The 7 year-old everyone loves to hate (or love, or a little of both) is back with all new episodes of TLC’s series "Here Comes Honey Boo Boo" on Wed. July 17 at 9:00 p.m. Averaging 2.3 million viewers last fall, the controversial show returns with the latest from the proudly farting, burping and mud diving family.
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For the last two summers, "Wilfred" has been one half of a fascinating, dark comedy pairing on Thursday nights on FX, leading in to "Louie." But with Louis CK deciding to keep his series off the air for all of 2013, "Wilfred" will have to go it alone this summer.
FX announced today that "Wilfred" will return for its third season on Thursday, June 20 at 10. For the first two weeks of the season, we'll get back-to-back original episodes at 10 and 10:30, followed by a week off for the Fourth of July, followed by the show shifting to a once a week schedule Thursdays at 10.
When I spoke with FX executives in January, they suggested they might have a new comedy ready in time to pair with "Wilfred," but FX says it's not likely at this point that anything new will be airing at 10:30 later in the summer. (It may be that the launching of the comedy-centric FXX spin-off channel made this a lower priority than it was at the start of the year.)
The new season will bring back the full cast, plus recurring guests Chris Klein, Mary Steenburgen and Dwight Yoakam, along with some new guest stars like Gina Gershon, Angela Kinsey and Lance Reddick. This will be the show's first season without David Zuckerman as showrunner, as he took a step back to let writer/producers Reed Agnew and Eli Jorne take the job.
Miguel: He didn't need this. Miguel's good, thanks, still feeling fresh and cool after the success of "Kaleidoscope Dream" last year and is about to set out on the Set The World On Fire Tour with Alicia Keys.
Carey, on the other hand, struggled to get any traction at all with her 2012 song "Triumphant (Get 'Em)." It didn't have her voice, nor her "voice," as guests Meek Mill and Rick Ross took the verses. Subsequent remixes -- including the superior retro dance drop -- diluted the initial impact and Carey couldn't seem to gain any long-term favor.
And her "The Great and Powerful Oz" credits song "Almost Home" thudded all the same. It was as though the vocal lines were a placeholder, and she delivered just the same as any recruit could for the same schlocky, plodding ballad.
Here, it's a pop song, and sweetly so, as Carey flaunts her heart-warming ability to blend with Miguel's creamy tenor in a duet and take the spotlight with gusto when it's her turn. It's a sparkling reminder of what she does, and what she does best.
The keyboards' countermelody reminds me of OneRepublic's "Feel Again" while summer-fun beat is sanded down to muffled low-end to clear space for Carey and Miguel's ageless voices to have their day in the sun. Carey applies her trademark high octave in unison in her first solo phrase, and there's a brightness as her voice combines with his. It's like she was smiling -- or told to smile -- when she hit the mic. It works, and may become a pleasant addition into the 2013 summer jam rotation, if it works out.
This, after a week of ugly press: Carey and her "AI" co-judge Nicki Minaj have been fighting on the show, with Minaj allowing the drama to spill over into her own press time, her Twitter account and, subsequently, onto the pages of the tabloids. Carey, smartly, has been largely silent but still: bad feelings abound. "AI" is currently struggling through its worst ratings in its 16 season history, and is it any surprise?
So forget about that: cue up "#Beautiful," which is cutely credited "Starring Mariah Carey and Miguel." What do you think?
In this penultimate episode to next week's supersized finale, it seems that the Initiative's latest plan to create fear and chaos is afoot with a city-wide blackout. I just wish the rest of the episode made as much sense as this gutsy move. While some characters seemed to be reciting dialogue from previous episodes (Victoria still doesn't want Daniel to marry Emily? Le sigh), others seemed to be rushing to ridiculous conclusions.
Baz Luhrmann's "The Great Gatsby" is hitting theaters this week in advance of opening the 66th annual Cannes Film Festival on May 15. If you'll recall, the film was all set to open last December amid the awards season glut as part of an already packed Warner Bros. slate. But it was shuffled on to a summer 2013 release to allow more time for post-production and, surely, to have a fighting chance at making some money.
I saw the film a few weeks back and, even as a Luhrmann fan, I was prepared for the worst. Why? A mixture of advance buzz, a trailer indicative of a film that could fall on either side of the line and even that rescheduling scenario, which is the kind of thing that rarely spells much more than trouble. After struggling for about a half hour to get into the film (Luhrmann's usual largesse really takes some getting used to when married with 1920s New York), it settled in and a simple fact took hold: it takes a lot to ruin a story this great. F. Scott Fitzgerald keeps it on an even enough keel, I think.
(Welcome to Cannes Check, your annual guide through the 20 films in Competition at next month's Cannes Film Festival, which kicks off on May 15. Taking on a different selection every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Steven Spielberg's jury. We're going through the list by director and in alphabetical order -- next up, Mahamat-Saleh Haroun with "Grisgris.")
Okay, there's Simon Pegg. And next to him, that's Nick Frost. Good. Great. That's exactly what I want. And there's Edgar Wright's name, and a meteor in the sky, and… people… lots of people… with glowing blue eyes.
I now know about 100% more about "The World's End" than I did five minutes ago, and Tuesday, when the trailer for the film arrives online, I suspect we're in for a glut of new information and a much better sense of what we're getting from the film.
Evidently, Edgar screened the trailer the other night for people at the CapeTown Film Festival in Los Angeles, and swore everyone there to secrecy. It's been pretty successful, all things considered, too, because I haven't seen anyone overtly giving anything away. I'm very excited that we're this close to the release. It's a long ride that these three guys have been on from the first time I saw their work to now, and they've all had such great success in that time that it feels like a real treat to see them come back together on their terms to make this film, which feels like a big deal, and round out something that started as such a off-the-radar personal little independent thing.
Baz Luhrmann has made a career out of pushing stylistic boundaries past what seems like good taste or common sense would endure, and when it has paid off, the results are intoxicating. Unfortunately, when it doesn't work, it makes the artifice that much more distancing and it makes the excess feel excessive. Lurhmann is not the first filmmaker to succumb to the siren song of the book's beautiful prose, nor will he be the last, but his attempt highlights much of what makes this a work that best exists in its original form.
F. Scott Fitzgerald's book was written at the time that the novel takes place, and it is fascinating as a snapshot of a particular time in America's development, the roaring '20s at their loudest, raucous and wild and untamed. Jay Gatsby is a very knowing look at a new type of American, the self-made millionaire, compensating for some hole in their personality while amassing a huge fortune, rich but empty. His quest to win the heart of Daisy Buchanan is one of the great Quixotic romantic plays in all of literature, and the language in Fitzgerald's book sells it all. Dizzyingly well-written, emotional and evocative, it is a feast of language, a clear-eyed piece of pop mythology that positively disemboweled the world in which Fitzgerald worked and played. Working with co-writer Craig Pearce, Luhrmann has adapted "Gatsby" in a way that makes sense considering Luhrmann's voice, but it's such a foregone conclusion that it feels to me like it never comes to life. It's as if every bit of creativity dried up the moment the deal was signed. Yes, this is exactly what I would expect a Baz Luhrmann "Gatsby" would look like, but is that enough?
A review of tonight's "Mad Men" coming up just as soon as I'm not working the slide rule...
Is everyone excited about Bae's new/old adventure? Obviously, major spoilers ahead if you haven't seen the episode, so you may not want to read after the jump just yet. If you like "Once Upon A Time" mythology, I think this episode is one worth seeing for yourself.
A review of tonight's "Game of Thrones" coming up just as soon as the laws of my fists are about to compel your teeth...