Lady Gaga in her “Telephone” video

Photo: twitter.com/ladygaga

Well, that was certainly worth the wait.

On Thursday night (March 11), after months of anticipation, leaked on-set photos and rather excellent adventures in hairstyling, Lady Gaga’s epic video for “Telephone” finally premiered during E! News, and, honestly, if there’s something she didn’t cram into the clip, well, then we missed it.

Part hyperkinetic pop-culture joyride — nods to everything from films like “Caged Heat” and “Kill Bill” to seizure-inducing Japanese television and the color-drenched photography of David LaChapelle — part electric dance extravaganza, “Telephone” is nine-plus minutes of everything you could possibly love about Gaga (and Beyoncé, who, we’re sure you know by now, co-stars in the clip), only amped up to the Nth degree.

It’s ambitious, funny and clever, playing much more like a short film than a music video. There are opening and closing credits — it’s important to know that the video was written by Gaga and director Jonas -kerlund, after all — elaborate, over-the-top (or barely there) costumes, and a whole lot of celebrity cameos. This cost money, this took time, this was a work of love and blood and sweat and tears (and a whole lot of hairspray). This was worth it.

Opening in an ominous women’s prison, we first see Gaga being led to her cell by a pair of, well, let’s just call them “beefy guards.” She is stripped of her impossibly shoulder-padded dress and left nude, while the other inmates howl, and as the guards shut the door behind them, the one cracks to the other, “I told you she didn’t have a di–” (a joking nod to those nasty hermaphrodite rumors, of course).

From there, we get glimpses of Gaga’s life behind bars — make-out sessions in the exercise yard (where she is inexplicably wearing sunglasses made out of half-smoked cigarettes), the occasional catfight in the commissary — and then, after nearly three minutes of introduction, Gaga takes a phone call and the song finally begins, first with just some gentle electronic notes and LG’s tender vocals, then morphing into a stuttering electro-pop stomper, complemented by a dance sequence (Gaga and her inmates strutting and climbing dressed only in studded underwear, fishnets and stiletto heels) that’s sure to make the censors rather nervous.

Gaga is then bailed out, but not before she busts a Michael Jackson shuffle while one of the guards surfs around on the dating site PlentyOfFish.com (a scene which isn’t even the strangest example of product placement in this video). Waiting for her outside the gates is none other than Beyoncé, driving the so-called “P—y Wagon” from “Kill Bill.” The two engage in some seriously stilted dialogue — “You know what they say: Once you kill a cow, you gotta make a burger” — though Gaga’s dead-eyed stares at the camera make it very clear that it’s all intentionally bad (as the acting in all good “women in prison” flicks should be). They then go screaming off into the desert.

They pull into a diner, where Beyoncé pours herself into a booth opposite Tyrese Gibson, who is a total jerk — so much so that B poisons his coffee. We then cut to a delightfully campy sequence titled “Let’s Make a Sandwich” featuring Gaga standing in a kitchen wearing a folded-up telephone on her head while dancers cavort behind her, wielding salad tongs and assorted cutlery. She then, well, makes a sandwich, being sure to show off the Wonder Bread and Miracle Whip logos (this is the strangest example of product placement), whips through a tightly choreographed — and, really, pretty clever — dance sequence and then chomps down on the sandwich. And when was the last time you got to see her do something like that?

It turns out she also makes poison, which she dumps into some honey and delivers to Beyoncé’s booth, dressed as a towering waitress with a telephone dangling in her eye. Gibson smothers his breakfast in the stuff and dies. Unfortunately, everyone else in the joint — including Gaga’s pals the Semi Precious Weapons — does the same, and they all suffer the same fate. Gaga and Beyoncé begin the video’s third over-the-top dance number, popping and strutting while the dead bodies lay around them. It’s sort of creepy, to be honest.

