Until a couple of decades back, wired sound transmission or storage itself seemed to be a very big achievement. There were those ubiquitous tape recorders in every affordable home and the rich had a phonogram as well. Who knew then Atlanta bankruptcy attorney that technology would force their precious music players into a dark room?

And coming to the present, we see iPods and home theater systems in almost every home. And as technology keeps moving, we reached the milestone of Wireless communications. It has Xtreme NO been received with extreme enthusiasm and alacrity as this proved to be a solution for eliminating all those unwieldy cables connecting the music system and the speaker and also Suzanne Somers diet proves to be the most ideal solution to mobility. Without Wireless Sound Systems there is no way one can even dream of mobility.

The Wireless Sound System has revolutionized the music industry and has completely changed the mindsets of music lovers. Inspired by Marconi’s purposeful Radio, Slim TS the Wireless Sound System, an icon for music with luxury has evolved. Although initially only the wireless transmission was thought of as a great achievement, the thirst for more from the consumer forced the inventors to www.sinopnkp.org bring in Wireless Sound Systems with quality as well. This has gained a great market over a period of time and iRenew Bracelet now is one of the leading consumer coveted product.

Among the various Wireless Sound Systems we see a HGH Energizer variety of products beginning from Wireless Headsets to Wireless Surround Sound Systems. A Wireless Headset is a typical example of a wireless sound system as it is quite uncomplicated and is as straight as it sounds. It has a transceiver fixed in it working at a fixed or variable frequency. Similarly at affiliate marketing the transmission point where the music is actually played, there is another transceiver with a chipset similar to that of the wireless headphone.

At the player’s side the music is modulated and transmitted over air which is received at the wireless headphone and played. If a Right to Bare Legs Wireless Headset is an example for a simple Wireless Sound System, a Wireless Surround sound system is an example of a complicated wireless sound system. This invention has removed a lot of fussy work to be done by the consumer. A Wireless surround sound system has no messy wires hanging everywhere. All data is transmitted mostly over air.

This is a boon to the people who love to live life unsophisticated! In a wireless Smoke Assist surround sound system, now there is a single connection to the transmission hub from which music is transmitted over air to all the speakers present at Magic Mesh different locations in the room. This way there is absolutely no problem in moving one’s home theater or surround system from one room to another or even Plaque Attack from one house to another. If it were to be a wired surround system instead of a Wireless surround sound system, www.hill-talk.com it would involve unwiring all the speakers and rewiring them in the new place.

As they say technology always aid in serving Shake Weight humans, making their life simple and less complicated and most importantly reduce the work to be done. And Max Burn a wireless sound system does just that, it makes your life simple and adds peace to your life.

But as the initial shock of the pair’s reunion subsides, and both remixes begin to diffuse into the collective conscience, we’re left with one rather important question: Beyond all the (very public) handwringing the songs have created, are they actually any good? Early opinions from critics have been lukewarm at best (and downright hostile at worst), mostly because it seems they have a difficult time separating their feelings about Brown ? and his 2009 assault of Rihanna ? from their feelings about the songs themselves. And really, you can’t blame them. In a lot of ways, it’s impossible not to view the “Cake” and “Music” remixes through the prism of the past three years.

Still, with opinions still being formed (and feelings still fresh), we reached out to some of our favorite music journos to get their take on the songs and Rihanna and Brown’s unlikely collaboration. Here’s what they had to say:

” ‘Birthday Cake’ was pretty much destined to be a smash when Talk That Talk was released with only a snippet of it. … The 78-second bit of The-Dream-produced track inspired hosannas from members of the Rihanna Navy who couldn’t wait for the full thing to be released. … Putting Chris Brown on the [remix] (and having him sing ‘I wanna f— you right now,’ which Rihanna sang on the fade-out of the TTT version, as his opening gambit) seems almost like overplaying her hand. Like, this song was going to be a big deal to her fans no matter what, so why add the controversy to it? Then again, the past three years of her career have, it seems, been about her taking control of her public image in a big way ? from enacting revenge fantasies in ‘Man Down’ to singing about sex a lot ? and adding Brown to a song about fetishistic sex is a way for her to do just that, to implicitly flip off people who she sees as paternalistic or overbearing while engaging in what she calls ‘chiefin’.’ Every gossip item about the two of them getting back together or hanging out, every angry/sad/exulting blog post, every public tweet they direct to one another when presumably they could just DM back and forth, keeps them ? and the songs ? in the news. Meanwhile, Brown’s song and Rihanna’s contribution to it are both pretty bland, a ‘Party Rock Anthem’ with no shuffling and even less whimsy. At one point, Rihanna does the phrase ‘I love you,’ which will no doubt get tongues wagging. I am pretty much grossed out by the whole thing, to be honest.” ? Maura Johnston, Village Voice

