E! Online, in conjunction with Lionsgate®, presents the official live-stream of the red carpet premiere of the highly anticipated film WHAT TO EXPECT WHEN YOU’RE EXPECTING, today at 6 p.m. PT. E! Online, the leading entertainment news website, will provide fans with a front-row seat to all of the action as their favorite stars hit the film’s first red carpet premiere, live from Los Angeles.

One of the most popular mobile games is coming to a Facebook profile near you…yours! Playing as the endearing Barry Steakfries, players navigate this jetpack-wearing hero through an endless gauntlet of obstacles, including projectiles, bubbles and rainbows! Microtransactions and achievements allow players to customize Barry with assorted gadgets, like coin magnets, bombs and even a Golden Piggy jetpack. Players will also be able to compete with friends for high score bragging rights. Best of all, players can immortalize their successes with in-game screenshots posted directly onto their profiles!

“With Jetpack Joyride‘s success on the iOS platform, it only made sense for us to bring Barry and his mischievousness to the entire Facebook community,” said Phil Larsen, chief marketing officer at Halfbrick. “The active and casual nature of Facebook gaming allows us to do even more with the beloved franchise and focus on the game’s addictive competitive elements and endless replayability.”

Jetpack Joyrideis currently in its beta phase and is free-to-play on Facebook. To check out Jetpack Joyride on Facebook, visit: apps.facebook.com/jetpackjoyride

To download Jetpack Joyride on iOS devices, visit: http://itunes.apple.com/app/jetpack-joyride/id457446957?mt=8

Art is a constant struggle of deciding how far to stray from accepted norms in presentation. Go too far and those consuming the art get lost in trying to understand the work. Don’t go far enough and the art comes off as inconsistent or lacking innovation. Where Do We Go Now?is a mostly straightforward and competent film all around, but certain creative choices distract from the overall message of the film, marring the presentation with unevenness.

In an unnamed village in the Middle East the small population breaks down into two groups: Christians and Muslims. By and large, the townsfolk live in peace – they work together, play together, dine together. The entire town even comes together to watch TV in the courtyard. Unfortunately, this village has a history of violence that the women of the town won’t forget. So when news of religious warfare starts to pour out of the television, it’s up to the women to keep their men distracted and prevent needless harm from breaking out in their peaceful village. Regrettably, the men are so sensitive that any perceived slight is taken as an ultimate offense, forcing the women to make amazing personal sacrifices to keep the peace, but will it be enough?

Overall, Where Do We Go Now? offers a serious plot about real-world issues, but presents the story in a largely lighthearted manner. The women are fun and jovial, and audiences will laugh at their clumsy attempts at sabotage and espionage. They often crack jokes and tease each other into going along with the next outrageous idea to keep their men distracted, and the behavior exhibits a kind of comfortable universality that will endear the characters to audiences. The story, however, does become progressively darker as the film goes on, and the comedy moves from the characters to the absurdity of their situation as the women are subjected to more trials than is fair.

The performances never falter throughout the film, which is a credit to writer/director Nadine Labaki. Her unique directing style allowed her to work with this cast of mostly non-professional actors and get realistic dialogue, movement and emotions. Most of the characters aren’t complex, but neither will any of the actors pull audiences out of the experience, either. Labaki turns in the strongest performance as Amale. She has a deep understanding of her character, has good camera sense and knows how to tap into her real-life experiences to enhance her acting. When Amale lectures the men on violence late in the film, it’s obvious that Labaki – if not all Lebanese women – are speaking the powerful words.

One odd aspect of the film is its various musical elements. Labaki’s goal was to present a kind of fairytale parable by omitting exact information about the setting and inserting surreal aspects, like singing and light dance numbers. The film opens with female mourners marching towards a cemetery, and the women surprisingly start moving in time with the soundtrack. Later, another musical scene features Amale singing to herself and running through the woods, with her clothes flowing around her like in a fragrance commercial. These moments add another layer to the film that doesn’t seem necessary, especially since the musical scenes are so sparse. When they appear to punctuate the story, they make the film feel inconsistent rather than innovative.

There are also a few minor plot issues that go unresolved. For instance, a character has a relationship with a love interest, which the film builds up with an out-of-body musical number. Unfortunately, the relationship is never paid off. Also, an elaborate plan is concocted to spy on the men to find out how close they are to all-out war, but this minor plot doesn’t resolve in a completely satisfying manner. Fortunately, while story problems like these do mar the film, they aren’t often or egregious enough to be fatal.

