While we have been without our Floridian, ostensibly jobless friends since before the summer months, we can now thank TBS and a pair of new showrunners for reuniting us with the beloved militia of Cougar Town characters. Some might be wary of testing the waters of a non Bill Lawrence-led Cougar Town. Others might be deterred by the new cable station and 10 PM air time. Others still have never seen Cougar Town, and still think it's a show about Courteney Cox hitting on young dudes. But we know better than any of these fools. And we're ready to launch full swing into Season 4 of what has become one of the most strangely addictive comedies on television. But just in chase you're a bit rusty on your Cougar Town knowledge, here's a quick catchup to prepare you for Tuesday night's premiere...
Where We Left Off: The jarringly heartfelt Season 3 finale saw Jules marry neighbor nemesis fremesis friend boyfriend boyfremesis fiancé now husband Grayson on the beach (against Cougar Town's stringent "no beach weddings" law), with her father ordaining the ceremony, her son snapping photos, and all of her loved ones (and Tom) present for the occasion before the married couple rode off into the sunset (on a horse!) just in time to evade law enforcement. Additionally, Travis had presented his earnest feelings for Laurie in an emotional explosion fueled by wine and failing any conceivable dress code, apparently sparking some inkling of interest in Laurie despite her decision to stay with her boyfriend Wade. Ellie's still mean, Andy's still hapless, and Bobby's still vaguely brain damaged.
Best Moment of Season 3: For Scrubs fans, Cougar Town's meta acknowledgement of the extensive casting similarities between the two Bill Lawrence shows (star Christa Miller, supporting player Bob Clendenin, recurring player Ken Jenkins, and guest stars Sarah Chalke and Sam Lloyd... Zach Braff and Rob Maschio even made appearances to strengthen the joke). For Community fans, the 11th episode title card gag that read, "'I didn't know it was back on either' - Abed." For non-Scrubs/non-Community fans... well, those people don't actually watch this show, either.
Most Improved Character: All of the characters have grown substantially since the lackluster early days of the show, but the title goes to Bobby Cobb, who has evolved from a one-note dirt bag to a genuinely tragic, albeit hysterical character.
Least Improved Character: Dog Travis. We've seen almost no development with this guy.
Biggest Changes We'll See This Season: Aside from Jules' marriage and a potential relationship for Travis and Laurie subtly teased, the show has shifted networks from ABC to the cable channel TBS, and to the late hour of 10 PM. This means: more cursing! More sex jokes! More explicit alcohol abuse! Ellie can be meaner, Laurie can be more vivid in her description of her romantic escapades, and Bobby can be more inadvertently culturally insensitive. It's your call on whether these are good things or not.
5 Reasons You Should Keep Watching: To see what the show's new home, as well as its new showrunners, will bring to the flavor of Cougar Town; to win some more great Scrubs cameos (we're still waiting on you, Janitor!); to revel in the notion that someday, you can spend every single afternoon of your life relaxing in the paradise of your beachfront Florida home with your friends and family, getting drunk and shirking all conceivable responsibility; simply, to experience more Penny Canning, wine-indulging, and pop culture movie references; and of course, to see if Travis and Laurie do indeed end up together.
What We Ultimately Want to See: Cougar Town eventually turns out to be an extended Twilight Zone hypothetical, examining a human race devoid of any real drive or established code of morals or ethics.
What We'll Settle for, Since That's Absurd: More lighthearted alcoholism.
[Photo Credit: Justin Lubin/TBS]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
It's hardly out of the norm for Bill Lawrence to stick his old friends in his new shows. Back when Scrubs was still a welcome fixture in our weekly routine, actors from Lawrence's previous show, Spin City, would pop up fairly regularly. And in a very circle-of-lifey vein, we're about to see a handful of Scrubs cameos on Lawrence's Cougar Town. Specifically, Zach Braff, and Robert Maschio, who played The Todd. It was announced last month that Sarah Chalke would also be appearing on the show in a multi-episode arc as Bobby's (Brian Van Holt) girlfriend and Travis' (Dan Byrd) college professor.
