Who can resist watching skilled dancers do their thing? Oxygen is hoping the answer to that is no one, as they will be launching a new docu-series dedicated to the art on Tues. July 31 (9 p.m., 8 p.m. central). Here's your first taste of "All the Right Moves," which chronicles Emmy-nominated choreographer (and "So You Think You Can Dance" alum) Travis Wall's efforts to start a dance studio called Shaping Sound with his friends Teddy Forance (a "Dancing with the Stars" dancer), Nick Lazzarino ("SYTYCD" season 1) and Kyle Robinson (featured on "Dancing with the Stars"). I expect great dancing, tears and (given this clip) occasionally embarrassing full-body high fives. Works for me!
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Carly Rae Jepsen’s “Call Me Maybe” spends its seventh week at No. 1 on the Billboard Hot 100, further sealing its status as the song of the summer.
By remaining in the pole position, “Call” once again locks Maroon 5’s “Payphone” featuring Wiz Khalifa out of the top spot. The tune stays at No. 2 for the sixth week, although it does remain No. 1 on the Radio Songs chart.
Its continued strength at radio could mean that “Payphone” will finally ring in to the top slot next week, although it may have to fend off a charge from Katy Perry’s “Wide Awake,” which stays at No. 3.
Ellie Goulding’s “Lights” rises one spot to No. 4, swapping places with Gotye’s “Somebody That I Used To Know” featuring Kimbra. Similarly, Flo Rida’s “Whistle” rises 7-6, switching spots with Rihanna’s “Where Have You Been.” David Guetta’s “Titanium” featuring Sia stays at No. 8, while Usher’s “Scream” rises one spot to No. 9, trading positions with Pink’s “Blow Me (One Last Kiss).”
For folks who like to slice the chart pie finely, Jepsen’s seventh week at No. 1 means she has logged more time at No. 1 with a song than any other female solo artist in Interscope Records’ history. This week, “Maybe” surpasses Lady Gaga’s “Born This Way,” which spent six weeks at No. 1, according to Billboard.
"Ruby Sparks" does not exist in some vacuum of wholesale originality. You could argue that the "Pygmalion" myth is just one of the many stories that have covered similar ground in the past, both narratively and thematically. But the film takes a very grounded approach to its one big leap of fantasy, and the result is a film that offers up a warm and wise fable about the way we romanticize people at the start of a relationship, only to be disappointed as ugly, messy reality assures itself.
Jonathan Dayton and Valerie Faris managed to earn a Best Picture Oscar nomination for their first film, but that was 2006, and this is their first film since then. It's hard not to draw some parallel between them and Calvin Weir-Fields, played by Paul Dano, who was a successful novelist with an acclaimed first novel that was released before he was eighteen but who now finds himself crippled by writer's block. He's been seeing Dr. Rosenthal (Elliott Gould) to try to figure out what's causing his block, but making no real progress. Rosenthal asks him to try a writing exercise one day based on Calvin's confession that the main reason he got a dog was so that people would stop to play with the dog and give him a perfect excuse for conversation. Rosenthal asks him to imagine someone stopping to play with the dog and write down the conversation, and when Calvin tries that, he imagines a girl. No, he imagines "the" girl. And once he starts, he suddenly can't stop. He cranks out page after page, describing this girl in such detail that she starts to feel real to him.
And then, one morning, he wakes up and she's actually in his house.
Carly Rae Jepsen is still riding atop the Billboard Hot 100 with “Call Me Maybe,” but her fans are clamoring to hear more about another song from the burgeoning pop princess: her collaboration with Justin Bieber for her debut album in the U.S. out in September.
Jepsen is signed to the label Bieber started with his manager, Scooter Braun, so it makes sense that they would work together. She confirmed to MTV that they worked together on a track, but she’s keeping mum for now on other details about the duet. “The Justin song, i’m kind of sworn to secrecy on because I think we want to release it together at one moment,” she told MTV. Jepsen previously revealed that the Bieber and Toby Gad wrote the tune and brought it to her to perform.
She would, however, spill on some of the other tracks, including a song called “This Kiss,” which she wrote with Matthew Koma and LMFAO’s Red Foo, which she describes as a blending of both her and LMFAO’s wild style. Overall, she says the album is pop and dance pop.
As you know, Jepsen is current climbing the charts with another collaboration: “Good Time,” her duet with Owl City. Watch the video here.
The rules and origins of True American, a drinking game glimpsed in a season 1 episode of FOX's "New Girl," are like shadows of a whisper of a rumor. Zooey Deschanel's Jess attempted to describe the game as "50 percent drinking game, 50 percent life-sized Candyland," but her roommates immediately disputed her math.
