This week celebrities are busy juggling their day jobs with San Diego Comic-Con. Here's a look at three TV shows that are filming today before their cast panels at Comic-Con this weekend.
Gotham will be part of Warner Bros. Television and DC Entertainment's special presentation in Hall H tomorrow where the show's pilot episode will also be premiered. But first, the cast of Gotham is filming at two locations in Brooklyn, around Grand St. and Bedford Ave, as well as Withers St. at Meeker Ave.
Sons of Anarchy
On Sunday, the cast of Sons of Anarchy will sit down for their last ever SDCC panel where they will discuss the upcoming and final season of the the show. You can also catch SOA filming on location today around 7702 Klump Ave in Los Angeles right now.
American Horror Story
Surprisingly, American Horror Story hasn't had a presence at Comic-Con until this year. For the first time the cast will be at the convention center this weekend to talk about Coven and preview the next installment in the franchise, Freak Show. Before they head to San Diego, they still have a full day ahead of them in New Orleans. This afternoon AHS is filming at Camellia Grill, located at 626 S. Carrollton.
Find out where more of your favorite TV shows are filming in my Daily Filming Locations list.
Veteran actor Michael Douglas has vowed never to take his marriage with Catherine Zeta-Jones for granted again after their brief separation last summer (13) forced him to re-evaluate his life priorities. The Wall Street star, 69, recently reconciled with the Welsh beauty after working through their personal troubles, which emerged following his 2010 tongue cancer battle and Zeta-Jones' subsequent treatment for bipolar disorder.
They made their return to the red carpet as a couple at a New York event in April (14), and now Douglas is sharing the lessons he's learned over the years with readers of America's People magazine.
Opening up about life and love, Douglas states, "Marriage requires constant nurturing... You can never take your marriage for granted. It goes to the idea of where you spend your energy and attention: Do you spend it with strangers, trying to show everybody how nice you are? Or do you cherish your partner and really don't worry about other people...?
"Like a lovely orchid, or anything else that's nurtured, marriage prospers and grows, but if it's ignored, it withers."
The actor goes on to advise any parents struggling with marriage problems to be honest with their children, because "they know everything".
Douglas, whose eldest son Cameron is serving prison time for drug charges, also encourages mums and dads to take immediate action if they suspect their kids are battling drug problems.
He adds, "After they turn 18, you have no control anymore. However difficult it might be, if it looks to be a real issue, then you almost have to go for overkill."
Among the other life lessons, Douglas shares in the pages of People, he stresses the importance of treasuring "the time you have with your parents", adding, "Enjoy them while you can. You never want to look back and say, 'I wish I'd...'"
Douglas is the son of acting legend Kirk Douglas.
Welcome back to The Voice. The top 10 contestants brought their A-game for last night’s live episode — knowing the bottom two will be eliminated tonight.
In support of Christina Aguilera’s new album Lotus — which Carson Daly dutifully reminds us about every 45 seconds — Blake Shelton joins Xtina (who is, adorably, about three feet shorter than he is) for the country-tinged ballad “Just a Fool.” It’s a lovely song, but the absurd production values we've grown accustomed to on this show make anything short of a full-on fireworks display seem a little dull.
In rehearsals, 19-year-old diva Sylvia Yacoub is immediately upstaged by Coach Christina, in an uncannily matching coral eyeliner-lips-hair trifecta — that’s why she’s a superstar, people. This week, Christina is assisted by record executive Ron Fair, who I mistook as Elvis Costello for two wonderful seconds. Ron has clumsily donned a fedora, the universal symbol for “I’m not a suit, I’m totally creative, and this has nothing to do with my worsening baldness — right, guys?”
Sylvia is back on the piano for “Girl on Fire.“ Although she kills it on the refrain — a perfect fit for her powerful voice — it’s not her best outing. But that’s not saying much. Unless otherwise noted, assume all of Yacoub’s performances are excellent.
It’s amazing to see how Sylvia’s metamorphosed since her blind audition — from a boxy blazer and teenage curls to expensive make-up and a metallic peplum (that's right, fashion, I know what your words mean) mini-dress.
The producers have clearly tried to work that same magic on unapologetically mulleted Terry McDermott, succeeding only in semi-flattening his hair. Blake sticks with Terry’s classic rock strengths and assigns him “Summer of ’69.” How does he hit those high notes? “A good old wedgie,” Terry explains.
As always, McDermott delivers. His rock-n’-roll style cannot be improved upon — I’m so relieved that the show hasn’t felt compelled to push him out of his genre of choice. He’s also the only contestant to regularly acknowledge the existence of his band members, playfully interacting with them like a real frontman.
