Ryan Lochte won us over (or just grossed us out) with his "Peeing in Pools" Funny or Die segment, and he's now followed it up with a performance opposite "Star Trek: The Next Generation" star Sir Patrick Stewart and Simon Pegg of 2009's "Star Trek" reboot. Stewart plays a Dickens-esque ticket scalper and, well, hilarity sort of ensues. While Lochte surely scored gold with his "Peeing in Pools" segment, this one isn't so crystal clear.
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Logo has announced 'RuPaul's Drag Race' will be getting a make-over, returning as "RuPaul's All Stars Drag Race" on Mon. Oct 22 at 9:00 p.m. ET. Not only will the premiere be "Rupersized" (featuring 10 bonus minutes), fan favorites from the original series (Pandora Boxx, Tammie Brown, Nina Flowers, Jujubee, Mimi Imfurst, Manila Luzon, Alexis Mateo, Chad Michaels, Raven, Latrice Royale, Shannel and Yara Sofia Vie) will be competing for a spot in the Drag Race Hall of Fame and a shot at the grand prize of $100,000.
I posted my review of NBC's "Go On" this morning. Now it's your turn. What did everybody else think of Matthew Perry's latest comeback vehicle? Better or worse than "Mr. Sunshine" (Yay)? Did you also see the similarities to the "Community" pilot — and, if so, did that bother you in any way? Do you think the show has the ability to make grief into the subject for a sitcom? Did you laugh at anything outside of March Sadness? And will you be watching again when the next episode airs on September 11?
Have at it.
Well, Frank is on the block yet again. There's no way he can survive another week, can he? It seems the majority of the house wants Frank out, Danielle is firm in her convictions and as Danielle tearily assures Wil, he is far too beloved to be at risk for going home. But if we know anything about "Big Brother," it's that the Chenbot has to tell us each week there's a shocking twist or a shocking surprise or something shocking so that we'll tune in -- and this week was actually, well, a little shocking. Color me shocked.
Hollywood is obsessed with franchise building, often disregarding logic and narrative coherence in an effort to keep squeezing cash out of a property long after any natural storytelling momentum has disappeared.
The longer the series wears on, the less the "Bourne" films have anything to do with Robert Ludlum's original novel. That's fine, of course. The filmmakers are under no obligation to do straight adaptations, and at this point, it feels like they've created something that stands alone, inspired by Ludlum's ideas but only loosely connected to the world he built. At this point, Tony and Dan Gilroy are the primary architects of this series, and while the overall action aesthetic of the series has influenced most of the mainstream action movies being made these days, what they're doing narratively is sort of unique, and worth closer examination.
Matt Damon's performance as Jason Bourne was a major part of the appeal of the first three films in the series, and he made even the most implausible parts of the films feel possible. Losing a movie star for a sequel can be disastrous, but thankfully, Gilroy's laid enough groundwork over the course of the series that the switch they make this time to Aaron Cross (Jeremy Renner) as the new focus of the film feels quite natural. Cross is part of a parallel program to the one that created Bourne, and he's a generation or two down the line. Unlike Bourne, Cross is well aware of what he is and how he was created and why, and at the start of the film, he's out in the field, training in the most rugged terrain possible. This film overlaps with "The Bourne Ultimatum" in terms of chronology, and it is because of Jason Bourne's actions that the people in charge of Aaron Cross and the other members of his program decide that they have no choice but to burn everything to the ground and leave no evidence.
It will be Kevin, Kim, and Kanye at MTV’s Video Music Awards on Sept. 6.
Comedian Kevin Hart, who delivered a monologue on last year’s awards show will get full hosting duties this year, and if the little video MTV released on its website today is any indication, he’s courting the controversy with plenty of KKK jokes, which, quite frankly, are never funny... or, at least, these aren't.
[More after the jump...]
Carly Rae Jepsen’s “Call Me Maybe” definitely becomes the biggest hit of 2012 as the song spends its ninth week at No. 1 on the Billboard Hot 100, bypassing Gotye’s “Somebody That I Used To Know’s” eight weeks at the summit. Now we bet Lady Gaga Is really coming after her!
Gotye can still claim some bragging rights: “Somebody,” which is No. 6 this week, passes the 6 million download mark, making it the first song this year to surpass the 6 million tally.
“Maybe,” from Jepsen’s debut album “Kiss,” out Sept. 18, is one of two tunes from the singer on the Hot 100: her duet with Owl City,” Good Time,” is at No. 14.
Jepsen, a former “Canadian Idol” contestant, is not the only former “Idol” with a big week: this year’s “American Idol” winner, Phillip Phillips, sees his coronation single, “Home” soar 84-9 following the usage of the song by NBC during the Summer Olympics.
Phillips’ tune is the only new title in the Top 10 this week: Ellie Goulding’s “Lights” rises 5-2, Flo Rida’s “Whistle” blows up one spot to No. 3, Katy Perry’s “Wide Awake” falls two spots to No. 4, while Maroon 5’s “Payphone” also slips two places to No. 5.