“The remixes aren’t terrible, and that’s as much as I’ll say at risk of saying something positive about Chris Brown. … The most important thing to remember is that if you have a problem with these two teaming up: Don’t blame Rihanna. Blame the ravenous, unscrupulous, money-starved record industry for being complacent through this entire event. The whole machine is falling apart, so everyone ? artists like Ludacris and Justin Bieber, their labels and managers, magazines like Vibe who put Chris Brown on the cover, awards shows like the Grammys, TV networks who play Chris Brown videos ? they’re all too afraid to potentially put forth an opinion that would prevent them from being where money is. The fact that everyone except Jay-Z and Miranda Lambert is too chickensh– to speak out against woman-beating is pathetic beyond pathetic. Everyone is too scared to compromise their chance to catch the last remaining dollars during the music industry’s death rattle.” ? Christopher R. Weingarten, SPIN

“Rihanna’s ‘Birthday Cake’ was a standout track from Talk That Talk, even in its original form (as an interlude) ? and more importantly, without Chris Brown. On the remix, all Brown’s aggressive, salacious verses do … is add fuel to rumors circling of their reunion behind closed doors. [And] Rihanna comes back on the song, calling checkmate on Breezy with her suggestive lyrics ? “Remember how you did it?/ Remember how you fit it?/ If you still want to kiss it, come, come and get it” ? making it hard to not be teased into again reading between the lines. ‘Turn Up the Music’ feels like a collaboration that would have fit both artists’ discography during their days coupled up. Although RiRi’s airy vocals blend well with the Underdogs’ dance soundscapes, adding Rihanna to the track doesn’t leave a lasting impression nor elevate the song to higher grounds. Ultimately, it’s not the content of the songs that matter; it’s the statement both singers are trying to make by simply releasing them. The collaborations appear to be a step toward reconciliation between both ? seeing the tracks climb the chart is a bonus. Rihanna wants us to know that she no longer wears the shoes of the victim and Breezy wants to prove that he’s become a better man. This isn’t a personal or professional move; it’s both. Both singers have woven their personal life, a haunting moment in their lives, into a professional move. Though it’s stirred much controversy, I believe it was bound to happen.” ? Erika Ramirez, Billboard.com’s “The Juice”

What do you think of the collaborations? Let us know in the comments.

Source: http://www.mtv.com/news/articles/1679709/chris-brown-rihanna-remix-critics.jhtml

Ashley Scott Ashley Tappin Ashley Tisdale Asia Argento Aubrey ODay Audrina Patridge Autumn Reeser

It’s anyone’s guess what this year’s attendees will be wearing on Sunday night at the 54th annual awards show, but MTV News will be camped out on the carpet for a full three hours before the festivities kick off and we’ll be keeping our eyes peeled for all the outrageous looks and fashions.

Click for photos of our most-shocking Grammy red carpet moments!

In the meantime, we thought it was worth a look back at some of the legendary entrances from Grammys past:

Lady Gaga egg: Sure, Justin Bieber toted his pet snake to last year’s show, but it was, of course, Lady Gaga who turned the most heads by getting carried down the carpet in a giant, see-through egg that she incubated in before emerging later in the night for her performance of “Born This Way.”

Britney gets bodied: Britney Spears has long prided herself on wearing what she wants, when she wants. But someone should have pulled her aside in 2010 before she exited the car in an oddball Dolce & Gabbana bodysuit overlaid with a lace dress that turned heads for all the wrong reasons.

M.I.A.’s pregnancy chic: With her middle finger firmly tucked into place, the rapper/singer made her way into the 2009 show while nine-months pregnant in a cartoony, ruffled blue maternity dress and matching sneakers.

Coldplay play dress up: It was kind of cool when Coldplay stuck with their bold Sgt. Pepper’s-style suits for the whole Viva La Vida tour. But when they wore them to the 2009 show, it just felt … silly.

