Margaret Grace Denig (born September 21, 1983), known professionally as Maggie Grace, is an American actress. Originally from Worthington, Ohio, she dropped out of high school to move to Los Angeles with her mother after her parents' divorce. While struggling financially, she landed her first role as the title character in the web-based video series Rachel's Room in 2001. She went on to earn a Young Artist Award nomination in 2002 with her portrayal of 15-year-old murder victim Martha Moxley in the television movie Murder in Greenwich.

In 2004, Grace was cast as Shannon Rutherford in the television series Lost, on which she was a main cast member for the first two seasons, winning a Screen Actors Guild Award shared with the ensemble cast. Leaving the series, Grace was keen to work more prominently in film, having starred opposite Tom Welling in The Fog in 2005. She appeared in Suburban Girl, The Jane Austen Book Club (both 2007), and opposite Liam Neeson as Kim Mills in Takenin 2008. She reprised the role in Taken 2 (2012) and Taken 3 (2014). She played the lead role, Alice, in Malice in Wonderland, a modern take on Lewis Carroll's novel Alice's Adventures in Wonderland. Grace reprised the role of Shannon in two more episodes of Lost, including the series finale. In 2013, she appears in the sixth season ofCalifornication. She portrays Faith, a groupie and a muse to the stars, who captures the eye of Hank Moody played byDavid Duchovny.

There is a moment roughly three-quarters of the way through Taken 3 where Bryan Mills, the ex-CIA operative played by Liam Neeson, tells one of the film's reptilian villains that he's having a hard time figuring out the scheme that has forced him into action for a third time. It's entirely possible screenwriters Luc Besson and Robert Mark Kamen dropped it in there as a meta-joke for the audience. But even if it was, it doesn't take away from the fact that tracking the plot of Taken 3 is more difficult than believing that the Mills family has luck this bad.

The beauty of the first Taken was its simplicity girl gets kidnapped, commando dad springs into action and murders half of Paris. Even the inferior Taken 2 kept things tidy, re-casting Neeson as the captured. This time around, Neeson's Mills is the prey, having been framed for the murder of his wife Lenore (Famke Janssen). He's being hunted by an ineffectual detective named Dotzler (Forest Whitaker) and trying to solve Lenore's murder while also protecting oft-imperiled daughter Kim (Maggie Grace) from afar.

It'd be totally reasonable if Taken 3 was simply about Neeson staying a half-step ahead of Whitaker, but instead there are a series of convoluted double-crosses involving Kim's shady stepdad Stuart (Dougray Scott) and Russian gangster Oleg Malankov (Sam Spruell). Add in Kim's just-discovered pregnancy and you've got one swerve too many.

But it's a testament to Neeson's startling charisma as an action star that for all its storytelling flaws, large swaths of Taken 3 remain wildly entertaining. Though he's obviously been excellent as Oskar Schindler and Rob Roy, these late-period Bronson-esque roles are the ones that really drive home what a skilled actor Neeson is. The dialogue in Taken 3 is pretty goofy sometimes, but he sells it without looking as if he's trying to hard, and his underlying devotion to his family is always lurking behind his eyes even as he's waterboarding dudes.

The rest of the credit belongs to Megaton, who masterfully constructs explosive set pieces. In addition to a pair of high-impact car chases, there's also a clever fistfight in a liquor store and a siege on Malankov's high-security apartment, all of which manage to balance blindingly kinetic action with a clear sense of geometry and choreography—you never lose track of where Neeson or his enemies are and what is at stake at all times. It lends Taken 3 a weight that doesn't exist on the page and helps it recover from its clunky first act. It's the weakest of the trilogy, but Taken 3 kicks just hard enough to survive another day

As we gather 'round a mound of fried peanut butter and banana sandwiches, Royal Crown Pomade, sequins, and Col. Tom Parker voodoo dolls in honor of Elvis' 80th birthday, now's the perfect moment to revisit the most enduring conspiracy theory that (hound) dogs the King's legacy. You know it: ELVIS IS ALIVE!

The no-longer-in-print Weekly World News — without which supermarket check-out lines are a dull place, though the (satirical, duh) paper is still published online — enjoyed an extended pop-culture moment with its "Alive" coverage. This theory, of course, assumes that the Big E faked his 1977 death, and it shows no sign of abating.

