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I posted my review of ABC's "Don't Trust the B---- in Apt. 23" yesterday. Now it's your turn. Did you trust and/or like the bitch? Dreama Walker as her roommate? The pervy neighbor? The crazy ex-roommate? James Van Der Beek as James Van Der Beek?(*) Was the show too cartoonish, or just right? And will you watch again?
(*) Fienberg interviewed The Beek yesterday.
Have at it.
Back to LA, sports fans! Remind me to tell you all about the medical emergency that caused my 5:50 a.m. flight from Boston to be redirected through Denver.
But not tonight. Tonight, we celebrate this season's Top 7 and mourn a world without DeAndre Brackensick. In his absence, who will sing with a squeaky falsetto? Who will make the teenage girls squeal? Who will toss his hair with reckless abandon?
Based on song spoilers, it appears that Wednesday's (April 11) "American Idol" theme is Current Songs or Songs From The Past Three Years or maybe just Songs Dan Has Never Heard Before.
This could be a disaster... Click through!
Part of me just wants to run this as a straight transcript and only identify both interviewer and subject by first name, because it would be completely confusing and awesome. That's just me being glad to meet another Drew, though, because there aren't that many of us.
My first chat with Drew Goddard, director of this week's "Cabin In The Woods," took place in Austin when we did the live-cast chat with him and Joss Whedon together. Then at the start of this week, he called for a follow-up conversation. The last few days, reviews have really started rolling in, and while you've got some people taking pretty hardline positions against the film (Rex Reed's review is almost comically inaccurate, suggesting Rex dozed his way through, inventing connective tissue that says a lot about the Freudian dreamscape between his ears), for the most part, people seem to be engaged by the crazy puzzle-box deathtrap that Goddard built. I'm certainly a fan. I asked how he's feeling about the response so far.
"The only sad part is that I realize it's never going to be this good again in my career," he laughed. "I couldn't have asked for better reactions. It's beyond my wildest dreams."
As Britney Spears' signing on a judge on the U.S. edition of “The X Factor” appears to be moving closer and closer to reality, we have serious doubts that the pop singer could add anything of merit to the program.
Instead, her main draw will be to curiosity seekers who tune in to see if she can form a sentence unaided by others. And guess what? The people who view to see a potential train wreck count just as much in the ratings as those who honestly watch to see the talent competition. And at this point, show founder Simon Cowell, who has not delivered the ratings he bragged his program would, needs a big name to bring in eyeballs. And he’s apparently willing to pay $15 million to Spears to do just that.
Here’s why we have doubts about Spears as a viable draw: While she remains a ubiquitous fixture in the gossip pages as we see pictures of her and her two sons or her and her fiancee out and about, any actual speaking that we’ve heard from Spears in the past few years has been as carefully controlled as a politician’s and about as revealing.
Among the major European auteur titles being bandied about in the speculation as to the Cannes lineup, Jacques Audiard's "Rust and Bone" is surely among the most impatiently awaited, not least because it pairs him with his biggest star lead yet: Marion Cotillard, who seems to be balancing the twin pulls of Hollywood and her home industry with impressive ease.
A black mark against the film's Cannes possibilities, however, is its French release date of May 17: the second official day of the festival, but the first of regular programming after Wes Anderson's "Moonrise Kingdom" officially cuts the ribbon on proceedings the day before. Can a film premiere at Cannes the same day it opens in France? It seems unlikely -- surely it'd have to premiere locally in advance. If the film isn't festival-bound, however, expect a lot of international critics cramming into the public cinemas on the Croisette to take a look at the latest from the director of "A Prophet" and "The Beat That My Heart Skipped."
Fun.’s “We Are Young” continues to age gracefully on the Billboard Hot 100 as it spends its sixth week atop the chart.
In doing so, it also becomes the first song to sell 300,000 downloads for six consecutive weeks, according to Billboard. The Hot 100 tallies airplay, social media play/streaming and digital sales. “We Are Young” is the first song to surpass the 3 million mark in digital downloads this year.
No new titles enter the Top 10 this week so it’s really a matter of a little rearranging in the top tier. “Somebody That I Used To Know” by Gotye featuring Kimbra slides 3-2, a position he should easily hold as he appears on “Saturday Night Live” this week. The tune replaces Justin Bieber’s “Boyfriend,” which drops from 2 to 5. In between in the top 5 are The Wanted’s “Glad You Came,” which inches 4-3 and One Direction’s “What Makes You Beautiful,” which leaps 9-4, in part based on their appearance on “SNL” last Saturday.
In case you had any doubt that we are back in pop land after a long dry spell, that means No. 3-5 are occupied by teen idols. I don’t know if that’s ever happened. If so, it was at least 10 years ago when Backstreet Boys and N’Sync ruled supreme.
