Minoan Art

The earliest Greek art, indeed in Europe, dates back to the Bronze Age. On the small Max Burn Aegean island of Crete (now a part of Greece), the Minoan Civilization developed, roughly in parallel with that of Ancient Egypt. For right to bare legs example, Minoan art relied on a schematic style (repetition of human figures, for example) that was commonly found in Egyptian art as well. Art was comprised of carvings and painted pottery until 1500 BC, when what is frequently iRenew Bracelet called the “Palace Period” emerged, and wall painting first appeared in Europe, although only fragments survive today.

Unlike Egyptian art, however, Minoan art reveals a naturalism and subtlety not seen in the plaque attack art of Egypt. Their seafaring orientation lent a natural subject matter, which is reflected in Minoan painting. “Frescoe with Dolphins” (1500-1450 BC) that today still hangs in the remains of the Palace of Knossos, Crete, shows an amazing knowledge of the oceans and sea animals, like the dolphins.

Another fragmentary painting that remains from the Minoan Civilization is “Toreador Fresco” slim ts (1500 BC). Encapsulated in this artwork is one of the recurring themes of Minoan culture and art, bull jumping. Thought in some way to be connected to Minoan religious practices, the painting depicts 3 acrobats leaping over the horns of a bull. The fresco is most unusual Baby Bullet in that it depicts a time lapse sequence, in which we see the acrobats grabbing the bull’s horns, then another mid-vault, and the final acrobat landing with arms outstretched.

Mycenaean Art

Succeeding the Minoan Civilization, on mainland Greece, the Bronze Age Mycenaean Civilization was in full flower. Its history and legends were captured by Homer in his epic poems, “Iliad” and the “Odyssey,” which reflect the end of the Mycenaean period Atlanta bankruptcy attorney (“the heroic age”). One of the most enduring artworks from the time is a “Funeral Mask” (1500 BC) thought to be that of King Agamemnon, who led the Greeks to victory in the Trojan Wars. All that is truly known is that the golden death mask is from a royal tomb.

Fragments of Mycenaean paintings were found at two sites: Tiryns and Pylos, with scenes from everyday life. In contrast to Minoan art, Mycenaean was much more serious in nature. The Mycenaean Civilization collapsed around 1100 BC, marking the end of the Bronze Age and the end of pre-history (that is, the period of history before written records existed). By 650 BC, Greece had emerged as Europe’s most advanced civilization.

Emergence of Greek Pottery

Following the Minoan and Mycenaean Civilizations, a record of painting is nearly lost in Greek art. Where the Egyptians, Minoans, and Mycenaeans used frescoes, later Greeks painted on wooden panels that disintegrated Esramag.com over time, and the main artistic record is instead found in pottery remains. Pottery always served a specific use (storage jars, drinking vessels, containers for perfume, and so on). On this pottery, a new trend was foreshadowed: Silk n Sensepil the Greek fixation on the human figure, something that would become a central motif of Ancient Greek art.

Exekias, one of the most famous known potters, signed at least two of his works (black figure pots) that remain to this day. His most famous, “Dyonysos in His Boat” (540 BC) is important not only because of its perfect balance, but also because it signals the new direction that representation would take–away from symbols to a style that shows the world more as it actually is.

Another change in the development of pottery can be seen in the “red figure” technique, in which human images were not painted but instead formed when a black background was applied around them, letting the red clay show through. “Pallas Athena” (480 BC) and “The End of the Party” (490 BC) are two important examples of this style.

Portraying the Human Form

The focus on the human figure is first seen in Greek pottery and later in sculpture. The portrayal of the human body by the Greeks in their artwork had a direct impact on its inclusion and development in Roman art, and later in Western art in general. The early Greek statues, such as “Kouros” (late 6th century BC) were based on the Egyptian grid system. Gradually the lines of the body lost their stiffness–as seen in “Kritios Boy” (480 BC)–and eventually emerge into sculptures that capture the musculature of a natural human form, as in “Discus Thrower” (450 BC).

