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<p>Courteney Cox and Josh Hopkins in &quot;Cougar Town.&quot;</p>

Courteney Cox and Josh Hopkins in "Cougar Town."

Credit: TBS

Review: 'Cougar Town' - 'Restless'

Jules can't sleep, Grayson can't kiss, and Andy cashes in all his sex coupons

A quick review of tonight's "Cougar Town" coming up just as soon as I distract you with shoe talk...

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<p>Mumford &amp;&nbsp;Sons celebrate their two Grammy wins backstage.</p>

Mumford & Sons celebrate their two Grammy wins backstage.

Credit: Matt Sayles/Invision/AP

Mumford & Sons, Frank Ocean, Rihanna see Grammy Awards sales bump

Performing acts and winners garner immediate gains

We’ll have a better read tomorrow after the official Nielsen SoundScan numbers are in, but it looks like Frank Ocean’s “Channel Orange” may be the big winner from Sunday night’s Grammy Awards.

Even though the Contemporary Urban R&B album winner’s performance of “Forrest Gump” received only lukewarm reviews (Ocean later tweeted that he couldn’t hear his keyboards), Billboard reports that the albums sales could be up as much as 120% over the previous week.

Even an album like Mumford & Sons’ “Babel,” which is still in the Top 10 on the Billboard 200, is getting a big boost after winning album of the year. The track could receive as much as a 50% boost to 55,000 copies, up from 36,000 copies this week.

The biggest digital gainer by the actual numbers looks to be the Lumineers’ “Ho Hey,” which will sell up to 140,000 downloads this week, up 17%. By percentage, look for fun’s “Carry On” to be up 131% over the previous week’s downloads and song of the year winner “We Are Young” to soar 150 to 50,000. Rihanna’s new single “Stay” looks like it see gains of 200% to 65,000, and Miguel’s “Adorn” will also be up 200% to 40,000.

As Grammy watchers know, a performance traditionally does more to move sales along than a win.

It’s important to note that SoundScan closes at midnight Sunday night, so the biggest gains will register next week after a full week of -post Grammy sales. Plus, next week’s numbers will also include Valentine’s Day, which has turned into a tent pole day for album sales.

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<p>Benh Zeitlin and Quvenzhan&eacute; Wallis on the set of &quot;Beasts of the Southern Wild.&quot;</p>

Benh Zeitlin and Quvenzhané Wallis on the set of "Beasts of the Southern Wild."

Credit: Fox Searchlight Pictures

Oscar Guide 2013: Best Director

Michael Haneke, Ang Lee, Steven Spielberg, David O. Russell and Benh Zeitlin square off

(Welcome to the Oscar Guide, your chaperone through the Academy’s 24 categories awarding excellence in film. A new installment will hit every weekday in the run-up to the Oscars on February 24, with the Best Picture finale on Friday, February 22.)

Though it's the second most prestigious award in the Oscar race, Best Director all too often feels, oddly, like an afterthought -- it's generally so tied into the Best Picture race that it's come to be regarded as half of a two-part award. Any director of a Best Picture winner who doesn't get his own award is liable to feel somewhat slighted, and vice versa -- blame the advent of auteur theory, if you will.

This year, however, the Academy's directors' branch made a stunning statement of independence, albeit one that may have been enabled by an unusually compressed voting calendar. For the first time since 1965, the DGA -- traditionally the most reliably Oscar-aligned of all precursors -- agreed on only two of the eventual Oscar nominees, as Tom Hooper, Kathryn Bigelow and, most surprisingly, Ben Affleck all missed the Academy's cut. You know the rest: Affleck, who had arguably ascended to frontrunner status before the nominations were announced, has since won everything in sight, including the all-important DGA prize. It's It's an exciting twist that leaves the Oscar race almost unprecedentedly free of bellwethers, as the five men in the running have won scarcely any major precursor awards between them.

The nominees are...

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Watch: Paramore's new video for 'Now'
Credit: Fueled By Ramen

Watch: Paramore's new video for 'Now'

Love is a battlefield

Love conquers all. I know that’s the message I’m supposed to take away from Paramore’s new video for “Now,” but I just wanted it to be over. Besides, don’t they know that love is a battlefield?

[More after the jump...]

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<p>Churchill</p>

Churchill

Exclusive: Churchill headed into studio with Killers' producer Brendan O' Brien

'Change' band also writing with OneRepublic's Ryan Tedder, see behind-the-scenes footage

Churchill’s Tim Bruns had quite the Christmas Eve. His best present wasn’t under the tree, it was a phone call from producer Brendan O’Brien, who had heard the band’s music and wanted to work with them.

[More after the jump...]

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<p>Christoph Waltz in &quot;Django Unchained&quot;</p>

Christoph Waltz in "Django Unchained"

Credit: The Weinstein Company

Tech Support: Wylie Stateman on experiencing sound in a Quentin Tarantino movie

The sound editing nominee picked up his sixth Oscar notice for 'Django Unchained'

Supervising sound editor Wylie Stateman earned his sixth Oscar nomination this year for “Django Unchained.” The soft-spoken industry veteran has now managed to earn a nomination in four decades – the 1980s (“Born on the Fourth of July”), the 1990s (“Cliffhanger”), the 2000s (“Memoirs of a Geisha,” “Wanted,” “Inglourious Basterds”) and now the 2010s.

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The top 10 shots of 2012: part one

The top 10 shots of 2012: part one

Celebrating the year in individual film images

I decided to do something a little different with the shots column for this, its sixth year (and finally imitated -- we're flattered). I thought I'd go with a metric of instinct rather than analysis.