According to a 2012 WWN article entitled "Elvis' Tomb is Empty" (note: it quotes a "famed seer" who "conducted a psychic investigation of Presley's alleged burial site" as its main source), he took such a drastic step because "superstardom made his life a living hell." After his "death," depending on who you ask (or what issue of the WWN you're reading), he's either been enjoying a quiet life out of the spotlight (possibly in the vicinity of Kalamazoo, Michigan, though he was spotted enough places to spawn a best-seller and a pair of documentaries), or he died in a 1989 Bolivian plane crash ... a theory even the WWN admitted it couldn't fake-prove.

One issue with this evidence is that Elvis isn't buried in a tomb at all; he hasn't been since October 1977, when his body was moved to Graceland due to security concerns. OR WAS IT? Conspirators point to the discrepancy between the spelling of his middle name ("Aron" vs. "Aaron") between the King's birth certificate and gravestone. Reasons given for this include that the birth certificate was misspelled ... or that Elvis himself added the extra "a" later in life for personal reasons.

Though the fervent belief that Elvis is still among us (has any other superstar inspired such fervent hopes?) remains, even in tongue-in-cheek form, there is another possibility out there. Perhaps he switched places with an impersonator, who actually died in his place in 1977, and ended up at a nursing home ... where he and a cleverly disguised JFK joined forces to defeat a cursed mummy

A Lebanese-American porn star has received death threats after being ranked the number one actress on the adult website Pornhub.

Mia Khalifa moved from Beirut, Lebanon to the United States at the age of ten before eventually moving to Miami, where she is now based.

The 21-year-old history graduate was ranked the most popular performer by Pornhub after only only a short period in the industry – but not everyone was impressed.

Her ranking drew strong criticism from many, including some in the Middle East who branded her “a disgrace” to the country and “shameful.Khalifa has since been re-tweeting the abuse sparked by those taking issue with her Middle Eastern origins – some of which included death threats.

Many took issue with a scene from one of her videos showing her wearing a hijab, a part of traditional female Muslim dress, describing it as “problematic and gross”. 

Khalifa told the Washington Post such scenes are “satirical” and should be taken as such, adding: "There are Hollywood movies that depict Muslims in a much worse manner than any scene Bang Bros [the production company] could produce."

Another user also sent a manipulated photo to make it appear as if Khalifa was in an orange jumpsuit and being held by Jihadi John, the Isis militant believed to be involved in a series of beheadings, with the caption “coming soon”.

One Twitter user threatened her head “will be cut soon” while another warned Khalifa would be the “the first person in Hellfire”, to which she quipped: “I’ve been meaning to get a little tan recently”.

With only three episodes left in the season, it’s hard to imagine a satisfying resolution to all the remaining stories of American Horror Story: Freak Show. Introducing more characters at this point doesn’t encourage viewers to invest emotionally—or even voyeuristically—in the stories already established. American Horror Story: Freak Show doesn’t need more plotlines. It needs fewer.

But heck, the show was never going to wrap up those stories anyhow, so if Ryan Murphy is going to fritter away the last few episodes (and previous seasons indicate that he will), shoehorning in a Neil Patrick Harris arc is a fine way to fritter.

Or it would be, if it weren’t so heavy-handed. Just seconds into the episode, Stanley announces with hammy significance that “there are two sides to show business.” Not surprisingly—for there are few surprises left in American Horror Story: Freak Show—that becomes the theme of the episode. Two sisters joined together, in their bodies, in their minds, and in their quest for a lover. Two specialists in feats of strength, united to free their jailed comrade. Two police officers beaten to death. Two hands taken, not the one promised. Two women grudgingly allowing an estranged husband to watch their lovemaking. Two madmen longing to saw a woman in half. And, of course, Marjorie and Chester locked in Chester’s narrow frame, scheming and battling for supremacy.

In case the doubling isn’t enough symbolism, “Magical Thinking” hammers home the idea of Marjorie as the true personality and Chester as her wooden puppet. Alice objects to him “sitting there like a dummy with that puppet.” Chester blurts to Marjorie, “Stop putting words in my mouth!” Paul says Chester’s stage makeup makes him look like a wooden soldier from The Nutcracker Suite. Chester, tempted and distraught by their request to deflower them, is calmed only by Dot and Bette’s reassurance that “you are real,” conjuring up Pinocchio’s desire to become a real boy. Get it? He’s a puppet.

That’s not the end of the over-elaborated narrative. Dell’s reminiscence of his own youth illuminates his absent fatherhood. He abandoned wife and son not merely as a burden, but as a reminder of his miserable childhood as “the black sheep of the famed Toledo lobster-claw clan,” an outcast among outcasts. But the scene, ending with Dell tending to Jimmy in the hospital, would have been stronger without his capping line, “I’m almost 50 years old and I’m feeding my son for the first time.” The symbolism of the act was clear, even facile. It didn’t need to be spoken aloud.

