The Blog

Laura Prudom: 'American Idol' Recap: 14 Members Of The Top 24 Are Revealed (Very Slowly)

2012-02-23T06:53:25Z

Another week, another wholly unnecessary, post-audition audition episode of "American Idol," because the judges are apparently unqualified to accurately measure talent until they've heard a contestant sing at least eight times in four different venues. Everything that was revealed in this episode could've been covered in a five minute montage, but the producers have a two-hour timeslot and they're determined to make you sit through every monotonous minute, gosh darn it!

Since I am not nearly as sadistic as the creators of "American Idol," all you really need to know is included in the handy list of survivors and lucky escapees below. I suggest you save your DVR space and just drop in for the last five minutes of the Feb. 23 episode, when the show will roll out its annual "Ridiculous Dancing Montage" that will remind you of the Top 24 in one manageable, filler-free chunk.

The first 14 contestants to make it to the live rounds were:

Jen Hirsch -- The winery worker we first met in Galveston, who was one of many to wow the crowd with a bluesy rendition of "Georgia on My Mind" in Hollywood.
Creighton Fraker -- Jen's fellow group member, the "starving artist" from New York. His quirky tone won't be everyone's cup of tea, but he's certainly been a standout of the audition rounds.
Joshua Ledet -- A soulful crooner who was basically a non-entity during the initial auditions, but quickly differentiated himself from the masses during Hollywood Week.
Haley Johnson -- This peppy blonde is one of many with a strong voice, but not really enough personality to separate her from the crowd this season. Great belter, though.
Elise Testone -- She nailed "It's A Man's World" for her final performance, and her husky tone and sweet runs should help her progress to the Top 12.
Reed Grimm -- Though he's not a member of the Fantastic Four, he's certainly pulled off several super performances; especially his a cappella-turned-drum performance of "Georgia."
Erika Van Pelt -- One of the strongest female voices in the competition, with a tone eerily reminiscent of Pink, the mobile DJ was an easy yes -- though the judges did say that she didn't do as well as they'd hoped throughout Hollywood and Vegas.
Chelsea Sorrell -- The first of several indistinguishable country crooners; from what I recall, Chelsea was a solid enough singer, but likely to be canon fodder in the live rounds since she hasn't been all that memorable thus far.
Baylie Brown -- Another country girl, with the added cachet of having had far more screen-time than Chelsea, due to the fact that she first auditioned back in Season 6, which is apparently super impressive. She mangled Rascal Flatts' "Here Comes Goodbye" in her final audition, but in spite of that, the judges gave her a pass.
Heejun Han -- Best known for his deadpan zingers and rivalry with Richie "The Cowboy" Law (who was thankfully sent home), long-suffering Heejun has always been one of J.Lo's favorites and acquitted himself beautifully in his final song. His hilarious response to Ryan Seacrest's "What are you sweating?" ("Mostly water") was possibly the high point of the episode. Yes, it was one of those nights.
Jessica Sanchez -- I don't remember this sweet 16-year-old at all, but her final performance of "The Prayer" was beautifully controlled and had a sweet, natural purity that literally gave me chills. She wants to succeed so that she can support her family since they're broke from supporting her musical ambitions. No pressure.
Phillip Phillips -- This season's Casey Abrams, which is only a good thing if you liked last season's Casey Abrams. He's graveled and seems to have a great grasp of who he wants to be as an artist, but I predict he'll be even more divisive than Creighton.
Colton Dixon -- The reluctant brother who hijacked his sister's audition after the judges bullied him into performing. He's still far too affected for me, but he's unique and confident. Plus, he's white, male and can play and instrument, so he'll probably win. He tried to make up for stealing his sister's thunder by dedicating his final song to her, but things got awkward again when she told him to ask the judges to put her through next year. Yeah, that sibling rivalry isn't going away any time soon.
Brielle Von Hugel -- Teen diva with a suffocating stage mom. She performed a mid-tempo version of "Killing Me Softly" for her final audition, which was interesting. I think she thinks she's better than she actually is, not sure she'll make the Top 12.

And, in an attempt to fabricate drama from a completely pedestrian episode, the show ended on a "cliffhanger" with proud daddy Adam Brock left in limbo until the next episode -- though I can't fathom him being sent home, especially after his rousing performance of "Georgia" in Hollywood.

We mostly lost a few faceless nobodies who hadn't been given any exposure during the audition rounds, and I didn't even catch their names, but there were a couple of surprises. The consistently fantastic Lauren Gray was eliminated, despite her commercial-skewing, Kelly Clarkson-meets-Adele sound. She had great range and a lot of personality, so I wouldn't be surprised if she was brought back as a wildcard (or are we not doing that this year?) but it's somewhat baffling that she was let go in the first place. And despite the catchy name, Neco Starr was also sent home, which made more sense since his last performance sounded nasal and whiny.

On Feb. 23, the 10 remaining members of the Top 24 will be revealed, and thankfully, next week, we can finally get on with the actual singing competition. Were you surprised by any of the judges' decisions?

"American Idol" airs Wednesdays and Thursdays at 8 p.m. EST on Fox. Next week, "Idol" will also air on Tuesday (2/28) at 8 p.m. as the semifinalist boys perform.

Lawrence Shulruff: A Fast and Furious Look at the Oscars

2012-02-22T23:01:55Z

"Mon dieu!" as Jean Dujardin's character George Valentin might say in the film The Artist if only he could speak. What has happened to the Oscars?

At a time when watching movies has become more and more experiential with 3D glasses, enormous IMAX screen and heart-pounding surround sound systems, the Academy sings paeans to a silent movie? With French actors?

But there's more: With Hollywood executives panicking about dropping movie attendance and the inability to attract younger, hipper viewers, someone needs to ask how the Academy of Motion Pictures selected funnyman Billy Crystal to host the 84th Academy Awards given that few people under the age of 30 have heard of him. What happened? The Lollipop Guild was unavailable?

Can anyone say make-over? It is time to bring style back to the Oscars, and I'm not talking asparagus and hollandaise sauce. Spicing up the broadcast would be a quick fix -- It's time to add some new award categories. So Hollywood, take note. Take a meeting. Take some Tylenol. These recommendations could be the cure for that after-party hangover. Part II.

The Best Sequel: Am I the only one miffed that Fast Five was overlooked -- again? The franchise about street racing has everything you expect in a great movie: clutch actors, clutch plotline, clutch transmissions. (Changing topics for a second, am I also the only who thinks actor Claron Hinds looks like Clutch Cargo?) Did I mention the great chase scenes and the midriff-baring gear heads? Yet the film got blanked by the Academy. Not even an award for best cinematography, whatever that is.

Vin Diesel. Ludacris. The Rock. The film should win an Academy Award for having the actors with the coolest names.

Truth is that sequels are driving the Hollywood engine. Ten of the top 11 grossing films of 2011 were prequels or sequels. Of the past nine years, eight of the top grossing movies were sequels. It just doesn't seem kosher that year after year these cash cows are ignored during the awards season. The Academy seems to think that imitation is the sincerest form of flatulence.

Instead of snubbing this movie-making trend, why not embrace it with its own award category? This will guarantee us a chance to see the same movies we love over and over and over again. (Footnote: Fast and Furious 6 is scheduled for a 2013 release. Plot unknown. Not a big surprise given that I still can't figure out the plots for the first five.)

Best Bat Mitzvah Montage: How is it that this genre of filmmaking had gone completely unrecognized by the Academy Awards? This is especially bizarre when you consider that the production costs for the average bat mitzvah montage exceeds those for most foreign films. And there aren't any subtitles!

Let's also consider that adding such a category would attract a demographic group Hollywood has shamefully ignored over the years -- Jewish teens. In time I expect a spin-off show devoted exclusively to this segment of the industry, and, with a special soundtrack award, there's a logical tie-in with the Grammys. Imagine the scene: Rachel Glickstine's Bubbie is being nominated for best birthday scene which features her racy version of Rihanna's "S&M." The envelope is opened. The winner announced. Rachel jumps from her chair, screaming, "My grammy won a Grammy!" It's an advertiser's dream.

The Salma Hayek Award: Every year the Academy presents a lifetime achievement award to an actor who is wrinkly and grey. Why wait? Why not give the award to someone in her prime while she still looks great in evening wear? I nominate Salma Hayek. And the good news is that it would guarantee she'd be at the show. For 2013 I nominate Penelope Cruz.