We've already seen a couple of old friends from Sacred Heart Hospital make their way down to the shores of CT. Christa Miller is the most obvious example of this (she plays Ellie Torres on Cougar Town and played Jordan Sullivan on Scrubs). Ken Jenkins, who reigned surpreme as the tyrannical Dr. Kelso on Scrubs, has made a couple of appearances as Jules' (star Courteney Cox) father, Chick. Plus, Scott Foley -- a frequent Scrubs recurrer as Elliot's (Chalke) handsome but socially awkward seal-training boyfriend Sean -- enjoyed an arc back in Season 1 as Jules' love interest. As a matter of fact, Cox herself falls into this category, as she had a brief stint on Scrubs' eighth season as the temporary Chief of Medicine at Sacred Heart. But the Scrubsiest moment of the series occured when Sam Lloyd made a guest appearance on the show's Season 2 finale (an episode full of interesting guest appearances), playing his Scrubs character, the perpetually-defeated lawyer/musician, Ted Buckland. Both Jenkins and Lloyd are set to reprise their characters this coming season.
And now, Braff and Maschio will find themselves involved in some wine-addled Penny Canning. No word yet on what characters the former docs will play, but some of the more dedicated fans might consider Braff playing anyone other than himself to be a rift in the space-time continuum, thanks to Laurie's (Busy Philipps) Zach Braff iPhone app.
The best thing about this is the possibility of a total Scrubs reunion episode: as Chalke's role on the show will span several episodes, we might get to see her interract with newcomers Braff and Maschio, and returning players Jenkins and Lloyd. Is it too much to hope for that they'll all find themselves in the same scene? Possibly with Miller, and Jules' creepy neighbor Tom, whose portrayer Bob Clenendin had a small recurring role as the sexual deviant oncologist Paul Zeltzer on Scrubs?
This is quite an exciting development for Scrubs fans. It's enough to make you jump on your best friend's shoulders and shout "Eagle!"
The British Academy of Film and Television Arts has released its list of nominees for the annual BAFTA Awards, also known as the British Oscars or the only big awards show with a category just for British only. Surprise, surprise, the Brits have come out on top; the historical drama, The King’s Speech swept the noms with 14 in total. Close behind is Darren Aronofsky’s surprising thriller, Black Swan with 12 total nominations. The British Film category that comes in addition to the BAFTA’s “Best Film” category gives a second chance to 127 Hours, which doesn’t make the top five in the overall category but has the chance to take the top Brits-only honor. Also of note, 14 year old Hailee Steinfeld, who’s blowing audiences away in December’s True Grit, merits the grownup honor of a nomination for best lead actress for her role in the film (mini fist pump!).
While the awards will be broadcast exclusively on BBC One, sorry America, it’s still worth knowing which films made the cut.
And the nominees are:
• Black Swan - Mike Medavoy, Brian Oliver, Scott Franklin
• Inception - Emma Thomas, Christopher Nolan
• The King’s Speech - Iain Canning, Emile Sherman, Gareth Unwin
• The Social Network - Scott Rudin, Dana Brunetti, Michael De Luca, Céan Chaffin
• True Grit - Scott Rudin, Ethan Coen, Joel Coen
Outstanding British Film
• 127 Hours - Danny Boyle, Simon Beaufoy, Christian Colson, John Smithson
• Another Year - Mike Leigh, Georgina Lowe
• Four Lions - Chris Morris, Jesse Armstrong, Sam Bain, Mark Herbert, Derrin Schlesinger
• The King’s Speech - Tom Hooper, David Seidler, Iain Canning, Emile Sherman, Gareth Unwin
• Made in Dagenham - Nigel Cole, William Ivory, Elizabeth Karlsen, Stephen Woolley
Outstanding Debut by a British Writer, Director or Producer
• The Arbor - Director, Producer - Clio Barnard, Tracy O’Riordan
• Exit Through The Gift Shop - Director, Producer – Banksy, Jaimie D’Cruz
• Four Lions - Director/Writer - Chris Morris
• Monsters - Director/Writer – Gareth Edwards
• Skeletons - Director/Writer – Nick Whitfield
• 127 Hours - Danny Boyle
• Black Swan - Darren Aronofsky
• Inception - Christopher Nolan
• The King’s Speech - Tom Hooper
• The Social Network - David Fincher
• Black Swan - Mark Heyman, Andrés Heinz, John McLaughlin
• The Fighter - Scott Silver, Paul Tamasy, Eric Johnson
• Inception - Christopher Nolan
• The Kids Are All Right - Lisa Cholodenko, Stuart Blumberg
• The King’s Speech - David Seidler
• 127 Hours - Danny Boyle, Simon Beaufoy
• The Girl With The Dragon Tattoo - Rasmus Heisterberg, Nikolaj Arcel
• The Social Network - Aaron Sorkin
• Toy Story 3 - Michael Arndt
