An horrific car crash involving teen actress Hayley Orrantia has reportedly left a 23-year-old man with severe injuries. The 19-year-old star, who appears on hit new U.S. comedy series The Goldbergs, is said to have smashed into Ryan Houghton's car on the night of 19 September (13) after allegedly running a red light.
According to TMZ.com, she was cited for the traffic offence, while Houghton was admitted to a U.S. hospital with multiple injuries, including brain trauma, and he spent a week in intensive care.
He is currently recovering from the accident in a rehab facility, and his family members have been appealing to the public to help them cover the costs of his medical bills.
Orrantia has yet to comment on the crash, which is still under investigation. Police do not believe drugs or alcohol were factors in the incident.
Shocker: It’s still a girls game on American Idol. After a quick trip back to Los Angeles, the judges, Ryan Seacrest, and the Top 20 nestled into the Idol auditorium to find out who’d be staying on as part of the Top 10 finalists. Fan favorites like Kree Harrison, Angie Miller, Burnell Taylor, and Lazaro Arbos were easy fits, but as the night wore on, disappointment hit more than a few times.
Of course, most of those time were when we realized that likeable singers like Paul Jolley nabbed spots that could have gone to strong lady singers like castoff Aubrey Cleland were there not a strict five-spot-per-gender rule. Of course, if the past teaches us anything, it’s that voters probably would have kept a few too many of the ho-hum dudes and sent home girls who deserved to stay. Still, it was an exciting night on Idol.
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We got to see what it looks like behind Idol’s famous video screen door. We got to see the singers’ genuine reactions before the judges or the audience, thanks to Ryan delivering the news to them backstage, before anyone else could hear. We got to witness the adorable moment when Keith Urban let Nicki Minaj lean on him as they walked to their seats because Nicki wore impossibly high heels. We got to see Mariah Carey’s incomparable breasts peeking out from behind a mesh v-shape in her patent leather ball gown. We got to witness the cross-promotion of Carey’s new single and the movie she sang it for, Oz the Great and Powerful. But unfortunately, we still didn’t get to see much of Randy Jackson’s prized shoes, which is a shame because Seacrest once told me that Randy has a new pair for every single episode of the show.
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As the finalists were announced, they each got to perform a victory song followed by feedback, but not criticism, from their favorite judges. I know the point is that we’re not supposed to judge, but if you’re like me, the wheels in your brain were turning, you were judging each and every performance, and you’ve already got a ranking system in your head. Here’s mine:
10. Paul Jolley singing “Alone” by Heart: While he was much better than he was on Wednesday night, he’s still not the strongest of the bunch. But man, is he handsome.
9. Lazaro Arbos singing “Like a Bridge Over Troubled Water” by Simon and Garfunkel: It was a good emotional reprisal of his audition song considering he’s overcome adversity and made it to the final 10. It’s very sweet, and very much in his comfort zone, but he will need to step it up to make it past the other fantastic singers.
8. Devin Velez singing “The Power of One (Change The World)” by Isreal Houghton: Nicki clearly didn’t like that he shied away from a ballad, but he’s found a way to be a little more relevant with this upbeat song. His ballads are fantastic, but he’s got to be able to do upbeat to be a mainstream artist. And he gets a few bonus points for his adorable blue-eye-shadow-laden mama hitting on Ryan.
7. Curtis Finch singing “So High” by John Legend: Let’s just make peace with the fact that Curtis rubs me the wrong way. That feeling won’t go away, so I’m going to do my best to get past that long enough to write about his performance: I love this song, I love the effortless way in which John Legend sings it. Curtis’ vocal acrobatics prove he’s got a serious skill, but I’m not a fan of the way he pushes this smooth song. That’s why he’s so far down on this list, but still, I can admit he’s talented.
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6. Amber Holcomb singing “I’m Every Woman” by Chaka Khan: This is where I start to get a bit confused because I love, love, love everyone I’ve ranked from sixth to first. I love them all. While Amber has an issue with sounding current, it’s hard to deny she’s got an incredible voice. And she’s not even trying. At all. It’s almost infuriating. Her voice is so good, and the girl never even breaks a sweat.
5. Janelle Arthur singing “Home” by Dierks Bentley: Janelle has never been my cup of tea, but her emotional connection really brought it home on Thursday night. She finally chose a current song and it makes her feel like she really could be a singer with a hit single on the radio right now. And with tears in her pretty little eyes, she’s a delight to watch. America loves themselves a sweet, little blonde country singer.