The two then pile back into the Wagon and head out onto the highway (not before Gaga does a solo performance in front of the vehicle while dressed in an ultra-tight leopard-print number), and as the video reaches its conclusion, they deliver some more of those cheesy lines, join hands and zoom toward the horizon, police sirens wailing in the background. The last thing we see onscreen is text, which promises us “To Be Continued … ” because, hey, why not?

So now that it’s finally here, what else can really be said about the “Telephone” video? To be honest, I’m not sure. It is electric and excellent and alive. It is certainly the best big-budget clip since, well, Gaga’s last big-budget clip and probably the best video you’ll see all year (well, either that or OK Go’s new one). It more than lived up to the hype, which, frankly, few thought it would. But, perhaps most notably, it is an event. You will remember where you were when you first saw it. And when was the last time you could say that about a music video?

With “Telephone,” Gaga has entered the rarest of pop stratospheres, up there with the Madonnas and the, gasp, Michael Jacksons. I’m not comparing talent, just ability: ability to wow, to enthrall and put on a show — one I can only hope is continued sometime very soon.

What did you think of the “Telephone” video? Was it all you wanted and more? Sound off below!

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Lilly Scott on “American Idol” Thursday

Photo: Fox

After months of auditions, nail-biting Hollywood drama and three sometimes-painful live-performance weeks, America finally got its top 12 on “American Idol” Thursday night (March 11) on a show that provided some of the first true surprises — and shocking exits — of season nine.

The handful of singers who appeared certain to end their runs on the show after crash-and-burn performances got miracle reprieves as Katelyn Epperly, Lilly Scott, Todrick Hall and Alex Lambert were voted off.

In the first elimination group, host Ryan Seacrest waved through potential singer/songwriter Didi Benami and quirky dark horse Siobhan Magnus. That left Katelyn Epperly and Paige Miles standing center stage, with one facing elimination.

It seemed certain that Miles, whom the judges have repeatedly said had the strongest voice in the competition, would be the one to go after her poorly received cover of “Smile,” a song made famous by Michael Jackson. But in a surprise, it was Epperly, who went home after an equally slammed cover of Carole King’s “I Feel the Earth Move.”

Miles looked shocked and not quite as elated as one would suspect, while the somewhat emotional Epperly began to well up when she said she’d learned a ton on the show and her elimination was “just a push for me to go do more stuff.” The second go-round for “Earth” was a bit more energetic and had the personality the judges had been missing, though the vocals were still not great.

Then it was the guys’ turn, as Tim Urban, Todrick Hall, Lee Dewyze and Casey James lined up on the stage. First to go through was sensitive pinup James, who played it safe with Keith Urban’s “You’ll Think of Me,” followed by this year’s true wild card, Urban, who seemed destined to go home after two horrendous weeks but somehow pulled out a strong vocal on Wednesday night with his cover of Leonard Cohen’s “Hallelujah.”

Not surprisingly, the much-praised Dewyze was safe, thanks to his serviceable cover of Owl City’s “Fireflies,” while dancer Hall was sent packing even after his big gamble with a gospel version of Queen’s “Somebody to Love” that drew praise but didn’t seem to endear him to voters.

Hall seemed to sense his number was up, staring blank-faced into the camera with a resigned look. He said he was just happy that fans came up to him over the weekend and said they’d voted for him. “This has been an awesome experience,” he said. “I came here to prove that I’m not just a dancer, I can also sing. I think I’ve done that.” The reprise of the bombastic glam-rock tune indeed proved that Hall has a powerful voice and strong performance chops that will likely keep the former Broadway star — who performed with onetime “Idol” Fantasia in “The Color Purple” — gainfully employed.

Seacrest mixed it up as he built the second half of the top 12, starting out with leading female contender Crystal Bowersox, who looked more nervous than she should have been as she got the good news, followed by Michael Lynche, who was a shoo-in following his searing, tear-jerking cover of Kate Bush’s “This Woman’s Work.”