• True Grit - Joel Coen, Ethan Coen
Film Not In the English Language
• Biutiful - Alejandro González Iñárritu, Jon Kilik, Fernando Bovaira
• The Girl With The Dragon Tattoo - Søren Stærmose, Niels Arden Oplev
• I Am Love - Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Massimiliano Violante
• Of Gods And Men - Xavier Beauvois
• The Secrets In Their Eyes - Mariela Besuievsky, Juan José Campanella
• Despicable Me - Chris Renaud, Pierre Coffin
• How To Train Your Dragon - Chris Sanders, Dean DeBlois
• Toy Story 3 - Lee Unkrich
• Javier Bardem – Biutiful
• Jeff Bridges - True Grit
• Jesse Eisenberg - The Social Network
• Colin Firth - The King’s Speech
• James Franco - 127 Hours
• Annette Benning - The Kids Are All Right
• Julianne Moore - The Kids Are All Right
• Natalie Portman - Black Swan
• Noomi Rapace - The Girl with the Dragon Tattoo
• Hailee Steinfeld - True Grit
• Christian Bale - The Fighter
• Andrew Garfield - The Social Network
• Pete Postlethwaite - The Town
• Mark Ruffalo - The Kids Are All Right
• Geoffrey Rush - The King’s Speech
• Amy Adams - The Fighter
• Helena Bonham Carter - The King’s Speech
• Barbara Hershey - Black Swan
• Lesley Manville - Another Year
• Miranda Richardson - Made in Dagenham
• 127 Hours - AR Rahman
• Alice In Wonderland - Danny Elfman
• How to Train Your Dragon - John Powell
• Inception - Hans Zimmer
• The King’s Speech - Alexandre Desplat
• 127 Hours - Anthony Dod Mantle, Enrique Chediak
• Black Swan - Matthew Libatique
• Inception - Wally Pfister
• The King’s Speech - Danny Cohen
• True Grit - Roger Deakins
For the full list of nominees, visit the BAFTA site, here.
I've been getting pretty excited about Matthew Vaughn's upcoming X-Men: First Class prequel all summer, which is why it's so distressing to hear how 20th Century Fox appears to be manhandling the movie's production of late, forcing last-second recasting and rushing the pre-production process.
After a string of box office disappointments - Knight and Day, The A-Team, Marmaduke - Fox realized they couldn't afford to fail yet again. Studio exec Tom Rothman reportedly became "adamant" that the 28-year-old Benjamin Walker, who was originally cast as Beast (a choice we thoroughly approved of) be dropped from the project, in order to search out a younger, sexier actor. In other words, Rothman wanted to give X-Men the Twilight treatment.
It's not a confusing decision: the studio cares first and foremost about their bottom line, and if they think they can squeeze more money out of the X-Men franchise by hiring the next Taylor Lautner, that's exactly what they'll do. In fact, there have been rumors that Fox is currently looking at Lautner's schedule before offering him the role, though the Twilight phenom's shooting schedule for Abduction will likely preclude his involvement. Still, it's a damn shame that Rothman and Fox feel they have to meddle with the creative process of First Class in order to manufacture a hit; isn't that precisely the kind of attitude that has undermined so many films of late?
Meanwhile, Fox execs screen-tested a number of actors after canning Walker, only to shrug their shoulders and offer him the role right back! Unfortunately, it's too late: Walker has now declined the re-offer and will reprise his starring gig in the off-Broadway hit musical "Bloody Bloody Andrew Jackson", which is coming to Broadway. So assuming Lautner can't change up his schedule, that means the Beast casting is back to square one. Thanks for nothing, Fox.
Source: ScreenRant, Showbiz411
See-Saw Films and Bedlam Productions have begun principal photography on The King's Speech, starring Colin Firth, Geoffrey Rush, Helena Bonham Carter, Jennifer Ehle, and Guy Pearce.
Tom Hooper is directing from a screenplay by David Seidler. Hooper directed the HBO mini John Adams and the recent feature The Damned United.
The film is based on the true story of King George VI and his friendship with maverick speech therapist Lionel Logue. As the second son of George V, Prince Albert was not expected to ascend to the throne, but when his brother Edward chose to abdicate to marry Wallis Simpson, Albert was his successor and in 1936 was crowned King George VI. The reluctant king, who was plagued with a nervous stammer, engaged Logue, an irreverent Australian, who helped him find a voice with which to lead the nation.
See-Saw's Iain Canning and Emile Sherman and Bedlam's Gareth Unwin are producing. The film is shooting for seven weeks in various locations around England.
The Weinstein Company and the UK Film Council present the film in association with Momentum Pictures, Aegis Film Fund and Molinare London. TWC and Film Nation have international sales.