shooting days, and two days were dark days, which meant there was no crew there, but we still worked out. My season was season four, so it was a while ago and before the show got insanely popular. Bob was my trainer, and we saw him every single day. Even the days the cameras weren’t there, he would still come over, or we would go to his house or go for manicures and pedicures or we’d go to the movies. They made us live a semi- normal life even though we had no computers, no cell phones, no televisions, nothing. For instance, if it was a challenge day, we would wake up and work out on our own and then the cameras would be there and we’d probably shoot for like two hours, then we would go do the challenge. The cameras weren’t there 2. They were only there for a certain amount of time. The day before weigh in was our last- chance workout. So that’s when we would get up at 6 a. Then we would go eat. Then we’d work out for another two hours and do on- camera interviews. Then we’d work out for another two hours, so it was always broken up like that. AVC: Was Bob your only trainer? NM: Bob was my only trainer, yeah. AVC: You can’t even listen to the radio when you’re working out, right? NM: On dark days when they weren't shooting, Bob would bring this really big Bose speaker and he and Jillian . We’d all be in the gym together even though Bob, Jillian, and Kim . We did have i. Pods and music when the cameras weren’t there. But when the cameras were actually on us, we just had to get our asses kicked with no music, which was miserable. AVC: How do the off days work? NM: We shot in Camarillo, which is about 6. L. A., so the trainers live pretty far away. On dark days the production crew would drive us down into actual L. A. We would go to Whole Foods. We would eat salad at Whole Foods—we couldn’t actually eat anything—but we were allowed to still exist a little bit. We were always with a production crew, and we always had a babysitter. Somebody was always with us, because they needed to know where we were at all times. AVC: And they would pay for your lunches and your movies? NM: Exactly. They would have a credit card, or they would be expensed. The first month we were there we had no contact with the outside world. Then, after a month, we started getting letters from home—actual, physical letters. But it wasn’t until we were there for two and a half months that we finally got phone calls. AVC: That’s extreme. NM: I didn't care. I was 2. 6, and I was having such a good time. I couldn’t have cared less. I’m not married. I don’t have kids. I’d call my mom and dad, and I would talk to them for six minutes. I’d rotate and call a best friend every week, but you couldn’t say anything, because there was somebody sitting right next to you. So no one really knew what was going on. Okay, cool, see you, love you.” I couldn’t have cared less, but people that are married and have kids and stuff, it was a lot harder on them. Love & Hip Hop Season 6 Episode 1 – Mr. Dream High: Episode 1 by Javabeans. An uneven beginning, but one that got progressively better as the hour advanced. Watch full episodes free online of the tv series Dream High 2 Episode 1 with subtitles. Subtitled in Arabic, German, Greek, English, Spanish, French, Indonesian. LATEST HEADLINES. 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To put it another way: shows like Breaking Bad go as deep as the Earth’s core, looking for gold and silver, but Supernatural digs more often in different places for the same thing. The serialization is neither good nor bad ultimately, I think. It’s a necessary step towards ending the show, for one thing; if they ever plan on marketing a final season, Supernatural is going to have to have something to end on. Even the most episodic of shows need an end point, and Supernatural has been searching for one for a long time, I think. Truthfully, it’s hard for Supernatural to not be serialized regardless; they have so many characters and dangling plot threads to juggle that the episodic MOTW- type episodes get put to the wayside. You can’t be episodic with Crowley, Rowena, Lucifer, Sam, Dean, Mary, Castiel, and the British Men of Letters all demanding ample screen time. You can’t hyper- focus on, say, the irony of a monster being more compassionate than the human that hunts it, or the idea that hardcore violence isn’t the answer, if you have to juggle an A, B, C, D, and E plot. One negative of this serialization (god, I am tired of typing that word) is that sometimes you have to do speed things up to get the information across. There are two instances in this episode where the pace goes from slow burn to frantic; once, when Crowley comes back, and second, right after when Sam and Mary hug. The first instance was one of strange plotting; we spend so much time in the A plot of “Rescue Sam” that we don’t get to the rest of the episode for nearly twenty minutes. We get, in quick succession, the Rowena- Crowley scenes, and the Vince (Rick Springfield!) introduction. It’s a lot of plot and other information to convey in just a few quick scenes, and the otherwise enjoyable languid tension- build pacing of the first twenty minutes gives way to rapid fire. The second instance wasn’t so much strange as unnecessary. Why do we need to see a montage of Dean drinking on the floor, looking at pictures of his mother, or Mary looking through the journal, or Sam staring at ceiling fan? None of this conveys information we didn’t already kn. Dean struggling with his mother’s return, Mary struggling with how far behind she is, Sam struggling with, well, literally everything); it’s thirty seconds or so of time spent that we didn’t need. It’s frantic, but not in it’s need to give information, but to kill time. Having said that: I think that The CW made a wise, wise decision in having Andrew Dabb and Robert Singer take over. I’m not sure what it is about these two guys, but they have a better grasp on Supernatural than anyone since Eric Kripke, and if you catch me after a few cocktails, I might even put them above Kripke. One thing that Dabb and Singer seem to understand is the darkness of this world; Sam being visibly tortured by a blow torch was a stunning change for basic cable. How many times have we seen shows walk right up to the edge of darkness, and have the victim be rescued? Each time Toni Bevell went to torture him, I expected Dean to ride in and save the day; and it never happened. Supernatural has a deep, deep foundation; it’s set in concrete and stone, and one could dig for years and years without reaching the bottom. Dabb and Singer are veterans of the show, and the TV business in general, and after this first two episodes, I believe they are on the best track possible.