All fans of the show know for sure are the following:
This recap is coming to you a little late, as I was at the TCA party for NBC (and sister channels like Oxygen) where I got a chance to chat with four of "Glee Project" warblers -- Aylin, Shanna, Abraham and Ali. I'll be writing that up soon, but I have to say they're just cute as buttons in person. Abraham promised that tonight's episode was going to be must-see television, so fingers crossed we get some stand-out performances. With only seven of them left, these kids rarely belt out anything less than stellar numbers, so I'm pretty sure he didn't oversell it.
Even though the bulk of yesterday's NBC executive session at press tour was spent discussing the network's comedy strategy — and the hope of finding shows with broader appeal than "Community," "30 Rock," etc. — there was still more to discuss about those comedies. So when I ran into new NBC entertainment president Jennifer Salke at NBC's press tour party, I asked her about the current plans for an "Office" spin-off built around Dwight, the state of "The Office" itself, and what might happen with all the marginally-rated returning NBC series that have shorter-than-normal episode orders for this season.
"Mud," the third feature to date from "Take Shelter" director Jeff Nichols, has been on my mind a fair bit recently -- more than I'd customarily expect for a film I only kinda-sorta liked when I saw it two months ago. But I'm wearing my pundit's hat rather than my critic's one as I write this, and as the first rumblings of the fall festival season are heard in the near distance, one question about the film seems rather pertinent: put plainly, where the hell is it?
Of the 22 films that unspooled in Competition at Cannes back in May, 16 have already secured US distribution. The exceptions are, by and large, understandable ones: Carlos Reygadas's "Post Tenebras Lux" is proudly impenetrable esoterica, with or without a Best Director award, "After the Battle" is politically remote and critically drubbed, while "Paradise: Love" is an explicit arthouse provocation that broaches touchy themes of race and female sexuality. Alain Resnais's "You Ain't Seen Nothin' Yet" may have more name appeal than any of these, but its concentric theatricality makes it a mighty hard sell to non-French audiences.
The Toronto International Film Festival announced the first 62 selections for the 2012 edition of the annual awards season kick-off Tuesday and critics are already salivating over the line up. With new films from Terrence Malick ("To The Wonder"), Neil Jordan ("Byzantium"), Noah Baumbach ("Frances Ha"), Ben Affleck ("Argo"), the Wachowskis ("Cloud Atlas"), Joss Whedon ("Much Ado About Nothing"), Joe Wright ("Anna Karenina"), David O. Russell ("Silver Lining Playbook"), Mike Newell ("Great Expectations"), Andrew Adamson ("Mr. Pip"), Derek Cianfrance ("The Place Beyond the Pines"), Dustin Hoffman ("Quartet") and Rian Johnson ("Looper") this edition of the festival already appears to be substantially improved over last year's snorefest. Of course, everyone needs to actually see the films in question, but in the meantime we have weeks to speculate (or pray).
Back during CinemaCon I was a little harsh on gun-jumpers quick to shout "OSCAR!" in response to footage shown from Ang Lee's "Life of Pi." Then when I caught the out-of-context flying fish scene in front of "Prometheus," I was just left a bit cold, if curious.
Well, while I won't outright offer a mea culpa (tossing that word around after 10 minutes is just too steep), I will say I understand why that footage must have been so captivating. Because the just-released trailer is full of scope, wonder, imagination and sheer cinematic passion. It signals what will at the very least be a singular vision, and knowing that vision is coming from Ang Lee has me very, very excited.
Based on the fantasy novel by Yann Martel, the film tells the spiritual story of an Indian boy (Pi) who survives 227 days after a shipwreck while stranded on a boat in the Pacific with a Bengal tiger.
Peter Jackson may have seemed slightly reluctant to return to Middle-Earth before he began production on "The Hobbit," but now that he's actually in the process, it looks like he's having a harder time letting go.
When our own Katie Hasty talked to Jackson during Comic-Con, I didn't really take the idea of a third "Hobbit" film seriously, even when he discussed how it might work and how he was starting to think about it. Richard Armitage also broached the subject with us, but It seemed like one of those idle thoughts that wouldn't really pan out into something real. Now it appears that talks are becoming more serious about the possibility of expanding this into a trilogy, and that's sure to spark debate, with both pro and con making equal sense to me.
On the one hand, "The Hobbit" has always struck me as a totally different beast than "Lord Of The Rings." Yes, they take place in the same world, and yes, they share characters and there is some narrative connection between them, but they seem to work in entirely different ways. "Lord Of The Rings" always struck me as the biggest of big meals, an amazing trip through one of the pivotal moments in an imagined history. "The Hobbit" struck me more as an adventure story, contained and personal, and while the stakes obviously matter to everyone in the story, Bilbo included, they are not apocalyptic, with the entire fate of Middle-Earth at risk.