OK Go … back to the drawing board: Viral icons OK Go are experts at drawing attention to their music with trippy, how-did-they-do-that videos. They drew mostly sniggers, though, when they donned matching brocade curtain-looking red-and-gold suits to the 2007 show. Their smartest move may have been to cover their faces with red cloth.

R. Kelly, man of mystery: Kels has made a career out of being inscrutable , but his bold sartorial choice at the 2004 Grammys was, well, weird. From the neck down he wore an elegant three-button black suit and tie, but the matching Robin mask? Who knows?

Alicia Keys gets funky: Nobody really knows what Keys was thinking in 2002 when she walked the carpet wearing embroidered jeans, sandals, a white tank and a sheer green sari-like shift with a built in, bedazzled headdress.

Toni Braxton lets it all hang out: Sometimes it’s what you don’t wear that gets attention. In 2001, singer Braxton sported a barely-there white “dress” that hardly covered her assets with strips of material that dangled in the front and back.

Jennifer Lopez’s plunging neckline: Way before she was an “American Idol” judge, Lopez sent hearts racing in 2000 with her instantly infamous plunging neckline Versace gown.

Chaos! Profanity! Wardrobe malfunctions! Don’t miss our Grammy red-carpet live stream this Sunday, February 12, for a full three hours of mayhem, starting at 5 p.m. ET on MTV.com. And the fun doesn’t end Sunday: MTV News has you covered for all the Grammy red-carpet fashion, Grammy winners and Grammy news until the hangover wears off!

Source: http://www.mtv.com/news/articles/1678995/grammy-2012-live-red-carpet-entrances.jhtml

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by Joel Hanek

With the Oscars coming up just around the corner, it?s time that we pay tribute to some of the most versatile and overlooked actors: professional wrestlers. They are masters of the live performance, can pull out surprisingly funny and heart-felt performances on screen, and have convinced me to eat more processed meat than any other acting demographic on the planet. (Rest in peace, Macho Man!)

While these giant men in tights make cameos as the unidentified goon in every other action movie (I?m looking at you, Kevin Nash), here are my picks for the top five starring roles for pro-wrestlers in film.

5. “Walking Tall” (2004)
Way before Dwayne Johnson starred in PG-rated family friendly flicks and even way before he became the franchise savior, the man formerly known as The Rock was destined to be the new Arnold of the action world. In this remake of the 1973 film by the same name, Johnson takes vigilante action against a corrupt town with his fists and a badass weapon: a chunk of wood. Much like after I watch any Batman movie, this film instills the desire to want to patrol the streets and take justice into my own hands ? but instead, playing “Arkham City” seems more reasonable.

» HONORABLE MENTION: “The Rundown” (2003). Swap one ’90s icon for another (Sean William Scott instead of Johnny Knoxville) as a sidekick, add in an ?I?ve been over it since ‘Pulp Fiction’” Christopher Walken as the villain, and voila… “The Rundown”!

4. “No Holds Barred” (1989)
In the 1980s, during pro-wrestling?s first reign, Hulk Hogan ran wild all over pop-culture. In his first starring role, Hogan put his acting chops to the test by playing an extremely popular pro-wrestler named Rip who, much like you and I, was tormented by The Man and resolved his problems with body slams.

» HONORABLE MENTION: “Suburban Commando” (1991). In this scenario, Hulk Hogan?s impossible body mass is explained by him being a space alien and not being a ?roided out ’80s pro-wrestler. Playing off Christopher Lloyd as the straight man, this movie has a surprising amount of cheesy charm.

3. “Predator” (1987)
Who knew that two of the stars of this movie were destined to be future United States governors? Apparently, the Predator did, because he was a jerk and promoted interstellar anarchy. Although he doesn?t survive, the original friendly neighborhood libertarian Jesse ?The Body? Ventura provides great support to Schwarzenegger & co. by chewing lots of tobacco, being a “sexual tyrannosaurus” and having literally no time to bleed.

2. “They Live” (1988)
In my opinion, John Carpenter?s 1988 movie ?They Live? is one of the best science-fiction movies of all time. Like all great sci-fi, there?s a powerful underlying message wrapped in a fantastical metaphor — in this case, the motive for this outlandish allegory comes from Carpenter?s anti-conservatism stance and his distrust of Reagan-era politics. If that last sentence bored you, it?s a movie where Roddy ?Rowdy? Piper goes around beating up people who are secretly space aliens. The movie also gave us one of the greatest lines of all time (?I have come here to chew bubble gum and kick ass. And I’m all out of bubble gum!?), not to mention the best fight scene of all time. It’s six minutes long. It’s the best.