Thinking ahead it's not too early to start thinking about next year's host. I'm pushing for Vin Diesel. He's cool. He's hip. He'd look great in a tux, assuming there is one that would fit. All in all, it would be a clutch move.

Kimberly Nagaran: 'Parenthood' Recap: Proposals, New Proposals And Lots Of Tears

2012-02-22T19:02:01Z

Note: Do not read on if you have not seen Season 3, Episode 17 of NBC's "Parenthood" entitled "Remember Me, I'm the One Who Loves You."

At the end of last week's "Parenthood," scratching my head as Jasmine's hesitated to move in with her dreamboat doctor, then shaking my head in disapproval as Amber was swept out of a hotel room by her aunt, and then biting my finger nails in anticipation for the arrival of Julia's adopted baby. (If you ask me, Zoe was ready to pop a good three episodes ago.) But on this week's episode, "Remember Me, I'm the One Who Loves You," relationships took a toll and took a turn.

While Amber quits her job as the politician's assistant, Sarah got a proposal; but not that kind of proposal ... more like an "east-coastal" kind, that came out of thin air. New York City was never an option; unless you count the New York play producer Sarah met a good, oh, season ago.

Meanwhile, Kristina outs Amber to her mom, telling her that she acted out of love for her niece and she hopes that, if the time ever came, Sarah would take Haddie home from an overnight play-date with her boss. (But we all know Haddie would never.) After Sarah thanks Kristina for looking out for her kid, she tells her about her desire for the other coast and Kristina gives her the thumbs up. The kids will be all right, Kristina says. Maybe in that movie, but I doubt it on this show. Drew cried last week, remember? And I thought the rhyme went love, marriage, baby carriage, not "move to another city, in another house with a porch and garage." But Mark and Sarah feel good about their relationship moving forward, that is, until Amber runs to her mom -- as every woman needs to do from time to time -- in hopes of finding comfort from her conflicted work/boss feelings. Is Sarah needed in the Wild West after all?

Someone who isn't needed? Crosby. At least, not to Adam. The brothers turn down a hefty offer for their Luncheonette Studio because Crosby apparently does not want to be a millionaire. But Adam still sees dollar signs. Despite Crosby's unwavering decision to not sell for matters of the heart, Adam has a drink with the West Coast Recordings headman, Richard Gilcriss, while Crosby is out of town. We all know in the business world that "having a drink" really means "get the potential client a little floopy for some soft negotiations." And negotiate he did. Gilcriss offered another number so large that Adam couldn't refuse -- and one that the writers couldn't show apparently. Maybe it was [insert Dr. Evil's voice] "one billion dollars!" The gentlemen shake hands and Adam promises to talk his brother into selling. I don't know, blood is thicker than water, buddy. You probably should've used a genuine gentlemen's "spit" handshake for this one.

But while Adam's thinking about money, Crosby's got matters of the heart to worry about. I'm a romantic so I always root for the sweetheart couple and this show is no different. But these two sweethearts, Crosby and Jasmine, have sweethearts of their own. Committed sweethearts. Jasmine and Crosby take Jabbar on his Boy Scout camping trip with plans for it to turn into a Boys Only sleepover as Jasmine plans to leave early. But of course, after an innocent plea from her son, Jasmine decides to stay the night with him and her Baby Daddy, ex-fiancé in the next sleeping bag. Oh, sure. It's all Jabbar's fault. We all saw that longing look you gave Crosby as he tended to your burn wound, Jasmine. But admittedly, that was still cute. The downpour starts in the middle of the night with Crosby blaming himself for ruining what could've been a perfect family. (I thought he really liked the Cello Girl.) The next morning, the real downpour comes. The camping trip is cut shot as a rainstorm hit the grounds, forcing Jasmine and Crosby to leave any possibility of getting back together behind. Just as Crosby pulls away in his car, Jasmine runs to his window with her face dripping wet and confesses her love for him: "I love you. I've always loved you [...] Crosby Braverman, I want to be your wife. Will you still marry me?" Whoa. Not prepared for that. But, I bought it, mostly thanks to that "Notebook" moment. Show me any proclamation of love in the rain and I'll believe you.

Crosby and Jasmine were happy at the end, but it pains my heart to say that things didn't turn out quite the same for Julia. Most of her storyline leads up to this much-anticipated moment and the possibility of another Baby Braverman. Like a fireman on shift, Julia springs out of bed and right to Zoe's side as she holds her hand and acknowledges "I love you's" through the labor and delivery. The look of pure joy on Julia's face when she first holds her son is almost unbearable next to Zoe's. The painful sobs pulled on my heartstrings just a little bit too tight. Julia arrives the next day and brings New Daddy Joel and Big Sister Sydney to the hospital, but much to Julia's surprise, she watches Zoe play with the baby in the window of the nursery, knowing, without words, the decision Zoe had made. Right when I think there are little to no heartstrings left to pull, "Parenthood" thrusts me into another emotional tornado, making me watch Julia break down in an empty hospital room. Tears. Everywhere.

Next week's season finale promises a list of events that won't fall short to what we've seen all season: tears, more tears, kids and grown-ups growing up, and more high school tunes from Death Cab For Cutie. At least there will be a wedding.

Reyne Haines: Celebrity Collector: Richard Grieco

2012-02-22T15:41:16Z

(Photo Credit: Laura Grieco)

Turn the clock back to 1987 and recall one of your favorite television shows, 21 Jump Street. This was a show that launched the careers of several Hollywood stars. The two actors gaining the most attention by the female viewers was certainly Johnny Depp and Richard Grieco. Depp stayed on the show for 80 episodes while Grieco stayed on for a few years then left for a spinoff show based on his character "Booker."

Since that time his television and film credits have multiplied, along with his interest in music and creating works of art. Talk about a diverse celebrity!

As if good looks and the creative gene weren't enough to peek my curiosity -- his love of Harley Davidson's and Corvettes were the icing on the cake. I caught up with Grieco recently to talk about his passion for painting, and to ask "When do I get a ride on one of those bikes!"

RH: Seems like a silly question to ask because well, who doesn't love a Harley but tell me how your passion for Harley Davidson started?

Richard: I was born in Watertown, N.Y. Around 11 years old, my dad's friend had a Harley. I used to sit on it. I thought it was really cool. I liked the chrome! The funny thing is, the first bike I drove was a 1966 Tiger Triumph. I was driving at the age 14. By age 15 and a half, I was driving it to school!

(Photo Credit: Laura Grieco)

RH: Hah, I see the rebellious side started early. What is your favorite Harley in your collection?

Richard: My favorite Harley in my collection now is a 1990 Softtail Springer, made to look like a 1948 Knucklehead. The 1948 Knucklehead you could ride but it was a pain in the ass. This rides nice. They only made 13-14 of this model.

I also have the 1982 Shovelhead I rode on Booker. I got it in Canada, and rebuilt it down here after the show ended. I kept the original odometer on it. It had 49,000 miles. It was the mileage I had on it the last day of the show. There was a time when I had 9-10 bikes. I used to buy older bikes, put $1500-2000 into and then take them to the Barratt Jackson auction and sell them.

I also used to have a 1969 Boss Mustang. I sold it about 15 yrs ago. I hate that I sold it.

RH: Ouch! I'd be crying. Those are great! Are you strictly a Harley guy, or do you collect any other brands?

Richard: I have a 1987 Heritage. It looks like a '59 Duo Glide.

RH: I read you also have a passion for race cars. Most of my readers know I've got it bad for Corvettes. My favorite is a 1963 Split Window. What Corvette do you have?

(Photo Credit: Laura Grieco)

Richard: The first ZR1.

RH: Nice choice! I read you are also an artist. Your work is similar to that of Jackson Pollock. Was he the inspiration for your work?

Richard: I've actually been told it looks like Pollock, DeKooning and others. I paint from above, I guess similar to what Pollock did. I have a 360-degree view. One of my works titled "Christmas Angel" -- I painted it in the dark. It came out in greens, reds, whites, yellows, black. I did that for nine hours and saw it the next day, and completed it four days later.

(Photo Credit: Laura Grieco)

I've painted for 25 years. I like working with big canvases -- you know, 8-by-10-foot, 12-by-10-foot. I had all these paintings that I had completed that were just stacking up. Dennis Hopper told me I should sell them. I had never thought about it. I put photos of one up on Facebook. Someone was interested in buying it. I put a number on it, and she bought it. It's in a museum in Switzerland. My stuff has sold privately for the past three years. The first painting I sold went for $10,600.

