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This season of "Top Chef" hasn't been very spicy. Yes, there has been literal spice (this is New Orleans, after all), but we've lacked chefs who are as colorful and creative as commentators as they are in the kitchen. When NIna grumbles of the recently eliminated Michael, "Boo Boo, you're a douche," it wasn't especially witty (and definitely wasn't nice), but at least someone got fired up about something other than andouille sausage.
This week's episode of "American Horror Story: Coven" took a step in the right direction by reminding us that Zoe, for all her faults, can be proactive. She knows how to use a chainsaw. More importantly, she knows how to use her natural talents as a witch even more effectively than a chain saw (when your chainsaw runs out of gas, might as well toss it). Alas, she's been too busy saving lives and chopping up zombies to chase down Kyle, who's probably beating his head against a wall or eating someone, but all is forgiven… at least until next week.
"New Girl" keeping Damon Wayans Jr. around for the rest of the season
Coach's stint has been expanded from four episodes, and he'll be billed as a "special guest star."
Damon Wayans Jr. will be sticking around "New Girl" for the rest of this season.
The release of a new film by Joel and Ethan Coen is one of those moments that I like to savor each time it happens precisely because none of us have any idea how many more of them we'll get. I feel like they have been on an amazing run recently, and if anything, they're getting more daring, more controlled, more impressive. Their films have a thematic density that is dazzling, and they never seem to be struggling to make something "important," instead simply following their own peculiar muse to consistently interesting effect.
Oscar Isaac stars as Llewyn Davis, a folk singer struggling at the fringe of the scene in Greenwich Village in 1961, and he's facing a moment that any artist who does not find immediate success must face at some point, the question of whether or not to continue working in a field where you are frustrated. Llewyn survives thanks to a complicated economy based on free cigarettes, sleeping on couches, and showing up somewhere just in time to get invited to stay for dinner, and he seems like he's on the verge of breaking through to real success. After all, he sees it happening to the people around him. His friends Jim (Justin Timberlake) and Jean (Carey Mulligan) are a real draw as a duo, and he feels like he's very close to having a moment of his own if he can just play the right gig.
So far, "The Act of Killing" is shaping up to be the most celebrated documentary of this awards season. Joshua Oppenheimer's sobering one-off about Indonesian genocide has yet to miss a stop on the circuit: it landed a number of top nods last week for the IDA Awards, and has also landed Best Documentary nods at the Gotham Awards and European Film Awards. Today, it extended its streak with five top nods for the Cinema Eye Awards, which stand alongside the IDAs as the most significant documentary-centered ceremony of the season.
Had HitFix been born under different auspices, we would have already written about Fleming on his own. He used to be a voice actor for family shows and TV movies like "Kim Possible," "The Legend of Tarzan" and "Lilo and Stitch." And now he's spread out into this glam-rock meeting green, bratty pop amalgam for Diane Coffee's debut "My Friend Fish," out Oct. 29.
"Never Lonely" is my favorite of the 10-track album, though "Eat Your Love (With Sriracha)" owns the best song title. Good catch, Western Vinyl.
[If you're looking for a "Survivor: Blood vs. Water" recap, it will be up after the show's airing on Pacific time, a pattern I'll be following for the rest of the Wednesdays this fall. It's not that I prefer "X Factor" to "Survivor." It's just that if one show is live and the other show is canned, it makes more sense to live-blog the live show. I don't know if that makes sense, but that's my thought process.]
It's Motown Night for the "X Factor" Top 12.
This is a theme that was inevitable, but a theme that's not especially well-tailored for most of this season's Finalists. Will that mean some disastrous performances? Will Simon Cowell's promised twist have to save the show?
Click through for the performances and chime in below!
Lorde’s reign with “Royals” extends for a sixth week at the top of the Billboard Hot 100, but she may be facing a serious challenge from Rap God, Eminem.
“Royals” continues to be a multi-format smash, along the lines of Adele’s “Rolling in the Deep” for sheer breadth of appeal: this week the song debuted on the Latin Pop Songs airplay chart, adding that to it a format list that already spanned dance, R&B and rock charts.
But the big news belongs to Eminem. “Monster,” his new collaboration with Rihanna and the newest single from “The Marshall Mathers LP 2,” bows at No. 3 on the Billboard Hot 100 and No. 1 on the Hot R&B/Hip-Hop Songs chart. That mirrors the No. 3 start “Berzerk,” the album’s first single, had in September. “Berzerk” rises 25-15 this week, spiked by the release of “MMLP2,” while emphasis track “Survival” zooms 67-16 and “Rap God” moves 21-17.
