"Project Runway" fixtures Nina Garcia and Tim Gunn have wrapped up the show's tenth season (the finale on Lifetime airs Thurs. Oct. 18 at 9 p.m. ET), and the good news? While neither will give away any secrets about what happens, Gunn will only say he's "enormously happy with the outcome of this season," which I have to hope means Fabio threw out his pastel beachwear and started over. In any case, both Gunn and Garcia spoke to reporters in a conference call, revealing what the designers did after last week's disastrous Fashion Week preview, the winning designer Gunn didn't like and what they believe makes a "Project Runway" winner.
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While Guy is shrewdly noting the potential for British voting contingents to rally behind this or that (particularly "Les Misérables") in this year's Oscar race, I've just emerged from what is undeniably one of the most quintessentially American efforts of the year: Steven Spielberg's "Lincoln." Though the irony of the fact that the titular Commander-in-Chief and the leader of the Union army are portrayed by Brits in the film is not lost on me, I assure you.
Nevertheless, the film -- which has seen a staggered press screening roll-out since its "surprise" New York Film Festival bow last week -- pumps with the blood of a nation and one of its darkest chapters. It's Spielberg's most performance-heavy work to date, and indeed, features a cross-section of character actors and star-caliber players all spouting off dialogue thick with the drama of the moment. Every inch of the frame feels heavy with Importance (with a capital "I"), and for good reason. It's a crucial moment and the need to emboss that fact is never lost on Spielberg and screenwriter Tony Kushner.
Maroon 5 makes it five weeks in a row as “One More Night” spends one more frame atop the Billboard Hot 100.
The song continues to hold off a charge from Korean rapper Psy and “Gangnam Style,” thanks primarily to continued strong radio airplay. “Gangnam Style” remains at No. 2, according to Billboard.
Taylor Swift’s decision to unveil one new track from “Red,” out Oct. 22, each week for the past several weeks results in Swift’s third song in as many weeks debuting in the Top 10. This week, “I Knew You Were Trouble” blows onto the Hot 100 at No. 3, bolstered largely by digital sales. “Red’s” first single (and former No. 1), “We Are Never Ever Getting Back Together” is at No. 3. Sandwiched between the Swift double pack is fun.’s “Some Nights” at No. 4.
Following Swift, the only other new entry into the top 10 is Ke$ha with “Die Young,” which jumps 14-8.
On the rest of the top 10, Justin Bieber’s “As Long As You Love Me” featuring Big Sean rises 7-6. Alex Clare’s “Too Close” climbs 10-7. Pink’s “Blow Me (One Last Kiss)” holds at No. 9 and Owl City and Carly Rae Jepsen’s “Good Time” slides up one notch to No. 10.
Adele’s James Bond theme, “Skyfall,” falls out of the top 10, dropping five places to No. 13 in its second week.
If you spend much time on horror-oriented websites, chances are you saw some footage from the upcoming "Evil Dead" remake that leaked from the New York Comic Con. I'll say this much for the film based on that quick look… it felt like an "Evil Dead" film. I do not envy Fede Alvarez because he's going to have a lot of people gunning for him sight unseen on that movie. The original is more than just a well-liked low-budget horror film. It was a major announcement of voice by Sam Raimi, and the "Evil Dead" series features one of the most iconic central performances in the history of the genre from Bruce Campbell.
Monday night, DreamWorks Animation screened their upcoming animated film "Rise Of The Guardians" in New York, and it seems like people liked it. I'm seeing it soon, and I'm very curious about it. The combination of talent on the film is intriguing, including creative consultant Guillermo Del Toro, author and visual designer William Joyce, storyboard artist Peter Ramsey who is making his jump to directing on the film, and of course the screenwriter, David Lindsay-Abaire.
Now that Beyonce is confirmed for the Super Bowl XLVII halftime show, we’ve had a few hours to think about our dream program. When Madonna was announced last year, we already knew that she was working with Cirque du Soleil. Plus, since there were rumors she was recording with Nicki Minaj, people speculated that she might join her on the field. This time, all we have is the confirmation that Bey will be at Mercedes-Benz Superdome on Feb. 3.
Here’s how we’d like to see her 12-minute show play out. We already know the production and costumes will be bright and sparking, so we’re focusing on the music. There’s not room to do all these song in totality, to we’re suggesting snippets and medleys.
1. Open with “Countdown” with a marching band. Or since she is in New Orleans, pay homage to the Crescent City by including a great brass band and a colorful Second line.
