As America's Next Top Model's 21st cycle unfolds, we've decided to take a look at previous seasons to see how often Tyra and her ever-changing panel of judges choose the right model. As anyone who has watched the show throughout the years (and the marathons every time they're on TV) knows, the model you spend all season rooting for rarely wins, no matter how much she deserves to.
Who Won: Adrianne Curry
Should Have Won: Adrianne Curry
If only Tyra's first season were a sign of things to come. She picked it right. Adrianne had that special blend of being cool, a good model, and reality TV perfection (which is essential for a first season). She went on to become a "star" on Vh1's CelebReality, and we continued to grow up watching the ups and downs of her relationship with a Brady. That sort of contribution to our adolescence is invaluable.
Who Won: Yoanna House
Should Have Won: Mercedes Scelba-Shorte
Mercedes was perfect! She was such a great model, she had the cutest personality, and she was owning the competition while suffering with Lupus. Her final photo and her Billie Holiday photo are some of our favorite in ANTM history.
Who Won: Eva Pigford
Should Have Won: Toccara Jones, Yaya DaCosta
Eva was okay, but we loved Toccara. She left too soon, and we began to root for Eva. Looking back on this cycle now though, it's hard not to feel like Yaya is sort of like ANTM's Jennifer Hudson -- she lost, but has the best career possibly out of any of the girls.
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Who Won: Naima Mora
Should Have Won: Kahlen Rondot
This is a no brainer. Kahlen was perfect. Naima was a good model, okay, sure. But she was quiet and enigmatic. Kahlen was shy, but adorable and relatable. And, if we're being frank, a far superior model.
Who Won: Nicole Linklater
Should Have Won: Bre Scullark (or Nik Pace)
We loved Bre. We still love Bre. She will always be one of our favorites. We rooted for Nik after Bre was eliminated, but Tyra didn't seem to care and picked the annoying and whiny Nicole.
Who Won: Danielle (Dani) Evans
Should Have Won: Joanie Dodds
This makes us uncomfortable to say, because we really like both girls here. This was one of the rare instances where we would have been happy regardless of who won. For some reason, we always remember this as the cycle that Joanie won though. Clearly she left the stronger impression (although we'll never forget Dani's photo on top of the elephant, while she was sick).
Who Won: CariDee English
Should Have Won: CariDee English
We felt really bad when Melrose lost because she was consistently good. She tried so hard to be perfect. Sure, she wasn't the most likable, but she was undeniably a good model. But CariDee had the whole package. She was likable and could model. We would have been happy if one of the twins won too though (just saying...).
Who Won: Jaslene Gonzalez
Should Have Won: Renee Alway
We were rooting for Renee from the very beginning. When she came in third place, we obviously started supporting Jaslene just to prevent the bizarre Natasha from winning. Deep down though, we still feel wronged by Renee's elimination.
Who Won: Saleisha Stowers
Should Have Won: Jenah Doucette
We never liked Saleisha. She kind of looked like Rihanna if Rihanna were on Disney. We were never into it. Chantal similarly had sanitized feel to her. Jenah shined as the only normal, likable girl in the cycle. She was a great model too!
Who Won: Whitney Thompson
Should Have Won: Anya Kop
This is one that outrages us still. Whitney was unlikable and even the judges thought so for most of the season. She just happened to get farther than any other plus-sized model, so they let her win. Everybody knows that Anya ran that cycle as if she were already a professional. Her photo shoot with Nigel? Her Sprite campaign? And don't even get us started on the injustice of eliminating Tiffani Thiessen-lookalike Katarzyna. How did they pick Whitney?
Who Won: McKey Sullivan
Should Have Won: McKey Sullivan
Girl was flawless. She was tall, stunning, poised, and had a lovely personality. Honorable mention to Analeigh Tipton though for doing her thing and having a great career.
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Who Won: Teyona Anderson
Should Have Won: Allison Harvard
Allison. Our favorite contestant in the history of ANTM. This one hurts. We're not quite ready to talk about it.
Who Won: Nicole Fox
Should Have Won: Nicole Fox
We loved Nicole and we loved runner-up Laura Kirkpatrick. Tyra didn't have the chance to mess this cycle up.
Who Won: Krista White
Should Have Won: Raina Hein
Raina has been working more than anyone else from this cycle -- we've been seeing her pop up on commercials, and a working model is a successful one. Overall, we didn't really like this cycle.
