And the Comic-Con news just keeps on coming!
Vampires, werewolves, geeks, serial killers, secret agents and more are set to dazzle fans at the 2013 Comic-Con in San Diego. Warner Bros. has just unveiled their lineup, and it's looking like 17 of their fan-favorite series will be in attendance. Take a look at the full lineup below to find out when stars from The Vampire Diaries, Arrow, The Big Bang Theory, and more will be taking the stage.
Wendesday, July 17:– Pilot screenings of Almost Human, The Tomorrow People, and The 100, as well as a special presentation of The Originals featuring never-before-seen footage.
Thursday, July 18:- MAD: Producers Kevin Shinick and Mark Marek.
Friday, July 19:- Almost Human: Stars Karl Urban, Michael Ealy, and executive producer J.H. Wyman. - The Big Bang Theory: Executive producers Steven Molaro and Bill Prady and the writers- Childrens Hospital: Creator/star Rob Corddry and executive producers David Wain and Jonathan Stern join cast members Lake Bell, Erinn Hayes, Ken Marino and Rob Huebel. - The Following: Kevin Bacon, Shawn Ashmore, and Valorie Curry join executive producers Kevin Williamson and Marcos Siega. - Nikita: Maggie Q, Shane West, Lyndsy Fonseca, Aaron Stanford, Melinda Clarke, Devon Sawa, and Noah Bean join executive producer Craig Silverstein. - The 100: Series stars Eliza Taylor, Thomas McDonell, Marie Avgeropoulos, and Henry Ian Cusick join executive producers Matthew Miller and Jason Rothenberg. - The Paranormal and Extraterrestrial Squad: Producers Milo Ventimiglia and Russ Cundiff and creators/stars John Dale and Michael Hobert.
Saturday, July 20:- Arrow: Stephen Amell, Katie Cassidy, David Ramsey, Emily Bett Rickards and Colton Haynes joining executive producers Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg. - The Originals: Joseph Morgan, Claire Holt, Phoebe Tonkin, and Charles Michael Davis join executive producer Julie Plec. - Person of Interest: Executive producers Jonathan Nolan and Greg Plageman join members of the cast for their third visit to Comic-Con. - Revolution: Series stars and creator/executive producer Eric Kripke. - The Tomorrow People: Series stars Robbie Amell, Mark Pellegrino, and Peyton List with executive producers Greg Berlanti, Phil Klemmer and Danny Cannon. - The Vampire Diaries: Nina Dobrev, Paul Wesley, Ian Somerhalder, Kat Graham and Candice Accola join executive producers Julie Plec and Caroline Dries.
Sunday, July 21:- Supernatural: Jared Padalecki, Jensen Ackles, Misha Collins, and Mark A. Sheppard with executive producers Jeremy Carver and Robert Singer. - Beware the Batman: Producers Glen Murakami and Mitch Watson. - Teen Titans Go!: Producer Aaron Horvath joins members of the voice cast, including Greg Cipes and Scott Menville.
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Every week, Hollywood gives us something to whine about, and the week of May 6 was no different. We could make a drinking game out of this week, but that would be too dangerous. Instead, we'll stick to the usual formula: varying levels of alcoholic respite depending on how bothersome the week's issues are. Is your biggest complaint this week a flimsy one? How about a light cocktail to take the edge off? Got a real bone to pick with a celeb or entertainment entity this week? Go ahead, grab a drink that'll put hair on your chest. Here are the week's entertainment stories that are forcing us to seek a bubbly or boozy refuge. And maybe an idea or two about how you should wash them down.
Lighten Up With a Mint Julep
Randy Jackson is leaving American Idol, further cementing the show's descent into pop culture past.
We actually love Anne Hathaway's loud blonde 'do. She stepped out with her new locks at the Met Gala on Monday.
We're jealous we didn't come up with this Ryan Gosling Meme. But we're pretty proud of finding it.
Manti Te'o's fake girlfriend is hotter than we are, at least according to the Maxim Hot 100.
We have mixed feelings about the public's reaction to Charles Ramsey. Especially this auto-tune of his heroic interview:
Wash This Week Down With a Gin Gimlet
Amanda Bynes is following in Lindsey Lohan's footsteps again. This time, by getting out of her deserved punishments.
