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Taylor Swift’s “Red” returns to the top spot on the Billboard Hot 100 after a several-week hiatus.
The set by the superstar is set to sell between 155,000 and 165,000 copies, giving it a good lead over Wiz Khalifa’s “O.N.I.F.C.,” which will likely debut at No. 2 if the rapper can hold off a charge from Rod Stewart’s “Merry Christmas Baby.” Both are projected to move between 135,000 and 145,000 units, according to Hits Daily Double.
In addition to Khalifa, the only other debut in the Top 10 will come from Ke$ha, whose “Warrior” will likely bow at No. 6 with sales of up to 90,000 copies.
Holiday titles continue to dominate the Top 10: Michael Buble’s “Christmas” is No. 4, Blake Shelton’s “Cheers, It’s Christmas” is No. 7 and Lady Antebellum’s “On This Winter’s Night” is No. 8.
As far as the rest of the Top 10, One Direction’s “Take Me Home” will be at No. 5, this week’s No. 1, Alicia Keys’ “Girl On Fire,” will slide to No. 9 and “American Idol’s” Phillip Phillips’ “Word From The Side Of The Moon” is No. 10.
There are times in which shows inadvertently demonstrate their own shortcomings onscreen. And there are other times in which those shortcomings are in fact part of the show’s design, meant to highlight intentional faults in order to reveal truths. For most of tonight’s “Fringe”, I worried the former was the case on display in “The Human Kind”. But by the final scene, those worries were dissipated. That doesn’t mean the episode as a whole worked. But tonight served to close off the second act of this final season and reset things for the final overall act of the series. Meet the new Peter. Same as the old Peter. And with all his hair intact, to boot.
With "Boardwalk Empire," "Tremé" and "The Walking Dead" all done for 2012, the Sunday night cable drama field is all Showtime's for the next few weeks. The pay cable channel will try to take advantage of that by using Sunday's episodes of "Dexter" and "Homeland" to run a first-look trailer (which is already available online; see below) for its two new 2013 drama offerings: "Masters of Sex" and "Ray Donovan."
On Wednesday, the nominees for Grammy's 81 categories were announced, but fan favorites Justin Bieber and Nicki Minaj weren't among the hundreds of names. Those two artists have been mum on the social networks since then (so far), but their managers are having none of it (so far).
Biebs' manager Scooter Braun, as previously reported, had some choice words for the Recording Academy the day following the announcements. "U blew it." But rather than being angry about the no-nods, Braun told Billboard he was just "voicing my opinion," man.
"I wasn't mad, just voicing my opinion," Braun said. "I saw a lot of chatter online and made a comment. I don't think there was anything wrong with any other nomination. I just felt Justin deserved to be acknowledged."
He further articulated why he was totally not mad.
"If he was 35, he'd be nominated in numerous categories... When you are so much younger than your industry peers, you tend to be overlooked," he said. "If you want to see me mad, read my Jets tweets -- read what I have to say about my favorite football team."
Meanwhile, Nicki Minaj's co-manager and Lil Wayne's manager Cortez Bryant called Nicki's snub some straight-up "bullsh*t."
They was on some bullshit for not nominating @nickiminaj— Cortez Bryant (@CortezBryant) December 6, 2012
Minaj has been mum on Twitter since Dec. 5, last promoting her new lip color for a popular cosmetics maker, and Bieber has spent the rest of this week not being mad and workin in the studio on a follow-up to his popular set "Believe." Both artists have garnered nominations in the past, so better luck next year.
But maybe Dave Grohl -- of all people -- has the last word. He guest-hosted "Chelsea Lately" last night and provided a little commentary.
"I like him, too. I think that if I were 18 or 19 years old and had $100 million, I would look exactly like that," Grohl, who is gorgeous, said. He did, however, submit that Bieber's concert presentations would suffer were he to sing live all the time, otherwise it'd sound like the heavy breathing of a dying man. Perhaps a 35-year-old?
All this being said, I hope this doesn't become a trend. Snubs are the regular, and while Bieber and MInaj have put time into helping the Grammys as an institution, it's voters have spoken. And they'd rather have a hack in the Best Dance Recording category than they would put Bieber in a pop category.
