The 25-year-old ex-Emmerdale star, who played Connie in last year's (11) Captain America: The First Avenger, will join Matt Smith in the cult sci-fi drama.
She'll replace Karen Gillan, who will depart the series later this year (12).
Coleman says, "I'm beyond excited, I can't wait to get cracking; working alongside Matt I know is going to be enormous fun and a huge adventure."
The star of Kiefer Sutherland's new U.S. TV drama Touch was born in a small village in the Himalayan mountains in India and brought up in the U.K. and Canada.
Her unusual upbringing made her an instant target for bullies and the cruel taunts only got worse as she entered puberty.
She tells Star magazine, "I was bullied. I was different. I didn't fit in.
"When I hit puberty, I had an infestation of zits (acne). It was not easy. People were mean."
David insists she has put her difficult teen years firmly behind her, but she still cringes when she recalls the hurtful nicknames she received.
She says, "I laugh about it now, but they would call me names, like Chocolate Chip Cookie!"
The Hollywood actor, his wife Grace Hightower and America's First Lady, Michelle Obama, hosted a dinner to raise donations for President Obama's re-election campaign at New York's Greenwich Hotel.
De Niro took to the stage in front of guests including movie mogul Harvey Weinstein and hip-hop supercouple Beyonce and Jay-Z, but his speech fell flat when he made a joke he made about the wives of Republican presidential candidates Newt Gingrich, Rick Santorum and Mitt Romney.
Before introducing the First Lady to the stage, he said, "Callista Gingrich. Karen Santorum. Ann Romney. Now do you really think our country is ready for a white first lady?"
Michelle Obama's aides weren't happy with the quip, telling CNN, "We believe the joke was inappropriate," and De Niro has now apologised for his comment in a statement.
He says, "My remarks, although spoken with satirical jest, were not meant to offend or embarrass anyone, especially the first lady."
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
The British actor swigged from a bottle of lager as he and co-star Karen Gillan partied with friends in a street outside a bar.
In a series of pictures published in The Sun, he is seen drinking beer and receiving a hug from Gillan before a male pal wraps his arms around the actor and appears to steady him as they walk along a street.
Smith and Gillan headed to Almeria, Spain earlier this month (Mar12) to shoot scenes for a Wild West-inspired episode of Doctor Who.
The 90210 star will be presented with the organisation's Heart of Hope Award at a masquerade gala on 18 March (12).
Fellow actress Laura Slade Wiggins will also be honoured with the Point of Courage Award for her "daring portrayal" of prostitute Karen Jackson on TV drama Shameless.
The gala will take place at The Mark in Beverly Hills.
The Five Easy Pieces star was diagnosed with rare ampullary cancer in November, 2010, but chose to tell only close friends and family members about her health crisis.
Black underwent chemotherapy and radiation treatments in California and a drastic weightloss and is now cancer-free.
She has opened up to U.S. tabloid the Globe to offer others fighting cancer hope.
The Oscar nominee says, "So few people knew of my illness... I kept it as much of a secret as I could.
"I didn't want to be affected by any negative energy, the look of sympathy on people's faces... You can almost hear their thought, 'Oh, she's a goner.'"
The 69-year-old actress tells the Globe she was suffering digestive problems while starring in the play Just 45 Minutes From Broadway when she learned she had cancer.
She recalls, "This type of cancer you don't feel at all, but it's very serious. I was told I would need surgery immediately. Fortunately, we caught the cancer in time, the cancer had not spread beyond its initial perch on the inside of a part of my digestive tract. Dr. Farnell at the Mayo Clinic in Minnesota got it out."
Black hopes her story will help others: "Don't give up hope. Keep doing what you love to do and find the beauty in everything around you."
The hugely successful series, which stars Dame Maggie Smith and Hugh Bonneville, collected one the main awards at the event, which celebrates the best in British TV.
Dr Who was also a big winner - the sci-fi series' stars Matt Smith and Karen Gillan took home prizes for Top Male and Top Female performances
Simon Cowell's The X Factor was named Best Talent Show for a third year running, and TV favourites Anthony McPartlin and Declan Donnelly broke National Television Awards records when they picked up the Best Entertainment Presenter(s) for an 11th successive year.
Comedian Alan Carr won the Best Talkshow prize for his popular Chatty Man series and the cast of Britain's longest running soap, Coronation Street, paid a special tribute to late actress Betty Driver, who passed away last year (11). Driver was a regular on the show for 42 years. The soap also took home the Best Serial Drama honour.