If there can only be one, I wouldn’t mind if it’s Terry. I honestly don’t think he’ll win The Voice — though he’s a lock for the top eight — but I’d happily buy advance tickets now for Terry’s national tour, Sixty-Year-Old White Dudes’ Favorite Songs Live.
Carson takes a moment to acknowledge the cast of Guys with Kids in the audience, including Jamie-Lynn “Why Is Meadow Soprano on a Crappy Sitcom?” Siegler, who — lest we forget — was once an aspiring pop star herself. “If you’re here, where are the kids?” Carson asks, because he believes that all television shows are documentaries.
Melanie Martinez, the youngest remaining contestant, covers the White Stripes’ “Seven Nation Army” on guitar. I do like Melanie, but as I’ve said before, her cutie-pie whisper has largely lost its charm. She identifies herself as a “softer singer,” which seems like an understatement. If she stood within a few feet of Sylvia on stage, she’d be blown away like a tiny, two-tone tumbleweed.
“Seven Nation Army” is an interesting, relatively gritty song choice — Adam Levine reports that Melanie pressed for it herself — and I like that her own surreal, butterfly-heavy photography is incorporated into a slideshow behind the stage as well as the print of her dress. Nevertheless, she fails to impress.
Cee Lo Green’s unsinkable Cody Belew is up next, co-mentored by — holy Dreamgirls, Batman — Jennifer Hudson, dangerously crossing the American Idol and Voice streams. I love it when male singers cover Beyoncé (He-yoncé?), so I’m excited to hear he’ll perform “Crazy in Love.”
I am still a [hashtag] Belewer, but this performance falls flat for me. Looking like an evil chain-mail Michael Jackson from the future (and a slick of eyeliner away from Adam Lambert), he brings the “bam bam,” but the song doesn’t really suit his voice. Hudson had advised him to adjust the key in rehearsals — I can’t decide if it should be higher or lower, but it’s still not quite there.
Yet, as Christina says, he “worked it like a true diva.” Cody remains a force to be reckoned with.
Bronx native Bryan Keith takes on Billy Joel’s “New York State of Mind” for coach Adam. Bryan is blossoming into a formidable crooner — his simple, lovely version of the song is anchored in his calm and confident stage presence. Cee Lo rightly praises him for singing “like a man’s man.” More Billy Joel, please. If you want to keep the Mom vote locked down, Bryan, how about a little “Just the Way You Are?”
After a relatively weak performance last week, Amanda Brown is ready to bring it. Grace Potter’s “Stars” is a slower, more emotional choice than what she’s offered lately, but the risk pays off. Her gorgeous, vulnerable performance has one-time coach Cee Lo pining for his “favorite mistake.”
Even Nicholas David is looking suspiciously well groomed — his long locks have been lustrously blown out, and I expect it’s only a matter of time before we see some Farrah Fawcett layers. Backed by a full gospel choir, he sings the Bill Withers classic “Lean on Me” and plays the piano.
I can’t imagine a better song to showcase his talents — his cover is beautifully mellow and polished. On the strength of this performance, Cee Lo hails Nicholas as “the voice of a generation,” and eager beaver Blake calls this the best episode of The Voice ever.
Oh, dear. Sweet, sweet Trevin Hunte is going rogue — against the advice of Cee Lo and J-Huds, he decides to abandon the ballads that have made his reputation and explore a new side of himself with Usher’s “Scream.”
I hate to say it, but this is the episode’s weakest performance. Trevin can’t seem to handle the accelerated pace of a dance song. He’s off-key throughout the chorus, and there’s an awkward disparity in volume between his vocals and the background track. The overall effect is uncomfortable.
I do appreciate the change in style, and I expect that Trevin — long a favorite to win the season — can overcome this misstep. To quote Adam, still confident in Trevin’s chances, he “could sing the dictionary.”
Cassadee Pope’s outfit looks like she borrowed Miss Teen Minnesota’s evening gown for the night, but then accidentally tore open the dress backstage with only thirty seconds to air and desperately threw on leggings underneath.
She covers Miranda Lambert’s “Over You,” a song co-written by coach Blake about the untimely passing of his brother. I’d written off Cassadee as a drugstore generic for Avril Lavigne, but this raw, poignant performance is a surprise. I love it.
A few seconds of watching a moist-eyed Blake proudly watch Cassadee perform “the most personal” song of his career aaaaaand I’m tearing up. I hope she’ll continue to experiment with songs outside her pop-punk comfort zone.
