Mathangi "Maya" Arulpragasam has been lying relatively low since she flipped the bird at 114 million people during the Super Bowl halftime show last year. Matangi, her first album since signing with Jay-Z's Roc Nation management, has been delayed several times, but it looks like M.I.A. is finally ready to "Bring the Noize." Following 2010's divisive Maya and last year's "Bad Girls," which many heralded as a "return to form," M.I.A. claims her new material is an amalgam of all of her previous releases, coining it "Paul Simon on acid." The minimalist "Bring the Noize" certainly lives up to that description, though it's less "Paper Planes" or "Bad Girls" than "Bird Flu." M.I.A.'s delivery is quick but surprisingly not very forceful (the final bridge is downright Janet-grade) and the beats stutter and ping like BB bullets hitting sheet metal. M.I.A. shared a clip of the forthcoming music video on Vine over the weekend.

After a slight detour into Eurotrash for 2011's Femme Fatale and faux-English accents on will.i.am's "Scream & Shout," Britney Spears returns to her roots on the Dr. Luke-produced "Ooh La La," from one of the most hotly anticipated sequels of the year, The Smurfs 2. Another infuriatingly catchy trifle from the superstar pop tart, the "Smurftastic" (her words) single juxtaposes a hard, stomping beat and a brief, quasi-rapped b-section with a sugary, wafer-thin hook backed by acoustic guitars. The lyrics are, of course, completely nonsensical ("Baby come with me and be my ooh la la"), but they'll no doubt be burned into your brain by the end of the summer. The soundtrack, which also features "I'm Too Smurfy" by Right Said Fred, is out July 23rd.

Click here for a complete list of yesterday's Daytime Emmy Awards winners.

Iranian president-elect Hassan Rouhani pledges path of moderation.

Vadim Rizov interviews Tobias Lindholm on A Hijacking.

Björk dazzles with rare U.S. performance and very unusual outfit at Bonnaroo.

The president's approval rating falls.

Continuing to show a late-career hunger for genre experimentation, Martin Scorsese follows his highly-decorated 3D fantasy Hugo with The Wolf of Wall Street, a brash, rise-and-fall stock-market satire that seems to boast more comedy than the filmmaker's typical hard-hitting drama. Marking Scorsese's fifth collaboration with leading man Leonardo DiCaprio (who, with this and The Great Gatsby, is officially cinema's devil-may-care party-thrower of 2013), the new film is based on the memoir of Jordan Belfort, an infamous money launderer whose Wall Street wheeling and dealings also inspired 2000's Boiler Room. Hard, fast, and just about out of control, this debut trailer suggests Scorsese is on an energetic high, nervy and playful and ready to unleash something topical and evocative (what, no Michael Douglas cameo?). Opening November 15, The Wolf of Wall Street co-stars Kyle Chandler, Jean Dujardin, Jon Favreau, Rob Reiner, Pan Am head-turner Margot Robbie, and also Jonah Hill and Matthew McConnaughey. Oscar watchers should probably add the latter two gents to their Supporting Actor shortlists, and the film is poised to contend in other categories too. Get a load of Marty and Leo's latest after the jump.

Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we'll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo's live social webcast schedule here.

Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we'll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo's live social webcast schedule here.

Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we'll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo's live social webcast schedule here.

Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we'll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo's live social webcast schedule here.

Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we'll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo's live social webcast schedule here.

What the hell are film critics actually talking about when they speak of "craftsmanship"? Walter Hill's relatively recent status as an auteur may have been stymied by his unwillingness to take on sprawling, pretentious, or overstuffed shots or edits; for him, the somewhat anonymous vocabulary of the studio picture was one well enough worth perfecting. The gains of 48 Hrs., Hill's biggest hit by a substantial margin, were lost almost immediately on his follow-up, the post-apocalyptic doo-wop musical tent-pole Streets of Fire. The film's financial loss was profound; in career terms it scaled the writer-director right back down to where he was before, directing lower-budget studio actioners and comedies for the rest of the '80s.

Enter Arnold Schwarzenegger. If Hill was tasked with writing and directing Red Heat on the basis of his legendary pairing of Eddie Murphy and Nick Nolte, it's not hard to imagine the limitless possibilities that the bigwigs at Carolco—Schwarzenegger's financiers of choice—saw for the superstar's first-ever comedy. In both form and content, the film is lopsidedly, irrevocably dictated by his participation; the opening 15 minutes are exclusively in Russian, introducing Schwarzenegger's Captain Ivan Danko as an impenetrably stiff juggernaut, nakedly infiltrating a sleazy cocaine ring encamped in a traditional Russian bathhouse. The scene's dominant textures—buttressed by composer James Horner's radiant, ominous synthesizer keys—are stone, flesh, smoke, steam, and ultimately snow, as the inevitable brawl between Danko and the Georgian mobsters explodes through a window out into the frozen hillside. Hill's Moscow is nothing if not tough.