by Daniel Robert Epstein

I should admit this right off the bat: I’’m not a huge fan of Travis Barker’s music. The only work of his I’’ve really gravitated to is The Transplants; I’m still spinning that disc ever since I interviewed Skinhead Rob nearly a year and a half ago. But Barker’s new band +44 is good and a lot of fun. He’’s teamed up with another former member of Blink 182, Mark Hoppus, as well as former Transplants touring guitarist Craig Fairbaugh and the lead guitarist of The Nervous Return, Shane Gallagher. I had a very open and honest conversation with Barker about the new band and his trials and travails with the paparazzi and various famous blondes.

Read our exclusive interview with Travis Barker on SuicideGirls.com.

by A.J. Focht

Superheroes swarmed the geek news again this last week with several major announcements from all sides. Warner Bros kicked the week off revealing Laurence Fishburne would be playing the role of Perry White in Man of Steel. Shortly thereafter, they released the first look at Henry Cavill as Superman. Despite the recent script problems, Superman is set to fly back into theaters on June 14, 2013.

Warner Bros didn’t stop there. The first official photo of Anne Hathaway in The Dark Knight Rises was released soon after the Superman photo. The outfit pays some homage to the more ‘tactical’ look of the comic books, but gives absolutely no feline resemblance. This has only fueled the theory that Hathaway will actually be playing the role as Selina Kyle, and may not become Catwoman at all.

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by Marisa DiMattia

Chris O’Donnell doesn’t have the rock star swagger. He hasn’t learned the art diva shtick nor developed an eye-catching wardrobe. Yet he’s one of the most sought after tattoo artists in New York by serious collectors and celebrities alike. It’s his work that garners all the attention while the boy-next-door persona sits quietly in the background.

Named one of the best tattooers in NYC by Time Out Magazine, Chris has been needling clients since 1993, specializing in classic Americana, Japanese, and East Asian iconography.

Read our exclusive interview with Chris O’Donnell on SuicideGirls.com.

by Daniel Robert Epstein

Dame Darcy is best known for her Fantagraphics comic book series Meatcake. But now she has taken on the ambitious project of adding illustrations to the Charlotte Bronte classic Jane Eyre for The Illustrated Jane Eyre. I got a chance to talk with Dame as she was traveling the country doing signings and shows with her band Death By Doll.

Read our exclusive interview with Dame Darcy on SuicideGirls.com.

By Andrea Larrabee

“You’re going to get so sick of me,” quipped Olivia Wilde, when a journalist at a recent press conference noted that she was “going to be everywhere in the next couple of weeks.” Though it’s true we’re going to see a lot of Wilde (who took her stage name from a certain Oscar), the likelihood that we’ll tire of the actress – who is as smart as she is attractive – in the immediate future is slim to none.

She first came into her own as Thirteen in House, but her role as Quorra in the 2010 blockbuster Tron: Legacy firmly established her as big screen leading lady material. This summer she has two major films opening back to back: Jon Favreau’s Cowboys & Aliens, which also features Harrison Ford and Daniel Craig, and The Change-Up, which is, by and large, the topic of this Q&A.

Styled after classic body swap movies like Freaky Friday, the set up for The Change-Up sees Dave, the over-stressed and over-married lawyer (Jason Bateman), and his BFF Mitch, the too happy go lucky and very single actor/stoner/whatever (Ryan Reynolds), coveting each other’s lives. Wilde enters the frame as Sabrina, an associate at Dave’s law firm whom the guys mutually covet, however she refused to play her as your run of the mill, caught between two men, one-dimensional love interest.

The daughter of two renowned journalists, it’s perhaps instinctive that Wilde worked closely with the film’s writers, Jon Lucas and Scott Moore (of Hangovers 1 and 2), and director David Dobkin (Friends With Benefits and Wedding Crashers) to ensure that Sabrina jumped off the page as a fully fleshed out, post-modern woman. Though the film is somewhat flawed, it’s these moments that she brought to the table –– such as a tattoo scene in which a gaggle of Sons of Anarchy-types gather between her well-spread thighs –– that are among the film’s most memorable.

Here Wilde talks about why she took on Sabrina, and how she avoided the stereotypes associated with such a roll.

Read our exclusive interview with Olivia Wilde on SuicideGirls.com.

by Aaron Colter

Last week’s post about Anonymous and the government’s overreaction to their movement was pretty depressing, so this week’s post is just a list of some cool things.

1. Natalie Phillips

I first found out about Phillips’ art through a free press publication called Eleven PDX. Her work is unique, colorful, and beautiful. I wouldn’t at all be surprised if she becomes a very well known artist very soon.

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by Steven-Elliot Altman (SG Member: Steven_Altman)

Our new Fiction Friday serialized novel, The Killswitch Review, is a futuristic murder mystery with killer sociopolitical commentary (and some of the best sex scenes we’ve ever read!). Written by bestselling sci-fi author Steven-Elliot Altman (with Diane DeKelb-Rittenhouse), it offers a terrifying postmodern vision in the tradition of Blade Runner and Brave New World…

By the year 2156, stem cell therapy has triumphed over aging and disease, extending the human lifespan indefinitely. But only for those who have achieved Conscientious Citizen Status. To combat overpopulation, the U.S. has sealed its borders, instituted compulsory contraception and a strict one child per couple policy for those who are permitted to breed, and made technology-assisted suicide readily available. But in a world where the old can remain vital forever, America’s youth have little hope of prosperity.

Jason Haggerty is an investigator for Black Buttons Inc, the government agency responsible for dispensing personal handheld Kevorkian devices, which afford the only legal form of suicide. An armed “Killswitch” monitors and records a citizen’s final moments — up to the point where they press a button and peacefully die. Post-press review agents — “button collectors” — are dispatched to review and judge these final recordings to rule out foul play.

When three teens stage an illegal public suicide, Haggerty suspects their deaths may have been murders. Now his race is on to uncover proof and prevent a nationwide epidemic of copycat suicides. Trouble is, for the first time in history, an entire generation might just decide they’re better off dead.

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