There's no rest for the wicked, as the chefs must pack up and head back to San Antonio for their next challenge. But for this one, they'll want to be at least a little wicked, as that's pretty much the theme. I suspect that means Lindsay and Sarah will do exceptionally well, because these girls cannot stop being catty little monsters to poor Beverly.
Latest Blog Posts
For his whole career, Bruce Springsteen has wrestled with the notion of what it means to be an American. Many of his songs deal with a sense of place, whether it be his home state of New Jersey or, in a larger context, the United States.
On “We Take Care Of Our Own,” the first single from his March 6 release, "Wrecking Ball," Springsteen's questions have become only more urgent as he sees America turning from a country that used to stand for “wherever the flag is flown/we take care of our own” to one where “I’ve been stumbling on good hearts turned to stone/the road to good intention has gone dry as a bone.”
[More after the jump...]
You could say that Andrew Haigh's shimmery boy-meets-boy romance "Weekend" was always going to be readily embraced by the Gay & Lesbian Critics' Association. Still, given that they already have a separate category for LGBT-themed fare, the fact that the film additionally took Film of the Year -- ahead of such season heavyweights as "The Artist" and "The Descendants" -- is pretty special. (Okay, I'm just glad of all and any recognition for my favorite film of 2011.)
Oscar-shortlisted AIDS doc "We Were Here" took an equivalent brace of awards in the documentary field. Funnily enough, however, the Performance of the Year award went to the one nominee whose character has no LGBT qualifications: Meryl Streep in "The Iron Lady." Other winners, meanwhile, include the natural pairing of Michael Fassbender and the Muppets. Roth reported on the nominees last week; full list of winners after the jump.
Rihanna’s “Love” story with the Hot 100 continues as “We Found Love” featuring Calvin Harris spends its 10th week at No. 1 on the Billboard Hot 100.
The tune, which got the “Glee” treatment Tuesday night, is the singer’s longest lasting chart topper and, according to Billboard, it is the first song to spend 10 weeks at No. 1 since Beyonce’s “Irreplaceable” in 2006-2007.
Rihanna fends off a strong challenge from Adele’s “Set Fire to the Rain,” which leaps 4-2, pushing last week’s No. 2, LMFAO’s “Sexy and I Know It” down to No. 5.
Flo Rida’s “Good Feeling” jumps 5-3 and Bruno Mars’ “It Will Rain” rounds out the top 5, falling 4-3.
Katy Perry’s “The One That Got Away” stays at No. 6, though we’ll see if the new acoustic version of the song can propel it back up the chart next week. Similarly, Jay-Z and Kanye West’s “Ni**as in Paris” stays at No. 7.
Rap also dominates at No. 8 and No. 9: Tyga’s “Rack City” skyrockets 23-8 to mark his first Top 10 hit, while Snoop Dogg and Wiz Khalifa’s “Young, Wild & Free” featuring Bruno Mars moves back into the Top 10, rising 11-9.
Like Tyga, David Guetta’s “Turn Me On” featuring Nicki Minaj leaps 15 spots from 25-10, giving Guetta his fourth Top 10.
As Season 11 of “American Idol” launches tonight, it’s clear “AI” has forever changed the landscape of how we discover new artists. The biggest question is has it done more harm than good?
When “American Idol” bowed in 2002, it was touted by its detractors (and even some of its proponents) as nothing more than a glorified karaoke contest, a complaint that still is valid today, even though performers can now original songs.
Plus, the big brass ring for the winner was a major label contract: now, anyone who makes it to the final 10 or final 13 (depending upon the year) will be scouted by the majors.
Welcome, dear friends, to another season of "American Idol." It's time, once again, to search for the best young singer in our great nation, or at least the best young singer in our great nation who doesn't have a current recording contract and wasn't discovered in 10 previous seasons of "American Idol," didn't audition of "The Voice," didn't audition for "X Factor" and doesn't prefer to sing in the sort of ensemble that might be better suited for "The Sing-Off."
