Actor Chris Noth wasn't the only star forced to slim down for his role on Sex And The City - his onscreen love rival John Corbett was also asked to lose weight for the hit TV series. The Law & Order star recently revealed that he had been asked by show creator Michael Patrick King to shed a few extra pounds before reprising his character Mr. Big in the film adaptations of the programme, and now producer Amy B. Harris confesses Noth wasn't alone.
But it wasn't his leading lady Sarah Jessica Parker who was asked to watch her weight - it was her other love interest Aiden, played by Corbett.
Harris admits TV executives wanted Corbett's character to make a return to the TV version after his initial split from Parker's Carrie Bradshaw looking sexier than ever, so he had to embark on a strict diet plan.
She tells Eonline.com, "We told Corbett to lose weight between seasons three and four. When we talked about whether or not we wanted to see John come back, we basically said we want him to come back so hot that she cannot believe it. Like, he looks so much better after she left him. And we made him lose weight. And then we made Chris lose weight for the movie."
And Harris still finds it funny how the male stars were the only ones placed under pressure to watch their figures: "It's hilarious. The women were, like, perfection, and no one ever mentioned anything about their weight ever. It was just the two guys! I think the women were just predisposed to be lucky and didn't have to worry."
Sir Paul McCartney's new video for Queenie Eye has debuted online with features from an array of stars, who appear as ghosts in the studio as the former Beatle records the track at Abbey Road Studios in London. Johnny Depp appears seated at the feet of McCartney's piano, listening to the tune on his headphones, while his ex-girlfriend Kate Moss dances on the instrument as the room fills up with celebrities.
Meryl Streep, Jeremy Irons, Sean Penn, Gary Barlow, Chris Pine, Tracey Ullman and Jude Law all soak up the atmosphere in the fabled studio space, while British funnyman James Corden can't contain himself as he dances around.
Last week, E! News reported that Kate Moss and Johnny Depp were reuniting for Paul McCartney's newest music video "Queenie Eye." Though the couple (who dated from 1994-1998) never share a shot together, they do share the screen with a ton of other celebrities. Check out the video below and see if you can count the famous faces… it's next to impossible to get them all on the first try.
After a few viewings (and a few google searches), I counted 17 in total, though it's definitely possible there are more. Check below the video for all the celebs we spotted:
1. Depp2. Moss3. Meryl Streep4. Tom Ford5. Alice Eve6. Lily Cole7. Jude Law8. Sean Penn9. Chris Pine10. James Corden11. Jeremy Irons12. Gary Barlow13. Tamara Rojo14. Laura Bailey15. Tracey Ullman16. Sir Peter Blake17. Jack Savoretti
Phew, seriously, only Paul McCartney could pull this one off.
While McCartney has a history of using famous faces in his videos, such as Natalie Portman in "My Valentine," "Queenie Eye" goes to a whole new level in including celebrities from around the world. And while the the video is definitely impressive, it's special for reasons other than the wall–to–wall stars. Filmed in London's Abbey Road studios, the video is also where The Beatles' first single "Love Me Do" was recorded.
Though the star-studded grouping is already intriguing fans to watch, the song "Queenie Eye" will probably be a hit in its own right. The single, which is the first to be released from Paul McCartney's latest album New, has all the makings of becoming our favorite fall tune. And hey, there's no argument here, the 71-year-old has still got it.
Be sure the check out New which landed in stores Oct. 15, and listen for "Queenie Eye" on your favorite station, it won't take too long before it gets stuck in your head.
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Right now, it looks like another Law & Order vehicle may be on the rocks. It's Law & Order: SVU, the last of the venerable show and its spinoffs. The show's been on the air since 1999 and while the viewership numbers are still there for the most part...it's been on for nearly 15 years. Can it stay strong or is it on its last legs?
There's been a lot of turnover, with Chris Meloni first leaving and then B.D. Wong also left (but returned). Richard Belzer recently decided to leave as well. I'll definitely miss the wise-cracking Munch, though the door was left open for cameos. So it's left up to Mariska Hargitay and Ice-T, both originals, to hold down the fort as the regulars. It also seems like the two district attorney's just tag-team each other when it comes to their time on the show. I never got a good feel for that new cop, the one with the gambling problem, and there's only so far that Hargitay and Ice-T can carry the show.
When it comes to shows like this, even ones that remain somewhat fresh and topical by grabbing their plots from the headlines, there has to be an end. Unfortunately, this might be that times where the show is slouching towards the exit. It's not necessarily a bad thing - though I do wish it would be able to go out on its own terms. What would that be? Ice-T's character reveals that he's really the real Ice-T deep undercover and he wants to resurrect Body Count and do a real-life 'Cop Killer'? (If you don't get that reference, Google it - I think I just aged myself by even mentioning it.)
These shows have all weathered plenty of cast turnover, and with Dick Wolf's streak of producing shows with remarkable longevity, it's never a good idea to count these shows out until the last light goes off on the set and the doors are locked. I tell you...when it happens, I'm going to miss hearing the "In the criminal justice system..." intro. Then an era will have truly ended. Then we wait and see what Wolf brings us next.
Being a joiner is usually considered pretty square, but not when it comes to these groups. From high-minded cultural commentary to conspiracy theories to sexy pretend law enforcement — whatever your interests or skills, we've got a TV club you'll just be dying to get into.
The Office — Finer Things Club
Before it was broken up by the same office politics it was created to avoid, the Finer Things Club, founded by Pam, Toby, and Oscar, was the "most exclusive club" at Dunder Mifflin. "Naturally, it's where I need to be," says Andy. "The Party Planning Committee is my backup and Kevin's band is my safety."
The X-Files — The Lone Gunmen
Less a club and more of a secret office for conspiracy-obsessed tech nerds, The Lone Gunmen were still beyond cool because they got to hang out with glamorous FBI Agents Mulder and Scully.