2. Even women who aren’t interested in the game usually want to tune into the Super Bowl half time so go into the arc of a relationship: Start with “Single Ladies (Put A Ring On It)” and do something fun with the dance, such as bring on NFL players to do it or Justin Timberlake (to recreate the “Saturday Night Live” sketch)
3. Segue into “Irreplaceable” as the relationship goes into turmoil. Have dancers or a marching band on the field all going “to the left, to the left.”
4. Finish the segment with a happy ending and reconciliation with a high-energy “Crazy In Love” and bring out hubby, Jay-Z, for the rap. Plus, flash a few shots of Blue Ivy. Or here’s an idea! You’ve got four months! Go ahead and conceive Blue Ivy’s sibling so you’ll be showing ever so slightly at the Super Bowl and you can rub your tummy sweetly to announce your pregnancy like you did at the Grammys a few years ago.
5. Speaking of reconciliation, everyone is hoping for a Destiny’s Child reunion. With hundreds of millions watching, here’s the time. Bring out Kelly Rowland and Michelle Williams. Can you imagine how crazy the crowd will go if you jump into “Bootylicious.” They are definitely ready for this jelly.
6. End on an emotional high note. After a tremendously fast-paced, up-tempo fun show, finish with “I Was Here” and bring on a children’s choir.
PLAN B: If the Destiny’s Child reunion doesn’t work, do a fun salute to New Orleans with “Iko Iko” or bring on Irma Thomas, the Soul Queen of New Orleans, and sing a sassy “(You Can Have My Husband But) Don’t Mess With My Man” or slow it down a bit with “It’s Raining.”
What do you want Beyonce to perform?
"I'm not going to be narrow enough to claim these fellows can't act,” wrote acidic industry columnist Hedda Hopper in 1964. “They've had plenty of practice. The weather's so foul on that tiny isle that, to get in out of the rain, they gather themselves in theaters and practice 'Hamlet' on each other.”
“These fellows” were, of course, the British – who, much to the chagrin of Hollywood loyalists like Hopper, enjoyed a golden streak at the Academy Awards consistent with the all-purpose ‘British Invasion’ of the mid-60s. When she wrote this, the UK had claimed back-to-back Best Picture wins with “Lawrence of Arabia” and “Tom Jones,” while victories for such British stars as Julie Christie, Julie Andrews, Rex Harrison and Paul Scofield lay ahead.
It’s a love affair the Academy has maintained over the decades, in some periods more passionately than in others: Colin Welland’s cry of “The British are coming!” as underdog “Chariots of Fire” claimed the 1981 Best Picture Oscar signalled another mini-surge. More recently, after a lengthy stretch of American domination, triumphs for “Slumdog Millionaire” in the 2008 race, and “The King’s Speech” two years later, suggested another invasion might be afoot.
Though he's still revered as one of his generation's finest, it's been an awfully long time since Robert De Niro's name came up in any kind of awards conversation. Over 20 years have passed since the actor's last Oscar nomination -- his sixth -- for "Cape Fear," and give or take some Golden Globe comedy attention, awards voters have shared in the general consensus that the great man has gone off the boil in his later years.
That dry spell, of course, looks to end this year, with probable Best Picture contender "Silver Linings Playbook" a likely bet to land De Niro his seventh nod -- and his first in supporting since he entered the Oscar fray nearly forty years ago in "The Godfather Part II." With the Weinsteins set to campaign hard for the Toronto fest favorite, De Niro's campaign is already picking up steam: he's getting the Supporting Actor honor at the Hollywood Film Awards (for whatever that's worth, but it's still a publicity opp), and is now set to receive the Kirk Douglas Award for Excellence in Film from the Santa Barbara International Film Festival.
Variety's Jon Weisman has fallen a little bit in love with "The Perks of Being a Wallflower." As have many people, including us here at In Contention. Yet the film isn't even being mentioned as a dark-horse Oscar player in most circles. Why so? Because, Weisman, argues, it wasn't tapped for awards glory sight-unseen. Referring to awards season as being run a bit like a high school clique: "[S]ome pics get a head start and others a hurdle based on little more than their loglines. This is true even though movies don't need to please everyone to reach the Dolby Theater in February." (He points to the recent Best Picture nomination for the poorly received "Extremely Loud and Incredibly Close" as an example of the latter.) What other gems are fighting to be considered awards material? [The Vote]
2013 Best Supporting Actor Oscar Contenders: Leonardo DiCaprio and Tommy Lee Jones round out a crowded field
Predictably, awards season begins with almost every major category either being characterized as too competitive or more wide open then you could possibly imagine. The 2012 best supporting actor field is somehow an intriguing mix of both (at the moment).