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Dan and I are continuing our picks for who should and will win Emmys on Sunday night with the comedy and drama supporting actor categories.
Earlier this week, The Beach Boys announced that they would continue touring without Brian Wilson following the conclusion of the group’s tremendously successful 50th anniversary reunion tour later this month.
A source tells Hitfix that co-founder Mike Love made the decision to go on without Wilson and Al Jardine as part of the touring group. “Brian and Al would love to continue,” the source says. “Mike Love does not.”
As Beach Boys fans know, this year’s 50th anniversary tour marked the first extended tour to include Wilson in decades. Love —alongside fellow Beach Boy Bruce Johnston and other musicians —has toured under the Beach Boys moniker for years.
Love addressed the issue in a press release put out Monday, which stated, “The 50th Reunion tour was designed to be a set tour with a beginning and an end to mark a special 50-year milestone for the band.” "As we move on, Bruce and I look forward to performing live for Beach Boys fans everywhere," Love said in the statement. Today, a representative for Love added, "the number of concerts for the 50th anniversary tour was mutually agreed to by all the members, as was the album."
However, the band may be far from done. At a standing-room only Los Angeles event at the Grammy Museum Tuesday night with the entire group, Wilson said, “I wouldn’t mind getting together with Mike and guys and recording an exciting rock and roll album.” His comments drew enthusiastic applause from the fervent audience. Later, another source told Hitfix that there are a number of incomplete songs left over from “That’s Why God Made The Radio” studio album released in June that Wilson plans to work on later this fall that could be part of a “rock and roll album.”
Love told the Los Angeles Times last night that he'd be interesting in recording another album, "if I could write some songs with Brian."
Originally reluctant to take part in the 50th anniversary tour, Wilson has embraced the effort with gusto since the tour started this Spring. He told me in May, shortly after the tour started, “It’s a great moment in time to be on stage with the guys.” He has told other publications that he would like to continue touring with the band "indefinitely."
The Q&A at the Grammy Museum revolved more around the band’s illustrious past than its future, with guitarist David Marks talking about moving in across the street in Hawthorne, Calif. from the Wilson brothers —Brian, Carl and Dennis— when he was seven. “Before you know it, we’re touring around the country," he said. Love recounted a story about Marks, who spent his 13th birthday on the road with the group, discovering a bottle of vodka hidden in Love’s saxophone case and having to deal with Marks’ irate dad.
Wilson also recounted some well-known stories for the die-hards, including his reaction to hearing The Beatles’ “Rubber Soul” album: “It made quite an impression. I went to the piano and started writing ‘God Only Knows’,” from “Pet Sounds.”
He also simplified the reason why it took decades for The Beach Boys’ incomplete set, “Smile,” the band’s intended follow-up to “Pet Sounds,” to come out. “We couldn’t finish ‘Smile.’ My collaborator and me were doing a lot of drugs,” he said. “It was too advanced and too avant garde. We shelved it for 35 years.” After Wilson’s wife and publicist encouraged him to revisit it, the finished work premiered in London in 2004.
The Beach Boys concluded the evening with a jubilant five-song acoustic set composed of “Surfer Girl,” “California Girls,” “Help Me, Rhonda,” “Kokomo,” and “I Get Around.”
On Oct. 9, Capitol will release The Beach Boys “Greatest Hits,” as a continuing part of the 50th anniversary celebration.
For months, industry buzz has centered on how Warner Bros. plans on marketing Peter Jackson's "The Hobbit: An Unexpected Journey" more to families than the previous "Lord of the Rings" films. Of course, "Rings" drew in tons of families and fans of all ages, but New Line's campaign at the time generally centered on the novels' epic and dramatic themes. The primary goal was for audiences to take the world of Middle Earth seriously. The "Lord" films would take you on a grand adventure, but there were dark and serious consequences at every turn. J.R.R. Tolkien's predecessor to the "Rings" books, "The Hobbit," has its scary moments, but was a little, well, lighter. Warner Bros., MGM and New Line released the latest and perhaps final trailer for "The Hobbit: An Unexpected Journey" this morning and that broader tone is starting to seep through.
Chehon Wespi-Tschopp and Eliana Girard were announced as the winners of "So You Think You Can Dance" last night -- and no one seemed more surprised about this than Chehon and Eliana themselves. The two classically trained ballet dancers were not early favorites. Chehon seemed to be permanently stuck in the shadow of fan favorite Cyrus Spencer, the street dancer with no professional training who was never in the bottom three, while Eliana only seemed able to step into the spotlight once she was unpaired from Cyrus and later danced with all star Alex Wong. The winners spoke to reporters in a conference call about their unexpected wins, Cyrus, and why they think ballet is getting more respect this season.
Toronto may be in the rear view at this point, but this podcast I put together from interviews I conducted at the festival is, in my opinion, a great pleasure. I'm always fairly upfront about how much I enjoy the overall atmosphere of the Midnight Madness screenings at the Ryerson. I'm a firm believer that if you're going to write about the festival, you need to include those films in that time slot in the public venue. That's the point.
When I saw that Chris Mintz-Plasse was working in Toronto, he seemed eager to try out something at the festival during his shooting schedule for "Kick-Ass 2." When I first got to town, I posted that story about the Twitter feed that director Jeff Wadlow was using to reveal images from behind the scenes. He's continued to post an image a day. It's exactly the right amount of tease, and so far, he hasn't even remotely hinted at a spoiler. He's been fairly jovial when discussing paparazzi photo leaks from the set. It's been fun to observe. Chris seemed fairly excited about the film, about the just-revealed casting of Jim Carrey in a key role, and about the evolution of his character from frustrated son to Red Mist to broken-hearted son to super villain. The end of the first film made the biggest promise in regards to where he might be headed, and much of the large supporting cast is used to fill out his own personal team of super villains with a name so filthy, I'm fairly sure I'm not even allowed to print it with a**erisks taken out.
“It’s me, motherf*cker, I’m knocking on the door.” These are words not entirely unexpected from the same guy who took home a Grammy and an Oscar for “The Weary Kind” nearly three years ago. But the lyrics are indicative of at least the confrontational sound coming from “Tomorrowland,” Ryan Bingham’s new record and the first for his own label Axster Bingham Records. (The quoted track’s called “Guess Who’s Knocking.” Should have started with a spoiler alert.)
You know the drill. Offer up your need-to-knows in the comments and we'll try to address a few questions at the end of this week's podcast. We will already be addressing Oscar's date changes, "Trouble with the Curve," "The Perks of Being a Wallflower" and foreign language submissions.
After last week's incendiary season premiere it's probably for the best that "Sons of Anarchy" reined things in a bit in episode 2. This was a relatively calm installment -- at least by "Sons" standards -- with no torture, no murder, a single car chase that was more exhilarating than ominous, and a major event in the lives of two characters handled with genuine affection.
The very best moment was simply two guys talking shop in the front seat of a pickup. Sure, they happened to be discussing illegal activities, but it was still a friendly and relaxed chat that demonstrated how strong "Sons" can be when it steps back from hyperactive plotting and lets its characters breathe.
A quick review of tonight's "Parenthood" coming up just as soon as the doggie Gestapo starts asking me questions...
The Killers’ last album “Day & Age” was marked by their further embrace of glitter and dance. New “Battle Born,” in a way, is their ignoring the day and age – that is, this current one.