Rob Dyrdek's Fantasy Factory
Spending your days cavorting around a giant warehouse turned adult amusement park with X-Games legends and too many celebrities to count? And it's REAL? Where's the membership application?
The Babysitters Club
It was every girl's dream to be a part of "Kristy's Great Idea." The Babysitters were a team of tween best friends who endured all their G-rated coming-of-age issues together, while simultaneously holding down what seemed to be full-time jobs caring for all the children of their entire town.
Parks and Recreation — The Pawnee Goddesses
The Pawnee goddesses get to camp, craft ("Look — I made a Gertrude stein!"), and talk female empowerment with Pawnee's most inspirational civil servant, Leslie Knope. Failing that, can we get in on Tom and Donna's annual "Treat Yo'self Day"?
The Simpsons — The Stonecutters
It's not all human sacrifices at these secret meetings of the most powerful men in Springfield. Sometimes there's a really catchy production number.
The BBC murder mystery Broadchurch just ended its run on BBC America, earning rave reviews for its depiction of the ripple effects of murder on a small town. It was a great show with some truly standout performances, especially from Doctor Who’s David Tennant as a tortured police detective and Olivia Colman as his competent and put-upon partner.
Now FOX is taking Broadchurch and bringing it to America, again, with a remake also starring David Tennant. And the burning question is: why?
Broadchurch was (and maybe still will be, since it was renewed for a second season in the UK) a great show. It took a hard look at the repercussions of a young boy’s murder on the small town in which he lived, spending time with his family as well as with the media, police, and handful of sketchy suspects.
What Broadchurch is not, however, is remarkably original. Looking at the above description of the show a host of other “murder in a small town” movies and TV shows come to mind. The weird Twin Peaks, for example. Or the moody but imperfect AMC drama The Killing.
What made Broadchurch work was the economy of the storytelling and the deeply felt performances by the main cast. Remade for American audiences and probably expanded to more than the original run’s eight episodes, I can’t imagine Broadchurch will seem like anything remarkable to those who aren’t familiar with the UK original.
“Oh, another season-long murder mystery in a small town? Great.” You can already hear audiences hitting the snooze button. What made Broadchurch a great show didn’t lie in its premise, but in its execution.
The American remakes of British originals that work, however, usually work because the American version can spin something new and interesting from a unique premise. Like a documentary about a paper company (The Office) or a vampire, ghost, and werewolf living together (Being Human).
The first season of Broadchurch was a perfectly paced, self-contained story with a far from unique premise. Replanting the story to America and giving it more episodes to fill isn’t likely to make the show any better. For every successful American remake, there are at least five British to American disasters. Let’s hope Broadchurch isn’t one of those disaster adaptations, but even if the FOX version turns out to be good, it certainly doesn’t feel like a remake that needed to happen.
What do you think? Are you excited about the American remake of Broadchurch or scratching your head about why FOX is remaking it at all? Share in the comments!
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A certain doctor will be popping up on American television sets in a familiar role. David Tennant, who played a tortured British detective in Broadchruch, will now play a tortured American detective in Fox's remake of the show. Because foreign accents are different and scary, Tennant will leave his British accent behind, and adopt an American one for the new series that hopes to premiere on Fox in the 2014-2015 television season.
The original Broadchurch follows the lives of Alec Hardy (Tennant) and Ellie Miller (Olivia Colman), two detectives investigating the death of a young boy in small town Britain. The first season of the ITV series just wrapped up its first season on BBC America.
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Chris Brown is convinced the public should overlook his legal problems and support his music career in the same way Jay Z's supporters accept the rapper's troubled past. The singer has struggled to regain his popularity after he was convicted of a brutally beating his ex-girlfriend Rihanna in 2009, and Brown feels he has been unfairly treated as so many other stars are able to carve out careers despite having previously broken the law.
The Kiss Kiss star cites Jay Z as an example, insisting the hip-hop star's fans don't judge him for his drug-dealing past, or his conviction for stabbing a music producer in 1999.
Brown tells Jet magazine, "Jay Z... is accepted by White America because he shakes hands and kisses babies. No disrespect, because I'm a fan, but nobody brings up the fact that he stabbed somebody and sold drugs. He gets a pass... Instead of being an artist, I've been called a woman beater; I've been insulted in public and judged."
The star also insists he is working through his anger issues to become a better person, adding, "You have to go through the struggle before you can get to the good part. I don't try to lash out at people, or be as mad or impulsive as I used to be."
Irish actress Niamh Cusack has become an ambassador for a U.K. autism charity after learning about the disorder during her recent run in the West End. The star, who is Hollywood hunk Max Irons' aunt, recently appeared in the acclaimed production of The Curious Incident of the Dog in the Night-Time, which features an autistic lead character.
To research her role as Siobhan, the character's mentor, she visited the young patrons of Ambitious about Autism, and was so moved by her experiences she signed up as a spokesperson for the organisation.
She says, "I’ve had a wonderful time playing Siobhan in The Curious Incident of the Dog in the Night-Time for the last year. One thing I’ve particularly enjoyed is meeting so many different young people with autism through Ambitious about Autism, including its Youth Patrons.
"Hearing about their experiences has been so inspiring, they have offered me a window into some of the ways people with autism see the world, and deal with it. They are unique and extraordinary people with unique and extraordinary families. This is why I’m delighted to become an Ambassador for Ambitious about Autism. I look forward to continuing to support the vital work the charity does by raising awareness of autism."
In July (13), Cusack helped raise $150,000 (£100,000) for autism charities by appearing in a fundraising gala performance of The Curious Incident of the Dog in the Night-Time alongside Jude Law, Dame Helen Mirren, Matt Smith and Chris Martin.
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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