The writer, whose newspaper column spawned the hit TV show starring Sarah Jessica Parker, was sitting on her mount when she was bucked off and plunged to the floor.
Bushnell was taken to hospital and was unable to walk for several weeks as a result of her injuries.
She tells New York Post gossip column PageSix, "I was doing dressage on this muscular horse. It started bucking, and I had to make the choice to come off. I cracked my pelvis, and spent two nights in the hospital. I couldn't walk for a few weeks... but I am still getting back on the horse."
“Why are you texting Tunie?” – Jackie
After Zoey told her that “Cantasha” (or Candace and Natasha, a mother who shows up at the hospital and always complains that her daughter can’t breathe well enough while eating Cheetos) were back in the hospital for no reason, Jackie darted into the pharmacy and asked Eddie why he was texting her sister in law. Eddie said he was simply responding to the texts she sent him. Eddie reminded her that just because she cheated on her husband with him didn’t mean she could tell him which members of her extended family he could and could not date. Jackie acknowledged his statement, but said he should be careful with Tunie anyway because she spent all of the previous night trying to hack into her ex-boyfriend The Pilot’s email. Eddie offered Jackie a Valium after perceiving “an edge” that was caused over he thought of him dating other people, Jackie declined and said there was no “edge” to speak of.
“You fucking rats.” – Jackie
While O’Hara and Dr. Cooper were dealing with a gunshot victim and calling for Jackie to assist them, Jackie was in some abandoned room in the basement of the hospital retrieving her pills from a secret spot in the ceiling. When she laid out all her pills on a calendar from 1987 to see how many days her stash would get her, she was angry to see that a rat had enjoyed some of it. Upstairs, Dr. Cooper and O’Hara’s gunshot victim died. Cooper responded to the loss by acknowledging it was nice to work alongside O’Hara because since they both lost the patient, it wasn’t going to reflect on just one of them (meaning him) or hurt their (meaning his) chances of being named Chief of the E.R. Later in the day, Jackie returned to the spot where she had hidden her pills and where the rat got hold of it and replaced the pills it had grown accustomed to with a much more powerful dosage. Not knowing the difference, he nibbled on the prescription again. He eventually met his demise when he plummeted through a hole in the ceiling and right down on to a salad wrap that Zoey was bringing towards her mouth.
"Have you ever stolen anything?" - Akalitis
Akalitis continued to mourn the upcoming loss of the hospital's religious statues. But since they hadn't been removed yet, she approached Jackie and told her to get Thor and requested that the two of them meet her in the chapel. When Jackie enlisted Thor's help in the endeavor, he told her he was upset with her because of the way she dismissed him by the elevators that morning. They got into a tiny disagreement about Jackie keeping her private life so private, but she eventually won him over by appeasing his theatrical side and dropping "Little Shop of Horrors" into a sentence. When they both entered the chapel, they found Akalitis waiting for them in front of one particular statue with a dollie by her side. Akalitis told them to strap this iconic woman down and wheel her into the pharmacy -- which she considered to be a safe place.
"Don't say anything. I just broke the law." - O'Hara
Jackie and O'Hara's favorite patient from last week, Lou, came back into the hospital because his hypertension caused him to fall, break his wrist and crack his tooth. Jackie asked him why he wasn't taking his medication and Lou replied that he lost his insurance and he hasn't been able to get another job. O'Hara quickly exited Lou's treatment room but returned with both a very generous and very illegal supply of one year's worth of hypertension medication. O'Hara told Lou to come back and see her in a year when he ran out. Jackie eventually discharged him, but was surprised to see him later in the day just sitting in the waiting room. She asked him why he was there when he was released from the hospital hours ago, and Lou said he felt like he was about to do something stupid so he came back. Jackie said she understood and took him up to the psychiatric floor. She bribed the receptionist into getting him a bed ahead of all the other people waiting by offering to give flu shots to her entire family.
“Your mother and I are getting a divorce.” – Cooper’s Mom
Cooper’s moms took him to have a nice brunch with them. He told them about how he thought his chances for being chosen as Chief of the E.R. were decent and while he was snapping pictures of his pancakes and knocking into everyone’s beverages, they told him they were getting divorced. Once Cooper’s moms broke the news to him, they found themselves at the Bethesda Fountain in Central Park trying to lure their son back to shore and out of the rowboat he had used to paddle into the middle of a pond.
“You are going to stand, give me a hug, slip it in my pocket and sit.” – Jackie’s drug counselor
On her break, Jackie went to the local diner to meet her “drug counselor” who supplies her with pills so she’ll hit her rock bottom faster. She brought $200 with her and hoped she could just give him the money and then take off with a new stash, but instead, the guy sat her down and presented her with what was supposed to be someone’s chip for achieving 30 days of sobriety. The guy explained he had planned to give it to her at a meeting, but she relapsed and died before he could and so he was now giving it to Jackie. Jackie looked confused because she wasn’t anywhere near 30 days of sobriety (nor did she want to be), but the guy told her to lift the false bottom – and inside it, she found pills.
