Unfortunately, "Dog Whisperer with Cesar Milan" star Cesar Millan didn't bring any canine companions to his NatGeo panel during press tour, but the trainer did repeatedly pop to his feet to imitate his four-legged friends. When asked why so many people misjudge dogs, Millan demonstrated canine posture and explained how humans tend to ignore what dogs are trying to say. "The dog is always speaking to the human, but the human is always trying to impose a different identity on the dog, so they don't understand the language... they disregard the conversation with the dog. That's why I train people and rehabilitate the dog."
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There's a fair amount of online chatter this week about the impending purchase of Summit Entertainment by Lionsgate, and while I've seen a fair degree of snark and a lot of "Twilight" related comments, this is a significant deal, and it deserves some real consideration about what it means to the creative community and what it means for both companies.
First, if I'd known that Summit was selling for a mere $412.5 million, I might have made a bid on it myself. What a bargain.
I kid, but that number seems low when you look at the success of Summit's "Twilight" movies. The truth is that for many people, Summit IS "Twilight" and vice-versa, and the question of what they might be after that series ends is a scary one. I've often said that both the best and the worst thing that ever happened to New Line was "Lord Of The Rings." Best because of the huge financial and critical success they enjoyed, finally winning a Best Picture Oscar, something that would have been impossible to imagine in the "Pink Flamingos"/"A Nightmare On Elm Street" early days of the company, but worst because after they made "Lord Of The Rings," they started chasing that success, making much more expensive movies and eventually pricing themselves right out of business.
If this film's movie poster were a person, I would punch it in the face. But I'm willing to look beyond it: "Think Like a Man" could very well have a hit song to promote its release.
Jennifer Hudson, Ne-Yo and Rick Ross actually make for an interesting combo on this rhythmic R&B title track. The "Dreamgirls" star carries the weight with Ne-Yo helping mainly on that hook. By the time Rawse jumps in with his verse, there's a pretty good groove going.
But then he does. And there's something in the way that Rick Ross says the word "money" that makes me weak in the knees, and that's the ONLY thing he's got going for the rap. It's requisite, after-all, and a retort to Hudson's original plot point, that her man screwed up, and they broke up.
Thanks to a frumpy skirt and a bathing suit top, Sweet P Vaughn got her walking papers on "Project Runway All Stars" this week. The much-loved season four contender talked to reporters during a conference call Friday about defending her designs, what she's doing now and which designer she hopes will win.
At the end of the cold, nightmarish "The Girl With the Dragon Tattoo" is a How to Destroy Angels cover of Bryan Ferry's "Is Your Love Strong Enough?". It was Fincher's idea. I don't think it worked at all.
This is largely because I'm not 100% sure Hot To Destroy Angels works, period. I've always found Maandig's voice to be too honeyed for the darker, industrial tones of Reznor's more-rhythmic songcrafting. "Strong Enough," granted, isn't the group's song, but it further reveals how out-of-water a sugar-malaise voice can be.
But some good news to this hater: Reznor won't only be working on a new HtDA album this year. He's writing for some new Nine Inch Nails action, too.
Taylor Swift, who brought up guest artist after guest artist during her recent tour, got to crash someone else's show last night: She joined The Civil Wars to perform “Safe and Sound,” their duet from “Hunger Games” on stage for the pair's sold-out show at Nashville's Ryman Auditorium.
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What is she wearing? That was the first question I thought when I watched the below excerpt from Madonna’s interview with “Good Morning America” that aired today.
Money can’t buy taste and the fake cheerleader outfit with silver fringe and "WE" necklace distracted me so much that I almost couldn't focus on what she was saying. The interview is largely a snore in which Cynthia McFadden tries to be titillating by asking if Madonna’s recent kiss with Nicki Minaj included tongue, but Madonna is really having none of it.
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It's well documented that Magnetic Fields' Stephin Merritt does the majority of his songwriting and brainstorming in gay dance clubs or piano bars. From the band's latest offering, it appears a drag club has been further added to the circuit.
"Andrew in Drag" is a funny, spirited sigh for Merritt, as he enjoys "the only girl I'll ever love." Again, he proves why he is one of the most refreshingly and rare overtly gay songwriters penning overtly gay songs, wielding his heartache as much as he does his humor and wit. This one is much more juvenile than, say, anthems like "100,000 Fireflies," with a playful use of the term "fag," a reference to a weiner dog and the misanthropic joy contemplating his ambiguous, sensual "misspent youth."
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
It's been a busy week of announcements and awards shows leading into an even busier week of same as we barrel toward Sundance next week. Plus, ballots are due today (in a few hours, in fact). So let's see what's on the docket today...
As explained in my post last month, I'm breathless that the Dirty Three are prepping their first album in seven years. And, today, the trio has something to show from it.
"Rising Below" features the same attention to recording detail as their last "Cinder" did, with a close miking of the hollow kick drums, textures of the violin and the stoked, narrative guitar lines mumbling through the tubes. Drummer Jim White carries the thing as the mid-toned instruments go and have their own says, several takes and dubs eventually merging into a tension-filled series of ebbs. I'm hot for it, I want more.