Fast National ratings for Monday, September 8, 2014.
A two-hour block of "MasterChef" led FOX to a Monday night victory among young viewers, while ABC is celebrating series highs for "Bachelor in Paradise," winning the night overall.
ABC is trumpeting those "Bachelor in Paradise" numbers, but also acknowledging that the numbers are fundamentally bunk, with the network no doubt receiving a rather huge boost from NFL preemptions in New York and Detroit.
In short, don't expect "Bachelor in Paradise" to remain anywhere near these numbers when Final Live+Same Day figures come in.
When it comes to other, less inflated, numbers, after last week's Labor Day-generated low, CBS' "Under the Dome" bounced back to its regular levels, as did NBC's season finale for "Running Wild with Bear Grylls."
Alicia Keys unveiled a new song, “We Are Here,” on Facebook on Monday. The anthem is a socially conscious tune that takes on a laundry list of societal ills and big issues, ranging from the Palestinian/Isreali conflict to violence in Chicago to absentee dads to educational deficits in major cities, and serves as a call to action to do whatever you can to make the world a better place.
“We are here for all of us,” she sings, as she performs the song on keyboards on a New York rooftop. It’s well-meaning and clearly from the heart. Is it one of her catchier tunes? No. However, it’s a statement that she feels passionately about and needed to make.
“I was sitting in a circle of people of all ages and we were asked, ‘Why are you here?’ Why am I here?? This really hit me on a deep level. I realized no one had ever asked me that question before,” Keys said in a statement.
She goes on to add that “I believe in an empowered world community built on the true meaning of equality… I believe our voices should be heard so that our representation reflects our population… I believe in a world where every child born receives a quality education.” Keys states several other beliefs and then calls upon all of us to help “give birth to a kinder and more peaceful world for all children.”
"We Are Here," which she also performed on "The Tonight Show with Jimmy Fallon" Monday night, will most likely be on Keys' new album. She's given no release date for the set yet, but told AP, "What I know for a fact is it's the best music I've ever done in my life." Don't expect an album from her this year since she's working on another production: her second child with husband Swizz Beatz is due in December. She will also appear on a mentor on "The Voice" as part of Pharrell's team. The two paired for the "Spider-Man" tune, "It's On Again," and he also worked on her new album.
I usually oppose the convention wisdom that says that bringing couples together ruins sitcoms, but even I couldn't ignore a coupling's devastating recent impact on one of my favorite sitcoms. Season 2 of "New Girl," which was mostly devoted to the flirtation between Zooey Descanel's Jess and Jake Johnson's Nick, was at times the best comedy on television. Season 3 of "New Girl," in which Jess and Nick were a firmly-established couple, was an absolute mess, until finally creator Liz Meriwether and her writers hit the eject button on the whole idea and had the relationship fall apart in the space of an episode.
One of the highlights of the Cannes Film Festival for me this summer was a presentation of selected clips from "Kahlil Gibran's The Prophet," an ambitious animated film that adapts one of the most beloved works of poetry of the 20th Century, and I wrote in that piece that I hoped the final film would live up to the segments that I saw out of context.
It is safe to say that is the case.
Ultimately, this is a very simple, very direct film. There are plenty of movies playing at this festival that want to make you work for whatever meaning you take from them, but this feels like the opposite. "Kahlil Gibran's The Prophet" has been designed to be as emotionally direct as possible, easy to understand and very, very clear in its storytelling, and the result is a film that I would feel comfortable showing to my children but that manages to offer up some remarkably complex and adult ideas in a way that makes them seem fresh, no matter how familiar you are with the book.
TORONTO — Chances are that anyone who saw Daniel Barnz's "Phoebe in Wonderland" at the 2008 Sundance Film Festival has been wondering if we'd ever see "that" talented director again. In the years since, he tried to jump on the YA wagon with the misfire "Beastly" and got terribly lost in the studio world with 2012's "Won't Back Down." He may still be a little rough around the edges, but the Barnz who showed so much promise with "Phoebe" is back with the new drama "Cake," which premiered Monday at the 2014 Toronto International Film Festival. And as much as "Cake" is something of a comeback for Barnz, it's really on most people's radar for being a rare dramatic turn for Jennifer Aniston, and she doesn't disappoint.
TORONTO — Julianne Moore has already had quite a year. In May, she surprised many by taking the Best Actress honor at the Cannes Film Festival for David Cronenberg’s “Map to the Stars.” On Monday night, “Still Alice” premiered at the 2014 Toronto Film Festival and it may feature one of the finest performances of her already illustrious career.
Pink is no stranger to a ballad, but her brand new song "You and Me" picks up an acoustic guitar and swoons over pedal steel, with new duet partner Dallas Green -- aka, City and Colour.
Performing under her given name Alecia Moore, the pop star and Green have crafted a 10-song album called "rose ave." under the name You+Me. "rose ave." is due on Oct. 14 via RCA. The sentimental lyric video for their song "You and Me" can seen below, and pre-orders for the album come with a download of the single.
"The artists met through Alecia's husband Carey Hart and instantly felt a connection and wanted to work together," reads a statement from the label. "Alecia invited Dallas to Los Angeles to write a song or two and ended up writing 8 songs together in 1 week. The duo then decided to finish and record an album."
Just looking at the cover art for the album, we see Pink in a long dress and fedora, with a plaid jacket and she's barefoot. Green's in a cowboy 'fit, staring back through specs, sitting in front of a desert landscape on a porch.
Green -- whose penchant for the dramatic has lasted successfully and prettily and painfully over four albums -- seems to give Moore some restraint here, both aesthetically and sonically. Whereas his work in Alexisonfire is him at his most extreme, City and Colour give him another emotional outlet. And maybe this album with Moore gives him his mainstream outlet, insofar as a folk or roots oriented record can mainline, a la Civil Wars or the Avett Brothers.
Two of Pink's more successful songs from 2012's "Truth About Love" were collaboarations: Nate Ruess amplified "Just Give Me a Reason" and cheeky "True Love" featured Lily Allen. But it's when she hit the harmonies on the former that may have partly inspired this endeavor. Her vocal range is so powerful, and so extreme, it's nice to hear someone who can play nice and temper her into her gentler tones.