It’s unclear how American audiences are going to react since viewers here are loathe to tolerate differing word views – especially when those views are opposite to their own and have a real ability to constrict them. Nevertheless, the message of Where Do We Go Now? is still something that every viewer, regardless of nationality, can appreciate. Everyone is different to some degree, and the least everyone can strive for is tolerance by another.

Nadine Labaki is a woman of character and a thoughtful filmmaker. Building on her rich experiences, she’s crafted a provocative film about the difficulties of tolerance, and how much sacrifice must be made for peace. Sitting alone with Working Author in a spartan room with little more than a small table and two armchairs, Labaki leans in close and opens up about her film Where Do We Go Now?

“That’s a long story,” she begins after being asked about how she got into filmmaking. “It has always been an aim – a dream – of mine ever since I was a kid.” With just a tinge of wistful regret in her voice, Labaki delivers a cursory Lebanese history lesson, recounting the country’s war filled past. “When we were kids, sometimes we wouldn’t go to school, we couldn’t play outside…we were stuck, either at home or in the shelter. So for me the only way to live something different was through the TV set or through the films we used to rent, because we had a video rent store right next to our house.” These movies were an escape from her reality, and Labaki wanted to create more alternate realities. To do that, she had to become a filmmaker. “I decided very early – I was about 10 or 11 or something like that – this is what I wanted to do. I wanted to create other realities with images.”

Where Do We Go Now? is Labaki’s second film, and she wears multiple hats that include director, co-writer and actress. The film is set in an unidentified village in the Middle East where the villagers belong to either one of two conflicting religious beliefs. While peace has existed for some time, the men of the village seem ready to fight at even the slightest perceived offense. As such, it’s up to the women to keep heads cool and prevent unnecessary bloodshed. Not surprisingly, considering Labaki’s past, the idea for the film has roots in reality. “It was some point in 2008 where, unfortunately, some political events in Lebanon led people to take weapons again after having succeeded in living over two decades of peace. You know, for stupid reasons, people took weapons and went out in the streets and started killing each other again.” She wondered if Lebanon would fall into civil war. “At that point I just learned that I was pregnant and I think that does change your perspective on life and does make you want to express yourself differently. And I thought of this child and what if he was a young man and he was tempted to take a weapon and go down the street and do whatever the rest were doing. How would I react?” She wondered how she would stop her son, and that introspection evolved into the plot of Where Do We Go Now? where the women make more sacrifices than is fair to stop all-out war.

For Labaki, war is “evil” and “absurd”, however, war is simply a tool used to achieve a goal. It’s the reasons behind war that should be scrutinized. In the case of this film, the reason is religion, and Working Author was curious to know if Labaki felt the same sentiments towards faith as she did for one of the tools of faith. After all, if the villagers didn’t have religious beliefs, there would be no conflict. “For me, it’s not about religion,” she says, “it’s about two parties – could be two football teams, could be two families, could be two friends – who live in the same country or neighborhood or family or live on this Earth. And who cannot find ways to accept the difference of the other. It’s about how you do not tolerate the difference of the other. It could have been anything.” Labaki confesses that she and her crew thought about creating new religions in the film, but ultimately decided that clarity was paramount for her message of tolerance to come across. In the end, the message behind Where Do We Go Now? is not homogeneity, but rather live and let live.

Audiences will be impressed to know that many of the cast members are non-professionals, since everyone’s performances are serviceable throughout. “It’s a very delicate process,” Labaki says, regarding her direction to achieve such consistency in the performances. “I don’t really like the word ‘acting’. As a filmmaker, I’m at this phase in my life where I need to believe that whatever is happening is true. Because of maybe the subjects I’m talking about, because of the fact that I want you as a viewer to really relate to the characters – to come out of the theater thinking, ‘You know this could have been me. This could have been somebody I know.’” She wants performances and dialog to feel realistic rather than scripted. “I don’t ask [the cast] to act; I just ask them to be exactly who they are…. So what happens usually is I become very good friends with them before we start shooting so we really become very close.” Once Labaki knows them, she begins to dig into their histories and personalities to make the cast understand what they need to do for their scenes and what their motivations are. “In Lebanon, you don’t know one person who hasn’t had a tragedy related to war, so everybody relates.”

As the interview wound down, Labaki expressed her hope that American audiences would have the same positive reaction that film festival audiences had around the world. In these political, religious, race, lifestyle and class polarized times in the United States, a message of tolerance is sorely needed. A film like Where Do We Go Now? can’t get here soon enough.