Sarah Jessica Parker's sex-obsessed character Bradshaw is set to hit the big screen solo in a movie based on The Carrie Diaries, a book by Candace Bushnell, whose novel inspired the hit TV show.
Miley Cyrus has previously expressed an interest in the role, but Britain's Grazia magazine claimed earlier this week (begs07Feb11) that the Gossip Girl beauty was in talks for the part.
But Lively's rep has moved swiftly to deny the speculation, telling GossipCop.com, "There is no truth to it."
In her new book Reshaping It All, the actress reveals she began binging and purging after Full House ended its run in 1995, as she coped with the emotional stress of moving from the U.S. to Canada with new husband, hockey player Valeri Bure.
And the 34 year old is finally opening up about her eating disorder after reaching a healthy weight and developing a better relationship with food, which she credits to her husband and their three kids.
She tells People.com, "It's a very dangerous cycle that can just start to consume your life and really take over.
"It wasn't about me trying to lose weight. It was all about emotions."
Making an earnest cinematic argument for the immortality of the soul and the existence of an afterlife without delving into mushy sentimentality is a difficult task for even the most gifted and “serious” of filmmakers. Oscar-winning director Peter Jackson discovered as much last year when his sappy grandiose adaptation of the ethereal bestseller The Lovely Bones opened to scathing reviews. Critics by and large tend to bristle at movie renderings of what may or may not await them in that Great Arthouse in the Sky.
And yet filmmakers seem determined to keep trying. The latest to make the attempt is Clint Eastwood who throughout his celebrated directorial career has certainly demonstrated a firm grasp of the death part of the equation. His filmography with a few notable exceptions practically revels in it: of his recent oeuvre Invictus is the only work that doesn’t deal with mortality in some significant manner. With his new film Hereafter Eastwood hopes to add immortality to his thematic resume.
The film's narrative centers on three characters each of whom has intimate experience with death and loss. Their stories in true Eastwood fashion can ostensibly be labeled Sad Sadder and Saddest: Marie (Cecile de France) is a French TV news anchor who’s haunted by disturbing flashbacks after she loses consciousness — and briefly her life — during a natural disaster; George (Matt Damon looking credibly schlubby) is a former psychic whose skills as a medium are so potent (the slightest touch from another human being triggers an instant powerful psychic connection a la Rogue from X-Men) they’ve left him isolated and alone; Marcus is a London schoolboy who retreats into a somber shell after losing his twin brother in a tragic car accident (both brothers are played rather impressibly by real-life twins Frankie and George McLaren).
Humanity offers little help to these troubled souls surrounding them with skeptics charlatans users and deadbeats none of whom are particularly helpful with crises of an existential nature. Luckily there are otherworldly options. Peter Morgan's script assumes psychics out-of-body experiences and other such phenomena to be real and legitimate but in a non-denominational Coast-to-Coast AM kind of way. Unlike Jackson’s syrupy CGI-drenched glimpses of the afterlife Eastwood’s visions of the Other Side are vague and eery — dark fuzzy silhouettes of the departed set against a white background. Only Damon’s character George seems capable of drawing meaning from them which is why he’s constantly sought out by grief-stricken folks desperate to make contact with loved ones who’ve recently passed on. He’s John Edward only real (and not a douche).
Marie and Marcus appear destined to find him as well but only as the last stop on wearisome circuitous and often heartbreaking spiritual journeys that together with George’s hapless pursuit of a more temporal connection (psychic ability it turns out can be a wicked cock-blocker) consume the bulk of Hereafter’s running time. We know the three characters’ paths must inevitably intersect but Morgan’s script stubbornly forestalls this eventuality testing our patience for nearly two ponderous and maudlin hours and ultimately building up expectations for a climax Eastwood can’t deliver at least not without sacrificing any hope of credulity.
It should be noted that Hereafter features a handful of genuinely touching moments thanks in great part to the film's tremendous cast. And its finale is refreshingly upbeat. Unfortunately it also feels forced and terribly unsatisfying. Eastwood an established master of all things tragic and forlorn struggles mightily to mount a happy ending. (Which in my opinion is much more challenging than a sad or ambiguous one.) After prompting us to seriously ponder life’s ultimate question Eastwood’s final answer seems to be: Don’t worry about it.
Do you like hearing pretty people complain about their problems? Then boy, do we have a trailer for you. The Romantics, based on a novel by Galt Niederhoffer, tells the story of a group of young Yale graduates with a complicated romantic history who reunite for a wedding. Judging from the trailer, much soulful staring, indie rock, and passive-aggression ensues. The Romantics stars Katie Holmes, Anna Paquin, Josh Duhamel, Candace Bergen, and any other young WASP the casting director could get their hands on, and is due in theaters September 10th.
The 17-year-old Hannah Montana star recently announced plans to take a break from music to concentrate on her film career following the release of The Last Song earlier this year (10) - her first major movie role away from the Disney teen franchise.
Now she wants to showcase her acting talents by playing a younger version of Sarah Jessica Parker's sex-obsessed character Bradshaw in a movie based on The Carrie Diaries - the new book from Candace Bushnell, whose novel inspired the hit TV show.
