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"Dancing with the Stars"
Credit: ABC

Recap: 'Dancing with the Stars' makes a surprising elimination

The worst couple of the night isn't even put on the block

Last night was the most emotional night the ballroom has ever seen! At least that's what they're saying on "Dancing with the Stars." And of course we know that they're not the least bit prone to hyperbole on this show! Anyway, tonight could also be an emotional night (though it will be hard to top the MOST EMOTIONAL NIGHT the ballroom has ever seen!), as it's a results show, and that means a couple is going home. Hopefully there will be no rending of clothing or wailing. 

But before we begin, we must be entertained. Mary J Blige performs "Real Love." It's just as good today as it was in 1992. 

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<p>Jess (Zooey Deschanel)&nbsp;and Nick (Jake Johnson)&nbsp;in &quot;New Girl.&quot;</p>

Jess (Zooey Deschanel) and Nick (Jake Johnson) in "New Girl."

Credit: FOX

'New Girl' - 'Wedding': Say yes to the Jess

Jess tries to help the guys get through a social occasion with their dignity intact

A review of tonight's "New Girl" coming up just as soon as I have acrobatic, mean-spirited, highly-educational sex...

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<p>Roland Emmerich on the set of &quot;Anonymous&quot;</p>

Roland Emmerich on the set of "Anonymous"

Credit: Columbia Pictures

Roland Emmerich honored with the Crystal Quill Award for Shakespeare drama 'Anonymous'

Past honorees have included director Baz Luhrmann and producer Mark Gordon

Sony is holding a special screening of Roland Emmerich's "Anonymous" tonight on the lot after bowing the film at Toronto last month. The occasion isn't typical, though. Emmerich is on hand, along with entertainment attorney and author Bert Fields, to receive the Crystal Quill Award for contributions to the Shakespeare authorship debate.

"Anonymous," of course, depicts the Oxfordian point of view, that Edward de Vere, the 17th Earl of Oxford, was the true author of William Shakespeare's classic works. The film was actually met with a slightly more welcoming reaction at Toronto than I had originally anticipated.

You might recall I was a huge fan of the film when I saw it just before Telluride. "I think it’s [Emmerich's] best work yet," I wrote at the time. "[Screenwriter John] Orloff has spun a fascinating yarn, itself of near Shakespearean tragedy. It’s a complex interplay of relationships and motives, incest and politics that is ultimately about the power of the written word to change hearts and minds, the enduring nature of art and, above all, the integrity of an artist."

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<p>Elizabeth Olsen in&nbsp;Sean&nbsp;Durkin's &quot;Martha Marcy May Marlene&quot;</p>

Elizabeth Olsen in Sean Durkin's "Martha Marcy May Marlene"

Credit: Fox Searchlight Pictures

Meet 'Martha Marcy' star Elizabeth Olsen

Searchlight rolls out the publicity wagon for the stunning debut performance

Sean Durkin's "Martha Marcy May Marlene" is a film that has stuck with me, ever since I saw it well over a month ago. I imagine most who caught it at Sundance in January feel the same way. It's a film with a tangible presence, skillfully crafted and assembled and with a dynamite debut performance at the center of things.

Indeed, Elizabeth Olsen's performance is the impetus for an upcoming list that will chart the best of debut performances across the history of film (chime in with your favorites here if you like to make sure nothing is slipping through the cracks). It's absolutely award-worthy, and if you're asking me, more layered and achieved than the most recent Sundance babies in the Best Actress category, Gabourey Sidibe, Jennifer Lawrence, Melissa Leo and Laura Linney.

Fox Searchlight has always been an intriguing match for the material, but I'm happy to see that, as ever, they are clearing a path for people to get a load of the demanding material on their slate this year. For Olsen, the studio released a nice little interview featurette yesterday. Have a look at that after the jump, but beware, there is talk of the film's finale toward the end of the clip and that discussion might easily be considered SPOILERS to some.

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<p>&nbsp;Heather Morris of FOX's &quot;Glee&quot;</p>
<div id="myEventWatcherDiv" style="display:none;">&nbsp;</div>

 Heather Morris of FOX's "Glee"

Credit: FOX

Recap: 'Glee' - 'Asian F'

Everything good and bad about the show, in one handy episode

If ratings are any indication, then “Glee” has burned up a lot of good will with its initial audience. Ratings are still healthy, but there’s little doubt that the show’s second season wore a lot of its audience down. Those that saw last year as less of television program and more as an incoherent iTunes delivery system haven’t come back this year, even though last week’s installment “I Am Unicorn” seemed to be a flare gun designed to bring the herds back to the fold. If those that abandoned the show heard that cry and came back this week for “Asian F,” they weren’t in for an episode on par with “Unicorn.” Instead, they got an hour-long example of everything good and bad with the show.