Who Won: Ann Ward
Should Have Won: Kayla Ferrel
First of all, Ann's runway walk was not good. Chelsey and Jane were both good models, but there was something about Kayla that we were consistently drawn to. She somehow looked like a classic beauty, yet edgy and modern. She was fieeeeerce.
Who Won: Brittani Kline
Should Have Won: Hannah Jones
Were we the only ones who didn't hate Alexandria? We would have been happy if she won, but instead we were left with Brittani. She was a fine model, but on a personal level, we just stopped liking her after that meltdown in panel. Hannah also reminded us a lot of Analeigh from cycle 12, so we had a soft spot for her.
Who Won: Lisa D'Amato
Should Have Won: Allison Harvard
TWICE? REALLY? Allison, who broke our hearts when she was runner-up in cycle 12, admits that it sucks to be runner-up twice. She should have won. Twice. She's the best. We'll never be ready to talk about this.
Who Won: Sophie Sumner
Should Have Won: ...Annaliese Dayes? ...Laura LaFrate? Maybe Sophie?
This is one of those cycles that had three great girls at the end. At one point or another, we rooted for all of them to win. We're happy Sophie won because she was a cutie, but we loved Annaliese way more throughout the competition. She was like a Spice Girl and a model all in one.
Who Won: Laura James
Should Have Won: Leila Goldkuhl
Laura is a fantastic model -- let's just get that out of the way up front. Leila was eliminated, because Tyra rarely makes good decisions, and brought back by the fans who loved her. Clearly she was a fan-favorite and she should have won. Leila was definitely better than runner-up Kiara.
Who Won: Jourdan Miller
Should Have Won: Renee Bhagwandeen
Our friend texted within the first episode of ANTM 2.0 saying she couldn't stand the girl who was married and divorced at 18. And she never really made us like her more. On the other hand, from the moment Renee was shown in the casting episode, she had our vote. We were gung-ho from the get-go. Sure, Cory and Marvin were fantastic, but personally we're still rooting for the girls.
Will Tyra make the right choice in Cycle 21?
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
S1E4: My prayers have been answered. After last week's time-jumping, history-dependent episode, I feared that my desire to see Pan Am change up the prep/flight/location formula was a mistake. However, this week "Eastern Exposure" proved that they can shake things up a little without driving viewers crazy. This week, things got a little deeper without losing the allure of international travel and cute blue uniforms, which is exactly what you want from a show like this.
"Maggie said Jakarta is wildly unrefined." -Laura
While the crew was supposed to be heading for Iceland, Kate's CIA contact, Richard, insists that she get her flight changed to Rangoon, Burma. She's being sent to do some recon after her stunt in Germany went too far off book. Somehow, she gets the entire crew rerouted to Burma -- which isn't an unwelcome change. The ladies leave their fleece and opt for bikinis while they lay poolside. (Remind me to search for those fantastic 60s bathing suits later.) While the girls giggle and sip cocktails, Kate steals away to speak to a man in the bushes. He hands her a camera and tells her to go to Jarkarta. In an instant, the entire crew is rerouted to Indonesia. I'm not sure how airlines work or used to work, but can someone tell me if rerouting your whole crew at the drop of a hat is really that simple? Or perhaps the CIA is consistently pulling strings. I'm still not quite sure how Kate always ends up flying to the exact place they need her to be.
When they get to Jakarta, Laura is still acting like a wide-eyed little girl which needs to change soon before she permantly becomes a walking cliche. The "I've never been anywhere" routine is starting to become pretty obnoxious, but her latest friendship within the crew is one that promises a certain level of change. When Kate goes to send a telegram to Richard asking what to do with the camera, she's gone all day so Laura ends up buddying up with Maggie. They'd bonded at the pool in Burma when Maggie encouraged her to race one of the Naval officers and when they find critters in Laura's room, Maggie insists they go out on the town and explore. The duo play black dominos, eat street curry, watch a cock fight, and dance on tables until the wee hours. There's one little snag: Laura borrowed the camera thinking it was Kate's personal one which earns her a tongue-lashing when she gets home. Kate tells her to grow up and stop trying to be her; her argument is a little off, but pretty characteristic of most sibling squabbles. And it makes sense since she's more upset that she may in trouble than she is that Laura is a Pan Am stewardess, though the conversation eventually wanders there.
By the end of the episode, Kate meets with Richard who found the photos Laura took with the CIA camera. He's going to pull Laura off of Kate's crew, and while she's been annoyed with her sister, she knows how much the job means to her and refuses to let him take Laura off. Instead, she buys her sister a new camera and goes back to their apartment to give it to her -- only she's moved out. We see her moving into Maggie's Village apartment, filled with smoke, beat poets and musical instruments. It seems that Kate really screwed up this time, and Laura's so fragile I doubt this issue will be resolved soon.