Full disclosure: I’m not convinced that beady-eyed Dez Duron isn’t a psychopath — something along the lines of Patrick Bateman, or worse, Tom Cruise. That makes it all the more painful for me to tell you that he killed it last night. His jazzy, confident cover of Nina Simone’s “Feelin’ Good” brings the house down. Dapper in a white tuxedo jacket, Dez doesn’t just act like Sinatra, he somehow manages to sound like him, too.
The Voice returns tonight at 8 p.m, after all the votes have been counted. Follow Molly on Twitter @mollyfitz.
[Image Credit: NBC (2)]
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Music's been such a huge part of President Obama's reelection bid. He went on tour with opening act Bruce Springsteen, serenaded one lucky audience at a campaign stop with an impromptu rendition of Al Green's "Let's Stay Together," earned endorsements from Bob Dylan, Dave Grohl, Katy Perry, Lady Gaga, and even got a lyrical assist from Jay-Z who altered his famous "99 Problems" to "I've got 99 problems but a Mitt ain't one." So it should be no surprise that Obama's victory celebration last night at Chicago's McCormick Place would feature some killer tunes.
But who knew it would become an 18,000-person dance party? Mark Ronson, half a world away in a hotel room in Dubai, even tweeted, "Seriously, who is dj'ing OBAMA HQ? incredible. Teena Marie, MAZE etc....every global news station is blastin Frankie Crocker classics," referring to the legendary New York disc jockey and Studio 54 demigod who died in 2000. Well, Crocker wasn't pulling any kind of Lazarus act last night. For maximum hip factor, the Obama campaign brought in Austin-based mixmaster Mel Cavaricci, better known in the dance music scene as DJ Mel. And he put together one helluva victory playlist. Still basking in the glow of Election Day? Recapture the moment with these 22 songs that DJ Mel played Tuesday night, a playlist that he put together with a little input from the Obama campaign itself.
President Obama's Official 2012 Victory Celebration Playlist
Al Green—“Let’s Stay Together” (Not the Obama cover, I'm afraid)
Bill Withers— “Lovely Day”
Marvin Gaye— “Got to Give It Up”
Michael Jackson—“Wanna Be Startin’ Somethin’”
McFadden & Whitehead—“Ain’t No Stoppin’ Us Now”
The Heavy—"How You Like Me Now"
Doris Troy—"Just One Look"
Curtis Mayfield & The Impressions—"Keep on Pushing"
The Supremes—"Come See About Me" and "You Can't Hurry Love"
Contours—"Do You Love Me"
Ray Charles—"What'd I Say, Part 1"
Shalamar—"The Second Time Around"
The Four Seasons—"December 1963 (Oh What a Night)"
KC and the Sunshine Band—“Boogie Shoes”
Jean Knight—“Mr. Big Stuff”
Maze—“Before I Let Go”
Teena Marie—“Black Cool” (Marie, who died in 2010, actually wrote "Black Cool" about Obama before her death.)
The Beatles—“Twist and Shout” (played right after it was announced Obama had won the election, because nothing conveys joy like John Lennon's throat-shredding vocals on the 1963 cover)
Stevie Wonder—“Signed, Sealed, Delivered” (Obama's entrance music before his victory speech)
Bruce Springsteen—“We Take Care of Our Own” (which the especially witty Brian Williams noted at 2:00 a.m. Wednesday morning has been widely misinterpreted, much like Springsteen's "Born in the USA" before it, as a pat-yourself-on-the-back anthem rather than a critique of laissez-faire domestic policy)
Democrats really do know how to party, don't they?
[Photo Credit: Nikki Kahn/The Washington Post via Getty Images]
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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.
The star, born Georgette Lizette Withers, passed away at her home in Sydney, Australia on Friday (15Jul11). No further information was available as WENN went to press.
Withers was working as a dancer in London's West End when she was asked to be an extra in the 1935 movie The Girl in the Crowd - but she ended up with a main role after director Michael Powell fired a lead actress.
She went on to rack up credits in films such as The Gang's All Here and One of Our Aircraft Is Missing, and also appeared on Broadway.
But she will be best remembered for playing Blanche in Alfred Hitchcock's 1938 thriller The Lady Vanishes, opposite Margaret Lockwood and Michael Redgrave.
Withers was the first non-Australian to be made an Officer of the Order of Australia and she was awarded a Commander of the Order of the British Empire in 2002.
She married Australian actor John McCallum, who helped create the cult TV series Skippy the Bush Kangaroo.
They had three children and lived together in Sydney until McCallum's death last year (10).