You have to hand it to “Glee”. After all, “Asian F” represents a Rosetta stone for the series. If you ever wanted to demonstrate the highs and lows of the show as succinctly as possible, you could do no better than show someone this episode. Last week, I postulated that perhaps the influx of new writers behind the scenes might focus the show in a positive way. But it’s hard to focus the show when it’s still in the throes of a perpetual identity crisis. “Asian F” is far from the best “Glee” episode ever, but it’s certainly the best at showing the sum total of what “Glee” is. Its highs, lows, and WTFs were on full display in this scattershot hour. In fact, let’s just call this episode what it should have been named, and break down things from there.

That title? “The Good, The Bad, and The Ginger.”

 

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<p>Jack's Mannequin</p>

Jack's Mannequin

Credit: James Minchin

Jack's Mannequin celebrates 'People and Things' release with big-screen event

Watch: Andrew McMahon's A/V project is for women, by women

"Ladies and gentlemen... or, ladies and a couple gentlemen," Andrew McMahon said to a full room at New York's Angelika movie theater last night.

The mastermind behind Jack's Mannequin was quite aware of the female-dominant ratio of the audience, in attendance to witness all 11 music videos that accompany each of the tracks from the band's latest "People and Things," released today (Oct. 4).

Making a video component for every song on a record is nothing new; PJ Harvey very effectively did it for her "Let England Shake" earlier this year, for instance. But what is notable about Jack's Mannequin's endeavor is how McMahon hooked up with filmmakers he found on Vimeo, and the sheer number of them that were women. Two-thirds of the directors, in fact. And from "People and Things," many of said "people" were ladies, most notably muses "Amy, I" and "Amelia Jean" plus those unnamed in tracks like "Release Me." Jack's Mannequin brand of piano-led pop-rock -- like McMahon's former band Something Corporate -- has always appealed to the fairer sex (or whatever you call us).

So in a way, Jack's Mannequin has upped the ante on what it is to be for women, with thanks to women. And he's comfortable with that.

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<p>Werner Herzog, seen here at a film festival in Mexico earlier this year, will appear as the bad guy in the new Tom Cruise film 'One Shot'</p>

Werner Herzog, seen here at a film festival in Mexico earlier this year, will appear as the bad guy in the new Tom Cruise film 'One Shot'

Credit: AP Photo/Bernardo De Niz

Werner Herzog will try to kill Tom Cruise in first Reacher movie 'One Shot'

Can casting the right bad guy balance out the wrong lead in the movie?

I've been saying for years that Werner Herzog strikes me as a Bond villain in search of a movie, and now, it appears he's going to be playing the main bad guy in "One Shot," the first film adapted from the wildly popular series of novels about Jack Reacher written by Lee Childs.

I've written already about my irritation at the casting of Tom Cruise in the role of Jack Reacher, and no matter what Lee Childs says, I can't get past it.  I think the Reacher series is one of my favorite ongoing modern pulp series, and a big part of that is the sheer pleasure that happens when big giant Jack Reacher decides it's time to rain some hurt down on some deserving scumbag.  And as written, Reacher is a giant.  He's a huge hulking brute of a guy, and there is much time and energy spent describing him that way and making sure that pays off in the way confrontations unfold in the books.

I like Tom Cruise.  Don't get me wrong.  I think he's fun to watch, and in the right roles, he is absolutely iconic.  But he's not Jack Reacher as written.

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"Happy Endings"

 "Happy Endings"

Credit: ABC

Eliza Coupe and Damon Wayans Jr. talk dirty about 'Happy Endings'

The on-screen couple cuts up about group sex, cross dressing and nudity

On "Happy Endings," Eliza Coupe and Damon Wayans Jr. play Jane and Brad, a married couple who are just weird enough to fit in with their oddball single friends. During a conference call with reporters, the pair were just as funny without a script, though possibly not primetime-appropriate. 

When asked if we'll see how Jane and Brad met this season, neither actor knew for sure, but they had their own ideas about how that magic moment might have transpired. "I kind of feel like we met at some frat party, she had hooked up with three or four guys before me, that night, we were just wasted, and I say I'm gonna try to hit that, then I did, and we fell in love," Wayans Jr. says. "I walked in on her with three other dudes, and said, 'Her!' That's what I think happened."

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<p>Chris Cornell</p>

Chris Cornell

Credit: Press Here Publicity

Interview: Chris Cornell on writing 'The Keeper' for 'Machine Gun Preacher' and music in film

Part One: The Soundgarden front man has a unique soundtrack history

Chris Cornell is having a pretty big year.

After announcing in 2010 that his Seattle grunge-pioneering band Soundgarden was getting back together, he's been on the road for the better part of 2011 with the group. He went out on his own in the spring for his "Songbook" tour, a leg of intimate solo acoustic shows highlighting a number of the songs he's written over the years, whether with Soundgarden or his other high-profile collaboration with members of Rage Against the Machine, Audioslave. He's off to Australia now for another wave of those and this week announced fall and winter dates for a second US leg.