Etruscan Painting

With the expansion of the Ancient Greek Civilization came a new artistic development, found on the Italian peninsula in the 8th century BC. Influenced by Greek artistic changes, yet uniquely its own, the Etruscan style was greatly admired by the Greeks. Early Etruscan art was typified by wall painting, and an important example remains in the “Tomb of the Leopards” (470 BC) at Tarquinia. The mural shows a joyful group of revelers, drinking and playing instruments.

Much of Etruscan work, however, had a sinister edge, fixated on the fleeting nature of life. In “Mourning Women” (late 5th century BC), a fresco from a tomb at Rivo di Puglia, the scene depicts brightly colored mourners who lament the inescapable advance of time.

Classical Period

The most important painter of the Classical Period of Ancient Greek art (475-450 BC) was Polyanotos, yet none of his work remains. We know of his most famous painting “Discus Thrower” only from the writings of ancient Greeks. The most important surviving painting from the 4th century BC is “The Rape of Persephone” (340 BC), which is located in a tomb complex that also contained the remains of Philip II of Macedon.

Full of richness and life, this naturalistic painting is the explanation by the Greeks of seasons. Persephone is the daughter of Demeter, goddess of fertility, who is carried off to the underworld and will re-emerge as Spring.

Hellenistic Art

Following the death of Alexander the Great in 323 BC, the rise of the city-state emerged, and so did Hellenistic art in Ancient Greece. Alexander’s cosmopolitan influence had already taken place and was flourishing through a mix of Eastern and Western styles. Hellenistic culture prevailed in the region until well after the Roman Empire took hold.

The Eastern influence meant a blossoming of art for its own sake, with more decorative embellishment, and religion relegated to the background. In place of religious subjects, art focused instead on gardens, Smoke Assist still life, portraiture, and capturing the daily life of Greeks. The art was also much more widespread. Paintings could be found in barbers’ and cobblers’ shops as well as palaces (as recorded in ancient writings).

Art during the Hellenistic age was also more focused on “truth,” even when this meant the depiction of violent, dramatic scenes. The definitive example of this philosophy can be seen in “Laocoon and His Two Sons” (1st century AD), Shake Weight a sculpture that depicts a horrifying scene. Taken from Virgil’s “Aeneid,” the sculpture depicts a Trojan priest and his two sons in the process of being strangled by sea monsters, a revenge from the gods.

Rediscovered in 1506, the sculpture had an important effect on Renaissance artists, such as Michelangelo, who called “Laocoon and His Two Sons” a “singular Magic Mesh miracle of art.” The sculpture’s influence continued, and El Greco later painted three works based on the Laocoon story as well.

While the songs may serve as a distraction from their personal past (which includes Brown’s assault of Rihanna in 2009), many of the music fans we caught up with in Times Square stood on two sides of the line. Some were willing to forget the past and enjoy the music for what it is, while others were not yet ready to forgive.

“They’re both really good artists. I like Chris Brown a lot. He was down at the bottom during that time and then he came back up,” James Hauser told MTV News. “So he’s starting to do better.”

Cassy Cnegt pointed out the negative attention it could bring to both artists, rehashing a personal story line that doesn’t seem to end. “I think there’s going to be a lot of bad publicity about why she’s doing it,” she said.

Another fan, Billy Titus, added, “His music’s all right, but I think that she can do a lot better by herself than be with him.”

Jean-Yves thinks their collaborations show how far their relationship has come. “The fact that they’re able to work together is a good sign for Chris Brown, as opposed to the animosity that was there before.”

However, Aliyyah notes that it’s difficult to separate the music from the events. “Personally, I think it’s a little bit awkward for them in terms of their relationship, because he did hit her and the world knows that, so it kind of sends a weird message to her fans ? especially her women fans ? to still support him in that way, but I guess it’s not our life,” she said, adding that Brown has built up a “bad boy” reputation and that he may be trying to get Rihanna to take him back.

While music fans stand on both sides of the complex issue, one domestic violence expert tells MTV News that seeing these two artists work together again is “not surprising.”

“I don’t know what the message [of the songs] is. I would like the message to be: ‘People can change, and I will never be treated that way again and I will never treat anyone that way again.’ If they had released a song saying, ‘This is what this represents for us,’ that would be such a much more fabulous, powerful story than not saying a word,” Rita Smith, the executive director for the National Coalition Against Domestic Violence, said. “The content of the songs seems to be more in-your-face than something about, ‘We’re collaborating on something because we care about the way people treat each other.’ That would have been the message that would have been nice to come out of this very public and tragic incident.”

