It seems that Grey's Anatomy fans can thank the failure of Off The Map for a little dose of extra romantic drama this season. After his stint on the defunct show, actor Jason George is coming right back to Grey's so he can throw a wrench into Dr. Bailey's (Chandra Wilson) complicated love life.
His return finds George as Bailey's anesthesiologist and her ex, Dr. Ben, and according to TV Line, he'll be around for multiple episodes. The last time we saw him, he was being dumped by Dr. Bailey and since then, she's started a little something with Nurse Eli (Daniel Sunjata). Well, this isn't going to end well and if it does, it's sure to get messy before it gets better. There's nothing like working in stressful situations with your ex -- and if anyone knows about that, it's Grey's Anatomy. So when does this drama go down? Sources say we can expect this return around late October or early November. Get ready, Grey's fans.
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Apparently, today is the day for celebrities to come out with really insensitive commentary. Australian actor Russell Crowe took to Twitter to protest circumcision -- you know, just your average Friday morning debate. He ended his little tirade with "many jewish friends, I love my Jewish friends, I love the apples and the honey and the funny little hats but stop cutting yr babies @eliroth."
Well, well, well, Mr. Crowe. This is quite a statement. Of course, Eli Roth came to the actor's defense, tweeting "@russellcrowe is a great person — people are taking a joke to ME on twitter and are using it as an excuse to vilify a good man." Phew, at least we can all rest easy knowing that Crowe's controversial opinions were only being used to make a joke about Eli Roth, nevermind the fact (as Vulture pointed out) that the man still expressed these beliefs for the world to see and be offended by out on the interwebs. (Also, dear Russell Crowe and Eli Roth, there are these wonderful things called Direct Messages, or emails, or text messages, or Facebook messages, or even private messages on LinkedIn that you can use to make jokes intended for each other in the future. JUST FYI.)
My favorite part of all of this is the extensive Twitter battle Crowe engaged in after sending these tweets. (Check it out here.) He not only took the time to post all of these things, but he took the time to reply to all the folks he pissed off with a few sarcastic remarks. Someone needs to put him in a movie, he's clearly very bored.
Of course, just like Tracy Morgan did after his homophobic rant, Crowe issued an apology (via Twitter, of course):
I have a deep and abiding love for all people of all nationalities, I'm very sorry that I have said things on here that have caused distress
My personal beliefs aside I realize that some will interpret this debate as me mocking the rituals and traditions of others. I am very sorry
Wow. Something's going on in Hollywood. Is there a PR rep strike we don't know about?
Everyone that we thought would win won.
Seriously. Could this have been any more boring? Is it too much to ask that we get a surprise or two? (Like Hailee Steinfeld defying Oscar history and beating Melissa Leo for that best supporting trophy? Hey Academy, I bet Steinfeld wouldn’t have dropped the F-bomb on live television. Just sayin’.) We may be able to attribute all this predictability to the fact that this year was pretty dismal for film, but I think that’s probably just what I try to tell myself so I can sleep tonight.
Except for Banksy.
And hipsters everywhere refrained from crying inconsolably because that’s not cool, so instead they started preparing some art installation made of old rusty shopping carts and tapped out spray paint cans in protest. Okay, now that I’ve taken that cheap shot at my generation, I have to say, “REALLY?” You guys talk about Banksy all week long, freaking out about what he may or may not do on the stage or whether that painted elephant from Exit Through the Gift Shop should be allowed to accept his award for him and you give it to Inside Job? Really? REALLY? Let. Down.
The glory of James Franco’s Eyebrows.
Because they’re kind of amazing. I didn’t know how he could simultaneously be hilarious, ridiculous, insane, adorable, wonderful, annoying, skeptical, gracious, snarky, lovable, and every other adjective I can’t think of right now all at the same time (it sort of explains why he has so many jobs) but then it finally hit me: his eyebrows are the key. THEY ARE THE KEY. I’d like to add that this Twitter coverage deserves an honorable mention. I always wondered what a blurry iPhone photo of Billy Crystal looked like. Now I know.
Anne Hathaway sings better than Gwyneth Paltrow.
All you Gwyneth haters can shut up now because I’m pretty sure that performance stolen from a Tuesday night at a Karaoke bar in Queens where even the bartender is embarrassed for the person onstage killed her little music career hobby she’s been trying to get going. It was dreadful. And I’m not talking about the cheesy lyrics to that Country Strong song. You know what’s worse? Anne Hathaway, who was goofing around and taking an opportunity to make fun of Hugh Jackman, sang 10 times better than the woman who’s been making headlines for months over her “great” singing voice. Go back to Gooping (or whatever you call writing on your blog about how you’re the best person ever) and stop trying to be a famous singer, Gwynny.
In general, old people ruled the Oscars.