1. “The Princess Bride” (1987)
If you have not seen this movie yet ? please stop what you?re doing, leave your work/school/wherever you are and immediately watch it. For children of the ’80s, Rob Reiner?s tribute to fairy tales became an instant definition of the genre as the homage became fortified into a classic itself. I?ll restrain myself and will try not to rattle off quotes from Vizzini or The Dread Pirate Roberts and instead focus on the lovable big man himself, Andre Rousimoff, otherwise known as Andre the Giant. In one of his only starring roles, Andre plays Fezzik, the big-hearted protector of Westley and Inigo ? and while Andre isn?t the best actor on this list, he adds a level of charm that no one else can. Enough said: just play us out, Andre.

Tell us your favorite wrestler-starring movies in the comments section and on Twitter!

Tags dwayne johnson, No Holds Barred, predator, The Princess Bride, they live, Walking Tall

Source: http://moviesblog.mtv.com/2012/02/22/top-five-wrestler-movies/

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The show’s return will bump “30 Rock,” which has been pulling down series-low numbers in the 8 p.m. time slot since retuning on January 12, to 8:30 and “Parks and Recreation” will go on a five-week hiatus until “Up All Night” completes its season in April. “The Office” will hold on to its 9 p.m. slot.

NBC has had a difficult time attracting viewers to what is easily the best comedy block on network TV, but it’s certainly not the first net to have that problem (Fox couldn’t keep “Arrested Development” on the air). This latest decision, however, seems unlikely to help for a few reasons. It was a mistake to pull “Community” in the first place; the show is so full of callbacks and self-referential asides that removing it for any length of time was bound to hemorrhage casual fans who are not as familiar with the storyline as die-hards. And sacrificing the much more welcoming “Parks,” which itself has struggled in the ratings despite widespread acclaim, to bring “Community” back is not going to pull in more eyes. Instead, it’s only going to weaken the already low-rated lineup. Here’s why.

“Community” is not a welcoming show for new viewers. I am an avid TV watcher and a big fan of NBC’s smart Thursday comedies, but I’ve never been able to get into “Community” because I missed the boat early on. I’m not questioning its quality ? by all accounts it’s a witty and wonderfully weird show ? but it is loaded with callbacks and winks to a now three-season-long narrative arc, and if you haven’t been onboard since the beginning, you’re shut out. I’ve tried and failed to get into the show, even though it should be on my must-see list.

Consequently, I suspect it is going to perform even worse in its old 8 p.m. time slot than when it left it in December. If it flops at 8, the results will be disastrous for “30 Rock,” which, without a strong lead-in, seems likely to lose even more viewers at 8:30. “Parks and Rec” currently outperforms its “Rock” lead-in; it has its own devout fanbase, many of whom seem to skip “Rock” and tune in specifically for “Parks.”

“30 Rock” is arguably past its prime (though last week’s episode was admittedly the best in recent memory) and it is an expensive show to produce. Some expect that NBC may even announce that next season will be its last and that it will be a truncated 13-episode run at that. Matching “Community” with “30 Rock” from 8 to 9 is going to create an hour-long ratings void for NBC that is likely to negatively impact “The Office,” which already has been losing viewers since Steve Carell’s departure, though it remains NBC’s top Thursday comedy.

As for “Up All Night,” it’s been managing numbers comparable to “Parks” at 9:30. Though, that means the well-reviewed family comedy is losing 30 percent of it’s lead-in.

It’s a foolhardy move to temporarily shelve the only show that is really building on its lead-in (that’d be “Parks”) ? I don’t think I’m going out on a limb when I say that “The Office” ratings function pretty independently of “Parks’” ? especially when it’s being done for a show that seems unlikely to rope in new viewers.

The reason for the shake-up, I suspect, is rooted in the network’s knowledge that the ends of “30 Rock” and “The Office” are near. They really want “Community” to work, and they trust enough that the brief absence of “Parks” from the schedule is unlikely to alienate viewers enough that they’ll abandon the show. (And they’re right. As upset as I am that “Parks” will be gone for five weeks, there’s no way I won’t be there when Leslie, Anne, Tom and Ron Swanson return on April 19.)