* * *I am fascinated by Mick and Toni as a pair. I don’t know who’s really in charge; he calls her lady, and she appears to take orders from him, but has more influence than a typical foot soldier. I struggle, too, in finding the core of her character; there is a real void- likeness about her–a sense of evergrowing sadism that burns brightest in the dark. She isn’t a sociopath, or a psychopath, or any sort of unfeeling monster; she feels fear acutely, maybe more than most. Her tangle with Sam shook her up, and when Mick told her she was going back to London for punishment, she looked at him like a cornered animal. Mick, for his part, seems like middle management. He has juice, but it isn’t his to use. He’s a weapon, not the person wielding it. I find it difficult to locate his center, as well; does he care about the possibility of every American hunter being killed? Does he care about the lives affected, or the reasons why hunting in the States is so fractured and decentralized? I find it hard to believe that anyone at all wouldn’t have reservations, and I especially find it hard to believe that someone who spends every waking hour trying to stop monsters from killing humans would be 1. I suppose I am being naive. You don’t call in a hitter in the off- chance you’re planning on killing someone; you call them in when it’s time to pull the trigger. Mick and Toni, and the rest of the British Men of Letters, appear to have made their decision a long time ago.* * *The grimace on Dean’s face when Mary called John a great father was perhaps the most telling moment of the entire series. How hard it must be to re- litigate Dean’s breaking from John’s orthodoxy; how hard it must be to have to be the one that says it out loud. Dean hasn’t been a John’s Disciple in years and years, but it’s one thing to accept truth and make it a part of your foundation, and another to speak it to someone you care about. Dean breaks it to Mary as gently as he can, telling her that John changed, but even that isn’t the whole truth. John didn’t change as so much disappear, falling into a black hole so deep and dark that he became a part of it; and by the time he climbed back out, nothing was left of the father that tucked them in at night. Sam may have given Mary John’s journal, but it’ll be up to Dean to explain who John was. It’ll be up to Dean to parent her, to bring her along in a world she was never meant to be a part of. It certainly won’t be Sam; his mother may as well be a stranger, or an old friend from Kindergarten that moved away. John is dead, Samuel is dead; Dean exists in her time and his, in the past and present, and he has to make sure that he doesn’t leave her behind, or stop her from making her way forward. He has to, essentially, become a parent. How unfair life is, that Dean must do this again.* * *I have always related to Sam Winchester. I have always found his pain, and his guilt, and the deep insecurities to be similar to mine. If Dean is forced to be the adult, and bring along another child into adulthood, then Sam is the one stuck in perpetual childhood; always missing a key piece of the puzzle, always taking the hits, and always being the first one to stick his hand out of the dirt and drag himself into the sun. Sam doesn’t know his mother; he doesn’t know if she likes tea, or coffee, or if she has a peanut allergy. He doesn’t know what her hands feel like, or how she smells when she carried him to bed, or the kind of movies she loves. She is a stranger; a friend from long ago, or a figure in a dream that you can’t get enough of. He is awkward around her; unsure of how to communicate, how to make her laugh. But instead of running, or hanging back in fear of not being able to get through, he opens up. He offers her a place to talk, and experiences of his own, and makes sure that she knows, first and foremost, that he is willing to help her. In his greatest moment of vulnerability, only hours since he was brutally tortured and assaulted, Sam chooses kindness and empathy over fear and anger. He brings her the journal to help her fill in the blanks; he tells her that, just by being here, filled in the largest blank for him. He doesn’t ask for anything. He doesn’t want anything. Sam, more than anyone in Supernatural (and really any show), has learned to appreciate things for what they are. Sam doesn’t ask for anything from his mother because he just wanted her around, flaws and all. She hugs him, and he hugs back.* * *I am interested, if a little put off, by the British Men of Letters storyline. Them as a force for evil (and make no mistake, that is what the plane on perpetrating) and as ruthless killing machines comes off as somehow flat. Is that really all they are? Just highly efficient killers of man and monster? I’m not saying it isn’t interesting, because it certainly is; just that I don’t want a great potential villain (and anti- hero) ruined because they can only play a single note. There has a been a lot of depth in these first two episodes and, it would be very disappointing for the A plot to be anchored by one long trumpet blast. Equally: I hope that Rick Springfield finds another gear as Lucifer. As Vince the rocker, he had a quiet sadness and empathy that I found so, so endearing. But as Lucifer, that same quiet serves him less well; he doesn’t have the same gravitas that Mark Pellegrino had or black comic malevolence that Misha Collins imbued him with. Springfield needs to bring more heat, and bring it loud; that skinny, jittery frame paints a picture of a Lucifer on the edge of madness, and I want to see him go there. 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