Fifteen years after his death, the Notorious B.I.G.’s autopsy report reveals that he was struck by four bullets, with the final shot delivering the fatal blow. TMZ published the never-before-released report today.
The rapper was murdered March 9, 1997 as he sat in an SUV, as he left a party at Petersen Automotive Museum in Los Angeles held after the Soul Train Awards. The murder has not been solved, with a number of different theories circulating, including that Death Row Records’ Suge Knight ordered the hit to avenge the death of Tupac Shakur, who was murdered in 1996.
The autopsy report revealed that Biggie Smalls, whose real name was Christopher Wallace, was first hit in the forearm, then in the back with the shot exiting his left shoulder, on his outer thigh with the bullet leaving through his inner thigh, and then with a fourth bullet that entered through his right hip and hit several vital organs before stopping in his left shoulder.
Wallace was rushed to the nearby Cedars-Sinai Medical Center and was pronounced dead less than an hour after the shooting occurred.
A number of posthumous releases by Wallace solidified his reputation as one of the top rappers, and in 2006, MTV ranked him at No. 3 in “The Greatest MCs of All Time.”
In 2009, Fox Searchlight released “Notorious,” a biopic about Wallace’s life.
It does not remotely surprise me that Guillermo Del Toro is finally working with Paul Williams.
The idea of turning "Pan's Labyrinth" into a stage musical is intriguing. It's a lush dark fantasy world, and I would imagine it gives the production team some great opportunities to build a gorgeous world on the stage. It also deals with sweeping emotional arcs, and when you're creating a musical, I think the bigger the emotions, the better the piece.
Gustavo Santoallala is the composer of, among other scores, "The Motorcycle Diaries," one of my personal favorite scores of the last ten years. I've played that soundtrack hundreds and hundreds of times while working, and I think he's got a very fresh and interesting musical voice. His music with Williams writing lyrics sounds to me like an incredible marriage of talent. Williams, of course, is known for his work with the Carpenters, his songs for "The Muppet Movie," and the absolutely incredible score for Brian De Palma's "Phantom Of The Paradise."
As the tortured (and sometimes torturous) Sister Jude on "American Horror Story," Jessica Lange has had to grapple with a Nazi, a serial killer and the devil herself this season. But as tough as it's been, it looks like things are only going to get worse -- and not better. Lange talked to journalists in a conference call about what's up for her character, whether or not she'll be back for season three, and why she never knows what's next for her character -- and that's just fine.
Alain Boublil and Claude-Michel Schonberg certainly did not need for a film adaptation of "Les Miserables" to happen to validate the work. After all, this is one of the most successful stage productions of all time, omnipresent for over over two decades, beloved and still relevant. There was a point in Hollywood history where any successful stage musical was automatically brought to the screen in the most lavish possible fashion, but that hasn't been true for many years now. Musicals, like Westerns, are increasingly rare, and Hollywood is no longer turning out performers who are automatically at home singing and dancing in front of the camera. For Tom Hooper, following up "The King's Speech" was going to be tough no matter what, and I'll give him credit for ambition. He called his shot and swung for a home run, and while he didn't knock it out of the park, the material itself is so strong, and the film's cast is so game, that it doesn't matter.
The script by Alain Boublil, Jean-Marc Natel, James Fenton and William Nicholson is very faithful to the original stage production, which plays almost as a highlights reel of Victor Hugo's novel. There is a sort of runaway train quality to the narrative, and the film maintains that same breakneck pace from the visually arresting opening moments to the final haunting moments. There is a feeling at times that things move so quickly and with such unrelenting pace that it's hard to catch your breath, hard to let yourself fully experience a beat emotionally, but that's the production itself. It's just inherent to how they've told the story. And while there are certainly things about the film that make full use of the difference between stage and screen, this still feels like a fairly intimately scaled story considering the time span it covers and the huge cast of characters involved.
Is all the world a stage? Well, in Joe Wright’s “Anna Karenina,” the stage became the medium through which the director retold Leo Tolstoy’s classic story. An unusual choice fraught with risks? To be sure. An extraordinary amount of potential? Equally certain. But production designer Sarah Greenwood and set decorator Katie Spencer were tasked with helping Wright’s vision come to fruition. We recently spoke to the duo about their work on the film.