The Great Gatsby movie is missing some very important scenes from the book. And it would have been so much better if it wasn't.
Twitter doesn't seem to think much of Elisha Cuthbert. They deemed her expression at her boyfriend's hockey game a b***h face. We beg to differ.
The sexiest vampire couple ever, Nina Dobrev and Ian Somerhalder of The Vampire Diaries (sorry, Robsten) has broken up. Perhaps Somerhalder has moved on to his true love: Grumpy cat.
Hit the Harder Stuff With a Bourbon Highball
Abercrombie & Fitch doesn't want fat customers. Or says the CEO, in a recently revealed (and reviled) statement.
Charlie Brown goes to rehab. Or, the voice actor who played Charlie Brown goes to rehab, but it still hurts, right in the childhood memories.
We lost too many wonderful Hollywood faces this week, like Bryan Forbes, Jeanne Cooper, Ottavio Missoni, and of course, film legend Ray Harryhausen.
Follow Kelsea on Twitter @KelseaStahler
From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
The first time we meet José (Eduardo Verástegui) the up-and-coming soccer star is boasting to a bunch of kids about the big-time contract he's just signed. The next thing you know he's slaving away as the chef at his ungrateful brother's upscale restaurant. How did he go from riches to rags so quickly? Bella takes its sweet time fully revealing the circumstances leading up to José's fall from grace though you can pretty much deduce for yourself what he did just by the way his eyes tear up whenever he gazes at a child playing on the street. For some unfathomable reason José abandons his post to comfort Nina (Tammy Blanchard) a waitress who's just been fired for her tardy ways. Turns out Nina's pregnant and has her mind set on having an abortion. Rather than butt out of Nina's business and go back to work José takes it upon himself to gently persuade Nina to have the baby. Clearly José's seeking a little redemption for his own past transgressions and what better way to achieve this than by making Nina see the error of her ways. Nina's willing to play along especially when José lands her a new job without any effort. Thus begins Bella's leisurely-though quite uneventful-stroll around New York City. The decision Nina makes won't come as a surprise but Bella's epilogue will likely leave you shaking your head in disbelief. It's pretty clear why the distraught Nina would happily spend the day hanging out with a handsome co-worker she barely knows. The soft-spoken Eduardo Verástegui—the Mexican model pop singer and actor who starred as the three-timing himbo in Chasing Papi—exudes an easy charm that would make any woman feel safe and comfortable in his presence. José obviously has an agenda—one born of guilt not religious zealotry—but Verástegui's casual demeanor ensures that the chef never comes across as pushy anxious or judgmental. But every now and then Verástegui allows us a glimpse at the terrible pain and suffering that's reduced José to a shadow of the man he once was. Tammy Blanchard who develops a nice rapport with Verástegui brings a necessary sense of fear and confusion to the role of Nina. That said Blanchard also makes Nina seem particularly strong willed so you never really think that José's soft sell would be enough to make this unemployed waitress change her mind about being a single mother or putting her child up for adoption. As José's unsympathetic brother Manny Perez does his best impression of Gordon Ramsey on a bad day. Perez never quite gets the comeuppance he deserves though he does share a nice moment with Verástegui at the end of Bella that shows that some brotherly bonds are hard to break. Oh and supermodel Ali Landry puts in an appearance during a couple of Bella's many flashbacks for no other reason than she's married to the director. José is a man on a mission. But is director Alejandro Gomez Monteverde? Bella does not appear to be a film overtly driven by faith and the politics of abortion do not serve as a motivating factor for José's decision to persuade Nina to keep her baby. So it is unclear whether Monteverde's using Bella to subtly advance an anti-abortion agenda or to implore women to think long and hard before making their decision to terminate their pregnancy. Either way it's not hard to imagine activists on either side of the abortion issue co-opting Bella for their own purposes. After all it’s Nina who makes the choice admittedly with a bit of prodding from José. Unfortunately Bellas biggest problem is that you never truly feel that José's accomplished what he set out to do even though the outcome is never in doubt so the big reveal at the end doesn't ring true. In other words Bella's just too sunny to end on a pessimistic note. Perhaps Monteverde intended to leave the door open for a sequel one that has romance on its mind. But Monteverde leaves too many gaps left unfilled for us to accept that this is the decision Nina would make no matter how much she is touched by the kindness of a relative stranger.
