The four ‘Idol’ judges are reportedly getting the pink slip. With speculation starting over who should replace them, the better question is why would anyone want to?
It’s become Hollywood and the music industry’s favorite new parlor game: star casting reality TV talent competition judges. But with an increasing number of beaten-down A-listers limping away from these judges tables with bruised reputations and dim career prospects—albeit a fair amount richer—and the shows themselves barely seeing a benefit, it may be time to call game over.
From left: Keith Urban, Nicki Minaj, Randy Jackson and Mariah Carey. (Michael Becker/FOX)
News leaked from an “insider” Thursday that Fox is planning to fire all four of American Idol’s judges at the end of this season, the lowest rated of the reality TV elder’s 12 seasons thus far. That means that Mariah Carey, Nicki Minaj, Keith Urban, and Randy Jackson, who has thus far survived every dizzying round of musical chairs at the Idol judges table, are all getting pink slipped. Or, at least, that will now be the narrative when the quartet does not return next year—they were fired—even if they had planned on quitting on their terms.
Like ‘Moulin Rouge!’ and ‘Romeo + Juliet ‘before it, The Great Gatsby is over the top with razzle-dazzle—and people adore it or despise it. Can a director so polarizing really be good?
When it was announced that Baz Luhrmann would direct a splashy new adaptation of the F. Scott Fitzgerald book The Great Gatsby, movie critics, the Internet, the world, collectively cringed. No, wait, they screamed in excitement. Actually, they gagged at the thought of it. Or did I remember them creating a countdown calendar to the release date?
Director Baz Luhrmann on the set of 'The Great Gatsby'. (Hugh Stewart/Warner Bros. Picture)
There are few directors who elicit such polarizing reactions from moviegoers. A starkly divided chorus of groans on one side and coos on the other follow the mere mention of Luhrmann or his previous films: Strictly Ballroom (1992), Romeo + Juliet (1996), Moulin Rouge! (2001), and Australia (2008). The warring factions are on the front lines of their most epic clash now that Luhrmann’s über-stylized, utterly Luhrmann-esque take on the treasured American classic is hitting the big screen in all its bombastic 3-D glory: The Great Gatsby is coming.
Meet Thug Kitchen, a vegan cooking blog that is as street as it gets. The creators tell Jean Trinh how to “eat like you give a f--k” and about their biggest fan, Gwyneth Paltrow.
Thug Kitchen isn’t a place for wimpy cooks or for carnivores. It’s a place for readers to find some healthy vegan cooking recipes and a hilarious dose of f-bombs. Since the Tumblr started in August 2012, it has garnered more than 126,000 likes on their Facebook page, won Saveur magazine’s best new food blog award last month, and even got some love from Gwyneth Paltrow on The Rachael Ray Show. It’s gotten so popular that a Thug Kitchen cookbook is now in the works.
Not too shabby for a relatively new blog in an arena that not only offers recipes on dishes like Roasted Chickpea and Broccoli Burritos or Tucson Tempeh Pasta, but also dispenses advice on healthy living in general. In Thug Kitchen’s posts, the authors tell readers to “drink some goddamn water” and give tips on feeding frozen peas to dogs to make their coats “shiny as fuck.”
Comes, of all places, from Robin Williams.
The last person you'd expect to weigh in on the Givenchy dress Kim Kardashian wore to the Met Ball? Robin Williams. But oh, it is good: on Tuesday, the actor tweeted a picture of himself in drag as the best character of all time (Mrs. Doubtfire) next to a pregnant Kardashian, in her body-con sofa-printed dress at Monday's Met Gala. "I think I wore it better!" he wrote.
Depite all the ridiculous things people have said about the dress, Givenchy designer Riccardo Tisci defended his creation on Wednesday: "To me, pregnancy is the most beautiful thing in the world, and when you celebrate something, you give people flowers," he told WWD. "I think she looked amazing. She was the most beautiful pregnant woman I dressed in my career.”
Lee Daniels’s new film features Robin Williams, John Cusack, and Jane Fonda as former presidents and first ladies. But, more importantly, there’s Oprah.
The debut trailer for The Butler, Lee Daniels’s audacious attempt at a Forrest Gump-esque epic about a White House butler who served decades worth of presidents, features first glimpses of Robin Williams as Dwight Eisenhower, Jane Fonda as Nancy Reagan, John Cusack as Ronald Reagan, James Marsden as JFK, and many more famous faces as historical luminaries. But none of that is important because—stop the presses—it premieres footage of Oprah Winfrey in her first film in 15 years.