Despite its irrelevance and its overburdened writing, “Magical Thinking” is laced through with the kind of clever touches that keep me glued to AHS no matter how tangled and unsatisfying its seasonal arcs become. Jamie Brewer is inspired casting for Marjorie. Her voice, so distinctive with its wry mirth, tickled my memory before I placed it, and and the twinkle of her eyes and knowing smile make her a canny choice for a ventriloquist’s mannequin come to life. She portrays the imagined Marjorie with a balance of menace and matter-of-fact humor that makes the story feel more developed than it is.

Harris carries most of the episode on his shoulders, bringing brightness and depth to a sketched-out part and making the episode’s unnecessary departure from the main story a diversion rather than an impediment. As Chester, he moves gracefully from smarmy salesmanship to anxiety to lust to a childlike yearning, and the agony on his chalky face as he pleads with Marjorie in the big tent is touching.

Chester’s longing to be real—to be included, “to belong”—is not only an allusion toPinocchio. It harkens back to “Orphans,” in which Desiree read The Velveteen Rabbitto Pepper. The performers of Fräulein Elsa’s Cabinet Of Curiosities often reject the banality of the rabble’s life, but they also hanker for the inclusion they see as the birthright of the physically normative. (Dandy, Penny, Maggie, and Stanley should be proof enough that genetic ordinariness guarantees nothing, especially not acceptance or love.) But the relative subtlety of the refrain is surprising amid the blaring, blatant excess of the season.

These grace notes notwithstanding, “Magical Thinking” continues AHS’s course as a disjointed collection of incidents rather than a coherent narrative leading to a rewarding end point. The show has enough panache, enough presence and magic and sparkle, that I keep expecting it to deliver something meaningful along with its weekly dose of lurid moments and images.

American Horror Story banks on its standing as an anthology, resetting every year with a stable of gifted actors. But this season is even less substantial than its predecessors. The series resets every season, but AHS: Freak Show feels like it resets every few episodes. Shifting focus, never letting itself unwind a tale or examine a character for more than an hour, introducing and discarding romances and alliances willy-nilly, killing off characters as soon as their inner self is revealed, this season of AHS: Freak Show never allows anything or anyone to become important or resonant.

Stray observations:

• In Chester’s mind, Marjorie speaks with Jamie Brewer’s voice, but it’s not clear what Chester’s audience hears or what we, the television audience, are to infer. Does Chester provide her voice? Does he stand by, mute, as onlookers puzzle over his silence?
• After all those allusions to Pinocchio, wooden soldiers, and ventriloquist’s dummies, I can’t be the only one who braced for a joke about (ahem) wood when the twins reached for Chester’s groin.
• Stanley pretends his plan to sell Jimmy’s hands is a sudden inspiration, then whips out the emetic necessary to speed it along and ushers in a decoy ambulance attendant. Even Jimmy doesn’t seem fool enough to fall for that.
• Emily’s speculation corner, with all the potential spoilers that implies:Tonight’s “next week on AHS” reveals the return of Danny Huston, which suggests the easiest path to tie up several story lines. He crafted Elsa’s wooden legs, making him her Geppeto. He will no doubt be pressed into service to create prosthetic hands for Jimmy Darling. And unless I’m mistaken, he’s the voice of Dandy’s unseen psychiatrist, so let’s hope there’s a confrontation coming between our two saw-happy gentlemen and Dr. Feinblum.

The ongoing rock music affirmative action of the Coachella Valley Music and Arts Festival is one of the most heartwarmingly dorky things about the festival season benchmark. Sure, it leads to a tidal wave of Twitter jokes whenever a lineup is released, but it also keeps the crowd as diverse as a wildly overpriced celebrity-magnet destination festival can be. Rock and roll is a part of the festival's heritage, and it's clear at this point that there are a certain number of slots set aside for bands with guitars and drum kits, including many of the biggest mainstage acts. It also means that, on the poster at least, Belle and Sebastian and David Guetta have the same cultural footprint.

Here are the very well-researched and thoroughly vetted top 10 font size shockers from this year's Coachella lineup.

10. Tame Impala (Night 1): SHOCKINGLY BIG

I like music a lot, but I still mostly know Tame Impala from the song they play during the cooldown in workout classes for Silver Lake moms.

9. Ryn Weaver (Night 2): BACKLASHINGLY SMALL

2015 BUZZBLOG CHECK

8. Belle and Sebastian (Night 2): HILARIOUSLY BIG

The good news is, I am one of maybe three Coachella attendees who's going to see the inevitable B&S/Axwell^Ingrosso scheduling conflict as a genuine Sophie's Choice.