The price has gone up from there, depending on size, time, etc.

RH: I think it's cool you are creating something for others to collect. How can our readers learn more about your work?

Richard: You can see some of them on my Facebook page. My art broker said I should not make my art available just anywhere. I need to be selective in how I sell it. I have turned down galleries, etc. But now, I have so much stuff, I want to see it in a gallery. I have a gallery showing in June of this year. I'll tell you more about it soon.

Thanks Richard! I look forward to hearing more about your art endeavors, and if you stumble across a '63 split window for me....

Facebook: Richard Grieco
Grieco is also the Executive Producer of Gigalos on Showtime
http://www.sho.com/site/gigolos/home.sho

Photos courtesy of Laura Grieco

Marcus Samuelsson: Savoring Harlem: Watching the New Harlem Renaissance Come Alive

2012-02-22T15:11:18Z

As the famous Langston Hughes poem entitled "Harlem" starts, "What happens to a dream deferred?" many often think that the line refers to Harlem itself. That somehow some grandiose dream of what Harlem was or could be has withered or in this case "dried up like a raisin in the sun." Well, I'm here to testify that that's not the case! The Manhattan neighborhood of Harlem is alive and thriving, more so now than ever before, and in many cases food is at the center of Harlem's new economic growth. Within the midst of great history and cultural diversity lies a food side of Harlem just waiting to be discovered by those foodies who seek it. My goal is to show you just that, and that's why I invite you to join me this Friday at 8pm ET/PT for a Food Network special where I show you my neighborhood, Harlem as we cover its current food revolution.

Harlem's rich culture and impressive ethnic diversity inspired me to move to Harlem eight years ago. I knew when I moved here that one day I would want to open a restaurant in Harlem that would represent Harlem's diverse community and be a place people from around the world would want to visit. What makes Harlem special is that at any given time, food seekers can not only find food deeply rooted in Southern, Latin and African traditions, but also can taste the newer Senegalese, Chinese, and Italian influences as well. Virtually every type of cuisine now has a place in Harlem.

For decades, Harlem has also been the birthplace and safe haven for the arts and social movements like jazz, American poetry, and many other ideals that still resonate in our country today. In one of its most flourishing times, known as the Harlem Renaissance, great poets, musicians, actors, athletes and intellectuals roamed its streets finding inspiration in its people, buildings, and living institutions of thought and culture. It was home to dozens of theaters, restaurants, and even speakeasies -- and all shared the purpose of housing creativity, entertainment, and brotherhood. Even at Rooster, we take inspiration from an original Harlem speakeasy.

While many thought opening a restaurant in Harlem was a lost cause because of its economic decline in the past couple decades, I knew through its deep artistic and cultural history there could be a resurgence of the types of restaurants that made the original Red Rooster a prime destination for everyone from politicians to musicians. With a higher unemployment rate than the rest of the city (18% as compared to 4-5%), Harlem has been hit hard by the recession, yet in recent years, Harlem has seen an influx of new shops, restaurants, and businesses that are starting to bring it back to how it once was in its glory days. These businesses are not only bringing commerce to the neighborhood but are also hiring within the neighborhood as well. When I opened Red Rooster in 2010, I quickly learned that you can't help improve a neighborhood unless you bring everyone along with you. We made it a priority to hire the majority of our staff from Harlem. I constantly think about affordability when planning out my menus, since inclusion of the community is what drives my interest for Red Rooster.

Slowly, we're starting to see great improvements in Harlem and city dwellers are starting to see plenty of reasons to come uptown, not just to be entertainment but as a new place to live and create new business opportunities. Harlem currently has a higher percentage of growth in new housing units, population growth, and growing median household income than the rest of Manhattan, according to the Upper Manhattan Empowerment Zone. With a cheaper rent base and available vacant spaces, Harlem is starting to see an influx of diverse city dwellers that are moving uptown. When new businesses like Harlem Shambles butcher shop meet classic Harlem institutions like Sylvia's, the hope to revitalize Harlem starts to shine.

Join me on Friday, February 24 at 8pm ET/PT for my Food Network special, Savoring Harlem, as I share with you what all the excitement in Harlem is about! You'll not only get to see the new food revolution happening in this great neighborhood but you'll also get to witness what truly makes Harlem so great.

John S. Wilson: Key and Peele Are Selling Comedy Blacks Arent Buying

2012-02-22T14:45:35Z

Key & Peele, a sketch comedy show on Comedy Central, is peddling offensive comedy. I watched a variety of clips spanning 5 episodes. Not only were the subjects of their humor not ever any non-black group, but jokes solely focused on either parodying aspects of black culture (think black fraternities or soul food), or, worse, "black pathology," an all-encompassing category for any negative behavior exhibited disproportionately in urban areas for which, apparently, blacks have been genetically predisposed for over 25 years (according to the media). And maybe that's why Key and Peele feel the need to remind audiences they're only half-black. Less chance of the pathology gene manifesting itself perhaps?

Comedy Central, the home of South Park, isn't exactly a place known for its humility. Notching Comedy Central's best premiere in two years, the Key & Peele show earned 2.1 million viewers and was recently renewed for a second season. Clearly, it's a success. The brainchild of Keegan-Michael Key and Jordan Peele, the show seeks to deal with issues of race in a fresh and "universal" way that lets the audience in on the joke.

But apparently, when Key and Peele say their comedy is universal what they really mean is that blacks will be the butt of the jokes and others will be the ones universally yucking it up. If that's their thing, that's fine, after all it is their show. But they shouldn't serve audiences horse crap and call it horseradish.

This isn't to say there isn't a demand for these kinds of jokes. Far from it, there certainly is. But why is that? And more important, why do Key and Peele believe they should be the ones supplying it?

I'm neither a mental health professional or expert on race. But even a layperson can recognize the level of self-loathing required to produce such comedy. Key and Peele go to extraordinary lengths to consistently remind their audiences of their biracial heritage and who they are both a product of: white mothers and black fathers.

Let's step back a bit. There's been a movement afoot in the U.S. for biracial people to be recognized as multiracial (as proven in the 2010 Census results). For too long they have had to 'choose a side' and predominantly identify as one race or another. The Census, college applications, and government forms all have forced this decision and some still do today. But overwhelmingly, that is changing. Those who are biracial espouse the view that it is their right to be identified accurately and holistically.

In the biracial movement, there's an implied disadvantage in a system that pits individuals in a tug-a-war between one race and another. But what about the advantages that biracial individuals have? Interestingly, studies show that "depending on the ethnic composition of their environment, many mixed race individuals will adopt that racial identity that is most congruent with their environment and/or most rewarded." In other words, as individuals take note of the world around them they are more likely to identify with the race that will yield the most benefits for them as they advance through society. Research has yet to show if individuals also base this decision on how they physically look -- skin tone, features, or hair texture -- and if they can "pass" as white or not. But it can be presumed that an individual, who is already leaning toward identifying with the white race, would find it that much easier to do so if they look the part.

Key and Peele are far from looking the part. With light brown hues, there is little doubt they were always perceived by others as black, or at least mixed. And maybe this is where the tone of their comedy emanates from: a sense that they have always been on the outside looking in and now they get to produce the stuff their non-black peers have always found incredibly funny.

Further research shows that there is a "protean identity, in which an individual can change his or her racial identification to suit the needs or appropriateness of the situation -- thus allowing someone to -- choose his or her identity." The biracial individual is essentially a chameleon equipped to change identity to suit a particular purpose at a particular time.

"When we write, we say, 'This is a really funny premise, it's pretty universal; we just happen to have melanin in our skin,'" Key recently said to The Root.

He went on to say: "At its core, race is an absurd notion," he says. "For some reason we find ourselves obsessed with something that's primal: If you don't look like me, you must be from a tribe that's not next door to me. It is intertwined with our basic fears. Only in this point of time, as the world gets smaller and smaller and we achieve a greater sense of what it means to be human in this world, can we find the humor in it."

But why should the subject of that humor only reside in black culture? Taking negative stereotypes that have existed for years and regurgitating them in some "universal" packaging that is little more than spoon-fed coonery is neither funny nor courageous; least of all is it achieving a "greater sense" of anything.