During her second go-round on the show, Lacey Brown made it further than last year, when she washed out just before the live rounds. This year will be different, as she took a seat, along with jittery teen Aaron Kelly, who managed to make it to the top 12 despite a so-so performance of Lonestar’s “I’m Already There.”

That left Alex Lambert and Andrew Garcia standing with their arms around each other’s shoulders awaiting the news. It was another shocking exit, as Lambert, who was beginning to overcome his paralyzing case of stage fright, got the bad news.

The men gave each other several deep hugs, and Lambert lamented how nervous he was during his run. “There’s a lot of things America hasn’t seen me do yet,” he said. “And a lot of things I know I’m capable of. … I wish I could have just broken out of my shell.” Magnus was brought to tears, and Bowersox mouthed along as Lambert tried his best to keep his emotions in check during one more run through Ray LaMontagne’s “Trouble,” earning a group hug from the male top six at song’s end.

The final pairing featured teen Katie Stevens and Lilly Scott awaiting their fate. Stevens, who was tagged as a potential winner of the whole thing early on, stumbled in the live rounds, unable to find a performance personality and repeatedly getting feedback from the judges that she came off as much older than 17 and needed to get more experience under her belt.

But, despite another poorly received performance on Tuesday, this time of Kelly Clarkson’s “Breakaway,” America gave her the nod over Scott, a unique performer who won the judges over with her offbeat style, musical chops and a solid cover of Patsy Cline’s “I Fall to Pieces.”

Scott looked dumbfounded at the news and genuinely bummed. “I thought I did really well, I thought I was appealing to a lot of people,” she said, shaking her head while Stevens wiped away tears of joy. “I put my heart into every performance. I really gave it my all every time. … I don’t know what America wants to hear.”

Without her mandolin, Scott sang another solid rendition of the 50-year-old country classic, singing it even more powerfully than she did earlier in the week, perhaps leaving the audience with a sense of an opportunity missed.

The show opened with one of the blandest group lip-synch numbers in recent memory, a vanilla waltz through Michael Bublé’s bubbly “Haven’t Met You Yet.” Later in the program, returning to the stage were a pair of finalists from last year, dueling piano players Matt Giraud and Scott MacIntyre, who played a boogie-woogie version of Billy Joel’s “Tell Her About It.”

Next week, the top 12 contestants will be singing songs from iconic rock band the Rolling Stones.

What did you think of Thursday night’s eliminations? Did the right people go home? Did America make a mistake? Leave your comments below!

Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.

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Justin Timberlake

Photo: Michael Buckner/ Getty Images

Earlier this year, Jessica Biel, Emile Hirsch, Lupe Fiasco, Santigold and others banded together to climb to the summit of Mount Kilimanjaro to raise awareness about the global clean-water crisis. Now Justin Timberlake has pitched in to support the effort.

The singer is set to provide a personal introduction to “Summit on the Summit: Kilimanjaro,”
the 90-minute documentary about the celebrities’ climb that will air on MTV on March 14 at 9 p.m. ET/PT. Masterminded by Grammy-nominated musician Kenna, the team took a six-day, 50-mile trek
to the peak of the tallest mountain in Africa.

“It was a combination of the mental and the psychological aspects of the mountain, of the slow-but-steady pace that you had to go up it, and that sometimes made your brain just want to explode, because you just wanted to get there so badly,” Biel told MTV News Wednesday. “But then you’d get this rush of inspiration of ‘I’m not doing this for me. I’m doing this for something bigger than me, for people who don’t have a voice, for people that need water around the world,’ and then you’d power through.”

In addition to raising awareness about the clean-water crisis, the “Summit on the Summit” raises funds for P&G’s Children’s Safe Drinking Water Program, United Nations High Commissioner for Refugees and Water for People’s PlayPumps Technology. During the MTV broadcast, viewers will be able to text SEND to 90999 to donate $10 to the U.N. Foundation on behalf of “Summit on the Summit.” Each donation will send 1,000 liters of clean water to people in need.