Rihanna’s “Where Have You Been,” David Guetta’s “Titanium” featuring Sia, and Pink’s “Blow Me (One Last Kiss)” all stay in their same spots at last week: No. 7, No. 8 and No. 10, respectively.
Warner Bros. has got some extreme pressure on them right now to get one film right, and I would argue there are no higher stakes for any film or any studio in town than there are for "Justice League".
We've heard reports about Will Beall, screenwriter of "Gangster Squad," working on a new take on the script, and reports seem to indicate a fair amount of excitement about his take on the material within the studio. Now it looks like they're approaching a director, and we probably shouldn't be surprised by the name since they've been quite open about their affection for the work of Ben Affleck, with his new film "Argo" preparing to hit the festival circuit prior to its release later this year.
While I'm not sure I get the "only directing films he stars in" thing from the Variety article, since "Gone Baby Gone" was critically acclaimed, kicked off his directing career, and featured nary a shot of his face. Besides, I have trouble believing that after "Hollywoodland" and "Daredevil," Affleck is in any hurry to put on any superhero costume again. Still, the notion of Afflect both directing and starring in a "Justice League" film is intriguing. One of the things I like about Affleck's sensibilities as a director is that he has a very realistic approach to the stories he tells. "Justice League" could use that, especially since it's going to be a tricky balancing act bringing together Superman, Batman, Wonder Woman, The Flash, The Green lantern, and more for the film.
Rick Ross makes his fourth trip to the summit of the Billboard 200 as “God Forgives, I Don’t” bows at No. 1 with sales o f 218,000, according to Nielsen SoundScan.
In this era of overall declining album sales, Ross is one of the few artists who has seen his opening week sales grow increasingly larger. As Billboard notes, Ross got a hand from Amazon, which priced the title at $5, deeply discounting it, but still pricing it above the $3.99 cut-off SoundScan requires to could as a sale.
The only other debut in the Top 10 belongs to Joss Stone with “The Soul Sessions, Vol. 2,” which sells 24,000. Check out our review here.
Zac Brown Band’s “Uncaged,” which logged two weeks at No. 1, slips to No. 2 with sales of 39,000. Justin Bieber’s “Believe” soars 6-3, while One Direction’s “Up All Night” jumps 7-4.
Amazon factors into some other albums we see on the chart in the Top 10:The Bee Gees’ “Number Ones” reenters the chart at No. 5 based on a 99 cent promotion by the retailer (SoundScan allows deeply discounted album sales to count more than six weeks after release). The title sells 32,000 copies, up a whopping 3,049% from the previous week. It also means the Bee Gees are back in the Top 10 for the first time since 1983.
On the bottom half of the Top 10, Nas’s “Life is Good” drops 2-6, “Kidz Bop 22” drops 5-7, Adele’s 21 moves up one spot to No. 8 as does Maroon 5’s “Overexposed” to No. 9.
Overall album sales were 5.24 million units, up 7% from last week, but down 8% compared with the same week in 2011. Year-to-date sales are down 3%.
Are Britney Spears and her fellow “X Factor” judge L.A. Reid about to make beautiful music together?
According to The Hollywood Reporter, Spears’ contract with RCA will be up after one more album and among those courting the pop princess is Reid, who is head of Sony's Epic Records.
Also in the picture is Barry Weiss, who now heads Island Def Jam. Weiss is the former head of Jive (which was absorbed into RCA as part of the BMG/Sony merger), who oversaw Spears’ career from the start.
The Reporter piece says both execs are eager to sign Spears for a sum of $3 million-to-$5 million/album.
We contacted RCA, who declined to comment on the story. Weiss told THR that he would “love to be reunited with [Spears].” While Reid may have proximity on his side and the lure of making shiny new promises to an artist who may be looking for a change, Weiss has an advantage in that he’s proven to Spears what he can do. For that matter, what's to stop "X Factor" judge, creator Simon Cowell from stepping in and trying to sign her to his Sony imprint, Syco? He's certainly done just fine with One Direction and Susan Boyle.
Then again, we’re likely talking a few years from now since Spears still has to fulfill her contract with RCA first, and the landscape can change between now and when negotiations begin in earnest. These are the kinds of stories that make great copy, and get the rumor mill going, but we’ll have to wait to see how it all shakes out. What is undeniable is that Spears, through all her ups and downs, had remained a viable, worldwide album seller (if not as strong as she was in her heyday) so it’s no surprise that any label would love to see her on its roster.
Watching "Here Comes Honey Boo Boo" (TLC, premieres Wed. 10 p.m. ET) brought up a range of emotions for me, not dissimilar to the roller coaster one goes through while watching a Terence Malick movie or perhaps when reading "Ulysses." Okay, maybe more like watching a NASCAR race or "Hillbilly Handfishin'." But still, "HCHBB" isn't the horrifying, non-stop slow-mo car wreck I expected. Sure, it has moments of nausea-inducing horror, but I was able to watch the whole thing without shrieking, which I'm pretty sure my colleague Dan didn't think was a remote possibility. Stranger still, there is something honestly charming and, yes, poignant about the show. And no, I am not mistaking poignancy for a craving for pork rinds.