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Ever since marrying Ryan Reynolds and putting her Gossip Girl role of Serena van der Woodsen behind her, Blake Lively has been keeping a pretty low profile. And that's just the way she likes it.

"Having a personal life has been really nice," the 26-year-old actress says in the April issue of Elle magazine. "I'd been on Gossip Girl 10 months a year for six years, shooting 15-hour days, so I hadn't had time to just be since I graduated from high school."

She adds, "It's been nice to kind of settle into my own skin and work on things I really love."

Sure enough, after taking a yearlong break from acting, Lively is back to, well, acting.

The blond beauty is currently working on the upcoming film The Age of Adaline in Vancouver.

Directed by Lee Toland Krieger, who helmed Celeste and Jesse Forever, the movie follows "the miraculous life of the 29-year-old title character (portrayed by Lively), who stops aging after recovering from a near fatal accident. Over the 20th century she embarks on an epic but isolated worldwide journey, keeping her secret, until she meets a man who forever alters her life."

An eyewitness source exclusively told E! News that Lively has been pulling all-nighters this week while shooting.

The movie, slated to be released sometime in 2015, also stars Ellen Burstyn, Michiel Huisman and Harrison Ford.

There’s a theme I’ve been hearing from brands and retailers lately. The time has been spent, the vibrant fan base has been built, and it’s time to generate some real return on our social investments – but how?

Well, we know it’s not a question of volume. After all, there’s no shortage of content being created by brands of all shapes and sizes. Most have someone in-house managing social media full-time, and they’re tweeting, posting and pinning with the best of them.

It’s not an “information overload” question either, contrary to what many experts have been suggesting. In fact, according to new research, “the high volume of information available these days seems to make most people feel empowered and enthusiastic”.

The daily deluge of updates from friends, family, news networks and brands doesn’t look to be scaring customers away, but it’s not generating the return anyone expected either. It seems the question, then, isn’t the quantity of posts in social, but rather the quality of what’s being posted. The social customer is unique, and they need to be marketed to in a way that’s sensitive to their needs.

What’s the message you’re sending them? Are you promoting product in an exciting and engaging way, or just keeping the customer in touch with your brand? If the goal is to drive product discovery, encourage deeper product exploration and create brand affinity and loyalty (and chances are one of these goals exists for every brand today), it’s about what you say, not how many times you say it.

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Another simplistic Manichean exploration of good and evil helps explain neither violence against women nor what to do about it Crimes and Misses’ Demeanour. Film review – Tom Jennings
Contrasting with The Killer Inside Me (see Freedom, 11th September), Stieg Larsson’s bestselling Millennium novels ignore organic social networks – and ‘ordinary’ people in every sense.

Dystopic domination here originates in elite predators exploiting blindspots in society, transforming from the very top down civilised liberal heaven into murderous misogynist hell. Parlaying a global publishing phenomenon into blockbuster cinema, The Girl With the Dragon Tattoo’s crusading magazine editor Mikael Blomkvist (played by Michael Nyqvist) can’t singlehandedly stem the corrupt tide without hacker genius Lisbeth Salander (Noomi Rapace) motivated to avenge her entire biography of familial and institutional violent sexual abuse. Unlike in Winterbottom’s film, this battered woman fights back – with extreme prejudice – but again the passage to cinema privileges female flesh over external complexity.

Nevertheless an otherwise classic whodunnit – industrialist clan harbours incorrigible depravity amid decadence recalling aristocratic Swedish Nazi collaboration – is refreshed by a postmodern dynamic dualism of cosmopolitan benevolence and nubile cyberpunk antisociality, whose unlikely resourcefulness doubtless appeals to sundry self-pitying emo sensitivities seeking conservative wish-fulfilment.

However, the sequels sadly surrender residual credibility, depicting a worldwide web of depraved brutality targeting the ‘weaker sex’ at every turn, requiring superhuman escalation to overcome. So The Girl Who Played With Fire’s action movie posits sex-trafficking for government officials and businessmen, with social-democracy poisoned by Cold War realpolitick infecting police and justice systems, before The Girl Who Kicked the Hornet’s Nest’s conspiracy thriller culminates with state welfare comprehensively suborned, scapegoating victims via secret service parapolitics, media mystification and show-trials.

A charitable view detects Larsson’s journalistic campaigns against the malignancies of far-right malice and masculinist supremacy in the trilogy’s populist pulp trappings, with Da Vinci Code banality tempered by extended sociological exposition. But the film entertainments ditch such turgid context, pushing purportedly pro-feminist romance further towards sordid prurient fantasy. Worse, the author’s protagonists were comparably sexually and emotionally crippled – whereas Blomkvist’s promiscuous irresistibility to all womankind now disappears, while Salander’s vicissitudes are amplified in technicolour.

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Superman in this series adds more of the human frailties of the character and there tends to be a suppressing of his previous imperviousness to injury. This version is in line with the more modern depiction of the character penned by John Byrne, who displays a more restrained rendering of Superman's powers.

This series displays engrossing story telling that displays an emotional urgency to many of the shows episodes. It begins with a multiple episode genesis of the character that begins on the planet Krypton and ends with his arrival on earth in smallville, culminating with his hiring as a reporter at the Daily Planet newspaper.
Would you like to know where you can purchase a copy of Superman the Animated Series? Well I am going to tell you where it can be had at a reasonable price. This series made its debut on the youth oriented WB network in September of 1996 and ran until February of 2000. The series is renowned for its adult quality thematic programing and vivid animation. The series attempts to incorporate the various evolutions of the character over the years reflecting his genesis in 1932 as a result of the creative talents of writer Jerry Siegel and artist Joe Shuster.

By T M Curtis