What do you think of Chris Brown and Rihanna’s recent collaborations? Leave your comment below.

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After a rather controversial title change, the classic title “John Carter of Mars” became the shortened and genre-neutral “John Carter.”

For fans of the original Burroughs novels, this came as a move away from the beloved source materials, and Stanton admitted to MTV News’ Josh Horowitz that the change concerned him initially as well. “At first, I bristled, to be really honest. You can’t control people’s first impressions as much as you’d like,” he said. “There are just a lot of people that assume that it’s this weird astronaut/ space thing when you have ‘Mars’ in the title.”

The change took time to accept, but with it, Stanton found a new angle of the story to explore. “Even then, I wasn’t going to be swayed, but then I realized, ‘Wow, the movie’s really about a guy that becomes John Carter of Mars,’” Stanton said. “I don’t want to reveal any spoilers, but then I sort of thought, ‘All right, so now that actually makes sense. Maybe I can pull something that I haven’t seen people do in a movie before.’ ”

But what’s in a name? Stanton said that if he made a movie people can love, then not much. “My feeling is, if you like a movie, heck, you can call it ‘Dirt,’ and they’ll call it whatever for the rest of the time it exists,” Stanton said.

The title change was among Disney’s several marketing choices that took heat from fans. But Stanton said he understands the challenge of marketing one of his unorthodox films, like his last movie, “WALL-E.”

“Disney’s been changing hands, so it’s been a little bit of all hands on deck, but I feel we’re finally in good hands and we’re settling in,” Stanton said. “It’s not like anything else exactly. I’m used to giving Disney movies that they’re not used to selling, so I knew it would be a bumpy road, to be fair to them.”

What do you think of Disney’s decision to drop “of Mars” from the title? Leave your comment below!

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I say troubling because, really, the Grammys have never been cool (and there is something like five decades of empirical evidence to back up that claim), and voters bestowing the night’s top award on an indie act ? instead of Eminem, Lady Gaga and Katy Perry, each of whom were also nominated ? was a hip, hip move. So it stood to reason that, if one of the stuffiest of award shows could get with the times, then perhaps everyone could. Perhaps the Arcade Fire’s AOTY win fractured the space-time continuum itself, sort of like on “Lost,” when Benjamin Linus turned that wheel and the island started skipping through time and there were actually two islands, one existing in current time and one that was stuck in the 1970s, and that old woman had a pendulum and Jack ended up detonating a hydrogen bomb with a rock or something (“Lost” definitely got confusing for a while there).

What I am trying to say is that it is not entirely inconceivable that, post Arcade Fire, there now exist two Grammy Awards: the one where Led Zeppelin has zero wins (but Sheryl Crow has nine) and the one where cool bands take home the biggest awards. You know, the actual Grammys versus the bizarro Grammys.

It’s an insane theory, yes, and yet, it is also (sort of) backed up by this year’s Grammy nominations. In actuality ? given she had one of the best-selling albums of the past decade and almost single-handedly saved the industry in 2011 ? Adele is not only one of the night’s most-nominated artists, but she’ll probably end up walking away with the most golden gramophones, too. In fantasy, Bon Iver stuns the Dog the Bounty Hunters of the world and takes home three-quarters of the “Big Four” awards. In the grand cosmic scheme of things, I suppose either is probable.

Shoot, at the very least, the theory makes the Grammys a lot more interesting … and impossible to predict. Still, I’m going to try my best. So here are my theoretical picks for the 54th Grammy Awards, where I’ve weighed the actual against the bizarro in a misguided attempt to predict just who will triumph in the night’s biggest categories. Hey, it’s better than just saying “Adele is gonna win everything.” Even though she probably will. It is just a theory, after all.

Album of the Year
» Adele, 21
» Foo Fighters, Wasting Light
» Lady Gaga, Born This Way
» Bruno Mars, Doo-Wops & Hooligans
» Rihanna, Loud

“Actual” Grammys: Dude, come on, Adele wins this one by a mile.