S5E2: This week, Californication won back some of my favor. It delivered a conclusion that left Hank in a much sticker spot than having to stay in LA because his crazy ex got creative with a blowtorch. That being said, it still seems like the dialog is erring on the lazy side, relying on caricatures of the people we once loved on this show. Hopefully, with a more gripping storyline, we’ll find that the writers slowly become more and more inspired to write lines that don’t call for Hank Moody to say anything resembling “true dat.”
“God damn LA, I only have dreams like this when I’m here.” –Hank
Of course we start off with a blow job…from Samurai’s girlfriend, Kali. But when Sam shoots the place up, we know it’s a dream. Charlie tries to cheer Hank up, take him on a walk, but Hank just wants to go back to New York – and if Charlie keeps saying things about Hank’s “black ass” I’m going to put in a serious vote for the relocation and the termination of Charlie’s increasingly obnoxious character.
Hank wants to pass on the Samurai Apocalypse script, but he has to tell Sam himself. But of course, we could have guessed that Sam wouldn’t really let him go without a fight. Charlie makes Hank quit in person, but not before they have a homoerotic, shirtless slap fight. Okay, I’ll admit, that was kind of funny – a small glimpse of the old Californication.
“I’m not 12, you can’t bribe me anymore. Well you can, you just have to adjust for inflation.” –Becca
Karen wants Hank to make nice with Becca before he leaves because she’s still upset from his performance at dinner with Tyler. Hank thinks he can win her over with an iPad, but she’s already got one and what she really just wants his apology, but he won’t really give it. He just blasphemes his mini-me, just as the guy walks up. It turns out he’s Becca’s T.A. – he really is a mini-Hank. Becca says Hank did his students, his TA and the dean’s wife when he was teaching college classes, driving that point home a bit more. As the final kicker, Tyler says Becca has an iPad, but he’s yet to get his hands on one, so Hank is forced to hand over the gadget begrudgingly to keep his little princess from biting his head off. Ah, parenting through gift-giving.
“That little high school make out session of ours? I can’ stop thinking about it. You?” –Hank
“Never. Ever.” –Kali Hank stops by Samurai’s place to quit the job, but Kali of course assumes it’s about her and warns him Sam has guns. He tells her about the dream he had and then gives her some ridiculous line about her lips being sprinkles and cupcake crumbs coming together to make cupcake babies and starts playing with her toes, just as Samurai comes out to greet them. Hank tries to quit the job, but Sam thinks it’s because he’s racist or worse, jealous of all the girls he has sex with. This descends into Sam forcing his British butler to utter crude phrases about screwing girls, Kali getting pissed at Sam referring to her as a fine “b**ch” and Hank terrifyingly using “true dat.” Oh, and that pesky bit about pretty much forcing him to keep working on Santa Monica Cop.
Sam takes Hank out for a drive, says he’s going to make a case for Hank to keep working on the film. He takes Hank to his “big Hollywood meeting” with Peter Berg, who’s the writer actually assigned to the script. Oh right, because this show needs to fill the Entourage void. Sam is bringing Hank in, causing Berg to panic and come down on him for a past indiscretion: Hank screwed his ex, the one that got away. This results in a fist fight in the parking lot of the movie studio. Sam’s all for Berg getting a shot at the cuckolder, so Hank gets punched. Sam then takes Hank to watch Kali’s recording session where one entourage member starts crying and shots ring out. Like that, they take him to the hospital like you would send someone on a beer run. So the trap is set: Samurai is incredibly jealous, a big fan of violence as a way of apologizing for screwing someone’s significant other, and the use of guns is as common as going to the grocery store. Yep, Hank’s going to get into some serious trouble – and soon.
“He took it out?” –Stu
Little Charlie’s teacher catches him masturbating in from of another little girl, of course since he’s three, adult Charlie sees nothing wrong with this. Stu offers a sizable donation and the teacher asks for Stu, Marcy and Charlie to apologize to the little girl’s mother. Charlie is pissed because Stu throws money at the problem and it turns out they fired the nanny without telling him. Stu promises to keep him involved as Marcy yanks him out of the room by his metaphorical dog collar.
