It's the eco challenge this week, and while I find this to be an admirable effort, I don't have high expectations. Too often green is considered synonymous (at least to designers) with earthy, nutty granola looks that make me hope someone plopped some Birkenstocks on the accessories wall. There's no reason for it, except that sometimes the designers want to make it abundantly clear that their dress is GREEN, and how will you know unless it's ugly?
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It's time for Delena! After so, so many episodes of futile yearning and goopy, lusty eyes between Damon and Elena, they're finally free to pursue their wanton desire for one another. But I get the sense this love connection is not to last. First hint? The sire bond possibility floated last week by Caroline and Stefan. The second hint would be entirely about editing. Yeah, editing.
A review of tonight's "Parks and Recreation" coming up just as soon as it's about to get warm all up in my jazz...
A quick review of tonight's "Last Resort" coming up just as soon as the pen is mightier than the sword...
We're getting closer to the end on "The X Factor." Tonight? We eliminate two more singers and cut down to what the show is calling The Semifinals.
We'll also enjoy performances by Melanie Amaro and Ke$ha. Or we'll try to enjoy them.
Click through for the full results live-blog!
The Palm Springs Film Festival, which takes place next month, has been gradually spilling their list of honorees over the last few weeks, with Naomi Watts, Helen Hunt and Robert Zemeckis all booked in to be celebrated for their achievements this year. Though I was only yesterday discussing the individual value of smaller awards, naming Zemeckis their Director of the Year is about as far as the festival strays from the Oscar conversation with their picks -- every year, the timing of Palm Springs makes it a handy stop on the campaign trail for awards hopefuls.
That'll certainly be the case for the festival's latest two selections: "Argo" will receive the Ensemble Performance Award, while Sally Field, currently riding high in the Best Supporting Actress race for "Lincoln," is to be honored with a Career Achievement Award. Both will be presented at the festival's awards ceremony on January 5 -- days before the Oscar nominations are announced, presumably with good news for Field and "Argo" alike.
Justin Bieber’s manager, Scooter Braun, practically lives on Twitter, so it should come as no surprise that he took to the social medium to declare his extreme displeasure at Bieber’s shut-out in yesterday’s Grammy nominations.
Though he graciously told “all those nominated... you do deserve it,” he pled the case for Bieber’s inclusion... albeit, obviously too late.
“Grammy board u blew it on this one,” he tweeted. (Board? Really? It’s the Grammy voters who select the nominees, not the board. That’s beside the point here, though Braun should know that's how it works). “This time there won’t be any wise words, no excuses, I just plain disagree. The kid deserved it.”
He never mentions Bieber by name, but continues, “The hardest thing to do is transition, keep the train moving. The kid delivered. Huge successful album, sold out tour, and won people over.”
And continued. “...this time he deserved to be recognized and I don’t really have any kind nice positive things to say about a decision I don’t agree with.”
As we previously reported yesterday after One Direction found itself in a similar boat, The Grammys have never really figured out how to deal with teen idols.
At least, unlike 1D, Bieber did get a best new artist nomination last year.
Braun does go on to end on a positive note by praising Carly Rae Jepsen, who records for his label and who received two nominations, but he can’t quite let it go with her either, noting “thought u deserved a best new artist nom.” We totally agree on that one.
Oddly, he does not mention his other clients, The Wanted, who were, like Bieber, shut out.
By the end of his myriad tweets, he was already looking on the bright side and vowing to use the perceived adversity to his advantage, quoting, of all folks, David Brinkley: “A successful man is one who can lay a firm foundation with the bricks others have thrown at him.
My improvised publicity blitz continues for "The Revolution Was Televised: The Cops, Crooks, Slingers and Slayers Who Changed TV Drama Forever," and here are the latest links, including one that I suspect will prompt more discussion here. (You can find all the review and interview links at AlanSepinwall.com, along with a FAQ, a list of links to all my online writing about the shows in the book, purchasing links to all the different formats, and more.)