First let me introduce the overall concept for those perhaps unfamiliar. Every year I recap the year in my own unique way. Film is, after all, about the image first, and so what better way to put 12 cinematic months in a time capsule than to feature the most striking single images of the year? But what is striking to one is always not so much to the next. Like all of this, it's in the eye of the beholder.

For my part I would always try to give my perspective on shots that might seem, well, unexpected to others. I would posit that an Eric Gautier shot of an eagle picking away at a carcass in "Into the Wild" says something about a country weighing on the soul; or that an unassuming Anthony Dod Mantle shot crammed into a frenetic "Slumdog Millionaire" montage better sums up character motivations than any other frame; or that the simplicity of Anna Kendrick riding slowly away on an airport people-mover as seen through Eric Steelberg's lens in "Up in the Air" speaks elegant volumes.

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<p>Abby Elliott and Josh Radnor in &quot;How I&nbsp;Met Your Mother.&quot;</p>

Abby Elliott and Josh Radnor in "How I Met Your Mother."

Credit: CBS

Review: 'How I Met Your Mother' - 'Bad Crazy'

Ted struggles to get rid of Jeanette, while Robin keeps a secret from Lily for a very long time

A review of last night's "How I Met Your Mother" coming up just as soon as I talk to the ghost of Marilyn Monroe's cat...

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<p>Ethan Hawke, Julie Delpy and Richard Linklater at last night's Berlinale premiere of &quot;Before Midnight.&quot;</p>

Ethan Hawke, Julie Delpy and Richard Linklater at last night's Berlinale premiere of "Before Midnight."

Credit: AP Photo/Michael Sohn

Roundup: Richard Linklater honored with surprise award at Berlinale

Also: The Academy's quirky Best Picture gallery, and R.I.P. Gerry Hambling

With the roundly acclaimed "Before Midnight" playing out of competition at the Berlin Film Festival, Richard Linklater wasn't expecting to leave with any prizes, but he received one anyway before the film's European premiere last night, as he was honored with the Berlinale Camera, traditionally presented to "film personalities or institutions to which [the festival] feels particularly indebted and wishes to express its thanks." It's especially sweet that he should receive it in conjunction with this film, given that "Before Sunrise" won him the fest's Best Director prize way back in 1995. It also leads me to wonder how many other institutions will pick up the meme of acknowledging Linklater's long, diverse career this year, particularly if "Midnight" gathers the awards steam I suspect it will. [Berlinale]

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"The Real Housewives of Beverly Hills"

 "The Real Housewives of Beverly Hills"

Credit: Bravo

'The Real Housewives of Beverly Hills' recap: 'Game of Scones'

Lisa hosts a proper tea party and the women still can't behave themselves

This week, Lisa puts on her happy neon pink bra (and under a sheer white shirt, natch), wiggles her nose, and convinces herself that if she thinks happy thoughts and pushes the booze with a side order of man meat, the very civilizing influence of Pimms and a proper British tea party will inspire the hate-spewing harpies on this show to lift their pinkies together over tea sandwiches and make nice. HAHAHAHAHAHA! Yeah… no.

Yes, it's another Extravaganza O' Crazy, and Lisa is unlucky enough to have it all play out at her house. She should be glad that Beverly Hills housewives just bark squeakily at one another like Chihuahuas who've gotten into the Ritalin instead of tossing around tables. That's just a Jersey thing, I guess. 

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<p>Kevin Bacon on &nbsp;Monday's &quot;The Following&quot;</p>

Kevin Bacon on  Monday's "The Following"

Credit: FOX

Recap: 'The Following' - 'Mad Love'

Jacob admits a secret, while the cult strikes close to Ryan
"Mad Love" doesn’t advance any plotlines significantly, which feels a little frustrating after three episodes that are essentially action-packed. Instead we are immersed into backstory for most of the episode, and though we do learn some interesting information about Ryan’s family--and his fraught relationship with Claire--overall the episode feels stagnant, with none of the pulp and gore that drove last week’s "Poet’s Fire." That’s fine, and it’s somewhat interesting in terms of building character, but this is not going to be anyone’s favorite episode of the show. The wacky stuff gets pushed to the outskirts, to the murder-cult house with little Joey, while Ryan’s storyline takes on pretty normal dramatic strokes. The tonal shift is frankly kind of confusing after three episodes of crazy.
 
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Jim Hill's theory on the real nature of Brad Bird's 'Tomorrowland' seems right on target
Credit: Walt Disney Studios

Jim Hill's theory on the real nature of Brad Bird's 'Tomorrowland' seems right on target

Has a website figured out the real nature of this secretive film?

It doesn't surprise me that Jim Hill is the one who connected some pretty obvious dots on "Tomorrowland," the mysterious new Brad Bird film that was formerly known by its working title, "1952."

After all, if there's anyone out there who has written more about the business of Walt Disney over the years, I'm unaware of them.  Hill's been doing this for years, and he knows more about the parks and the studio and their history than almost anyone.  He has a deep abiding love of Disney's work, but he's also more than willing to be critical of the way the brand has been managed over the years.

In March of 2012, he wrote a piece about an interview with Ward Kimball, one of the legendary animators who helped define the studio.  In that interview, Kimball talked about being approached by the U.S. Air Force which was looking for a Hollywood partner to help them produce a documentary that would help acclimate the United States to the idea that UFOs were real.

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