Now that what’s-her-name has been sent home (goodbye, young lady, we literally hardly knew ye), it’s time for Angelea to celebrate. Her soul feeds on the misery of other skinny girls, and that’s according to real live scientists. Martin Lindstrom, a “brand strategist,” and his client, Tyra, arrive at the house to tell the girls how to sell themselves. (To the modeling industry, silly!)
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To be honest, I think we went overboard. But for good reason.
I mean, four hours of podcasting in one week? Good lord. Sure, that first podcast had no less than five interviews from the Toronto Midnight Madness section of this year's festival, and a great conversation with Bobcat Goldthwait, another with the filmmakers behind "Livid," and yet another with Eduardo Sanchez. It was overstuffed with goodness, and there was some conversation about Netflix and Kevin Costner and other things as well, so if that was it, that would already been one of our better weeks.
But no. No, I had to push it. I had to try to put together two full giant podcasts this week, so that we'd have all of our Toronto coverage up and done and nothing hanging over me for after Fantastic Fest. That meant we had to do another full-length podcast so that I'd have room to run the rest of the interviews. After all, I've got an interview here with Gus Van Sant about his new film "Restless," an interview with '70s icon Paul Williams and Steven Kessler, the guy who made the documentary about him, and with the Duplass Brothers on their lovely new film "Jeff Who Lives At Home." I can't sit on that stuff. I want you to enjoy it as much as I enjoyed having the conversations during the fest.
Too many new shows this week, and not much time to review them all. Fienberg published his review of ABC's "Revenge" earlier today, and all I have the time or energy to say is that I found this chilly, humorless update of "The Count of Monte Cristo" - and the lightweight lead performance by Emily Van Camp (whom I've liked in the past) - too dull to even qualify as a guilty pleasure.
Now it's your turn. For those who watched, what did you think? Are you setting the season pass now?
I'm not much a fan of CBS' crime procedurals (most of which are fine for what they're doing but not my area of interest). I am a big fan, however, of Mr. Ted Danson. What to do, then, when Danson becomes the new "CSI" leading man? Well, at the very least I could take time to watch his first two episodes as new night shift supervisor D.B. Russell, and to be impressed - but not particularly surprised - at how easily he fit into the vibe of the show(*), played off of George Eads and Marg Helgenberger, etc.
(*) And, specifically, how quickly he and the writing for his character were able to bring back the slightly offbeat comic quality from the show's early days with William Petersen. That sense of humor, as well as the insistence on always treating the Vegas CSIs as nerds, no matter how attractive they were, were two huge elements that elevated the original over the spin-offs. Glad to have that back.
All in all, I thought "73 Seconds" was a very good introduction for Danson/Russell. But then, I haven't been a regular "CSI" viewer for a very long time. For those of you who are fans, how'd you feel about the new guy? I know the Laurence Fishburne era got mixed reactions; did this seem like a step up to you? And is there anyone who might start watching the show (or return to the show after an absence) just for Danson?
"The Hour" wrapped up its first season tonight, and I have a few quick thoughts coming up just as soon as I put on a fake mustache...
This time when Lady Gaga sings “This time I’m not leaving without you,” in the latest video for “You and I,” she really means it. Because she can’t!
In the third Haus of U clip for “You and I,” Gaga appears as Yuyi, the mermaid who first surfaced in the official clip for the song. Therefore, motility on land is somewhat limited to flopping around, as she does in and under a director’s chair here, or being carried around. As you recall, Lady Gaga has been releasing additional short black and white clips, filmed in Nebraska, to boost the song. While beautifully shot, they’re low-concept affairs. The first of the five, “Nymph,” featured Lady Gaga in lingerie dancing to the song. In last week’s installment, “Bride,” she was working a “Bride of Frankenstein” theme.
[More after the jump...]
OK, kids... It's time for "The X Factor." There's been so much darned hype for this one that a premiere live-blog seemed appropriate...
So let's go!
After his public comments about the editing of "The Tree of Life," we're still unsure if Sean Penn will appear at any future SAG screening or, now, Academy member screenings of the critic's favorite, but his other film from the 2011 Cannes Film Festival has finally found a home. HitFix can confirm The Weinstein Company has picked up U.S. distribution for Paolo Sorrentino's "This Must Be The Place."
The Academy today dropped via press release its annual list of rule clarifications and changes regarding campaigning procedures, but while most are acknowledging the adjustments to post-nominations events and gatherings (like, say, blatant campaigning via private parties with AMPAS guest lists hosted for contending talent -- no longer permitted), my colleague Greg Ellwood has drilled down and noted probably the biggest bombshell of all in the announcement.
Before the nominations are revealed, it looks to be open season.
Greg quotes from the press release as follows: "Prior to the nominations announcement (January 24, 2012), there are no restrictions on screening events to which Academy members may be invited. These events may include the live participation of individuals involved with the film (Q&A panel discussions, etc.) as well as receptions with food and beverage."
What he surmises from this is that studios "can clearly go after just Academy voters if they want and, moreover, can drop having to participate in third party screening series such as the Variety or Envelope staples." This all may seem like the kind of ink you gloss over while following an Oscar race, but these changes could -- and likely will -- substantially impact the season.