A smarter choice would have been to move “Up All Night” to 8 p.m., where its star power (Christina Applegate, Will Arnett, Maya Rudolph) and subject matter ? a onetime party couple adjusting to parenthood ? might attract viewers who normally may look to CBS for Thursday night entertainment. Keep the often-heartwarming “Parks and Rec” at 8:30. “Parks” is, like “Rock” and “Community,” a little weird, but it’s the most accessible of the three and thus the most likely to keep the “Up All Night” audience and maybe build on it.

“Community” is simply going to be an awkward fit anywhere on the schedule and is unlikely to ever be strong enough in the ratings to be a top-of-the-hour lead-in. If the net insists on keeping it ? though it might want to consider a deal similar to the one reached to keep “Friday Night Lights,” another little-watched but much-loved show with a fervent fanbase, alive ? it should consider moving it to 9:30, where it would benefit at first from “The Office.” NBC would be wise to greenlight a 13-episode season for “The Office” to let it wrap up story lines and depart the airwaves on its own terms before it is forced off by flagging ratings. It’s already had a great eight-season run; let it go out with grace. Conclude “The Office” big at Christmastime (the show has always shined with its holiday specials) and bring “30 Rock” back to conclude its own run with a 13-episode season in the spring of 2013.

And for goodness’ sake, stop shifting everything around so often. Shuffling your best shows like this makes it difficult for current fans ? and especially people who do not follow the ins and outs of entertainment industry news ? to find the shows they already like.

Do you agree with NBC’s decision to put “Parks and Rec” on a five-week hiatus for “Community”? Leave your comment below.

Source: http://www.mtv.com/news/articles/1679681/community-parks-rec.jhtml

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Stanton recently sat down with MTV News to talk about the upcoming release of the movie. It’s been a project that has been floating around Hollywood for a while now, as Edgar Rice Burroughs’s “Barsoom” series has been the inspiration for many other science fiction projects — like “Star Wars” and “Flash Gordon” — and deserved to get the big screen treatment as well. Stanton said that he felt that we are finally at a point when Hollywood is capable of doing John Carter’s story justice, and that is why he pushed to get the movie made now.

“The only reason that I’m attached to this thing and it got on to the screen is because of the fandom,” Stanton explained. “It was not a career move, it was not a filmmaker choice. If it takes my influence with Disney from other things to convince them this is a property that needs to get on to the screen, then fine, I’ll use it.”

Earlier I wrote that the movie was “mostly” live-action because it’s actually very CGI-heavy. From the Mars setting with its alien inhabitants to the giant beasts seen in some of the promotion for the film, Stanton said he had to use every dollar of his reported $250 million budget. And, if he’s to be believed, it’s well worth it.

“I think once you see the film, you’ll realize how big of a budget it is, it’s all on that screen. It’s a fully realized world with tons of history, tons of cities and characters and cultural things, and fantastical ideas. And all of them are part of what makes it attractive in the books, in the 11 books, and there’s just nothing cheap about it,” Stanton said.

He added, “I just don’t think technology could even do what you want to have put on the screen for most of the time Hollywood’s been around, and it’s only recently that you could possibly fit the economics of it into a box.”

Are you looking forward to seeing “John Carter”? Are you a fan of the books like Stanton? Tell us in the comments section below or on Twitter!

Tags andrew stanton, john carter

Source: http://moviesblog.mtv.com/2012/02/22/john-carter-director-andrew-stanton-credits-fandom-for-films-release/

Alecia Elliott Alessandra Ambrosio Alexis Bledel Ali Campoverdi Ali Larter Alice Dodd Alicia Keys

Stanton recently sat down with MTV News to talk about the upcoming release of the movie. It’s been a project that has been floating around Hollywood for a while now, as Edgar Rice Burroughs’s “Barsoom” series has been the inspiration for many other science fiction projects — like “Star Wars” and “Flash Gordon” — and deserved to get the big screen treatment as well. Stanton said that he felt that we are finally at a point when Hollywood is capable of doing John Carter’s story justice, and that is why he pushed to get the movie made now.

“The only reason that I’m attached to this thing and it got on to the screen is because of the fandom,” Stanton explained. “It was not a career move, it was not a filmmaker choice. If it takes my influence with Disney from other things to convince them this is a property that needs to get on to the screen, then fine, I’ll use it.”