When Kirk Douglas stepped out and upstaged every single joke that James Franco and Anne Hathaway attempted I think we all knew that this whole “let’s have young people host the Oscars because it will be more fun” idea was a half-baked theory. But then, what did we get? More awesome old people! Then we got Randy Newman roasting himself (before any of us on the live blog could get to it, the wiley bastard) and Eli Wallach being simultaneous badass and adorable. Clearly, the award for best group of people at the Oscars goes to the awesome old folks.
James Franco wore a dress.
Really? You’re looking for an explanation for this one? It’s James Franco in a freaking pink dress and a blonde wig. Why aren’t you furiously Googling for more photos so you can permanently sear that image into your brain?
Natalie Portman is adorable and pregnant.
She really is unrealistically adorable and her hormones from the little baby growing inside her made her extra sentimental and weepy. It was pretty freaking cute. Besides, if we had to sit through four hours of stuff we already knew was going to happen, we should at least get some smultzy, sugary sweet moments out of it. And yes, we know. NATALIE PORTMAN CRIES A LOT.
Inception won all the awards that won’t look good on a DVD box.
Look, I know Inception was a summer blockbuster so it’s not very Oscar-y to give it awards like Best Original Screenplay – yeah, that’s right, sorry The King’s Speech – but come on. I know that in the process of actually putting the film together sound mixing and visual effects are important in reality, but this isn’t reality, this is the internet. And you know what? No one’s going to be hosting heated debates over whether or not Unstoppable was robbed in the sound editing category. The fact is, Inception deserved those awards, but they were still all the most boring awards it could possibly have won. And you know what I say to that? BWWAAAAH.
The autotune movie compilation is great because autotune is always funny.
Not only was this hilariously awesome, but it also gave us Justin Timberlake's long-awaited (albeit involuntary) return to “music,” more Toy Story and most importantly, A REASON TO BE GRATEFUL THAT TWILIGHT EXISTS. No joke. Just watch it.
The Triangle of Man-Love.
You may not have wanted The King’s Speech to win. You may not have even seen The King’s Speech. You may think Geoffrey Rush’s "fake" Australian accent was "pretty English." You may have seen the weird (lame) PG-13 version that cut out all the awesome swear words (SHITSHITSHITBUGGERFUCKSHIT). But no matter what your gripe is, Tom Hooper gave the most impregnable defense for his glorious wins during that Best Director acceptance speech: “The Triangle of Man-Love.” I can and will argue about just about anything with just about anyone, but even I can’t argue with man-love. Sorry, Fincher.
S1E12: With an episode titled "A Return to Normalcy," it was safe to approach Boardwalk Empire's season finale with the assumption that things would try to wrap themselves up. I say "try" because -- in what seems to be a common theme with this show -- it's been established that no matter how hard they "try," the characters cannot figure their problems out. Something goes wrong. Boom. It's fixed. But not unless something else goes wrong until, boom, it gets fixed. But then, something else goes wrong, and so on and so forth.
That's what continued to happen in "A Return to Normalcy." Each character kept trying to tie things up, but instead, each character kept fucking everything up.
Because Boardwalk Empire is mainly about one man, Nucky Thompson, I'll focus this recap through his POV. Basically, at the beginning of the episode, he's got a bunch of crap coming at him that needs figuring out. Rothstein is still pissed at him. He's trying to find and kill the rest of the D'Alessio brothers. His brother, Eli, is also pissed at him for removing him as AC's Sheriff and being a major dickhead about it. He has trust issues with Margaret, who has now left him. And Jimmy's got a problem with him, but Nuck doesn't really know it. And to top it off, the Democrat running for mayor appears to be a shoe-in, which would put Nucky and the Republicans out of a job in Atlantic City.
So, yeah. Nucky needs to sort this shit out, wouldn't you say? And boy-oh-boy, he does. Kind of.
Let's start with the Rothstein affair, which has been a pain in Nucky's side since the show's beginning. Finally, things get straightened out, and a lot of that credit comes from the public wanting Rothstein's head for fixing the World Series. Rothstein needs help politically, so he approaches Johnny Torrio to set up a meeting with Nucky. Rothstein offers, in exchange for peace between the two criminals, that Nucky help him out with Chicago's District Attorney's Office. But Nucky is smart and won't just let Rothstein set all the rules of their deal. He demands a million dollars and the location of the rest of the D'Alessio brothers. And of course, he gets it.
Rothstein, Meyer and Luciano
Now, Nucky has to settle things with his brother, kill those D'Alessios, and fix the election. So -- why not just do it all at once? He calls a press conference where he blames the D'Alessios and Hans Schroeder for all the recent violence in Atlantic City. During his speech, Nucky manages to credit his brother Eli and the Republican party for taking care of the criminal element in AC (but as we really see in cuts during the speech, the D'Alessios are murdered by Nuck's associates). Regardless, Nucky manages to make his brother look like a hero, Republicans look like they're doing a good job, and the D'Alessios are terminated -- all in about a 5-minute sequence. The Godfather, it ain't, but not too shabby.