It may currently be sitting at #6 in the US box-office chart for 2012, but impressive as that is, "Skyfall" is a phenomenon on a different scale across the pond. In its sixth week of release in the UK, James Bond's latest outing has surpassed "Avatar" to become the highest-grossing film in British box-office history with a total of nearly $152 million. (Yes, we are a smaller country.) As well as being the best possible golden-anniversary gift for the franchise, it's also likely to be labelled a major victory for comparatively old-school, adult-oriented commercial cinema that doesn't even boast 3D premiums to jack up the numbers. The question from an awards standpoint now is whether BAFTA will dare ignore it in the top categories. Daniel Craig got nominated in 2006, so could 007 be in line for its first Best Film nod? [The Independent]
It seems like the release of the blockbuster trailers has now become a two-stage process, because it generates twice the conversation on sites like ours and twice the opportunities for people to become aware of the upcoming film.
Tonight, Paramount is releasing an "announcement video" to tell you that on December 17th, there will be a teaser trailer for the film. That's exactly five months before the opening of the film, and seems like a perfect date to kick things off.
At least we're finally seeing footage. This coming week, I'll see the nine-minute presentation that will be in front of "The Hobbit," and I'm also doing some other press event stuff that should answer a whole lot of the questions I have about what this film will cover and who Benedict Cumberbatch plays and all sorts of things. But for now, this 60 seconds of "Star Trek Into Darkness" will be heavily scrutinized and discussed and debated, and Paramount will indeed get to dominate the conversation on Thursday even without putting out the full trailer.
UPDATE: I'm putting a short piece at the end of this based on the Japanese language version of the trailer which is also available today, and for those of you who are spoiler-adverse, please be warned. I don't know anything about the new film for sure, but there's an image there that is pretty hard to miss, and it's worth a little bit of discussion.
Did the Grammys get it right this year? The nominations for the 55th Annual Grammy Awards were announced tonight and, as is the annual sport, the dissecting has begun.
By and large, the answer is yes, they did get it right. There are always critics who want the Grammys to be edgier and to take more risks, but when the lead nominees include exciting developing talents like fun., Frank Ocean, and Miguel, roots-loving rockers The Black Keys and Mumford & Sons, and hip-hop leading lights Kanye West and Jay Z, it’s hard to mount much of a protest.
A few observations:
*The Grammy voters are loving acts that embrace acoustic traditions and a folksy sensibility. Whether represented by Alabama Shakes and the Lumineers’ nods for best new artist or the Black Keys and Mumford & Sons’ multiple nominations, they fulfill the Grammy’s need for authenticity and a respect for the music that came before it.
*For the first time in several years, there is little overlap between the nominees for record of the year and song of the year: In some years the lists have been largely identical, but this year only fun.’s “We Are Young” and Kelly Clarkson’s “Stronger” is on both. We’re not sure the voters really understand the difference since Carly Rae Jepsen’s should clearly be up for record of the year instead of song of the year.
*Women were locked out of the album of the year categories in a year when there were several strong contenders, including Florence & The Machine’s “Ceremonials,” past Grammy fave Norah Jones’ “Little Broken Hearts,” and Fiona Apple’s “The Idler Wheel....” (see more in our Winners and Losers photo gallery).
*Fun. and Frank Ocean are the new standard bearers. Fun represents just the sort of pop that the Grammy voters love: it’s wildly commercial, but it’s also smart, fun, well crafted and well presented, and it appeals to alternative fans as much as popsters. Frank Ocean is a voice that demands to be heard. “Channel Orange” is filled with songs that are achingly vulnerable.
*The Grammy voters went for perceived substance over flash: How else do you explain the exclusion of Carly Rae Jepsen and One Direction from the best new artist category?
*In what world does Beyonce’s “Love On Top” count as a best traditional R&B performance instead of best R&B performance? Such a move once again shows how labels are eager to shoe horn an artist into a category where he/she stands the best chance of winning, not the category that necessarily best represents the work. On the same note, it may be time to wave goodbye to the best traditional pop vocal album when two of the three (!!) nominations are for Christmas albums. Maybe Beyonce can squeeze in there somehow...
*Once again, the Grammy voters embrace a much broader range of country artists than the CMA or ACM voters ever would. Grammy voters love to take non-commercial acts like the Time Jumpers or great Don Williams and give them nods. They are wildly out of step with the much more commercial leaning country awards shows, but that might not be a bad thing.
What do you think of this year’s nominations?