Earlier I wrote that the movie was “mostly” live-action because it’s actually very CGI-heavy. From the Mars setting with its alien inhabitants to the giant beasts seen in some of the promotion for the film, Stanton said he had to use every dollar of his reported $250 million budget. And, if he’s to be believed, it’s well worth it.

“I think once you see the film, you’ll realize how big of a budget it is, it’s all on that screen. It’s a fully realized world with tons of history, tons of cities and characters and cultural things, and fantastical ideas. And all of them are part of what makes it attractive in the books, in the 11 books, and there’s just nothing cheap about it,” Stanton said.

He added, “I just don’t think technology could even do what you want to have put on the screen for most of the time Hollywood’s been around, and it’s only recently that you could possibly fit the economics of it into a box.”

Are you looking forward to seeing “John Carter”? Are you a fan of the books like Stanton? Tell us in the comments section below or on Twitter!

Tags andrew stanton, john carter

Source: http://moviesblog.mtv.com/2012/02/22/john-carter-director-andrew-stanton-credits-fandom-for-films-release/

Gwen Stefani Halle Berry Hayden Panettiere Haylie Duff Heidi Klum Heidi Montag Hilarie Burton

Clooney’s journey to Sunday night’s 2012 Oscars took a familiar path through the festival circuit with releases in the second half of the year, one carefully engineered to spell awards success, but the two films that got him there and the work he did cover a wide spectrum in filmmaking.

“Ides of March” took shape late in 2010, when Clooney signed on to wear three hats for the film: actor, producer and director. His fourth directorial effort to date, the political drama follows a young junior campaign manager (Ryan Gosling) as he struggles with the moral dilemmas of supporting a presidential candidate, played by Clooney.

Based on Beau Willimon’s play “Farragut North,” the script for “Ides of March” earned Best Adapted Screenplay nominations for the original author, Clooney and his frequent collaborator Grant Heslov. Though Clooney’s well-known political affiliations and beliefs stood in the foreground, the man himself took more of a backseat, limiting his onscreen role to a few keys scenes.

During awards season, the film made a small mark, after debuting to only mildly positive reviews. It did, however, take a spot on the National Board of Review’s top 10 of the year and earned four Golden Globes nominations, including Best Picture (Drama) and Best Director.

In “The Descendants,” Clooney took a familiar spot as leading man, but the role of Matt King required him to be anything but his usual model of suave confidence. As a soon-to-be widow, Clooney fully adopted the dopey mantel of an Alexander Payne hero in the tradition of Paul Giamatti in “Sideways” and Matthew Broderick in “Election.”

But unlike his predecessors as a lead in one of Payne’s films, Clooney’s character remained almost entirely sympathetic throughout the film, thanks in large part to the believability of the acting. He effortlessly took on the role of an utterly clueless father with good intentions, helping make “Descendants” such a true and touching film.

In the week leading up to Oscar night, Clooney stands neck and neck with fellow nominee Jean Dujardin as the favorite. It would be Clooney’s second win for acting, his first coming in 2006 as supporting actor in Stephen Gaghan’s “Syriana.”

However Sunday’s ceremony might shake out for Clooney, he has proven himself a mainstay for the Academy Awards, and ? whether he’s acting, directing, writing or producing ? someone who will continue to appear on shortlists for years to come.

The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and on Sunday, February 26, tune into MTV.com at 5:30 p.m. ET for our three-hour red-carpet live stream and updates on the night’s big winners.

Source: http://www.mtv.com/news/articles/1679640/george-clooney-2012-oscars-path.jhtml

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Elba did exactly that in the latest edition of After Hours, turning MTV Movies reporter Josh Horowitz into… well, we don’t want to spoil the surprise. Exercise your own capacity for fitness in this instructional video with Elba and Horowitz below.

Tags idris elba

Source: http://moviesblog.mtv.com/2012/02/21/idris-elba-film-star-and-expert-fitness-instructor/

Amanda Marcum Amanda Peet Amanda Righetti Amanda Swisten Amber Arbucci Amber Brkich Amber Heard

Elba did exactly that in the latest edition of After Hours, turning MTV Movies reporter Josh Horowitz into… well, we don’t want to spoil the surprise. Exercise your own capacity for fitness in this instructional video with Elba and Horowitz below.

Tags idris elba

Source: http://moviesblog.mtv.com/2012/02/21/idris-elba-film-star-and-expert-fitness-instructor/

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