Rick Dale, the main man behind the History Channel's "American Restoration" (Wed. at 10 p.m.) is clearly a pro at fixing almost anything -- but he can't do anything to stop the waterworks from some of his clients. "There's crying [this season]," he admitted during a recent phone interview. "Even from me. It's so emotional, and I'm very passionate about what I do. These people bring in a piece of their lives, and we're bringing their memories back to life."
For fans of the French electronic duo AIR, a trip to the moon is fairly routine.
Adele’s “21” turns Sweet 16 as the title spends its 16th non-consecutive week at No. 1 on the Billboard 200.
Her tally gives the unsinkable album that longest weeks at No. 1 since the “Titanic” soundtrack which ruled for that long a period in 1997-1998. In the SoundScan era, which began in 1991, only five albums have spent 16 weeks or more at No. 1 and the album to beat remains the soundtrack to “The Bodyguard,” which logged 20 weeks at the top. So in order to set the record, “21” needs to spend, somewhat poetically, 21 weeks at No. 1.
The biggest surprise about the nine-film shortlist for the Best Foreign Language Film Oscar is, well, how unsurprising it is. Seven of the titles I predicted yesterday are on it; the two films I didn't, Morocco's "Omar Killed Me" and Taiwan's "Warriors of the Rainbow," are the kind of could-have-been-anything choices that we know to expect (or not to expect, as it were) by now. Presumed frontrunner "A Separation" naturally made the cut and festival favorites "Pina" and "Bullhead" are present and correct -- as is the semi-obligatory annual Holocaust drama, in the shape of Agnieszka Holland's "In Darkness." Check, check, check.
The general predictability of the list makes it harder than usual to speculate what three films may have been rescued by the executive committee. There's nothing as outwardly subversive as "Dogtooth" or "Confessions" in the group, which suggests to me that the committee may have had their hands full saving consensus critical favorites: if they really did have to come to the rescue of a film like "A Separation," as has been rumored, that narrows the window for a truly "difficult" film like "The Turin Horse" to slide in.
LL Cool J will host the 54th annual Grammy Awards, marking the first time the music awards show has featured a host in seven years.
The move makes sense for several reasons: LL Cool J has hosted The Grammy Nominations Concert Live since its inception three years ago; he’s a two-time Grammy winner himself, and then, of course, The Grammys air on CBS and LL Cool J stars in “NCIS Los Angeles,” which runs on CBS. Plus, he’s a fun and genial host with a broad appeal.
I obviously don't write about every interesting show on television, nor do I write about every episode of every show that I cover.(*) Not remotely enough hours in the day for that. Sometimes, my taste will overlap exactly with some of you, and other times there will be shows you love that I never write about, or even watch. On occasion on the old blog, I'd do open threads for people to discuss whatever shows they liked that I wasn't writing about, but they tended to get unwieldy, and at times turn into extensive, detailed discussions of shows I (and others) hadn't seen yet but intended to at some point. So I stopped doing them after a while.
(*) People keep asking me, for instance, when my review of this week's "How I Met Your Mother" is going up, and the answer is that it's not. I took a couple of days off post-press tour, with all but one post over the last two days (the "Cougar Town" premiere, which I wrote in 10 minutes while my son was napping next to me) being something I'd written in advance. I liked the episode well enough (it was very broad but still felt "HIMYM"-y enough to work) but I'm just going to jump ahead to reviewing the next new episode when it airs.
My favorite thing about this blog, both at the old location and this one, has been the community that developed around it. I'm not writing just to hear myself talk, but to start a conversation that you guys have kept going so smartly for so long. But that conversation is always limited to whatever it is I'm watching. (Or to the shows being covered by Fienberg, Liane and on Monkeys as Critics.) There hasn't been an avenue for this great collection of TV fans to talk about a show if it's not on my radar...