Nucky still has the Margaret issues to deal with. And again, it's the party opposite of Nucky that gets the solution rolling. While walking through the graveyard on Halloween, Margaret sees the gravestone of Nucky's wife and son. She notices that his son only lived six days and his wife passed a month prior. So, after a discussion earlier in the episode where Nucky told her that "We all have to decide for ourselves how much sin we can live with," Margaret may finally know what's caused Nucky to be so callous. She presses him to tell her "who Enoch Thompson is," and surprisingly, he tells her.
This moment really illustrated how powerful Boardwalk Empire can be. Some of the best scenes this season -- outside of the sweet murder sequences -- have come from situations where two characters discuss the way they feel. Or, perhaps more accurately, when one character gives a monologue while another listens on. Think about Chalky White's threatening speech back when he was first introduced? Or even last week, when The Commodore told Jimmy who was really in charge of Atlantic City. Basically, there are reasons that before the show even premiered, people were excited simply by the cast list. There are great actors in this show. And when it slows down ir order to let them do what they do, it moves from being a lackluster mystery drama (with no real mystery), to an epic, novelized series where we have an extreme care for the characters and the events the unfurl.
This was one of those moments. Nucky shares everything. He tells Margaret that he had just become treasurer when his son was born. But, he was "very busy." He wasn't home much, and his son -- a preemie -- was at his frailest. When he finally wasn't "busy" and went to pick him up, he realized that his son was dead, but his wife had been in denial. They buried the child but his wife was losing it, but again, Nucky was "too busy." She ended up killing herself, and Nucky said that he was "very, very busy."
It was this moment that finally sold me on Margaret and Nucky. Up until this point, I hadn't understood the attraction to one another. I just assumed Margaret was a smart girl who was taking advantage of Nucky. And at the same time, I assumed Nucky was arrogant, and didn't really care for Margaret beyond a physical attraction. The show tried to sell me on it -- that these two really cared about each other -- with stupid little scenes in previous episodes, but it was this one, where they finally sat down in the same room and Nucky revealed himself completely to her -- that I actually, finally, bought it.
So, voila! Everything is fixed. The election is won by the Republicans, Margaret and Nucky's relationship is fine, and all those D'Alessios are dead. That's it, right? That's the end of the season, right? Everything's all wrapped up, nice and tight, and returned to normal? Well, no. Not exactly.
Last week, The Commodore told Jimmy (his son, for those of you who haven't made that connection yet) that he wanted him to take out Nucky Thompson. Well, not sure if he said that word for word, but basically, he implied it. And this week, it's continuing. Jimmy's hanging around, talking about how he used to "hate" coming to see his father when he was a boy, and other whiny-stuff, when bam: suddenly, Eli Thompson is in the room. And it looks like they all have a plot to take down Nucky Thompson.
And one more thing to note before I wrap this up: Agent Van Alden. Can I get a WTF? Dude got Lucy preggers. That NC-17 sex scene from earlier this season musta been fun. Looks like he'll be staying in Atlantic City to not only catch alcohol-runners, but he'll be raising a child as well.
Van Alden and new recruits
So, it appears that even though Nucky thinks everything is "back to normalcy," it really isn't. And although this is a classic plot line (where the one dude doesn't know what the other dudes are thinking), I still thought this was a delightful way to end the season. I mean, think about it: Nucky believes everything's worked out fine. He just has to go back to making butt-loads of money off alcohol. He's got his woman. He's got his brother (he thinks). He's pinned the suspicious crimes on someone else. So, it's alllll good, right??! No. Of course it's not. And it's the perfect setup for a second season full of crumbling corruption.
U.S. TV comedienne RACHEL DRATCH has given birth to a baby boy. The tot, named Eli, was born on 24 August (10) and is the Saturday Night Live star's first. The identity of the kid's father has not been revealed.
WHAT’S IT ABOUT?
Set in occupied France during the waning days of World War II Inglourious Basterds jumps back and forth between different storylines over the course of several chapters before bringing them together for one intense utterly preposterous climax.
The “Basterds” of the film’s title refers to an elite group of Jewish-American soldiers assembled by Lt. Aldo Raine a no-nonsense descendent of Southern moonshiners whose assignment for his troops is simple: Each of them is tasked with gathering the scalps of 100 dead Nazi soldiers before the war is over. With each shocking act of retribution the Basterds perform word spreads of their savagery and by the time they arrive in occupied France their reputation is known to every enemy soldier.