When did black comedians ever have to strive for "universal" appeal? Or package jokes differently in order pander to a particular racial group? There is a long list of black comics who were or are successful with a broad range of audiences: Dave Chappelle, Chris Rock, Eddie Murphy, Richard Pryor, and Redd Foxx, are just a few. Usually when comics seek a "universal" audience they just clean up their acts and use less profanity. They sterilize their comedy and take it down a notch from an R-rating to PG. Eddie Murphy in Dr. Doolittle or The Nutty Professor is a perfect example.

Blacks will have little use for Key and Peele's brand of comedy. It's not that we don't get the jokes; it's more so we're tired of being the butt of them.

Evan Shapiro: TV > Film: For Curing a Case of the Cubas, There's Nothing Better Than TV

2012-02-22T13:15:30Z

In case you hadn't heard, the Academy Awards are on ABC this Sunday. Regardless of what you think of the nominees, it is clear that the film business is at a crossroads. Fewer people went to the movies in 2011 than any year since Al Gore invented the internet; our nation's multiplexes are in the throes of an epidemic called sequelitis; and the Academy could barely settle on a host for Sunday's Oscars.

But this week, my focus is on the most vulnerable members of the Academy: The Actors. Actors have more at stake than anyone at this annual bacchanalia -- their faces are the most recognizable and their personas are most associated with the success or failure of a film. And, even more perplexing and daunting: winning an Oscar may actually be more hazardous to an acting career than losing. Winning an Oscar puts more of a microscope on an actor than dating Leonardo DiCaprio. The choices one makes in the years immediately following an Oscar victory can either enhance your status, or destroy whatever credibility that comes with an Academy nod.

While winning an Academy Award is probably a huge honor (I wouldn't know), an analysis of past winners shows a more complicated, even precarious set of consequences for the chosen few. Last year, on Grantland, Lane Brown brilliantly analyzed the damage certain actors have done to their Oscar standing, explicitly quantifying just how much their subsequent performances either burnished or tarnished their Academy Award. He, of course, measured this metric in units called 'cubas' (named for the epitome of the post-Oscar slump, Cuba Gooding, Jr.).

This was indeed a useful breakdown. But Brown (now culture editor at New York Magazine), missed an opportunity to do even more good with his analysis. First, he failed to provide these actors much needed advice on how to avoid the career lapses of those he analyzed. What good is pointing out the pitfalls, without offering counsel for better choices in the future? More importantly, he neglected to show how a good television role could actually be an antidote for cubas -- sustaining the health of a post-Oscar career.

The 'small screen' has become a refuge for many Oscar winners -- a rehab for cubas if you will. On TV an Oscar-winner can do good work, pick up some additional awards -- and get paid extremely well. What's more, TV offers a wider array of good roles for actors who win an Oscar but then find it difficult to find meaningful parts in a film industry increasingly dedicated to sequels, comic books and CGI.

I am not suggesting that these actors completely ignore their movie careers, but rather that this year's class of nominees; and the long list of past winners; consider what is now reality -- television is an important way to expand your talents, extend your career and rid yourself of cubas. For proof, just ask Anna Paquin (True Blood), Linda Hunt (NCIS LA), Anjelica Huston (Smash), Jessica Lange (American Horror Story), Sally Field (Brothers & Sisters), Richard Dreyfuss (Weeds and Parenthood), Kathy Bates (The Office, Harry's Law), Dianne Weist (Law & Order, In Treatment), Melissa Leo (Treme and Mildred Pierce), Kate Winslet (Mildred Pierce), Maggie Smith (Downton Abbey) and, yes, even Dustin Hoffman (Luck). Look even further at past nominees, Gary Sinise (CSI: NY), Laura Linney (The Big C), Laura Dern (Enlightened, Recount, Citizen Ruth), William H. Macy and Joan Cusack (Shameless), Don Cheadle (House of Lies) and, yes, even Nick Nolte (Luck).

It's interesting that more women seem to take advantage of this television cross over -- perhaps because film offers fewer good parts for women over 45 than it does for men over 50, while TV is experiencing a golden age for "actresses of a certain age." Considering this, it's curious that MORE Best Supporting Actress Oscar winners have yet to cross over, given the propensity for winners in that category to all but disappear from film after winning. The Best Supporting Actress Oscar can be like the Bermuda Triangle of the film business.

There are a number of reasons that TV is a safer place for Oscar winners than film: there is more TV than film; TV development takes far less time than for movies; and TV does not live or die over the first weekend. Whatever the reason, right now, if you are an Oscar winner looking to avoid cubas, it's time to get over the 'it's not film' thing, and start looking at TV projects that enhance your statue and stature.

With that in mind, here is my list of 11 Oscar Winners Who Need a TV Show, STAT:
Adrien Brody (Best Actor, The Pianist). Brody took everyone by surprise with his performance in The Pianist. He became the youngest guy to ever win Best Actor and even had an awesome acceptance speech -- that Halle Berry kiss was just so smooth. And then after Oscar night... not so much. While he's done some good work since winning, it's arguable that his best performance recently, was in a Heineken commercial. I think it's clear that the movies just don't know what to do with this smart, unconventional looking guy. And, with so much career still ahead, a few years on a really good show could help ensure he hasn't already peaked. Suggested Role: Brody would make a classic cable anti-hero, maybe a card shark in a TV version of Rounders or a drug addicted doctor opposite Eddie Falco in Nurse Jackie.

Cher (Best Actress, Moonstruck). For god's sake just put her in Smash already.

Reese Witherspoon (Best Actress, Walk The Line). It's a shame really -- Witherspoon had a good career ahead of her, and then she had to go and win the Oscar. Yes, she was terrific in Walk The Line, but since, it's clearly been tough to find good scripts that don't accumulate cubas. (Water For Elephants was a cuba machine.) The secret to her future success is not in Legally Blonde or Walk The Line, and it is certainly not in This Means War -- it's in Election. She was flat out great in that film (and in Cruel Intentions and in American Psycho). That type of dark dramedy caters to her mischievous (non-rom-com) side and it's a specialty that sets her apart from her peers. It's also a core competency of cable series right now (see Breaking Bad, Nurse Jackie, Shameless, Enlightened, Damages, etc). Hey Reese, find a script where you can be bad. Suggested Role: A fictional version of Heidi Fleiss or Christina Aguilera.

Christoph Waltz (Best Supporting Actor, Inglourious Basterds). In yet another Tarantino, plucked-from-obscurity piece of casting, Waltz emerged from German television to play the role of a lifetime. Unfortunately, no one has known what to do with him since. (He too caught a lot of cubas in Water For Elephants.) If he continues to concentrate on American film, he is likely doomed to playing cartoon villains for the rest of his career. But what has been lost since Basterds is just how funny Waltz is. Suggested Role: Hey, Dan Harmon, do us all a favor cast him as a European Lit Professor in Community!

Jennifer Connelly (Best Actress, A Beautiful Mind). One of the many awesome things to come out of the movie Labyrinth, Connelly has had the unfortunate distinction throughout her career of being the best thing in mediocre films. A Beautiful Mind gave her the chance to be in a generally all-around good film, with a number of other great performances. But those type of opportunities have not been plentiful since, and now Connelly is at that awkward tweener age for film actresses; over forty. In films, I fear she'll be relegated to playing the beleaguered wives and girlfriends of shallow main characters (The Dilemma, The Day The Earth Stood Still); but on TV, actresses of her talent, age and beauty are not forgotten, they are fêted. On television, she'd not only be a leading lady, but just by showing up, she'd be an Emmy contender. Suggested Role: Since American Horror Story is killing off everyone each season, I cannot help but hope that Ryan Murphy considers her for a juicy part -- that show just won Jessica Lange a Golden Globe to go alongside her two Oscars.

Robin Williams (Best Supporting Actor, Good Will Hunting). He got his start on TV, but Williams seemed destined to win an Oscar, nominated three times in five years for Dead Poets Society, Fisher King (still his best performance) and Good Morning Vietnam. But it wasn't until he chilled out and took a back seat, a decade later, that he finally won for Good Will Hunting. Since then, he's made some really, really bad films (Death To Smoochy is the textbook example of how to earn cubas), yet still managed to turn in some very good performances in films no one saw (One Hour Photo, Insomnia). Despite a tendency to chew the scenery, the guy can act. Robin, stop making RV and Night At The Museum (please!) and come back to TV -- I promise, we won't make you wear the suspenders. Suggested Role: Williams needs a supporting role where his specific talents can thrive. Hey HBO, want a guaranteed Emmy win? How about Williams in Boardwalk Empire as a washed-up gangster; in Game Of Thrones as a undecipherable mystic (I do not watch the show nor have I read the books, so I apologize in advance for offending GoT nerds with the word 'mystic'); in Luck as a drug-addled gambler; or in Veep as a bipolar political mastermind?