He has an original song in Marc Forster's "Machine Gun Preacher" called "The Keeper" that is featured in the "Songbook" tour. The song, which could be a contender for Oscar recognition later this season, has been showcased on the late night talk show circuit over the last few weeks.

Meanwhile, grunge is celebrating a 20th birthday of sorts this year as a wave of pomp and circumstance has greeted the anniversary of Nirvana's "Nevermind" album dropping on the industry in September of 1991. That moment unleashed the Seattle music scene on unsuspecting consumers and rock fans who were, at the time, desperate for something more.

To that end, Cornell is also a considerable presence in Cameron Crowe's "Pearl Jam Twenty," a rock documentary chronicling that band's two-decade sprawl that spends plenty of time detailing the Seattle scene of which Cornell and his band were very much a staple. Oh, and somewhere along the way he'll find time to head back into the studio to crank out Soundgarden's first original album in 15 years.

A busy year indeed. In the first of a two-part interview today, Cornell discusses writing "The Keeper" and his history with music in film over the years.

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<p>&quot;The Kings Speech&quot;&nbsp;wins the big prize at the 83rd Academy Awards.</p>

"The Kings Speech" wins the big prize at the 83rd Academy Awards.

Credit: AP Photo/Mark J. Terrill

Things just ain't the same for Oscar's 2012 best picture race

Plus: A quick rundown of who didn't make the major list

Things just ain't the same.  At least, that's the mantra for studios attempting to play best picture game this year.  After two years of expanded play after the Academy of Motion Picture Arts and Sciences increased the number of nominees from five to 10, the org made news by putting in a complex rule it sees as validating each nominee.  Instead of a guaranteed 10 nods, a film must qualify by receiving at least 5% of member first place votes.  The weighted system that previously allowed members to rank their top 10 (or five before that) will only be used if 10 potential nominees receive more than the 5% (or approximately 250) required votes. 

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<p>'George Harrison:&nbsp;Living in the Material World'</p>

'George Harrison: Living in the Material World'

Credit: HBO

Review: 'George Harrison: Living In the Material World'

Martin Scorsese has his way with the quiet Beatle

Martin Scorsese loves music. Furthermore, he understands its rhythms and potency like few directors do. That’s why I had such high hopes going into his 3 and a 1/2-hour documentary, “George Harrison: Living In the Material World.”  The film airs in two parts on HBO Oct. 5 and Oct. 6.

There are moments of exhilaration and illumination, and, of course, there is the glorious music.  However, the documentary isn’t consistently compelling and could use some tighter focus.

The first half is devoted to Harrison’s childhood and the Beatles’ formation. Even the most casual Beatles fan will feel the excitement of seeing footage of the band during its formative years in Hamburg, Germany, but the story devotes more time to the group as a whole than to Harrison (other than we learn he had a nasty temper that could show up very unexpectedly). Not that a documentary on Harrison has to have the spotlight pointed at him 100%, but Scorsese allows talking heads like Hamburg photographer Astrid Kirchherr and her boyfriend, musician Klaus Voormann (or at least he was until the  Beatles  original bassist Stuart Sutcliffe pulled her away), to go on a little too long about the general zeitgeist during the Beatles’ time in Germany.

[More after the jump...]

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<p>Connie Britton, Dylan McDermott and Taissa Farmiga in &quot;American Horror Story.&quot;</p>

Connie Britton, Dylan McDermott and Taissa Farmiga in "American Horror Story."

Credit: FX

Review: FX's 'American Horror Story' an overwrought mess

'Glee' creators Ryan Murphy and Brad Falchuk go even more over the top than usual

Let's say you had a friend in college… No, "friend" is too strong. Let's say you knew a guy in college who would show up to every party, have a few drinks and start acting crazy. For a little while, everyone would enjoy just watching him operate in a completely liquid state - sometimes doing genuinely entertaining things that he wouldn't have the nerve to do sober, other times just being an amusing mess. And then after the empty beer cans piled up, the guy's behavior would start becoming more unsettling, to the point where even the rubberneckers had to look away, feeling bad that they'd watched this wreck in the first place.

Watching a Ryan Murphy-created show tends to follow the same pattern. Both "Nip/Tuck" and "Glee" debuted with attention-getting premises and stories, where the execution was often less relevant than the "My god, did I just see that?" spectacle. And then Murphy keeps trying to outdo himself, going more and more over the top each time, until by the second or third season it's mortifying.

"American Horror Story" (tomorrow at 10 p.m., FX), the new drama Murphy co-created with "Glee" partner Brad Falchuk, speeds up the process, starting out as the TV equivalent of the college guy after eight too many beers, rather than ramping up to that awkward level. It is so far over the top that the top is a microscopic speck in its rearview mirror, and so full of strange sounds, sights and characters that you likely won't forget it - even though many of you(*) will wish you could.

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