4. Candice Glover singing “I’m Goin’ Down" by Rose Royce: I love this girl. She’s so, so good. I like her rendition of this song better than Mary J. Blige’s cover, because it just pours out of her so naturally. She’s just strutting around that stage letting her incredible voice just flow, and after watching her go home too soon last season, it’s hard not to cheer her on a time like this.
3. Angie Miller singing “I Was Here” by Beyonce: She’s adorable and misty as she takes the stage in her sparkly pants. Despite being outside of her usual style. Beyonce’s ballad turned out to be a great choice. I like that she didn’t try to Beyonce-ify her performance. She just tried to make it as Angie as possible. It wasn’t a super clean performance, but the emotional connection was so great it almost doesn’t matter. She’s so marketable, so genuine. She belongs up there.
2. Burnell Taylor singing “Ready for Love” by India.Arie: I want a woman to win this year. I really, truly do. But if a man has to take the crown, it had better be Burnell. He. is. amazing. The intricate things he does with his voice are beautiful and his personality comes through every time he sings. He has every piece it takes to be considered the complete package. He’s going to seriously test my feminist resolve this season.
1. Kree Harrison singing “Evidence” by Susan Tedeschi: This girl rocks. Hard. She’s flawless and connected, just like she always has been. If we’re picking horses, this girl is the one to beat.
Now that gender is no longer a factor in who stays and who goes, let’s hope voters can see the great disparity between the incredibly talented women and the fairly talented men on this show.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Fox]
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By both critical and commercial measures live-action anime adaptations boast a record of futility second perhaps only to videogame adaptations. Some essential aspect of the source material is irretrievably lost during the process of translating Japanese cartoon to Hollywood tentpole something that even the most bloated visual effects budget can’t conceal. Think Dragonball Evolution and Speed Racer.
And yet Hollywood keeps trying lured by tantalizing visions of cash-cow franchises fed by loyal built-in — and most importantly international — audiences. The latest casualty of this misguided ambition is The Last Airbender based on the hit Nickelodeon series Avatar: The Last Airbender. To be fair Avatar isn’t anime in the orthodox sense in that it was conceived and produced in the States but its style and soul are almost exclusively anime-inspired. As such its big-screen fate is similarly sealed.
Who could possibly break such a rueful trend? For some reason the minds at Paramount thought M. Night Shyamalan that notorious purveyor of ponderous and increasingly shlocky supernatural thrillers might succeed where so many other directors had failed. Even worse they saw fit to hire him to pen the screenplay as well ensuring that every vital aspect of the film would feel the crushing weight of his heavy hand. With such a hacky burden to bear it comes as no surprise that The Last Airbender never really takes flight.
The film's story is set in a world divided into four tribes each aligned to an element: Air Earth Water and Fire. Certain gifted tribe members known as a “benders ” can manipulate the properties of their assigned element to suit their ends. In order to do so they must first perform an elaborate and utterly ridiculous kung fu dance after which a torrent of fire water or whatever arises to obey their command.
For the better part of a century the oppressive and warlike Firebenders have besieged the other nations gradually thinning their respective ranks. The Air Nomads have faired the worst of the lot and are presumed to be extinct until Water peeps Katara (Nicola Peltz) and Sokka (Jackson Rathbone) discover a boy named Aang (Noah Ringer) trapped in a giant ball of ice. Not only is Unfrozen Kung Fu Warrior the last remaining Airbender (thus the title) he is also an Avatar the only being on the planet capable of wielding all four elements. And only he can bring an end to the Firebenders’ evil reign.
Blessed with an opportunity to reinvent himself in a new genre and with a new demographic Shyamalan can’t avoid falling back on old habits most notably his penchant for awkward and cumbersome dialogue. It’s difficult enough for adults to deliver his lines but it’s absolute hell for The Last Airbender’s youthful protagonists whose not yet fully-developed temporal lobes can’t hope to adequately process the inanities of Shyamalan-speak. One can almost see the smoke coming from little Noah’s ears as he labors to complete each portentous sentence. Poor kid. Where are the Child Labor people when you need them?
But bad dialogue is only one of a litany of problems that plagues The Last Airbender which suffers from mediocre CGI inexplicable casting decisions (caucasians actors none of whom are especially talented are tabbed for asian roles when sufficiently mediocre race-appropriate actors were surely available) and a plot comprehensible only to the most ardent fans of the Nickelodeon series. Much as Aang bends the air Shyamalan tries to bend the laws of quality cinema to his will but they refuse to yield to the force of his ego. I only wish the execs at Paramount had been as stalwart.