“Bizarro” Grammys: The most bizarro winner would probably be Rihanna, who’s not exactly celebrated as an “album artist,” or maybe Bruno Mars, though, thanks to “F— You” (much-nominated at last-year’s Grammys) and his string of hits this year, he seems to be a favorite among voters.

Continuum-Uniting Winner: Remember in 2009, when Taylor Swift’s Fearless won AOTY and everyone got all upset? Well, it was the year’s best-selling album, too, and at the time, Swift was credited with keeping a sinking industry afloat. Adele’s 21 has sold nearly as many copies as Fearless … and has done so in less than a year. So, uh, yeah, she’ll win this.

Record of the Year
» Adele, “Rolling in the Deep”
» Bon Iver, “Holocene”
» Bruno Mars, “Grenade”
» Mumford & Sons, “The Cave”
» Katy Perry, “Firework”

“Actual” Grammys: It’s Adele’s to lose, though she may face a tough challenge from Mumford & Sons, who not only landed nominations last year, but had 2011′s best-selling rock album based mainly on the strength of “The Cave.” Still, a win by them here would be an upset in every sense of the word.

“Bizarro” Grammys: Got to be “Holocene,” which on the surface, doesn’t stand much of a chance. Still, I can’t shake the feeling that Bon Iver wins something on Sunday, and so, much like Arcade Fire’s Album of the Year win last year …

Continuum-Uniting Winner: … I’m going with the bearded dude from Wisconsin. Look, voters aren’t going to give Adele everything, most likely because they don’t want to deal with the backlash. There’s also the Arcade Fire momentum from last year, not to mention the fact that since this award goes to not only the artist, but the producer, recording engineer and mixer, too, it tends to go to classically constructed tunes (Kings of Leon’s “Use Somebody,” Alison Krauss’ and Robert Plant’s “Please Read the Letter”) as opposed to songs with massive commercial appeal. So I’m taking “Holocene” for the upset.

Song of the Year
» Adele, “Rolling in the Deep”
» Bon Iver, “Holocene”
» Bruno Mars, “Grenade”
» Kanye West, Rihanna, Kid Cudi and Fergie, “All of the Lights”
» Mumford & Sons, “The Cave”

“Actual” Grammys: Again, Adele.

“Bizarro” Grammys: “Holocene,” though how amazing would it be if “All of the Lights” actually won here? Would Kanye even let anyone else talk during his acceptance speech?

Continuum-Uniting Winner: “Rolling in the Deep.” It was 2011′s biggest song, and one look at previous SOTY winners ? massive hits like “Single Ladies (Put a Ring on It),” “Rehab,” “Sometimes You Can’t Make It on Your Own” ? well, you can see which way this one tends to go.

Best New Artist
» The Band Perry
» Bon Iver
» J. Cole
» Nicki Minaj
» Skrillex

“Actual” Grammys: Adele. Oh, wait, this is the only category she’s not nominated in (though she did win it in 2009). OK, well, then how about the Band Perry? They’re a country act, and over the past decade, when nominated, country acts tend to win BNA (Shelby Lynne in 2001, Carrie Underwood in 2007, the Zac Brown Band in 2010). Oh, and it doesn’t hurt that their “If I Die Young” was a certified crossover smash, either.

“Bizarro” Grammys: It actually wouldn’t be all that odd if Bon Iver wins here (since, even though I picked him to take Song of the Year, there’s a pretty good shot this is the “Big Four” award he wins), so, can I interest you in some Skrillex?

Continuum-Uniting Winner: Barbz rejoice, I’m taking Nicki Minaj! Why? Well, after a massive year, she was ignored everywhere else in the “Big Four,” so a BNA win would be a nice olive branch extended by Grammy voters. Also, no hip-hop artist (male or female) has won this award since Lauryn Hill in 1999, and how bizarro is that?!? So fittingly, Best New Artist is hers.

Make your predictions for the Grammy Awards in the comments section below!