Joe Pesci (Best Supporting Actor, Goodfellas). What's up with this guy? Over the course of his career, he's done drama, he's done comedy (no, you are not a clown!); he's even done music. But for the past decade he's done almost nothing -- nada. Hey Joe, it's time to get back in the game. Don't leave Gone Fishin' and Lethal Weapon 4 as the last two things on your resume! Come over to TV -- it's a good gig and the catering is excellent. Suggested Role: A tough guy investigator on a nice CBS procedural drama, something where he can bring the Jersey but also play the humor. Just imagine what Pesci would have done with Cracker.

Hilary Swank (Best Actress, Boys Don't Cry & Million Dollar Baby). Swank clearly has acting chops. However, someone needs to give her more to do than visiting Chechen Birthday Parties and staring in films like New Year's Eve (I'm still not sure which of these offenses was worse). Despite two Oscars, Swank's been enormously under-utilized since her last win. Again, she's in that odd tweener age where film actresses seemingly fall through the feature cracks, but where TV gives them great roles and wins them Globes and Emmys. Hillary, grab a TV show and show your stuff. Suggested Role: She could definitely command her own show, but Showtime should scoop her up for three of their series -- an alcoholic love interest for Frank on Shameless; a mysterious CIA agent on Homeland; and a sexy rival consultant for Don Cheadle on House of Lies.

Frances McDormand (Best Actress, Fargo). I could watch McDormand do anything -- sing the national anthem, read a phone book, even darn socks. And, frankly, she doesn't necessarily need the work (she was just on Broadway, her husband will always give her good film roles), but on TV, we'd get to see here perform weekly, and she would all but be guaranteed an Emmy nomination (and maybe we can keep her out of Transformers 4). Most importantly, someone has to convince her and the Coens to turn Fargo into a TV show!!! How awesome would THAT be? "Oh sure I'll investigate that murder, as soon as I scrape off my windshield... you bet'cha!"

Cuba Gooding, Jr. (Best Supporting Actor, Jerry Maguire). The very person for whom cubas were named, Gooding took what was perhaps one of the best Oscar moments in modern history... and squandered it. However, if TV can resurrect his tarnished Oscar cred, it could do anything. I'm not sure how good an actual actor he is (hard to tell from Snow Dogs and Radio), but I am 100% convinced in the curative powers of television. C'mon Hollywood, let's make his career the poster child for the TV comeback! We can do it! Suggested Role: Give him an NCIS spin-off and call it a day -- NCIS Seattle; they have the Navy there, don't they?

Marisa Tomei (Best Supporting Actress, My Cousin Vinny). Ever since Jack Palance announced her win, Tomei has had a hard time finding roles that match her talents and can help overcome the rumor that Palance misread the envelope. And although, she's recently given great performances in The Wrestler, Crazy Stupid Love and especially Cyrus (see it!), she's mostly been wasted in secondary roles, in small movies, that not many people see. She was awesome in Rescue Me a few years back, and she deserves a chance to prove that she really did deserve that Oscar. Suggested Role: Tomei won for a comedy and Cyrus proves she can still play funny. What if Larry and Marisa hooked up on Curbed?

There are many, many more talented Oscar winners whose careers could use a good dose of TV. Get F. Murray Abraham (doing tons of guest spots these days) a recurring role on Sons of Anarchy! Gwyneth Paltrow already did Glee, how about a recurring character on Portlandia? Shirley MacLaine is joining Downton Abbey, now let's get Kim Basinger (embodiment of the Supporting Actress curse) or Jodie Foster in that castle! And even though Bill Murray didn't win his Oscar, he should have, and he should be back on TV, where we will finally get him a trophy. How about a series about a washed-up golfer?

So, 2012 Oscar Nominees, as you're walking the Red Carpet this Sunday, contemplating your next move, remember this: TV is The Cure For cubas!

Marshall Fine: That's Not Funny

2012-02-22T12:45:04Z

I host and program a film series where the usual fare tends to be fairly serious, whether as a drama or a documentary. Occasionally, the patrons of my series will ask, "How about a comedy?"

And I try -- I really do -- to find comedies that will work for my audience. But I have one big problem: I find so few comedies that work for me. Two recent examples: last week's This Means War and this week's Wanderlust. To paraphrase an old joke, if humor was dynamite, these movies wouldn't have enough to blow their nose.

That's true at the movies and on TV. While there are shows that make me laugh on a regular basis (from Curb Your Enthusiasm to The Big Bang Theory to Hot in Cleveland), there are many, many more that don't.

I don't mean to pick on women's sitcoms, except that they seem to be all the rage this year, with their penis and menstruation jokes -- but I'm sorry: Whitney isn't funny. Same with 2 Broke Girls.

New Girl? Not funny. Not even cute. Indeed, it's made me rethink my position on Zooey Deschanel, who I used to enjoy.

Are You There, Chelsea? Sorry -- nope. Guess I never realized before I saw this that Chelsea Handler had built her whole stand-up career doing an impression of Parker Posey circa 1995.

I shake my head sometimes at the stand-up comics who seem to hit on Comedy Central. I don't understand why people found Carlos Mencia amusing, or Dane Cook, or Jeff Dunham. Now that I've seen Russell Brand do stand-up, I want to rescind the laughs I gave him in Forgetting Sarah Marshall. Come to think of it, that's the only time he's made me laugh.

And yes, you heard me right: I said I laugh at Hot in Cleveland. The show is completely retro and its humor is often raunchy -- and yet the ability of that cast to knock that material out of the park raises it several notches in my estimation.

Sorry, had to get that off my chest. The whole Whitney thing has been bugging me. Unfortunately, Whitney Cummings couldn't carry Sarah Silverman's jock strap.

Find more reviews, interviews and commentary on my website.

Crystal Bell: 'Glee' Recap: Rachel's Wedding Leads To Shock Ending

2012-02-22T03:38:01Z

Note: Do not read on if you have not seen Season 3, Episode 14 of Fox's "Glee," entitled "On My Way."

For an episode that was supposed to be all about Regionals, "Glee" flipped a switch on its audience and, instead, turned out an episode that I don't think anyone saw coming.

Suicide attempt? Check. A potentially fatal car accident? Check. Regionals win? Who cares!

"On My Way" managed to fit several important story lines into about 42 minutes, and while I wish they would have trimmed some of the Regionals fat (I mean, does anyone really care about Regionals anymore?), I'm happy that Dave Karofsky was brought back from oblivion, bringing to light one of the more tragic realities that gay teenagers face.

In a cruel sense of poetic justice, the tormenter became the tormented as Dave Karofsky had to deal with the outcome of being seen with Kurt at Breadstix. He was bullied, emotionally and physically. His mother even told him that he could be "cured" from his "disease."

Karofsky decided that the only way to escape his pain would be to commit suicide. It's an emotionally heavy scene, and I have to applaud Max Adler for doing such an amazing job.

I was reading some of the early comments on Twitter, and I was shocked by how many people called this scene "unrealistic." They think that because he was only bullied once, it's unrealistic for him to try and kill himself.

Are you kidding me? It only takes one hurtful act to change the way people feel about themselves, and whether he was bullied for one day or one hundred days, that's not the point. The point is that he felt so alone, so hurt and so awful that he tried to kill himself -- and that is never okay.

While I applaud "Glee" for using Karofsky's story line to drive home this message, I do think that it should have had more screen time. "On My Way" felt more like a PSA. It plugged everything from The Trevor Project to Lady Gaga's Born This Way Foundation.

Honestly, I would have preferred if Karofsky's story line would have been the focus of the entire episode. Why did we have to spend 10 minutes watching everyone sing at Regionals? Why were Regionals even necessary? So that we could see how Sebastian changed his devious ways in light of Karofsky's tragedy? Or so we could see New Directions take home eternal show choir glory? To me, it all felt so unnecessary.

There was a heaviness throughout the entire episode. At one point, I truly thought that Karofsky was going to try and kill himself again, only to succeed in the end. The scene between him and Kurt was almost too perfect.

Thankfully, Kurt is the only character who didn't get caught up in Regionals hoopla. He was the only one that managed to place the importance of Karofsky's suicide attempt above winning Regionals.