“MTV has a long history of educating its audience to raise awareness on issues that are important to them,” said Dave Sirulnick, Executive Vice President, News and Docs. “More than 1 billion people worldwide do not have access to safe, clean drinking water. By airing this documentary, MTV hopes to mobilize a new generation of young people who may not be aware of this global cause and take action to get involved in helping find solutions to the water crisis.”

Don’t miss “Summit on the Summit: Kilimanjaro,” airing Sunday at 9 p.m. ET on MTV. And find out what you can do to help solve the global water crisis now at the “Summit on the Summit” Web site.

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Gerard Butler

Photo: MTV News

In honor of Lady Gaga’s “Telephone” music video premiere on Thursday, MTV News got celebrities to weigh in on what they would ask Gaga about on a phone call, if they could ask about anything in the world. So this week, we’ve been rolling out their burning questions for the pop princess. And stay tuned to MTV News for more on the “Telephone” video.

Celebrities certainly have a lot to ask Lady Gaga now that she’s premiered her video for “Telephone,” and “Bounty Hunter” star Gerard Butler wants to know how Gaga would dress him for some special occasions.

“What I should wear,” Butler laughed to MTV News about his burning question for Gaga. “I think she’d probably say, ‘Get a life — it’s not happening!’ ”

“My Life as Liz” star Liz Lee shared earlier this week that she wants to know just how Gaga thinks up all those crazy things, like the “Telephone” video. “What would I call her about? … I want to know what’s going on in her mind,” Lee told MTV News when she stopped by to chat about the season finale of her show. “Like, where does she come up with this stuff?”

It seems that Kellan Lutz also wanted to know all about her wacky train of thought. “Her creativeness,” the “Twilight” star said. “I love to invent stuff, and she’s so inventive. She’s so creative, and I love people who think that way and are very just out-there and don’t care and do whatever.”

But perhaps the most intriguing call of all might take place between “Gossip Girl” creator Josh Schwartz and the pop queen. He’s trying to get her on “Gossip Girl” again. “I’d call and ask her if she’d come back,” he said, adding he already had a plot twist in mind for the native New Yorker. “Maybe she can play, like, Lily’s sister, Aunt Carol … Serena’s aunt.”

What would you call Lady Gaga about? Tell us in the comments below!

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Corey Haim

Photo: Michael Bezjian/ Wireimage

Preliminary reports reveal that 1980s heartthrob Corey Haim died of an enlarged heart with water-filled lungs, the actor’s manager told CNN.

The Los Angeles County coroner told Haim’s mother that the culprit was pulmonary congestion, manager Mark Heaslip said. Haim was found dead Wednesday after collapsing in the Los Angeles apartment he shared with his mother, Judy Haim.

Heaslip went on to say that this was proof that the actor didn’t die from a drug overdose, contrary to early media reports shortly after the news of his death broke. However, Brian Elias, who is with the coroner’s office, said that they are waiting for toxicology tests to return before making the official call on what ultimately killed the actor.

The initial buzz of what might have actually killed Haim came from the 1980s teen icon’s decades-long struggle with drug addiction. Longtime friend and frequent co-star Corey Feldman asked Wednesday that people not “jump the gun” to conclude a drug overdose killed Haim.

Heaslip, manager to both Feldman and Haim, said he seemed to be winning his battle against drug abuse in the weeks before his death. Haim had suffered from flulike symptoms for two days, the deputy coroner said.

“We found no illicit drugs. However, we did recover four of his prescription meds at the location,” said Ed Winter, the Los Angeles County deputy coroner, adding that he does not know what those drugs were.

Haim was “weaned down to literally zero medications” in the past two weeks by an addiction specialist, Heaslip said Wednesday on CNN’s “Issues With Jane Velez-Mitchell.”

The doctor “put him on a new line of medications,” Feldman said on “Larry King Live” on Wednesday.