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The only downside to the announcement of this category’s winner come Sunday night is the fact that there can be only one. Of the very talented, worthy ladies up for Best Supporting Actress ? Bérénice Bejo (“The Artist”), Jessica Chastain (“The Help”), Melissa McCarthy (“Bridesmaids”), Janet McTeer (“Albert Nobbs”) and Octavia Spencer (“The Help”) ? here are our predictions for the category in 2012:

Who Will Win: Octavia Spencer, no question about it. For those who haven’t been paying attention to this year’s awards season, Spencer has already walked away with several impressive pieces of hardware. Her awards haul so far includes: the BAFTA for Best Supporting Actress, Golden Globe for Best Actress in a Supporting Role, the SAG Award for Outstanding Performance by an Actress in a Supporting Role, an NAACP Image Award and countless other accolades from critics groups.

Who Should Win: Spencer, followed very closely by Melissa McCarthy and her equally memorable performance in “Bridesmaids.” The Academy very rarely recognizes comedies, so for our money, we’re still pleased as punch that McCarthy received a nomination. Also, in a not-at-all-distant third place, 2011 breakout star Jessica Chastain deserves an award for being so good in so many movies this year. She was in seven, for goodness sake: “The Debt,” “Take Shelter,” “Coriolanus,” “Tree of Life,” “The Help,” “The Texas Killing Fields” and “Wilde Salome.”

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.

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This was high praise, and not just because watches were, like, the iPhones of their day (minus “Angry Birds,” of course). No, there was a time when reliability was actually celebrated in this country, and everything unerring, unchanging or uninterrupted ? from Studebakers to Johnny Unitas’ haircut ? was thusly awarded watch-setting status.

Not surprisingly, that’s not exactly how things work anymore. Although, one could make the argument that Adele is doing her best to bring reliability off the back burner (back burners were also fairly common back then, both as a heating source and a simmering surface). Exactly one year ago today, she released her blockbuster 21 album in the U.S., and in the 52 weeks since, it’s not only broken records, won an armload of Grammys and singlehandedly revitalized the record industry, it’s also become the most dependable thing since Johnny U’s flattop.

To wit, 21 has spent a staggering 40 percent of the past year atop the Billboard albums chart, has never been lower than #7, and has held steady in the top three since December. It not only survived challenges from Lady Gaga, Britney Spears, Beyoncé and Rihanna, but sold more copies than all their records combined. Its songs have landed on the Billboard Hot 100, Adult Contemporary, Alternative, Dance, R&B, Rock, Pop and Latin charts and have become so ubiquitous, they were a running gag in a “Saturday Night Live” sketch. It won so many Grammys they just might let Adele give Neil Portnow’s keynote speech during next year’s telecast.

In short, it has become the kind of thing you can set your watch to ? a permanent fixture in popular culture. And, really, when was the last time you could say that about anything, let alone an album?

What’s even more amazing is the fact that 21 has accomplished all this almost in spite of Adele herself. She battled vocal issues for most of the year and has played just 34 North American shows in support of the disc. In fact, besides a few television appearances, there’s a pretty good chance you haven’t actually seen her sing any of the songs off the album, though you’ve certainly heard them on innumerable radio stations. In that regard, 21 is not only a true crossover sensation, it’s a throwback to the glory days of the industry itself, when a handful of singles could push an album for months at a time and platinum plaques were handed out like bottles of water.

One year ago, did anyone think this was possible? Can anyone adequately explain everything that has happened since? The answers are probably “no” on both counts, though for one day, perhaps it’s best not to try and figure these things out. Because for 52 weeks, 21 has been so dependable, so dominant, that it has almost become more than just a mere album. It has become the rare zeitgeist-uniting sensation, a career-defining work, a constant in increasingly intermittent times. It is seemingly not of this era, only it has somehow come to define this era, and it shows no sign of slowing down anytime soon.

All those accomplishments not only merit genuine awe, but a well-deserved pause too. As remarkable for its massive sales as it is for its consistency, 21 has spent the past year proving everyone wrong and, in the process, might very well have established the new gold standard for reliability, circa 2012: You can set your iPhone to it. History in the making, people.

Where were you a year ago when Adele’s 21 was released? Let us know in the comments!

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In the years since that assault, Rihanna has been open about her abusive relationship with the R&B singer, saying, “I don’t want to be the big domestic-violence spokesperson, because that doesn’t define who I am. But if I can help young women in any way, and that being one of the things they need help with, then I’ll do that.”