Los Angeles couple Brad (Rory Cochrane) and Lexi (Mary McCormack) start off their day like any other bickering somewhat making coffee for each other. As his wife goes off to her high-paying job out-of-work Brad hears a radio report that says four dirty bombs have gone off around the city. They suggest people tape up their windows and doors as a cloud of gas is circling the city. Brad first gets in his car and tries to find his wife but is turned back by the panicked authorities. So Brad closes off his house along with his unwanted neighbor handyman Alvaro (Tony Perez). Radio reports tell people to keep themselves quarantined and that help will arrive. But when Lexi arrives home coughing and wheezing and insisting she be allowed into her house Brad says "no." Cochrane and McCormack play people we can easily identify with the scared public who have to deal with a horrific nightmare which could become a reality someday. Their disbelief over the reports and their increasing desperation are all very palpable—and oddly enough there's plenty of humor along the way. The frantic voices of family members calling from outside the city get more annoying than soothing and Brad appropriately complains "What do they want us to say?" Cochrane’s Brad transforms from a caring and helpful Everyman to a selfish fearful creep while McCormack’s Lexi changes from a professional and aloof snob to a sympathetic frightened victim. The two are fascinating to watch. With Right at Your Door writer/director Chris Gorak basically asks the question "What would you do?" Previously a production designer and art director for movies like Minority Report Fight Club and Lords of Dogtown Gorak doesn’t use fancy special effects to show any major devastation in the city when the bombs blow up. In fact there's only a big cloud that looks a bit more like an overly-smoggy day. There's also white ash covering everything which is rather ominous because official reports aren’t sure what it is or how toxic it is. Instead Gorak preys on your imagination giving only scant details about jammed freeways and hospitals. The not knowing is so much more frightening.
Tragedy strikes the Marshall University community when a plane crash claims the lives of most of the football team coaches and some fans. With the whole town traumatized university president Donald Dedmond (David Strathairn) thinks it's best to cancel the football program but remaining players led by Nate Ruffin (Anthony Mackie) rally the school to support continuing the team's honor. Of course nobody wants to coach in these circumstances--that is until rogue bad boy Jake Lengyel (Matthew McConaughey) asks for the job. Along with surviving assistant coach Red Dawson (Matthew Fox) they build the team back up. Just putting the team back together raises the town's spirits but getting back the winning record is another story. This could have easily been a sappy tearjerker but it sticks to the high road for the most part. There are some sad scenes (i.e. the cheerleader [Kate Mara] returning the engagement ring her dead boyfriend gave her to his mourning daddy) but otherwise the focus is on moving ahead. Just about every actor gets at least one big moment to cry. That's a given in a story of this nature and some of them are better than others. Mackie's stoic attempt to take punches in an injured shoulder is full of passion but Fox's random breakdown is well just like a flashback from Lost. He is better on the field showing us a side to his personality we haven’t seen yet. Strathairn seems the most sympathetic as the pained authority figure making tough decisions. Mara (Brokeback Mountain) looks so innocent you just want to hold her hand and stroke her hair every time she wells up. Aside from that there's also a lot of personality in the film. McConaughey leads the team with a gleam in his eye and a smirk on his lips but it never comes across as insensitive. He’s hip so of course he's the one who can lead them out of tragedy. And as an ensemble film the cast comes together as a community in which a single tragedy can affect them all and a single victory can give them hope. McG totally restrains his bombastic Charlie's Angels style of filmmaking for this character piece. Just about the only noticeably fancy shot is a dissolve from Mara looking up at the plane to her boyfriend staring out the airplane window. It's a moving moment because we know what is coming and it does not call too much attention to the filmmaking process. McG knows how to do some great montages too. Recruiting the new players running the drills--they're all full of visual moments set to a rocking soundtrack. Most importantly he handles the tragedy with class and doesn’t deliberately try to jerk tears. The plane crashes with only a single jump and a fade to black but the wreckage burns through our hearts. Instead McG shows there's a way to honor the dead to take back a community's pride and let life go on without disrespecting any of the departed. The football games in We Are Marshall are filmed with visceral impacts pretty much the way most sports movies are. There's no Friday Night Lights grit but that's fine. These games are about telling a story not exposing the seedy underbelly of the sport.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.