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Lady Gaga in “Telephone”

Photo: Interscope Records

On Thursday at 11:30 p.m. ET, fans will finally get to see the “Telephone” video by Lady Gaga, featuring collaborator Beyoncé and pals Semi Precious Weapons. Shot in California in February and directed by Jonas Åkerlund, the video has Gaga’s little monsters salivating in anticipation of its release.

Although we don’t know everything that’s going to happen, there are certain leaked details that are giving us a few ideas of what we can expect — Lady Gaga is in jail, Beyoncé breaks her out and from there, we imagine, the two have some wacky adventures that include them stopping at a desert diner. So far, here are the clues we’ve gathered:

Lady Gaga will be wearing some crazy outfits. In leaked photos, she’s been seen wearing everything from crime-scene tape to American flag garb to a telephone-shaped eye patch made from hair. She’s also been seen in a studded leather jacket and a sparkly strapless dress, with cigarette sunglasses on, covered in heavy chains. Beyoncé also appears to be getting her fashion on in a military-style, jewel-encrusted blue top.

Gaga was inspired by Quentin Tarantino. Uma Thurman’s ride from “Kill Bill” appears in the video and Semi Precious Weapons confirmed that the video certainly had nods to Quentin Tarantino, something Gaga and Beyoncé also touched on in their “Video Phone” clip. “It’s very Tarantino-inspired,” frontman Justin Tranter shared. “Sort of like violent melodrama glamour.”

She got “crazy” and “magical” on set with Beyoncé. “It’s gonna be so crazy,” B said about working with Gaga on the video. And, Semi Precious Weapons added that the girls are kind of “magical” together. “Obviously, Gaga’s one of the greatest music visionaries of our time,” Tranter said. “And Beyoncé is one of the greatest visions of our time. She is a music visionary too.”

This video will leave “Bad Romance” in the dust. Simply put from Gaga herself, “I feel so bad for the ‘Bad Romance’ video ’cause the ‘Telephone’ video’s so much better. [Beyoncé's] really a great friend of mine. We have a lot of fun working together. We’re so very different in our approaches, but somehow when we come together it’s really magical. I’m very excited for everyone to see the video.”

The clip picks up where “Paparazzi” leaves off. Both Beyoncé and Gaga herself have confirmed that the video picks up where the other Åkerlund-directed clip, “Paparazzi,” leaves off. So what exactly does that mean? Well, perhaps the “Paparazzi” heroine has been jailed for the crime of killing her lover (played by “True Blood” star Alexander Skarsgård) and now it takes the one and only Beyoncé to bust her loose.

Are you excited for the “Telephone” video? How will you celebrate the premiere? Let us know in the comments below!

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T-Wayne

Photo: Young Money

The O.D.: A Mixtape Daily Exclusive

Despite naysayers’ talk that the duet album between T-Pain and Lil Wayne will never happen, Mr. Pain says the project is very much still alive, just on hold.

“The T-Wayne album, we’re actually gonna wait until he gets out,” Pain said about Weezy’s jail time. “He has so much going on. He has Rebirth out right now. I don’t wanna interrupt that. We just gonna wait until he gets out to really get in on that. We recorded a bunch of songs. But, right now, it’s time for him and his personal sh–. We definitely got an album’s worth of material, but it’s only an album’s worth. It’s nothing to pick from. We just got an album. We can put out whatever we feel like and say, ‘Hey, this is T-Wayne’s album,’ or we can actually try to make it good. Like we’re actually trying to make an album and say, ‘This is the good T-Wayne album.’ Rather than just record 12 songs and say, ‘Here you go, mutha—-as! I know you want it. You gonna buy it anyway, just ’cause you think it’s good.’ ”

Pain, who always has a joke up his sleeve or in his top hat, had a lighthearted response when asked what he thought of his supergroup teammate having to go to prison.