Nicki Minaj, whose album “Pink Friday: Roman Reloaded” is at the top of the Billboard 200, remains at No. 6 with “Starships,” while Flo Rida’s “Wild Ones” featuring Sia holds at No. 7, and Carly Rae Jepsen’s “Call Me Maybe” stays at No. 10. Kelly Clarkson’s “Stronger” falls 5-8 and Katy Perry’s “Part of Me” declines one from 8-9.
Growing up can be a tough thing to do, so why do it?
tUnE-yArDs (typng that never gets old) -- the brainchild of frontwoman/multi-instrumentalist Merrill Garbus -- have released the video for "My Country," the latest single from the 2011 release "w h o k i l l " (4AD Records).
The video features a group of fierce-looking, warpaint-wearing tots who Garbus leads in a frenzied cacophony of dance, music-making and lip-synching. She's obviously having a blast re-living that seemingly carefree chapter of existence (besides her height, she fits right in to the mob). She also lends them a heart before they go off into the big, bright world. The visuals are fitting for the songs' child-like, sing-songy vocals, but there's always something sonically sinister about most tUnE-yArDs songs. Maybe it's the saxophone.
Watch the video here:
tUnE-yArDs is currently on tour, and will play the upcoming Coachella Festival.
What do you think of the video?
LONDON – In case you hadn’t heard, James Bond has been making his way around the world. Shanghai. Scotland, central London and, soon, Istanbul, Turkey. Today, however, the world’s greatest secret agent is filming his latest thriller on the appropriately named 007 Stage at Pinewood Studios in the UK. Yes, after an almost four-year absence, Bond is back in business with November’s “Skyfall.”
The hip-hop artist plans to drop his next album, tentatively titled "The Last Zulu," in 2013. A source told me that Q-Tip and Kanye West are working in New York on new music this week.
Tip has been working on wildly different projects since his last solo album, 2009's "Kamaal/The Abstract," an experience that undoubtedly left a bad taste in his mouth: his former label Arista had shelved that album until it leaked in the softest of soft releases, under his own label name with its distribution from RED.
Q-Tip obviously would want some stability out of his label home, and he may just have that with G.O.O.D., a label that's on the upswing. It also returns him into the fold of Universal Republic/Island Def Jam head Barry Weiss, who was at Jive when Q-Tip's former group A Tribe Called Quest released music there in the '90s.
"I am thrilled to be working with Q-Tip once again,” said Weiss in a statement. "He is a respected voice in the music community as shown by his acclaimed solo albums and countless contributions to the work of other artists. His creativity continues to surpass all boundaries of hip-hop, R&B, pop, and jazz."
Q-Tip's "creativity" has known few bounds in the last three years, as he's produced and written for artists like Rico Love, Marsha Ambrosius, Kendrick Lamar, Fiona Apple and Esperanza Spalding. He was also on tap for West's "My Beautiful Dark Twisted Fantasy," a collaboration that likely helped seal the deal in bringing Tip into the company.
This way, G.O.O.D. Music may continue to grow out as a collective, instead of a label of several disparate solo acts. It seems Q-Tip will be able to work easily with other Def Jam artists in other capacities, regardless of genre.
One of those capacities that ISN'T likely is returning to work in A Tribe Called Quest. The group was highlighted in Michael Rappaport's outstanding 2011 documentary "Beats, Rhymes and Life: The Travels of A Tribe Called Quest," which also happened to reiterate why the group broke up to begin with (and, frankly, should have stayed that way, without one-off reunions along the way).
Meanwhile, G.O.O.D. Music released the first single from its eponymous collaboration album: "Mercy" features Big Sean, Pusha T, 2 Chainz and West himself. No word when the next song will arrive, or when the compilation will be released. Perhaps Q-Tip will be showing up on the album?
Last week, I drove to Santa Monica to sit for interviews that may or may not be used on the DVD/Blu-ray release of "The Hunger Games," and part of the interview dealt with the contributions that Gary Ross made to the film.
One of the things that people overlook when talking about Ross leaving the film is that he didn't just direct it. Billy Ray was the first screenwriter on the film, and then Suzanne Collins sat down with Ross and the two of them did the final passes together. Ross has his fingerprints all over that first film, and in addition to helping decide what sort of choices they had to make in adapting it from page to screen, he also put together the cast. As much as anyone, he's got to be credited with helping Jennifer Lawrence define her interpretation of Katniss Everdeen, which seems to be the one thing even the film's strongest detractors agree works in this first film.
Now there's the official word that Gary Ross is off of "Catching Fire," and so the first topic of conversation becomes "Who do you hire to direct it?" More than that, though, I think there's an important question here for filmmakers who might get into the franchise business with Lionsgate/Summit in the future. Based on the way they've handled business on the "Twilight" series and the decision they've made to move forward without Ross on this series, why would anyone ever expect to direct more than one film in a successful franchise for them again?