Asked if rumours linking her to a Sex and the City prequel are true, Cyrus tells BBC radio host Fearne Cotton, "I have never heard that before but I would totally do it. It would be so cool."
"A lot of what we see are the (former child stars) who are in trouble. You forget about the ones who are having the boring lives, the good, solid, normal lives. But, to the public, if it's not a trainwreck, it's not interesting. You've got CANDACE CAMERON, SARAH MICHELLE GELLAR, JENNIFER LOVE HEWITT - this group of great girls who are talented and have longevity. They're living their lives and working." Actress MELISSSA JOAN HART insists not all child actors are doomed for a life of addiction and legal troubles.
As with any Tyler Perry movie in which he plays his alter-ego gun-totin’ grandma Madea there’s always the juxtaposition between the hilarity and the serious. Madea Goes to Jail is no exception. While Madea fights the law with every breath in her body -- and the law wins at least for a little while -- the more serious side of the movie sees the fast-track Assistant DA Joshua Hardaway (Derek Luke) come face-to-face with his past when his old college friend Candy (Keisha Knight Pulliam) now a drug-addicted prostitute shows up on his court docket. There’s some bad history there and Joshua wants to atone for his mistakes by trying to help Candy get straight. But it ain’t easy not with this girl. No worries Madea is on the case. When asked what happens to Perry when he puts on the wig he replies “She just comes. The minute I hear that zipper go up on the fat suit she comes.” It is truly an amazing transformation for the multi-hyphenate who created this character on stage. Perry’s skill at improvisation comes shining through not only when he’s playing Madea but also when he’s playing Uncle Joe Madea’s cantankerous older brother. You’re always wanting more of them but alas the meat of the movie revolves around Luke and Pulliam who both do an adequate job conveying their somewhat one-note characters. Viola Davis also makes an appearance as a reformed drug user-turned-minister -- an odd choice for the Oscar nominee but she certainly adds some weight. When Perry wears the multiple hats he must keep the behind-the-camera action as simple as possible. You can imagine him just whipping off the wig putting on a ball cap walking over to Davis and Luke to give them a few ideas and then start shooting. He also has an unwavering dedication to what he feels is the most important part to his movies: the messages about strong familial ties faith and redemption. But really for my money it's just worth it to see Perry as the side-splittingly hilarious Madea go toe-to-toe with Dr. Phil in a court-appointed anger management therapy session. Priceless.
It’s been four years since we last saw columnist Carrie Bradshaw (Sarah Jessica Parker) and her faithful best friends--Miranda (Cynthia Nixon) Charlotte (Kristin Davis) and Samantha (Kim Cattrall). The years have been kind to them: Charlotte is living her dream life with her loving husband Harry (Evan Handler) and adoptive 3-year-old Chinese daughter; Samantha has moved to L.A. to manage her boy toy Smith’s (Jason Lewis) acting career and give monogamy a chance; Miranda is a working mom in Brooklyn juggling her demanding career and her marriage to Steve (David Eigenberg); and finally Carrie now a bestselling author who has settled into domestic bliss with her beloved “man friend” John James Preston aka Mr. Big (Chris Noth). Domestic bliss? Carrie and Big? Is that possible? Well let’s just say the road to happiness still isn’t smooth for any of them (save maybe Charlotte) but the film’s outcome is a wholly satisfying experience. For our four lovely leading ladies reprising their Sexy alter egos must have been like riding a bicycle. Parker Nixon Davis and Cattrall defined their SATC roles so succinctly during the HBO show’s six-year run that watching them again feels as if they never stopped. Parker especially eases right back into Carrie mode albeit older and wiser. Gone are her earlier youthful hang ups about commitment replaced by a stronger more mature Carrie--who still has her quirky insecurities. And of course her fabulous one-liners still fly fast and furious (“I need to get out of this Mexi-coma” is a personal favorite). Oscar-winner Jennifer Hudson adds a fifth element to the proceedings as Carrie’s smart and sassy assistant who has firm belief in love. The men of SATC also fit right in again. Noth’s Big in particular continues to frustrate but ultimately becomes the man we all knew he could be. The road to a big-screen adaptation of Sex and the City was also not a smooth one. After the show ended in 2004 there were immediate talks about doing a movie version. But not everyone in the cast was ready to continue the gig--namely Kim Cattrall who decided she needed a break (and possibly more money). Still through the perseverance of producer Sarah Jessica Parker and writer/director Michael Patrick King SATC The Movie finally became a reality--and we are very thankful that it did. Many fans just couldn’t let go after the show’s series finale; they wanted more. And so the film gives back in spades bringing us back into these women’s lives for awhile longer--almost to a fault actually. The half-hour TV show was perfect but a SATC film at two hours and some change drags a little in the middle. There’s also the fact the film is certainly grander glossier in scale than the more grounded TV show. Nevertheless it’s just what the doctor ordered for those lovers of all things Sex and the City. Bring on the sequels!