That gives Eminem four songs in the Top 20 at the same time, making him only the sixth artist in the history of the chart to do so, according to Billboard. Other than the Beatles, the other acts to achieve the feat are all rappers: Eminem protege 50 Cent, T-Pain, Lil Wayne and Ludacris. The rappers, however, got help from being featured artists on cuts, whereas the Beatles and Eminem are the only artists to do so as lead artists.
The only other debut in the Top 10 belongs to One Direction’s “Story of My Life,” which enters the Billboard Hot 100 at No. 6 and is the British boy band’s fourth Top 10.
Looking at the returning entries: Miley Cyrus’s “Wrecking Ball” moves 3-2, while Katy Perry’s “Roar” slips 2-4, pushing Avicii’s “Wake Me Up!” down one spot to No. 5.
Drake’s “Hold On, We’re Going Home,” featuring Majid Jordan, drops 5-7; Imagine Dragon’s “Demons” moves 9-8; OneRepublic’s “Counting Stars” switches places with “Demons,” sliding 8-9, while Lady Gaga’s “Applause” retreats three spaces to No. 10.
LOS ANGELES - Peaches hit Cinefamily in L.A. last night to promote her movie "Peaches Does Herself," which is "an electro rock opera stage show that recounts a mythical history of Peaches and follows her journey from bedroom musician-wannabe to rock star." The film features a 65-year-old stripper, a body suit with breast and penis prosthesis, spandex orgies, gore and full-frontal transsexual porn star and performer Danni Daniels.
"...The most beautiful human being possible," as Peaches said of the latter during our interview.
It's easy to remember the visuals of the musical film, along with its choreography, and that's part of the reason why it's hard to forget Peaches herself. An icon in the queer community, Peaches uses sexuality, fashion and lyricism as an affront, in "Does Herself" as much as she has in concerts since the late-'90s.
"Peaches Does Herself" is as provocative (and funny) a title as some of her best-known songs, including "Boys Want to Be Her," "Fatherf*cker," "Impeach My Bush," "F*ck the Pain Away," "Shake Yer Dix." However, the film, appropriately, ends with a salute to herself, the song "The Teaches of Peaches," as she flees from a theater onto a customized bicycle, covered in fake blood with her privates having "exploded." It sounds like a genre film -- and it is, though it defies such a convention.
And now it's years behind her (the film, that is). The ambitious "Peaches Does Herself" was made over a year that ultimately led up to its premiere at the Toronto Film Fest in 2012, and it's only now making more rounds in theaters and at various venues.
The gender-bending performer said she's moved on, mentally, from the musical and is now heading into her next album. When we spoke in the middle of last month, she had two ideas for songs, and plans on having something new for 2014.
"It's just one day you're not working on music, then suddenly you are," she said. "So here I am." She said she wants to lean away from more "messaging" music (like "Impeach..." very much was) and "getting to have fun again."
As you'll see in the video above, Peaches has some "teaches" left for style too, as she always has. I thought it'd be fun to give her a celebrity magazine to leaf through, to talk about celebrities and fashions that she loves (FYI, she chose "People" over "In Touch"). While she said she didn't feel "up" on American pop culture much due her years living as an American transplant in Berlin, the 46-year-old did have quite a few nice things to say about Janelle Monae, Tilda Swinton, Diane Keaton, plus had some notes on "acting your age" and how she views her own look.
We talked about contemporary hip-hop artists are using "electro music" in their songs more than ever. Peaches said she loves Nicki Minaj's rise in the rap world, and -- despite some misogyny and LGBT-unfriendly lyricism -- she adores rhymers like Tiga.
"Oh, isn't that terrible?" she joked, as we discussed "Rack City." "Maybe he could use a tip."
"Young-adult literature" did not technically exist when I was a young reader, so it's kind of amazing to see just how huge a piece of the publishing pie the broad genre has become. I've been trying to decide what I think the definition of a young adult novel is, and I think the best version of it has to do with fiction that captures that moment where someone is wrestling with their identity and defining their place in the world. It often seems to be concerned with someone learning a sense of personal responsibility, and while the general trappings of the genre can be ridiculous and exaggerated, like zombies and vampires and werewolves, there is something genuine that they seem to address when they're done well.
Meg Rosoff's "How I Live Now" was well reviewed and won several awards, and while it was a success, no one would ever look at this and think that it's going to become the next "Twilight" or "Hunger Games." Wisely, instead of trying to shoehorn Rosoff's small and delicate book into the wrong shape, the script by Jeremy Brock, Tony Grisoni, and Penelope Skinner is a modestly-scaled story, and Kevin Macdonald has made a movie that feels like a largely internal journey, a window into the heart of Daisy (Saoirse Ronan), an angry girl who is on the verge of becoming an angry woman before she is sent for a summer to a relative's farm. It's often melodramatic to call something "life-changing," but that's very true in this case, and it's handled with genuine grace and subtlety.