Meanwhile Shosanna Dreyfus a French Jew who narrowly escaped the Gestapo death squad that murdered her immediate family has relocated to Paris and established a new identity as the owner of a local cinema. As Nazi patrols blanket the city she toils quietly under an assumed name awaiting the day when her own chance at retribution will come.
The destinies of Shosanna and the Basterds converge when Nazi propaganda minister Joseph Goebbels decides to hold the premiere of his latest propaganda film Nation’s Pride at Shosanna’s theater. With the aid of Bridget von Hammersmark a German film star secretly working as a double agent the Allies learn that no less than the entire Nazi High Command including Hitler will be in attendance. Confronted with the opportunity to deliver their unique brand of justice to the Fuhrer himself and end the war in one fell swoop the Basterds concoct a bold scheme to infiltrate the premiere rig the theater with dynamite and incinerate its inhabitants with one massive explosion.
WHO’S IN IT?
Always known for his unconventional approach to casting Inglourious Basterds director Quentin Tarantino assembled a characteristically eclectic group of actors for his latest effort mixing veterans with newcomers Americans with Europeans and superstars with virtual unknowns. Sporting a ridiculous mustache and an even more ridiculous Southern accent Brad Pitt leads the pack in the role of Aldo Raine while horror director Eli Roth (Hostel I and II) makes his acting debut as Raine’s sadistic right-hand man Sgt. Donny Donowitz. Other notable Basterds include B.J. Novak (The Office) Samm Levine (Freaks and Geeks) Paul Rust (I Love You Beth Cooper) and Omar Doom (Grindhouse).
It’s the cast’s European players who really distinguish Inglourious Basterds. German-born National Treasure star Diane Kruger makes the perfect 1940s matinee idol as the turncoat von Hammersmark while Irish-bred Michael Fassbender (Jonah Hex) oozes with old-school English haughtiness as her charming British co-conspirator Lt. Archie Hicox. Making an impressive English-language debut in Basterds as the quietly seething Shosanna is the luminous French star Melanie Laurent.
Rising above all of them with a truly Oscar-worthy performance is Austrian actor Christoph Waltz. Waltz is a revelation (to American audiences at least) as Col. Hans Landa the highly eccentric and brutally efficient leader of Nazi security efforts in France. Alternately hilarious and terrifying Waltz’s Landa is easily the most compelling big-screen villain since Heath Ledger’s Joker in The Dark Knight. Lest we forget Ledger won a posthumous Oscar for his performance. (Waltz for his part already snagged the best-actor prize at Cannes earlier this year.)
Nobody executes dramatic shifts in tone more effectively and powerfully than Tarantino and Inglourious Basterds transitions breathlessly between moments of high tension and high comedy brutal carnage and lighthearted whimsy — all of which are peppered with the director’s distinctive dialogue and trademark wit. The film is easily his best work since 1994's Pulp Fiction.
At over two-and-a-half hours there are moments when the pacing of Inglourious Basterds seriously drags. Tarantino is above all else an actor’s director and there are times that he becomes so enamored with a performance that he’ll allow a scene to extend well beyond the point that its resolution has become a foregone conclusion. How such an obviously ADD-addled guy like Tarantino can exhibit such disdain for brevity is beyond my comprehension.
WHERE ARE THE BASTERDS?
Contrary to the film’s ad campaign the Basterds are actually minor players in the storyline. Only Pitt and Roth are given a substantial amount of dialogue; Novak and the others have only a line or two — if they speak at all.
I won’t give anything away but suffice it to say that Inglourious Basterds’ storyline features a decidedly revisionist take on the events of World War II. Obviously historical accuracy wasn’t a priority for Tarantino — and it probably shouldn’t be for the viewer either.
Quentin Tarantino has added Diane Kruger and Til Schweiger to the ever-expanding cast of his Inglorious Bastards. According to The Hollywood Reporter, Kruger will step into a role that Nastassja Kinski had been circling, but a deal wasn't reached.
Bastards is centered around a French girl's revenge on the Nazis and also follows a band of American Nazi killers. The story lines eventually converge. Kruger, who is German-born but who has made her career home in France as well as working in US fare like the National Treasure films, will play a glamorous German actress who helps the Nazi hunters infiltrate a movie premiere.
She will act in German and English in the film, notes the Reporter. Schweiger will play a member of the Nazi killer team which is led by Brad Pitt's character, Lt. Aldo Raine. Others in the cast include Christoph Waltz, Daniel Bruhl, Eli Roth and Mike Myers.
Shooting starts October 13 in Germany, with the plan to debut in Cannes in May.
Schweiger has appeared in such studio movies as King Arthur and Tomb Raider: The Cradle of Life.
Kruger will soon be seen in Jaco van Dormael’s Mr. Nobody with Sarah Polley and Jared Leto and Run for Her Life with Dermot Mulroney.