The best scene in the entire episode is when Kurt visits Karofsky in the hospital. "I'm really happy that you're alive, David," says Kurt. "Yeah, me too," replies Karofsky. Dave Karofsky truly looks helpless, and it's absolutely heartbreaking.

It's also a powerful image, seeing Kurt support his former tormenter. There's a reason that Kurt has always been my favorite "Glee" character, and this scene highlights it perfectly. Kurt, unlike Rachel and Finn, has grown tremendously over the past three seasons.

Kurt tells Karofsky to imagine his life in 10 years, when he's living the life of his dreams. Karofsky imagines his life as a successful sports agent, with a handsome partner and a young son. It's a truly beautiful moment between the two.

If only that moment wouldn't have been overshadowed by "Glee" next shocking -- and heartbreaking -- drama. Remember when I said that I felt this ominous force throughout the episode? Well, I had no idea that "Glee" could go from depressing to downright bleak in a 42-minute span.

Amidst winning Regionals, suicide attempts and Sue being pregnant (yes, you read that correctly), we learn that Rachel and Finn are serious about the whole marriage thing, So serious, in fact, that they decide, in light of Karofsky almost dying, that they want to get married immediately after Regionals.

Even though their parents are strongly against it, the entire glee club comes to the court house to support them.

After having a change of heart -- and being welcomed back into the Cheerios -- Quinn decides that she too wants to be a part of the Berry-Hudson wedding. Unfortunately, Quinn never makes it to the wedding.

While answering an urgent text from Rachel (It read: WHERE ARE YOU???), Quinn gets blindsided by an oncoming car. End scene. It certainly gives a new meaning to the episode title "On My Way."

This is where "Glee" has its second PSA moment of the night: Kids, don't text and drive!

Now, I'm not going to sugarcoat this "Glee" fans, but there is a chance that Quinn Fabray might not make it. It's a shame, especially after how much they've redeemed her character in the last few episodes. But, then again, maybe that was the writers' plan all along. After all, it looks like actress Dianna Agron isn't signing on for Season 4.

This did feel like a sendoff for poor Quinn, who's been put through more drama in three seasons than Rachel's dads during a Barbra Streisand marathon.

There was this brilliant conversation between Quinn and Sue toward the end where Sue told Quinn that she admired her.

"You proved that it's never too late to turn your life around." I mean, talk about foreshadowing. Just when Quinn finally got her life together -- she's going to Yale, she made up with Rachel, she's a Cheerio again -- something happens that throws a wrench in her plans.

Maybe death is too heavy for "Glee," but then again, they did kill off Sue's sister in Season 2. However, I don't think the writers actually have the guts to kill one of their main characters. Like Sue said, I think that she'll once again have to turn her life around.

Looks like teen Jesus finally found his way on the glee club. It's only a matter of time before Mercedes and Sam recruit him in light of Quinn's accident. I can already see the God Squad (the moral compass of McKinley) praying around her beside, à la "Grilled Cheesus" in Season 2.

Because I don't feel like any of the other plot points are even as remotely important as the above, here are a few other "Glee" observations from "On My Way."

All Rachel really cares about is winning Regionals and getting into N.Y.A.D.A. Is this really surprising? Why is Finn even marrying her? Do they even have any concept of real life? Where are they going to live? How are they going to support themselves? Okay, I'm through acting like my Jewish grandmother. I just don't have the emotional bandwidth to care about these two. Their actions make me anxious.

We find out that Rory has never tasted peanut butter. Yes, this actually is a real plot point from tonight's episode, and it's Damian McGinty's best acting since "Pot O' Gold." Coincidently, McGinty had never had a spoonful of peanut butter until filming that episode. (Fun fact: He has yet to ever have a banana, and yes, I'm officially a Twitter stalker.)

In a true "Breakfast Club" moment, Mr. Schue reveals that he attempted suicide at a young age. Now, I would have found this to be a more poignant moment if Mr. Schue hadn't started his lesson by giving Rory a spoonful of peanut butter (and if the writers hadn't directly stolen this exact scenario from "The Breakfast Club").

Sue is pregnant.

Sebastian goes from major jerk to remorsefully nice Warbler in less than 20 minutes. It turns out that he was a total d-bag to Karofsky at Scandals -- Lima's gay bar -- and now he feels guilty.

The Troubletones make a triumphant return, and the New Directions win Regionals (duh).

Notable Quotables:
"Well, if it isn't an old Barbra Streisand and a young Betty White. Where is gay Cyclops? Still stumbling in?"
-- Sebastian

"That's show choir terrorism."
-- Rachel

"I, Sue Sylvester, am with child."
-- Sue

"In the last week, you either enjoyed a really delicious curry or received a hug from principal Figgins."
-- Sue

"I want to be there to see 'Sex and the City Part 3.'"
-- Sugar

"I just want a song."
-- Tina

"i admire you for all of the ways you're not like me. You proved that it's never too late to turn your life around."
-- Sue

"It isn't going to be easy. There are going to be days where life just sucks, but you're going to get through this."
-- Kurt

"We screwed up big time. We tried playing these reverse psychology games on them."
-- Burt

"Even Patti Lupone herself couldn't talk Rachel out of marrying Finn."
-- Hiram

Shawn Hatosy: Integrity Check

2012-02-21T23:48:05Z

Tonight's episode of Southland will kick your ass. I haven't seen it yet, but I know exactly what to expect: Greatness.

John Wells and Christopher Chulack were pretty honest from the get-go in our first meeting about Southland. They were looking to create characters that were believable in the environment of the LAPD -- multi-dimensional, layered characters with real flaws; good-hearted cops mixed with the perfect amount of heroism and irony. Now in our fourth season, the well-written characters are alive and breathing... bad breath and all.

Tonight's episode falls in line with Southland's typical style -- tension is always bubbling below the surface, ready to rise and explode. Of course, there is humor but the theater is set, the curtains are yanked back and now it's time to see what our beloved characters will do next. This season, in my opinion, is about choices. What kind of cop is Ben becoming? What is Lydia going to do about the baby?

Tonight's episode is called "Integrity Check" and is confidently directed by Christopher Chulack. He has directed many of my favorite episodes in our four seasons including: "The Pilot," "Fixing a Hole," "Graduation Day" and this season's opener "Wednesday." He is the unofficial mastermind behind Southland Style , and since my first meeting with Chris four years ago, I have been inspired by his ability to wrestle the truth out of every situation.

He has a way of throwing gas on the emotional kindling, lighting it on fire, and capturing the blaze on camera. Sometimes when he calls "Cut!", I look around in a daze, thinking what the hell did Sammy just do?

I'll find out tonight along with the rest of you. Is it 10 p.m. yet?

Southland airs Tuesdays, 10 p.m. EST on TNT.

Jon Chattman: Predicting the Oscars: 'Crystal' Clear Winners?

2012-02-21T23:01:44Z

There are some givens for this Sunday's 84th Annual Academy Awards telecast: Billy Crystal will likely slay it with his usual humorous monologue and "safe" appeal; Extremely Loud & Incredibly Close star Max von Sydow will continue his silent streak by not winning Best Supporting Actor, and Miss Piggy and Kermit will make for the evening's best presenters. Aside from that, the telecast should offer more surprises than usual. Sure there are slam dunks like Rango taking home Best Animated Feature, and The Artist will probably win big in most major categories, but I suspect a bunch of upsets in the acting categories.

Here are my predictions for how the night will play out in every category. On a related note, I'm hoping Melissa McCarthy wins Best Supporting Actress for Bridesmaids. I think Octavia Spencer has this in the bag, and she deserves it, but McCarthy's win could help land more comedic performances Oscar nods in the future. Yes, I'm still reeling for little golden love for Paul Rudd in I Love You, Man? Slappin' the bass.

Best Picture
The Artist should and will win this and become just the second silent film to win an Oscar for Best Picture. A dark horse here, however, is The Descendants which earned a Golden Globe win for Best Drama. It's not likely. It'd be fitting if the "dark horse" was War Horse but that film has no legs. Get it? Hugo has a chance here, but it's a kids movie for adults and kiddie flicks get no Oscar love -- Ever. Had The Help had a bigger showing nominations-wise, I'd say that would be the best chance to unseat The Artist. But it didn't, and it won't.

Best Actor
This category could be the biggest shock of the night. It's essentially down to George Clooney for The Descendants and Jean Dujardin for The Artist. Months ago, I thought Brad Pitt would finally win for his career-best turn in Moneyball. If Clooney and Dujardin split the vote, look for that to happen and I'd be delighted. But it won't. My gut says Clooney will win this for his brilliant turn, but if Dujardin wins it would come as a surprise to only the people who bought tickets to The Artist not expecting it was a silent film.