“It happens, man,” the singer said. “People go to jail. That’s something he’s gotta go through. I’m happy it’s not f—ing 10 years. That’s just something that’s going on. I know his commissary [prison store] is ridiculous. He’s got so much money in his commissary. You think Baby is gonna let him sit up in there and eat Doritos? Wayne got [his food] coming with steaks. … I know what’s going on there.

“Young Money is still there also. He’s in the studio 24/7,” Pain added. “It’s gonna be like Tupac. You still gonna get 1,000 songs from Wayne. You ain’t gonna miss nothing. It’s gonna be like he never went to jail. I’m pretty sure they’re gonna put out a gang of songs. I’m pretty sure they’re gonna do a ‘Free Lil Wayne’ campaign. That’s how it goes.”

For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines.

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Tim Urban

Photo: Fox

The top eight men took the stage on “American Idol” on Wednesday (March 10), a night when the front-runners staked a claim for their spots in the top 12, and the weaker members of the herd punched their tickets home. When the dust settled, Michael Lynche emerged emerged as the new one to beat with a performance so strong, it brought judge Kara DioGuardi to tears, and seeming also-ran Tim Urban possibly saved himself with his strongest performance to date.

Lee Dewyze made it clear that he intends to hang around, coming out strong with a Dave Matthews-like acoustic ramble through Owl City’s “Fireflies.” It wasn’t always on key, but he made up for it with his infectious charm and barroom sandpaper drawl.

Randy Jackson thought it was too soft a song for Lee’s voice, and a bit pitchy, but he liked how he made it his own, and Kara appreciated the confident vibe he brought to the tune. “There’s nothing to rave about after that,” said Simon Cowell, who didn’t feel his favorite male semifinalist had “a moment” but still displayed solid progress.

As his star has steadily risen on the show, Alex Lambert nailed his song choice with Ray LaMontagne’s weary ballad “Trouble,” a tune that perfectly fit his dry-throated voice and sad-eyed, innocent demeanor.

“The only thing standing in the way of you winning is you right now,” Kara said, praising his unique voice but counseling him to let it rip. Ellen busted out the ripening banana metaphor one more time and said Lambert is getting better and better every week, even as he maintains his innocence. Continuing with the inappropriate advice, Simon said Lambert needs to loosen up, perhaps by imagining Jackson in a bikini.

With two weeks of bad news behind him, Tim Urban went for it by tackling Leonard Cohen’s iconic — and hard-to-sing — “Hallelujah.” Strumming an acoustic guitar, Urban didn’t try to reinvent the wheel but capably hung in there for his strongest effort to date.

Ellen, feeling bad about slagging Urban every week, ran up onstage and hugged him as a kind of apology, and Simon patted himself on the back for giving Urban back his confidence, calling it Tim’s best performance to date. “You walked in some pretty big shoes, and I think you did a pretty good job, Tim,” Randy said, as Kara predicted he might have sung his way back from the brink with his honest, emotional take on the song.

Needing to find his groove again, Andrew Garcia went back to the well for a cover of Christina Aguilera’s breakthrough hit, “Genie in a Bottle.” The Santana-like flamenco/soul take felt like another high point, with Garcia making the song his own.

Kara, though, sensed he was fighting with the melody and straining too hard to recapture his “Straight Up” glory, saying, “It just wasn’t great.” It was a good idea, but too pitchy and not dynamic enough for Randy, though Ellen loved the song choice and wished the genie had come out of the bottle earlier. “It was a little bit desperate,” Simon said.

Casey James went with Keith Urban’s “You’ll Think of Me,” a safe, straightforward acoustic country ballad that highlighted his soulful tone. That’s exactly what Randy thought, encouraging Casey to go edgier and more rock. For Simon, it was James’ second-best effort, one that made him seem sincere and sounded great, even if it was a bit forgettable. His former number-one fan, Kara said she was missing the spark, but was glad he wasn’t trying to be a phony rock star anymore.

A singer seemingly on the bubble, Aaron Kelly, also chose a country tune — Lonestar’s “I’m Already There” — which started out pitchy and tentative and didn’t get much better as he rose from his stool and wiggled awkwardly back and forth, alternating between pure and off-key notes.