Yes, Oprah Winfrey, patron saint of perfection and universe's life coach in charge of attaining its best self, is in a movie for the first time since Beloved, playing wife to Forest Whitaker’s butler and, more importantly, chewing scenery like it’s beef jerky and she just came off a juice cleanse. Is the trailer for The Butler stirring? Impressive? Indulgent? Horrifying? Perhaps all four. But that’s irrelevant, because here are the nine most glorious moments featuring St. Oprah in the trailer.
Is your favorite show safe? Jace Lacob on what’s on tap for the broadcast networks for the 2013–14 season, which shows are coming back, and which ones have gotten the ax.
Every May advertisers and members of the press descend on New York City as the broadcast networks host their annual upfront presentations, where they unveil their fall schedules, trot out talent, and announce which shows will be coming back next season and which won’t.
The Daily Beast has been reporting on every move being made by ABC, CBS, Fox, NBC, and The CW as they unveiled their 2013–14 primetime schedules. 51 scripted series were ordered by the broadcast networks for next season, including 29 new dramas and 22 comedies. Of those, 31 shows will launch in the fall and 20 will be held for midseason berths.
Baz Luhrmann’s glitzy take on ‘The Great Gatsby,’ starring a brooding Leonardo DiCaprio, is a bizarre mélange of rap, Prada, and CGI, that is all pomp and precious little circumstance.
I am exhausted. Moments ago, the credits rolled for Baz Luhrmann’s $127 million 3-D film adaptation of The Great Gatsby, starring Leonardo DiCaprio in the title role. As I stood there, outside of the Ziegfeld Theatre in Midtown Manhattan, pondering Luhrmann’s operatic blunder—and my pounding headache—I thought of all the feeble attempts at translating F. Scott Fitzgerald’s celebrated 1925 novel to the screen. All have failed at grasping its themes, ironies, and allusions. What they do not know is that, amid these monolithic skyscrapers and thump-thump-rah-rah revelry, it’s an exercise in futility.
Carey Mulligan as Daisy Buchanan and Leonardo DiCaprio as Jay Gatsby in “The Great Gatsby.” (Warner Bros. Picture)
Fitzgerald’s novel is, after all, a cautionary tale about the decline of the American empire, drowning itself in a sea of excess. The empire, of course, didn’t fall. So over the years, the saga of James Gatz has been appropriated by the victors into a celebration of the very excess it abhorred. A similar thing happened to Oliver Stone’s 1987 film Wall Street, which is now a favorite among budding Masters of the Universe. The Australian filmmaker Luhrmann, best known for the boisterous Bohemian musical Moulin Rouge!, revels in the glitz and glamour of the Roaring ’20s, completely losing sight of the story’s central message.
He pioneered the mockumentary on film. Now Christopher Guest is bringing his latest comedy, HBO’s ‘Family Tree,’ to a TV landscape crowded with the format. Jace Lacob on whether he succeeds.
Over the last few decades, the mockumentary format has become almost totally synonymous with Christopher Guest, the writer/director (and often actor) best known for films such as This Is Spinal Tap, Best in Show, Waiting for Guffman, A Mighty Wind, and For Your Consideration. Each film—to varying success—mined the documentary format for laughs, setting up its eccentric characters as the butts of the joke ... or the only ones in on it.
It’s no surprise, then, that Guest would eventually seek to bring his brand of comedy to television, which has had significant success with the format: numerous comedies, from Modern Family to The Office and Parks and Recreation, have embraced the single-camera mockumentary format, allowing for characters to engage in “talking heads” segments in which they speak directly to the audience via an unseen film crew. It’s through this technique that characters are able to comment on what the viewer has just seen or will see, an act that creates an instantaneous and perpetual sense of intimacy. That rapport, in essence, sets up the audience as an additional, unseen character in the room, removing the narrative distance between the action and the viewer at home.
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Jean Trinh explores LACMA’s retrospective on James Turrell’s career and talks to the artist about light-play.
First it was 'The Jersey Floor'. Then there was 'Downton Sixbey'. Check out this clip from his epic new parody, in case you missed it Friday night.
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