7. FKA Twigs (Night 1): SHOULD BE BIGGER, BUT IN GOOD COMPANY

Between Twigs, Flying Lotus, Caribou, and Gesaffelstein, third-tier font size might secretly be the biggest font size.

6. Built To Spill (Night 3): CUE-SAD-ANGULAR-GUITAR-RIFF SMALL

I predict Built To Spill gets the midnight Gobi tent set, aka the one The Dismemberment Plan played last year for 10 drunk people and 289 crumpled beer cups.

5. Panda Bear (Night 3): UNEXPLAINABLY SMALL

YOU'D THINK A 9.4 ON PITCHFORK IN 2007 WOULD MEAN SOMETHING IN THIS CRAZY WORLD.

4. Clean Bandit: EXPLAINABLY SMALL

Clean Bandit and Hozier are both classic examples of the one-hit Coachella artist. They've got a high profile because their song is on the radio, but 90% of the crowd will peace out after they finally shut up and play the hit. Hozier's got a guitar, though, so for one night, he's bigger than Raekwon and Ghostface.

3. Lil B (Night 3): UNBASEDLY SMALL

You wanna talk about earning the zeitgest, Interpol? Please get back to us when you follow 1.3 million people on Twitter.

2. Migos (N/A): UNACCEPTABLY ABSENT

The premiere of season nineteen of The Bachelor is happening TONIGHT (January 5) on ABC and we’re going to take a look back at all the couples from the show that are still together as of today!

Chris Soules, the farmer who was dumped by Andi Dorfman on last year’s season of The Bachelorette, will be getting his chance at love this year on the hit reality show.

Overall from both The Bachelor and The Bachelorette, there are six couples that are still together out of the 28 seasons of the two series.

Giudice was supposed to appear at the prison by 10 a.m. on Monday. But, says Leonard, on New Year’s Eve, Giudice asked him if she could turn herself in before that. Officials agreed to let her surrender at 3 a.m. and let her use an alternate route in order to avoid the likely media attention outside the prison main

entrance, he says.

“The reason she wanted to go early was because she didn’t want to have her children wake up on Monday morning and see a big [media] circus outside of the house,” he says.

Because they had time to spare before her arrival, she stopped off at a local diner just before 2 a.m. “She had a breakfast sandwich and some coffee,” Leonard says. “She was joking that she shouldn’t be eating at this hour. I said, ‘You could make an exception.’ So she ate.”

When she arrived at the facility, Giudice spent between 10 and 15 minutes in the pre-processing area, where officials introduced themselves to her.

“They talked about starting her commissary account. They told her she would be able to make her first phone call within 24 hours once they had her account set up. They said they were going to make it possible for her to meet with her immediate family this weekend. So she was very happy with that. There weren’t going to be any delays with that stuff,” says Leonard.Everybody was extremely respectful and courteous. It was very easy to ease her way into this because everything was positive. There was a lot of positive energy there.” Leonard presented her with a set of rosary beads and a necklace with two medals – one for St. Christopher and one for St. Teresa.

“They let her keep all of that,” he says. “She was very happy with that, and she told me she would keep them with her all the time.”Stoic and Strong’

When it was time to say goodbye, he says he hugged her and told her, “You’re going to be fine.”

“She said, ‘Yeah. I’ll be fine,’ ” he says. “She was very stoic and very strong. I left them there. They didn’t handcuff her. She was just standing there.”

Leonard had no sooner left the building when he returned to use the restroom.

“As I was walking back, they were walking her out of the first building to another building,” he says. “She saw me and said, ‘What are you doing?’ I said, ‘I’m breaking you out of here.’ She laughed and said, ‘I wish.’ “

He continued: “The last thing she said to me was, ‘I’ll be fine. Tell Joe and the girls I’m good.’ “

He isn’t sure if the children will come visit her this weekend. “But they will 100 percent come see her,” he says. “I think she wants to see them whenever she can.

“Her kids aren’t just the No. 1 [priority] in her life. They are the only one,” he says. “The entire time I have been involved with her, the only thing she has talked about in connection with this prison sentence is how it is going to affect them – not her.”

Giudice reportedly spent her final day of freedom attending Mass at a New Jersey church with her husband and four daughters. Her husband drove the girls to school early Monday morning.

He also pleaded guilty last year to multiple counts of bankruptcy fraud and conspiracy to commit mail and wire fraud. When his wife is finished serving her sentence, he will serve 41 months in prison. He also may face deportation after his release because he is not a U.S. citizen.

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