The singing wasn’t great for Ellen, but she thought Aaron carried himself like a much older, more experienced singer than he is. “I love you, you come out onstage every week and you give it your all,” said Kara, who then pointed out that the song is about a man calling home to talk to his kids, which just doesn’t make any sense coming from a 16-year-old. Simon, however, totally disagreed, saying it was the right type of song for him and he had the right emotion, even if it wasn’t a great vocal.

Todrick Hall’s philosophy? If you might go home, go big. His unexpected take on Queen’s “Somebody to Love” turned out to be a bold choice for the dancer, who turned the tune into a sanctified gospel showpiece.

“Todrick is back!” Randy announced, calling it one of the best male vocals he’s heard in weeks. Cowell took it down a notch, dubbing the performance more fit for Broadway than an “Idol” recording artist while giving Hall props for performing and not just sitting on a stool and strumming a guitar.

Then Big Mike Lynche brought down the house. He also switched it up, singing British icon Kate Bush’s classic ballad “This Woman’s Work,” evoking Maxwell with his silky, between-the-sheets R&B version.

The praise was unanimous. Simon said it was the best performance of all the live shows so far, Ellen declared the personal trainer the new one to beat, and DioGuardi literally burst into tears at the emotion the new dad put into the tune. All a dumbfounded Randy could say was “Really?”

Four more singers go home Thursday night as this year’s top 12 is revealed.

What did you think of the men’s performances? Who killed it? Who blew it? Who is definitely making it to the top 12? Let us know by leaving your comments below.

Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.

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Jessica Biel

Photo: MTV News

NEW YORK — While climbing Mount Kilimanjaro, as part of Kenna’s “Summit on the Summit” mission, Jessica Biel got to know the 19,000-odd feet of rock pretty well. In fact, she’s pretty sure the mountain is actually a woman.

“She was like this mysterious, foreboding, ominous woman. And she was hidden almost all day long, and just when you were unmotivated, and feeling like crap and uninspired and thinking, ‘What am I doing here?’ the clouds would part and she would peek out, and the beauty would strike you, and then you’d be inspired again,” Biel told MTV News on the red carpet for the premiere of “Summit.” “And she was literally, like, this woman who would pull this veil over her face and disappear, and then she’d show a little bit of herself, and then she’d disappear again. It was kind of this running joke, but I really felt that way. I felt like, ‘I respect you. Please let me get up, please.‘ ”

But just because Kilimanjaro was inspiring doesn’t mean she also couldn’t be positively dominating too. In the film — which debuts Sunday at 9 p.m. ET on MTV — Biel and her fellow climbers (a team that also featured Lupe Fiasco, Santigold, Emile Hirsch and a team of scientists, United Nations ambassadors and experienced mountain guides) were brutalized by freezing rain and snow, gashed and twisted on stones and dizzied by the rapidly thinning atmospheric conditions. But that was just the physical trauma. The real challenge, for Biel at least, was overcoming the mental aspects of scaling the peak.

“It was a combination of the mental and the psychological aspects of the mountain, of the slow-but-steady pace that you had to go up it, and that sometimes made your brain just want to explode, because you just wanted to get there so badly,” she said. “And then you couldn’t see anything at night, when we were doing our ascent attempt, and you start thinking that it would never end and you’d start to think, ‘Why am I here? This is miserable!’

“But then you’d get this rush of inspiration of ‘I’m not doing this for me. I’m doing this for something bigger than me, for people who don’t have a voice, for people that need water around the world,’ and then you’d power through,” she continued. “Your mind started to play tricks on you. And then, with the altitude, you just felt so strange. You didn’t know why you were lethargic, you didn’t know why you were so tired. It was an intense experience.”

And that bigger goal was to raise awareness about the global clean-water crisis, a problem much bigger than any mountain. But Biel was inspired, not just by her trip to the top of the world, but by the larger message the mission carries: that together, people can conquer even the most insurmountable of challenges.