Charlie goes to apologize to Ava’s mother, subsequently terrifying Ava with his mere presence. She brings up her conniving husband, a big wig at Warner Bros. It turns out she hates him as much as Charlie does, so they share a glass of wine. She then asks him to masturbate for her while she verbally abuses him because she is a deeply disturbed woman. The nanny walks in and subsequently gets fired for doing so. In front of the house, Charlie offers her a job watching little Charlie, and she’s desperate for work because she’s in school. She accepts the job – even with little Charlie’s recent depraved behavior – and then takes a tissue from Charlie’s hand. Yeah, it was that tissue. To be fair, there was no easy way to get out of that situation, but somehow that’s one of the more disgusting things I can think of on this show.
“I have a history of doing the well-intentioned wrong thing.” –Hank
Hank sees Tyler our with another girl when he’s out with Samurai, but when Hank is about to hit him, Tyler says doing so will make Becca hate him. It’s true. Sam and Kali inquire about the altercation, and while Sam says it by offering to rough the guy up, they both admire his commitment to being a father.
Hank tries to do the right thing and apologize about his reaction to Tyler. So he goes to Karen’s house and Becca says she knows Tyler’s a good guy deep down, the way she knew Hank was a good guy deep down. Well crap. You can’t really argue with that logic. Just then, Tyler calls – he’s in the hospital because Sam’s guys jumped him and pummeled him. Sam texts Hank saying he took care of Tyler. And now he’s in deep.
I will concede that with the episode’s conclusion I was a lot happier than I was last week. Hank’s in actual trouble again, which is exactly what we want from the series. Still, if they keep using all that Moody-fied hip hop lingo, I’m going to keep complaining about it.
What did you think of the second episode? Do you think Tyler is going to make it? What do you think will happen when Becca inevitably finds out why he was jumped? Let me know in the comments or get at me on Twitter. @KelseaStahler
A massive hit never ends at its own conclusion for better or worse. Lost Tim Burton's Alice in Wonderland The Blair Witch Project and other pop culture milestones spawned plenty of imitators of wavering quality that trickled on to screens until the phenomena tapered off. Joyful Noise the new film starring Queen Latifah and Dolly Parton is one these auxiliary creative endeavors a direct descendant of the cheeky drama/comedy/musical hybrid Glee. But instead of teenage issues and pop covers Joyful Noise swaps in familial struggles gospel tunes and a sizable serving of Christian faith. The combination results in a movie that lacks the jazz hand energy of Glee but packs good-natured laughs to keep someone awake for its two hour duration. More "noise" than "joyful."
Mere minutes after the passing away of choir leader Bernie Vi Rose (Latifah) inherits the position—along with a serving of negative vibes from Bernie's wife G.G. (Parton) who was hoping to take the job herself. The new responsibility is only the beginning of Vi Rose's troubles as she attempts to balance her rebellious daughter Olivia's (Keke Palmer) raging hormones her son Walter's (Dexter Darden) Asperger's syndrome her husband's absence during a military stint and her own old school God-faring ways. Hardships are whipped into further chaos upon the arrival of Randy G.G.'s rambunctious horny grandson who shows up at rehearsal with an eye on Olivia and undeniable vocal skills. Randy's rock and roll edge is readily embraced by the group but even with the national gospel championship on the line Vi Rose isn't ready to toss tradition aside.
Joyful Noise is a mixed bag sporadically entertaining when director Todd Graff (Camp Bandslam) lets his two commanding stars flex their comedic muscles or belt soulful tunes. Latifah and Parton can do both with ease—Latifah has a natural charm while Parton essentially fills the "kooky Betty White" here—but instead of letting the two fly Graff breaks up the action with overwrought drama and bizarre side character stories. The script injects a lot of ideas into the picture—loss of faith modernizing ideologies coping with tragedy sexuality under the eye of God—but every tender moment is fumbled. A gut-wrenching conversation between Vi Rose and her autistic son should have weight and the actors do their best but the material doesn't service the emotional complexity of the scenario. Instead it opts to cut to a musical number. Another sequence involving the overnight demise of another character is even played for comedy even when it causes one woman to question her beliefs.
Thank God for the musical numbers which have enough energy to brush the flimsier moments under the rug. The Glee-inspired pop tune covers (Michael Jackson's "Man in the Mirror " Usher's "Yeah"—both tailored with religious modifications) aren't nearly as interesting or powerful as the straight-up gospel songs. But unlike the tunes Joyful Noise doesn't have rhyme or reason. A mishmash of played out character stereotypes narrative cliches and enjoyable but erratic music the movie feels more like a cash-in than it should. Latifah and Parton are a sizzling duo but the vehicle built for them is a clunker. As Vi Rose might say the only way to have a great time at Joyful Noise is to believe. Really really hard.