The Academy of Motion Picture Arts and Sciences released the official rules for "promotion of films eligible for the 84th Academy Awards" (i.e., Oscar campaigning) today and there were some interesting changes.
It was expected the Academy would crack down on some of the events that skewer the line between Oscar promotion and, say, home video or theatrical release promotion (such as Sony Picture's "The Social Network" home video event last year), but that didn't happen. Instead, the Academy set some clarifications and opened filmmaker access to some screenings for nominated pictures in a big, big way.
As noted in the AMPAS release, "Prior to the nominations announcement (January 24, 2012), there are no restrictions on screening events to which Academy members may be invited. These events may include the live participation of individuals involved with the film (Q&A panel discussions, etc.) as well as receptions with food and beverage. After the nominations have been announced, Academy members may continue be invited to screenings that have filmmaker participation elements but receptions are not permitted. While there is no restriction on the total number of screenings of a particular movie, no one individual from the film can participate in more than two panel discussions. Previously, Academy members could not be invited to any screening event that included live participation of the filmmaker(s) or a reception either before or after the nominations had been announced."
The fact that studios can now hold their own screening events not under the guise of guild screenings or by third parties is pretty substantial. They can clearly go after just Academy voters if they want and, moreover, can drop having to participate in third party screening series such as the Variety or Envelope staples (ouch). Chances are they won't, but those series are certainly no longer mandatory to try and get at voters. Additionally, the "no restrictions" part of the screening events is quite extraordinary. Does that mean DreamWorks can hold an Academy screening of "War Horse" at the Walt Disney Concert Hall? Can The Weinstein Company have an Academy screening of "The Iron Lady" at the United Nations in New York? Could a studio buyout the Landmark or the Arclight for a week before nominations for non-stop Q&A's and screenings for their potential films? According the new rules, yes, yes they can...if the studios want to spend that money.
Oh, me. Oh, my.
The other distinction here is that studios can now use talent more effectively to help lock down a win during the post nomination period. Whether that will help secure a win in the major categories remains to be seen. Most voters have seen all the films already and as we've learned over the past two years, scandals or controversy ("The Hurt Locker" producer, Melissa "Consider This" Leo) have had little effect on the final results because most members send in their ballots within the first two weeks. However, if the studios are smart, they could use these screening events to push some of the secondary categories where the overall membership may not have as passionate a pick in mind such as cinematography, original score, costumes, make-up, editing, etc. Considering "talent" can only appear at two screening Q&A's this might be the smartest use of their time. You can be sure though, that the first two weeks of final campaigning will be packed with events in theaters as large as possible to get as many members in as possible.
The Academy is still allowing for digital downloads and screeners, but you can are argue by opening the floodgates for special screenings they will encourage members to view the contenders in the manner which they were intended, on the big screen.
Oh, but if you aren't having a screening or in the Oscar club, well, that's the bad news. As noted in their press release, "Additionally, after nominations are announced and until final polls close, members may not be invited to or attend any non-screening event that promotes or honors a nominated movie or individual nominee. Nominees themselves are also prohibited from attending such events. Academy-sanctioned events and awards ceremonies presented by the various guilds, critics groups and other organizations are exempt." The "other organizations" is where the Academy gives themselves an "out," but this is meant to cut down on private circuit parties held by members at member homes to push a candidate.
Additionally, the AMPAS made some noise on the social media front effectively banning negative campaigning on such platforms. This is a bit odd since it's hard to find any studio who blatantly campaigned against another studio's nominees on twitter or facebook, but it may be a warning over negative tactics overall. Here's their exact wording from the official rules: "Ads, mailings, websites, social media (e.g., Facebook and Twitter) or any other forms of public communication by anyone directly associated with an eligible film attempting to promote a particular film or achievement by casting a negative or derogatory light on a competing film or achievement will not be tolerated. In particular, any tactic that singles out "the competition" by name or title is expressly forbidden. Academy members that violate this Rule 16 will be subject to a one-year suspension of membership for first-time violations, and expulsion for any subsequent violations."
The "any other forms of public communication" is the kicker here and no doubt has a very broad definition. Watch your E-mails members.
This pundit's favorite rule, and one I believe the Academy will be very sensitive this year, is #14, "Telephone Lobbying." It's been banned for sometime, but with the stakes so high with the new 5% rule to land a best picture nominations, it's going to be hard for some members, campaigners and filmmakers to control themselves.
In any event, if Wolfgang Puck catering hasn't gone public, they might consider doing so now. They are going to be much busier than normal this season.
A full list of this year's rules are available here.
For year round entertainment commentary and award season news follow Gregory Ellwood on Twitter @HitFixGregory.
Guns N’ Roses will play its first full U.S. tour in five years starting Oct. 28 in Orlando. A few dates had been announced here and there, but today we got confirmation of the cities (and some venues) on the arena tour.
The line-up is Axl Rose, guitarist DJ Ashba, keyboardist Dizzy Reed, bassist Tommy Stinson, guitarist Richard Fortus, guitarist Ron “Bumblefoot” Thal, keyboardist Chris Pitman and drummer Frank Ferrer.