"No really, how did you jump the line?" -Ted
"Why didn't you?" -Dean
I really enjoy that the series is attempting to keep some cards close to its chest throughout the episode instead of laying everything out right away. We see Ted and Dean slowly building into a conflict, but it starts as a simple question. When an older pilot teases Dean about being the youngest pilot at Pan Am, Ted starts wondering just how he managed to surpass the unspoken rule that you have to be older to be a pilot. Dean refuses to speak about it, but the question is already festering in Ted's head. We start witnessing flashbacks to when he was in the Navy as a test pilot. The first happens when the Naval officers flirting with the stewardesses in Burma tease Ted for being a commercial pilot. While Laura swims with one of them, it seems he's jealous, but we see his memory: a firey ocean crash. Later, when Ted presses Dean for information about how he got his job when Ted has more experience, he asks if Bridgette got him the job. The pushes Dean further away and send Ted into another memory: the hearing in which he was told he'd be suspended from the Navy for crashing the plane we saw earlier. It turns out since he was a test pilot, the plane was faulty, but when it crashed all evidence was lost. The only thing they have to go on is the fact that he was at a bar the night before (his dependence on alcohol is slowly creeping into focus) and even though it was 12 hours prior to flight, it's enough to ruin him.
When Kate rushes to make her camera drop -- six hours late -- Laura is left still stinging from their fight and joins Ted in the bar. He's there trying desperately to watch the space shuttle launch, which luckily isn't shoved down our throats as "this week's history lesson because it's the '60s, guys!" They bond over her fight with Kate and his despair over his ruined past without actually explaining anything -- and like the moment when JFK's speech moved him to try and kiss her, the historical significance of the space shuttle launch sends them into a bout of meaningful glances. Of course, for Ted, his expression is also full of pain. Through another flashback we learn that his father built the plane that crashed and his company found out what went wrong, but they wouldn't clear Ted's name with the Navy because it could mean losing their government contract. The reason the shuttle launch means so much to Ted is that when his father's selfishness killed his Naval career, it also killed his shot at the space program, which is the only dream he's ever had.
Later, on the next leg of the trip, Dean takes a risky route landing the plane in dangerous crosswinds, which causes Ted to argue with him the whole way down. They land safely, but it's a close call and when everyone's off the plane the pilots have it out. Finally, Dean tells Ted that if he's jealous he should just have his dad pull strings to get him promoted -- the same strings his father pulled to get him hired in the first place. This strikes Ted's final chord and he punches Dean. When they finally make up at the end of the episode, Dean confesses that he got the job because he ended up with the head of the company in an elevator and gave him a speech about the youthful image of the Jet Age.
While Dean's lovesick routine made sense, it was nice to see a little depth added to our pilots. Besides, the stewardesses are beautiful and fun, but you can't run the show with the men stuck in the background. They started giving Ted a bit more of a character when he had the conflict with Maggie, but I'm really enjoying the fact that he's got such a turbulent backstory. It will lend more depth to his eventual relationship with Laura, because we all know that's going to happen.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.
Hit musical Monty Python's Spamalot has wowed theatre's toughest critics to
pick up a staggering 14 Tony nominations.
The medieval musical, loosely based on wacky movie Monty Python and the Holy
Grail, led the field May 10 when the nominations were announced
in New York.
The show will fight for the best musical prize, while stars Tim Curry and
Hank Azaria are up for best actor in a musical. Dirty Rotten Scoundrels and The Light in the Piazza earned 11 nominations each.
Also vying for Tony Awards next month will be Kathleen Turner,
Mary-Louise Parker and Laura Linney, who will fight for the best actress prize
for their roles in Who's Afraid of Virginia Wolff, Reckless and Sight Unseen,
Parker's ex Billy Crudup has also been named among the
Nominees for his performance in The Pillowman. He'll face off with On Golden Pond's James Earl Jones, among others, for the best actor honor.
And Christina Applegate's bravery and determination have earned her a Best
Actress nomination for the musical Sweet Charity. Applegate broke her foot during rehearsals in March, prompting producers to cancel the show, but the actress' determination helped to resurrect the
Australian actor Hugh Jackman will host the awards ceremony on June 5 at New York's Radio City Music Hall.
Get the full list of nominees at here!
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