Best Actress:
Extremely Loud, and Glenn Close? Sorry no. This is a battle between Iron Lady Meryl Streep and The Help's Viola Davis. One day Streep is going to win her third Oscar, but my gut tells me it won't be this year. Actually, my gut can't speak because it's an organ. But, Davis should have this in the bag and deserves it. This will be viewed as an upset.

Best Supporting Actor:
Please, Christopher Plummer has had this won since the summer for his subtly moving performance in Beginners. The only possible upset is for fellow 82-year-old Max von Sydow to win, but I doubt it. If it were up to me, Nolte would take this home.

Best Supporting Actress:
Remember when Kate Hudson was a lock for Almost Famous and lost to Marcia Gay Harden for Pollock? Well, I do. This category sometimes serves up the most surprises (ugh, Tilda Swinton over Amy Ryan -- really?) and I expect it to happen again. I'm going to say McCarthy or Jessica Chastain pull an upset here. I may be wrong and probably will be. I'd personally vote for Chastain, but the Academy can make history this Sunday if Davis and Spencer win since two women of color have never won in acting categories on the same night. That's just nuts by the way that it's taken this long.

Best Director:
I can't pronounce his name nor will anyone presenting him the Oscar, but The Artist'sMichel Hazanavicius will take the honor. Martin Scorsese could surprise here, but I can't see him being honored so soon after The Departed. I don't know about you, I'd rather have Marty win again for a movie with bloodshed.

-- And the rest...
Adapted Screenplay: It's beyond me how The Help was left off. Because it was it's a three-way battle between Hugo, The Descendants, and Moneyball. I know Aaron Sorkin just won last year for The Social Network, but he deserves it again this year. That said, Descendants is so winning this category. Maybe Alexander Payne will make more movies if he keeps winning Oscars every time he makes a movie?
Original Screenplay: Woody Allen for Midnight in Paris. It's about time, but Woody's finally going to get another gold statue.
Animated Feature: Rango hands down.
Art Direction:: Hugo, which had the most nominations with 11, will clean up on technical categories like this one. It deserves to.
Cinematography: I think The Girl with the Dragon Tattoo's Jeff Cronenweth deserves it, but look for The Tree of Life to win this one. It'll be the Academy's way of honoring a truly great or truly "WTF" movie depending who you talk to.
Costume Design: Look for The Artist to take this one home.
Editing: Moneyball has a shot here and deserves it, but I suspect The Artist will prevail here.
Foreign Language Film:Iran's A Separation should have this -- easy.
Makeup:I know they made Glenn Close become a man, and Margaret Thatcher look like Meryl Streep or I probably mean that the other way around, but I think the Academy will give some props to Harry Potter and the Deathly Hallows Part 2 as sort of a lifetime achievement thing for the series.
Original Score: John Williams is nominated twice here for scores that, in my opinion, didn't live up to his standards. Howard Shore, who earned a gold guy for Lord of the Rings had the best score in my book, but look for Ludovic Bource's work on The Artist to win.
Original Song: What a disgrace this category has become. Oh well, at least Bret McKenzie will win for "Man or Muppet" from The Muppets.
Sound Editing: I'd love to see Drive win here. Actually, I'd love to go back in time and somehow get that amazing film more Oscar nominations. I mean, really? Seriously Oscar voters? One nomination? Anyway, Hugo's got this one.
Sound Mixing: Hugowill win this, but personally, I'd vote for Moneyball here.
Visual Effects: Again, I'm saying Hugo will win this although it wouldn't surprise me if Rise of the Planet of the Apes nabbed it.
Animated ShortLa Luna should make Pixar smile in a smile-less Oscar year.
Live Action Short : I think it'll be The Shore, a wonderful bio-pic of Dinah Shore. OK, I made that up but it should win and that's cool because Terry George would be one of the winners. He should've gotten love for 2004's Hotel Rwanda.
Documentary Feature: I'll say Undefeated because it would be terribly ironic if it lost.
Documentary Short: Something tells me the timely The Tsunami and the Cherry Blossom will win it.

Wrestling legend Jimmy "Superfly" Snuka predicts The Descendants.

Vanessa Becknell: Lions to Lambs - The Walking Dead Came Out Swinging Last Night, Only to Fade Into a Whisper

2012-02-21T22:38:53Z

Once again, much to the consternation of column bestie Cristina, this week's The Walking Dead ended with... more talking! Ugh. Getting a little tired of this -- I think they should rename the show after the Chris Hardwick hosted gab-fest that comes on afterwards, The Talking Dead -- way more apropro lately.

Glenn, Rick and Hershel are still stuck in town after running afoul with a couple dirty, shady randos who were trying to figure out where the farm is so they could come and crash the Pity-Party that is Hershel Farm. Rick took things to Clint Eastwood levels and blasted them both and was generally a total badass, which is completely out of character for him given that the bulk of his role seems to be "Look at the others in teary-eyed frustration" mixed in with "Look into the horizon in teary-eyed frustration" -- oh don't you worry, Rick-fans, there was plenty of that too.

Back at the farm, Hershel's daughter Beth is still catatonic after the most obvious zombie attack ever -- did anyone else see this coming a mile away? Shane blasts Hershel's wife, and as soon as dumb-ass Beth started walking over to her mother, I just sat there counting the seconds in my head before you knew this idiot was going to get jumped -- right now we're not really sure what's going on -- she could be just passed out from the shock of seeing her mom like that, but part of me thinks there's going to be some kind of "major" plot twist (damn I wish someone would invent the sarcastic quotation mark) and one of them is going to discover some kind of hidden bite mark on her, meaning that they've been sitting here feeding a budding Walker intravenously thinking she was still human.

Lori asked Daryl (sigh... where's a tree so I can go carve "A hearts D" on it?) to go after Rick and try to find them in town, but Daryl's turned into Mister Sassy-Pants ever since he saw Walker-Sophia and realized he almost died for nothing when he repeatedly went out in the woods to search for her -- so he told her to fuck off in a more basic cable-friendly way and Lori decided to set off for herself to look for them. But since this is TWD and every female in this show is completely and utterly inept at even shooting straight much less driving (A WOMAN driving??!!? You know that's ending in misery!), she of course runs straight into a Walker, laws of motion-defyingly/inexplicably flipping her car over in the process.

We got our one taste of quality makeup effects right in the beginning when we see Lori unconscious in the car -- a Walker catches her scent and tries to squeeze its head through the broken glass -- fantastically done -- I wish I could say that about the rest of the episode, but that one Walker was just stellar -- loved it. Shane comes to Lori's rescue and tells her Rick and the others are back at the farm and safe so he can get her in the car -- for all of Lori's stupidity and ineptness -- I love that she's at least brave. She may make some pretty foolhardy decisions, but that skinny little lady is a fearless tiger-mom and I like seeing that there are at least one or two women on the show with some guts, shitty driving and shooting skills aside.

While Lori gives Shane the glare-eye for tricking her into coming home instead of trying to rescue Rick -- the guys are still trying to get out of town. Those shady-asses that tried to ambush them in the bar had friends, and those friends have arrived to find out what happened to the missing members of their party. Rick tries to reason with them through the barricaded bar doors, but the strangers start blasting away, a shoot-out ensues, and now our guys have to try and contend with all the Walkers who heard the shots and are coming to feed.

I have two things to say about the shoot-out scene -- one, it was nice to actually see some action. It was time to see these people fight for what's theirs, and it was about time we see that our group isn't the only one in the area. It just seems like common sense that in an apocalyptic world like the one our characters are living in, there has to be rival groups that are going to butt heads and blast each other away trying to defend whatever they've got left.

However, that being said -- as much as I liked finally seeing more Walkers -- I found it disappointing that they chose to film this scene at night, thereby saving a few bucks effects-wise by having the Walkers appear obscured in darkness and focus-trickery. We got a few close-ups, especially when one of the stranger's crew got shot by Hershel and was set upon, but hiding them all in shadows makes it easier to skimp on effects, and that didn't escape me.