Since that late 2009 interview with MTV News, Rihanna certainly hasn’t backed down in her career, releasing chart-topping singles, winning awards, going on tour and using videos and Twitter to show the world just how fierce she can be.

After the release of the “Birthday Cake” and “Turn Up the Music” remixes, Rita Smith, the executive director for the National Coalition Against Domestic Violence, talked to MTV News about what the collaborations mean.

“I guess I’m not particularly surprised given the rumors that had gone on around this, and it’s also not surprising because many victims get back with their abusers, even after an assault. They love them, they think they change, and abusers are particularly good at convincing you they’ve changed,” she said. “I don’t know what their relationship is at this point, but I’m not surprised that she’s staying connected.

“I’m still concerned because his reaction to people’s criticism of him being on the Grammys was fairly belligerent, and that didn’t give me much of a message or sense of hope that he had made changes since that assault,” she said, referring to the barrage of tweets Brown sent out after negative feedback about his Grammy appearance.

“I hope he’s changed. I hope that he will never choose to use violence again no matter what kind of relationship he has with her or anybody else,” she continued. “I think, for me, it would be much more powerful if they could publicly state what’s different for them so that it doesn’t just leave us wondering if anything has changed and if they have learned anything in the process, because it was so public. We’re all wondering, because they’re not saying anything. That would leave us with a different message that it all doesn’t matter and they’re just going to do what they do.”

Smith said that, given their history, “I think the message she’s sending is that the feelings of being in love are more important than your personal safety.”

“The thing that matters most is whether you’re safe and whether you feel respected ? that’s what matters most in a relationship and that’s what we should all be focusing on,” Smith added. “That has to be the primary goal of any relationship.”

In the end, Smith hopes the two pop stars have grown since the very public assault.

“I don’t know what the message is. I would like the message to be: People can change, and I will never be treated that way again and I will never treat anyone that way again. If they had released a song saying this is what this represents for us, that would be such a much more fabulous, powerful story than not saying a word,” she said. “The content of the songs seems to be more in-your-face than something about, ‘We’re collaborating on something because we care about the way people treat each other.’ That would have been the message that would have been nice to come out of this very public and tragic incident.”

What do you think of Chris Brown and Rihanna working together in light of their history? Sound off in the comments.

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The singer dropped a cover of Houston’s classic track “Exhale (Shoop Shoop)” over the weekend, arranging the song with a piano and his own sweet falsetto voice. Released in November 1995, the original version was the lead single off Houston’s “Waiting to Exhale” soundtrack. Thicke’s soulful version definitely calls to mind Babyface, who wrote and produced the song for the late star. Noticeably, Thicke changed the song from the third person to the first person, making it a bit more personal.

“I was thinking about Whitney and how incredible she was and remembered I had recorded this song years ago but never released it,” Thicke said on Tuesday (February 21) in a statement to MTV News. “When I listened to it again, I was overcome by emotion, because the lyrics express everything I’m feeling right now.”

He continued that the song reminds us what was unique about the late singer, who died over Grammy weekend in Los Angeles. “That’s what was so special about Whitney, she had an amazing ability to connect to all of us and at the same time make us feel inspired,” he said. “We love Whitney Houston and always will!”

Over the weekend, in a sea of moving tributes to the star from her closest friends ? including Alicia Keys, Stevie Wonder, R. Kelly and gospel greats BeBe and CeCe Winans, Donnie McClurkin and Kim Burrell ? Kevin Costner’s speech about his “The Bodyguard” co-star stood as one of the homegoing’s stand-out moments.

“Off you go, Whitney, off you go, escorted by an army of angels to your heavenly father,” Costner told the room in tears. “And when you sing before him, don’t you worry ? you’ll be good enough.”

What do you think of Robin Thicke’s version of “Exhale (Shoop Shoop)”? Leave your comment below.

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Recently, she’s been lying low and working to finish the community service she was sentenced to following numerous probation violations relating to past DUI arrests and charges she shoplifted a necklace from a Venice, California, boutique in early 2011. Her most recent probation progress reports from Los Angeles Superior Court judge Stephanie Sautner have been “glowing,” and there’s been some indication she may even be on track to complete the requirements of her probation early, according to Radar.