“That’s a part of all movements. One voice is something, but a group of voices can change the world. All grassroots movements started that way, and with the Internet and people following us and watching our ascent, it really feels like people were excited by what we were doing and hopefully were inspired to create challenges for themselves, whatever that may be, and for whatever cause that may be,” Biel said. “To get involved with their community, or pick something around the world that they care about, that they feel they should stand up for. That was the idea behind this. Kenna wasn’t going to stop, because he had this group of friends behind him, who were supporting him. And I wasn’t going to stop, because I wanted to be there for Kenna, and I didn’t want to take the group down. It was such a group mentality, and I don’t think we could’ve done it without everyone being there, and 100-percent ready for the challenge.”

Don’t miss “Summit on the Summit: Kilimanjaro,” airing Sunday at 9 p.m. ET on MTV.

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Corey Feldman on “Larry King Live” Wednesday

Photo: CNN

Actor Corey Feldman, 38, appeared Wednesday night (March 10) on CNN’s “Larry King Live” to discuss the death of his best friend and colleague Corey Haim, 38. Feldman, who co-starred with Haim in movies such as “The Lost Boys,” “License to Drive” and “Dream a Little Dream,” said he was “in shock” over the news of Haim’s passing and that he had seen the late actor as recently as “three or four days ago.”

“He was fine,” Feldman said when asked about Haim’s appearance at the time of their last meeting. “He was actually giving me some advice about something I was very upset about. He was being very positive.”

According to Feldman, reports that Haim died of a drug overdose are premature, citing other possible factors including kidney and heart failure, an inadvertent lethal mixture of prescribed drugs, or simply his body shutting down after years of drug abuse.

“Until the coroner’s report comes out and until we get specific evidence and until we know exactly what the toxicology report says, nobody knows [how Haim died], and nobody is going to know,” Feldman said. “We are aware of the fact that Corey Haim has a long and detailed drug history and battled addiction for many, many years. I know it better than anybody, because I’ve been the guy stuffing charcoal down his throat when he was [overdosing]. I’ve been the guy trying to make him stand up or say a complete sentence. I’ve been through it with him many, many times, and it’s happened very badly and very intensely through the years.”

While Feldman said he appreciated the outpouring of condolences from Haim’s many mourning fans, he was disappointed that the late actor’s support didn’t reveal itself sooner.

“At the end of the day, where were all of these people the last 10 or 15 years of Corey’s life?” Feldman asked. “Where were all of these people to reach a hand out to him and say, ‘You’re a legend. You’re an amazingly talented and wonderful person.’ ”

Feldman said mean-spirited remarks from tabloid magazines and Web sites such as TMZ were quite troubling not just for Haim, but also for himself. In light of Haim’s death, Feldman suggested that society needs “to grow up and think about every time we laugh at somebody in the tabloids, every time we poke a finger at somebody and say, ‘They’re a joke’ or ‘They’re fat’ or ‘They’re a drug addict’ or ‘They’re washed up’ or ‘They’re a loser,’ we need to look at ourselves and say, ‘Who am I?’ ”

Haim had filmed several movies prior to his death, Feldman said, including a celebrated role in “American Sunset.” Feldman also revealed that before Haim’s death, the longtime collaborators “were negotiating a deal to do [their] first movie together in nine years.” Haim was apparently in the process of pitching a sequel to “License to Drive” called “License to Fly,” which would have been followed up with a third installment called “License to Dive.”

There are currently no funeral plans for the late actor, Feldman said, though he hopes to arrange a memorial service where members of Hollywood would pay their respects to the actor, citing “Lucas” and other films as reasons to fondly remember Haim’s contributions to the industry.

“Hopefully, he’s going to be remembered as a beautiful, funny, enigmatic character who brought nothing but life and light and entertainment and art to all of our lives,” Feldman said.

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