I don't even really know what to say about the rest of it -- you'd think that me talking about all this crazy-action means that last night's episode was a good one -- but everything I've just told you happened in the first 15-20 minutes (!!!) -- what followed was another 30-40 minutes of what now seems to be the usual: over-talking about an issue, couple drama, crises of self(s), Rick/Shane conflicts, Daryl rotating between sulking and glaring, Dale looking on in disapproval, Andrea wanting to run off guns blazing with Shane, and Carol's teary-eyed lip quivering. I got so amped when this episode started where we left off with Shane blasting these dudes and Lori escaping from hungry Walkers I thought "It's about time!" Only to have my joy dashed upon the rocks of a sea of hemming and hawing. Frustration, you are an understatement.

Chris Harnick: 5 Things 'The Walking Dead' Can Do To Improve

2012-02-21T22:08:01Z

Sometimes "The Walking Dead" gives me crazy high levels of anxiety. When that happens, I'm completely hooked and feeling the zombie love. Then the next week I'm debating why I even bother watching. For much of Season 2 I have been bored to tears, and I desperately want to be back on the zombie train.

At the insistence of my dad and brother, I turned to the Image comic book series that inspired the AMC show. Because of my frustrations with the first half of the second season, I was hesitant, but once I dove in, I never looked back. "The Walking Dead" is a brilliant comic book series that will tear out your heart week after week. And yes, that's a good thing.

Robert Kirkman, the comic series co-creator, is a hands-on executive producer behind the scenes of the TV show, and I can appreciate that he wants to keep the two somewhat separate (readers would hate knowing every move before they make it on TV), but I wish the show would borrow from the comic a bit more.

New showrunner Glen Mazzara has revitalized the show's momentum in these past two episodes, his first at the helm, but there's so much that the TV series could and should capitalize on to keep things interesting. I present the top five things:

Add Michonne
The katana-wielding badass -- one of the standouts of "The Walking Dead" comic book -- would be a welcome shot in the arm for the TV series. Where Michonne goes, zombies die in beautifully flawless ways. She's not a member of the original survivors and, considering how dangerous she is, she would stir up some much-needed conflict (besides the tired Shane/Rick/Lori triangle) on the show. However, the writers would need to shy away from hitting the viewers over the head with the group's trust issues week after week. Rick needs an ally and "The Walking Dead" TV series needs Michonne. (Plus, Michonne is necessary if the show tackles the Governor storyline ... but that's a whole other story, amiright comic buffs?)

Keep up the danger, get grittier
The zombie in the well (you remember: the guy who exploded in half) was a very gross touch that was also very welcome. Keep it up. Bring on the cannibals, the gory amputations and the generally unsavory folks. Zombies aren't the only dangers out there in a post-apocalyptic world. The first two episodes of the second half of the season were a great step in this direction and hopefully it'll continue. Also, please let Andrea be more like the badass, rifle-toting Andrea from the comic. Shane shouldn't have to be the only hero, and Laurie Holden is capable of playing it -- just do it already!

Let them kill ...
The show shouldn't shy away from having the characters we know and love kill people -- it might even make us love them more. Having long conversations doesn't solve every problem, and Rick has started down that path. The gun has been pulled out -- now let the character growth commence!

And be killed
Rumor has it some of our tired survivors are going to bite the dust soon (yes, more than one!), and that's so insanely exciting. Enough of the faceless deaths -- if the world has truly gone to hell, represent that. Bring on new characters, develop the remaining characters and freshen things up.

Get creepy
In the comics, Carol was one crazy lady who made me uncomfortable every time she was on panel. Living every day like it's your last will start to make people unhinge, but we're not seeing that nearly enough with the characters on TV. The Governor, a prominent fixture in the comics who was responsible for a lot of death and destruction, was a maniac who truly scarred these people, including Rick and Michonne. Push the cable boundaries and show viewers what "The Walking Dead" is made of.

Intrigued? There are 90-plus issues of zombie goodness that can be devoured in comic book form. Yes, I know it's taken almost 100 issues for "The Walking Dead" comic series to get to its current state and TV is a whole different beast, but there's no reason the show can't step it up in character development ... and killing. If the source material is there, use it.

John Polly: WATCH: 'Drag Ya Later with Jon & John' Bites Into 'RuPaul's Drag Race' Season 4, Ep. 4

2012-02-21T18:17:00Z

On this week's sitcom-themed episode of RuPaul's Drag Race, the queens had to channel their inner "Golden Girls" and mug for the cameras as they staged their own wonky versions of classic TV funny ladies. But really, the episode was all about the rise of big and beauteous Latrice Royale as a serious contender to watch.

Drag Ya Later with Jon & John brings you a brand new video recap of last night's antics, which included a trip to Party City, a biscuit tasting, and a squeal-worthy mashup of queeny histrionics! And yes, there will be spoilers, so if you haven't yet seen the full episode, go watch it now at LogoTV.com so we don't ruin anything for you...

Then, sit back, and enjoy. And chomp on a tasty nut, while you're at it!

WATCH (warning: SPOILERS):

Get More: Video & Movies, Logo: Fierce TV

John Farr: 2012 Oscars: Picks and Perspectives

2012-02-21T17:11:00Z

Thinking ahead to Sunday, what's my overall impression? Well, correct me if I'm wrong, but this seems like a pretty lean year.

Unquestionably, there are a few memorable films in the running, but also a lot of filler -- some nominees that simply make you scratch your head in wonderment.

For instance, I was stunned to find the oppressive Extremely Loud and Incredibly Close as a Best Picture nominee. How did that happen?

I was also surprised to see newcomer Rooney Mara getting a best actress nod, and Melissa McCarthy making the list for Bridesmaids. (Not that Rooney and Melissa didn't do fine work -- but this is the Oscars, right?)

How about Undefeated, the Blind Side retread and nominee for best documentary that earned lackluster reviews and a whopping 5.0 on iMDb?

Then there are the omissions, like Steve McQueen's potent Shame, which certainly should have earned Picture, Director and Actor nods (for Michael Fassbender). And how could Michael Shannon get passed over for Take Shelter, or, for that matter, Kevin Spacey and Jeremy Irons for Margin Call?

This reminds us that much like Washington, Hollywood lives in its own little bubble. Though this isn't exactly news, it's troubling when the industry's biggest annual event makes it quite so obvious.

Commentary aside, here are my own humble predictions for the major awards this year:

Best Picture: Along with many others, I am expecting The Artist to win, and pray this comes to pass. It is a touching and heroic film, a tribute to everything movies once were, and still can be. (Not to wear my movie sensibilities on my sleeve, but the magical Hugo would be my back-up choice -- the finest work Scorsese has produced since Goodfellas.)

Best Actor: I have a hunch George Clooney will take it, as I think he really stretched himself in The Descendants, and earned it. Still, Brad Pitt could prevail, particularly since he's yet to win an Oscar. I doubt Jean Dujardin will be trotting up to the lectern, though I'd be thrilled if this happened. (It would also be heartening to see Gary Oldman up there, as he's the best actor of the whole bunch.)

Best Actress: Viola Davis made The Help as strong as it was, and I think she'll get it. Don't count out Meryl though, as she's having one hell of a late career run. And though she's been nominated an astonishing 17 times, she has not won anything in nearly 30 years.

Best Supporting Actor: Christopher Plummer, for all the right reasons. And with several wins, including a Golden Globe, under his belt, his triumph feels inevitable. (If Jonah Hill wins, I'm going on a bender. And I like baseball.)

Best Supporting Actress: I'm rooting for Janet McTeer, because she's the finest actress virtually no one's ever heard of, and she almost redeems a pretty lousy film. (If not, then just perhaps Jessica Chastain -- because 1) she's good, 2) she's in everything all of a sudden, and 3) it seems she's here to stay.)

Best Director: This one will be interesting: I favor Scorsese, but Michel Hazanavicius or even Alexander Payne might snag it. Then there's Terence Malick, of course, as the dark horse. I don't see Woody getting it. (Admirably, he avoids the Oscars. I also seem to be one of the few who thinks Midnight In Paris was overrated.)

Best Screenplay: For original screenplay, I vote for The Artist, though it would be nice to see Margin Call win for something. For best adapted screenplay, I'm putting my money on The Descendants.

Best Foreign Film: A Separation, by all means!

Best Art Direction: To my eyes, Hugo should win here, but The Artist is a contender.

Best Cinematography: The Tree Of Life, and well-earned. Whatever one may think of it otherwise, it's hard to argue the film is not brilliantly shot!

Now watch, I'll get it all wrong. Or maybe not. Regardless, at least we'll have the gowns -- and Billy Crystal.

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