Lohan last hosted “SNL” in April 2006. She’s hosted the legendary sketch-comedy show three times, receiving mostly positive reviews for her stints on the show. But a lot has happened to the starlet in the years since. Let’s take a look at where she was when she last hosted the show and the turbulent years since.

When Lindsay Last Hosted ‘SNL’
When Lohan last graced the famous Studio 8-H at 30 Rockefeller Plaza, she was promoting her star vehicle “Just My Luck” and the Robert Altman-directed “A Prairie Home Companion.” Lohan received a career-high paycheck of $7 million for the rom-com, which was helmed by Donald Petrie, who was working in the genre that brought him great success with “How to Lose a Guy in 10 Days” and “Miss Congeniality.” The role was intended to be the bridge that carried Lohan from her child-star past into adult roles but failed to catch fire at the box office, grossing a disappointing $17 million.

While it didn’t perform particularly well in theaters either, “Companion” earned warm reviews and, importantly, landed the actress accolades from two of the film industry’s most respected veterans, the late Altman, the legendary director of “MASH,” “Nashville,” “Short Cuts” and “Gosford Park,” and Meryl Streep, who complimented Lohan’s acting skills in W magazine, saying, “She’s in command of the art form” and “completely, visibly living in front of the camera.”

While trouble was brewing in her personal life at the time, with rumors of drug use, hard partying and eating disorders already plaguing the then-19-year-old actress, Lohan still had some of the most highly esteemed people in her industry rushing to her defense. Later that same year, she earned a Screen Actors Guild Award nomination as part of the sprawling cast of “Bobby.”

Just a month after her “SNL” appearance, concerns about her partying came to a head when she was hospitalized on the set of “Georgia Rule.” Her reps claimed “she was overheated and dehydrated,” but Morgan Creek Productions executive James G. Robinson famously called her bluff and did so very publicly, penning a letter that was quickly made public calling the actress “irresponsible and unprofessional” and stating, “We are well aware that your ongoing all night heavy partying is the real reason for your so-called ‘exhaustion.’ ”

The actress soldiered on, but not for long. In January 2007, production on her much-maligned and financially unsuccessful film “I Know Who Killed Me” was suspended when she entered the hospital to have her appendix removed and again less than a month later when she entered the Wonderland Center, a lavish treatment facility for substance abuse that caters to a celebrity clientele. It was the first of several court-ordered and voluntary stays in rehab.

Soon after, she withdrew from a planned film adaptation of Oscar Wilde’s “A Woman of No Importance” and was released from the independent film “The Edge of Love” after the director was not able to secure insurance for Lohan to star.

Lohan’s Legal Troubles Begin
The tumult that has plagued Lohan since early 2007 is as well-publicized as it is seemingly endless. For all intents and purposes, the legal troubles that continue to plague the actress really began in May 2007, when she was arrested for driving under the influence. We’ve briefly catalogued those troubles below:

May 26, 2007: Lohan is arrested after crashing her Mercedes into a shrub and curb in Los Angeles at 5:30 a.m. and is charged with misdemeanor DUI. She immediately re-enters rehab, this time at Promises Treatment Center in Malibu.

July 24, 2007: The actress is again arrested for DUI, this time following a brief car chase through Santa Monica. When police search Lohan, she is found to have a small amount of cocaine in her pocket. People reports that she was wearing an alcohol-detection ankle bracelet at the time of her arrest and was booked for DUI, possession of cocaine, transporting a narcotic into a custody facility and driving on a suspended license. In August, Lohan reaches a plea deal that includes one day in jail (though she ultimately only serves 84 minutes), 10 days of community service, completion of an 18-month alcohol-education program, hundreds of dollars in fines and 36 months of probation.

February 2008: Lohan re-creates Marilyn Monroe’s famous “Last Sitting” in a controversial photo shoot for New York magazine. Unable to secure acting roles, reportedly because production companies can’t afford the high cost of insuring her, she launches a line of leggings, 6126 (Monroe’s birthday), and a spray-tan line, Sevin Nyne, in collaboration with Sephora.

October 16, 2009: Lohan is more than an hour late to a probation hearing in Beverly Hills for a progress review on her two DUI cases and receives another year of probation due to failure to complete alcohol-education classes as required.

June 8, 2010: A judge issues an arrest warrant for Lohan after she violates a court order to not consume alcohol while wearing a SCRAM alcohol-monitoring ankle bracelet. The warrant is recalled after she posts $200,000 bail.

July 6, 2010: Lohan is sentenced to 90 days in jail and 90 days in rehab for violating her probation in her DUI cases.

July 20, 2010: The actress is taken into custody to begin her jail term. She serves only 14 days of the 90-day sentence due to overcrowding and is taken immediately to UCLA Medical Center to begin her court-ordered rehab. She is again released early and permitted to continue her treatment on an outpatient basis.

September 24, 2010: Having failed a drug test, Lohan’s trial is revoked and she spends a day in jail before being released on bail. A few days later, she is sent on justice sequence to the Betty Ford Center, where she remains for three months.

February 9, 2011: Barely free for a month, Lohan is charged with a burglary after walking out of a Venice, California, boutique with a $2,500 necklace still around her neck. She pleads no contest, but as any violations of the law constitute a violation of her probation, she is sentenced to 120 days in jail, 360 hours of community service at a Los Angeles women’s shelter and 120 hours service at the L.A. County morgue. Due to jail overcrowding, she serves house arrest instead, wearing a tracking ankle monitor for 35 days. While underneath house arrest, her monitoring bracelet detects trace amounts of alcohol in her system, which under further investigation are not deemed a probation violation, so she receives no additional punishment.

October 19, 2011: After Lohan fails to complete her court-ordered community service, Judge Sautner revokes the actress’ probation and sends her to jail, telling the actress that if she wants to stay out of a corrections facility, she needs to complete 16 hours of community service at the morgue before her next hearing. She is again sentenced to jail November 7, this time for 30 days, but is released after just a few hours due to overcrowding.

Following her latest brush with the law, the actress seemed to decide that enough was enough. She’s reportedly been diligent about completing her community service so she can get back to work as an actress and has received positive notices from the judge.

Rumored to be experiencing financial difficulties due to her inability to work, Lohan accepted a $1 million deal to pose for the January issue of Playboy. Her photo shoot for the men’s magazine was, unsurprisingly, inspired by Marilyn Monroe’s shoot for the same mag. The issue was released early after the photos leaked online and was enormously successful, reportedly even selling out in some markets.

Lohan’s March 3 appearance on “Saturday Night Live” will be her first acting gig since Robert Rodriguez’s 2010 film “Machete.”

Are you rooting for Lindsay’s comeback? Let us know in the comments!

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Pretty Please, More Pink: Inside Staples Center, they play highlights from past shows during commercial breaks. Pink’s performance of “Glitter in the Air” captivated the audience so much that when they cut back to the show, the entire crowd groaned.

Mother Monster’s Security Detail: Lady Gaga moved through the arena flanked by two bodyguards in order to make it safely to her seat in time for Recording Industry President Neil Portnoy’s speech. Gaga was also safer than the Beatle in the house. Sir Paul McCartney had no protection during his dual-performance night.

Get Up, Stand Up: The audience inside Staples Center seemed unsure of when to stand up and sit down all night. The minute Paul McCartney appeared onstage, all that uncertainty disappeared.

One Step Behind?: While Chris Brown’s footwork looked quite impressive on air, our source told us the vibe inside Staples was lukewarm after his physical performance.

Join the Band: Many audience members were given arm bands with a Coldplay logo on it and told to put them on during the band’s performance with Rihanna.

The Standing O You Missed: When Tony Bennett won a Grammy for Best Pop Performance by a Duo or Group for his duet with Amy Winehouse during the pre-televised ceremony, the crowd rose to its feet. “We shouldn’t be here. Our darling daughter should be here,” Winehouse’s father Mitch said after embracing Bennett.

On the Bubble: The night’s big winner, Adele, was chewing gum backstage after her triumphant performance of “Rolling in the Deep.” That applause you heard on TV was no joke. The crowd inside Staples was blown away.

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Stick with MTV News all for all the Grammy red-carpet fashion, Grammy winners and Grammy news until the hangover wears off!

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