David Giesbrecht/USA Network
It felt like White Collar got back to its roots tonight in its season finale, with a real cliffhanger: Willie Garson was even telling all of us several times to "Wait For It ... Wait for it ..." as the end of the episode neared. Was it worth waiting for? Well, here's the really truncated elevator recap to help decide.
Neal Caffrey and Peter Burke discovered that Mozzie had been poisoned by Rebecca Lowe/Rachel Turner. The con woman then called and said that it was a really bad poison and that the bespectacled bald man would be dead in a few hours. She did say she'd give the antidote in exchange for the diamond. ("We're trading a $60 million diamond for a paranoid bald man," Caffrey would quip later.) The two men wanted to send Mozzie to the hospital, but he refused, since he knew he would be more helpful and focused on the task, since his life was on the line. They used the coordinates that Mozzie had figured out in the previous episode and found the likely location: Fort Totten, Queens. After a bit of searching, with a bit of a break for a Mozzie collapse and subsequent hospital visit, Burke and Caffrey found the diamond behind the wall. Problem was Lowe/Turner had followed them there (get out of town) and she got the precious jewel from Caffrey and Burke and locked them in a prison cell, promising to give the antidote in an hour after she had escaped.
Meanwhile, Agents Clinton Jones and Diane Berrigan (who had a vested interest in helping, since Mozzie delivered her baby) figured out from footage at a pharmacy what poison Turner had given Mozzie and called for the antidote, which worked. Caffrey and Burke extricated themselves and found out that Mozzie was OK. Caffrey then went after Turner, who was about to be airlifted from the place by a helicopter and revealed that he had filched the diamond from her and Burke had it. The helicopter pilot, hearing that, skedaddled. The former M-5 agent was NOT happy at this turn of events and briefly wanted to hold Caffrey hostage, but he convinced her that it was time to stop running. They waited while the cops came to arrest her.
Things looked like they were wrapping up nicely. Burke called Caffrey to his office and told him that these recent events had made him recommend that Caffrey be freed. The only problem was, the FBI, like Lucy Van Pelt, yanked the football away and they decided to keep the confidential informant tethered because he A) had screwed up by going to Cape Verde the year before and B) was so dang good at his job that they wanted to keep him. This made Caffrey mad. Burke was mad too because he felt like someone with a cushy desk job had decided his friend's fate without even knowing him, which made him decide not to go to Washington after all, solving the problem of possibly having Burke in another city next season. An angry Caffrey told Mozzie to figure out how to get his anklet off and as soon as Mozzie left, that's when the "Wait for it" moment happened. Caffrey saw a man who had been following him since leaving Fort Totten and he got bold, going over to ask him why he was doing that. The man, who had been reading a newspaper, made no effort to run. He looked at Caffrey and told him that he would be the last man on Earth to know where Caffrey was. Two men swooped behind him, threw a bag over his head and took him into a van. They smashed his anklet and threw it into a moving van. End of season. Wow. Wait for it, indeed.
-This was one heck of a cliffhanger. Who kidnapped Caffrey? How long will it take Burke to figure out that he didn't leave of his own volition? How long is it going to take for the next season to start up?
-It was a pretty fast-paced episode with not too many moving parts.
-Garson was hilarious while still making us worry for Mozzie's survival for a while.
-Tiffani Thiessen got to do more in this episode other than being supportive of Burke. She yelled at a doctor to give Mozzie the possible antidote, even quipping later that she enjoyed going all Terms of Endearment on the doctor. Thing is, even with her hectoring the doctor, would the medicine been given with no tests, even with the short time left?
- Burke ran off to get a shotgun while Caffrey was with Rebecca. He looked a little disappointed that he didn't get to be a badass when Turner surrendered.
- Mozzie looked like a little kid getting to hold the diamond in his hospital bed. Garson sold that scene well.
- There was a dawwwwwwwwww moment when Burke hugged Caffrey towards the end of the episode. Too bad I didn't entirely enjoy it because I was waiting for the other shoe to drop. And drop it did. Because Neal Caffrey can't have nice things happen to him.
- Once again, there was an in-show commercial. Burke and Elizabeth got into a car and they lingered on Burke fiddling with the controls to get Pandora Radio on the car before driving off. They might as well have shot electrodes out of the TV telling me "YOU WILL BUY THIS CAR!" Wait ... um... I've got to go make a purchase.
- Again, waiting until the next season is going to stink. Sigh. Well, there's always baseball to while away the time until then.
"They'll have a bar-coded tramp stamp on me before the first I.V." -- Mozzie is very suspicious of hospitals.
"FBI Agent Peter Burke. This is my associate, Neal Caffrey. This is my ... Mozzie." -- Burke doesn't quite know how to explain Mozzie to the Ranger (Think Forest Ranger, not Army Ranger) at Fort Totten.
"I'm just hours away from palming St. Peter $20 to get past the gates." -- Even while dying, Mozzie has wit.
"The Freemasons have their hand in everything: The all-seeing eye on the dollar bill, the Washington Monument, the MJ Dangerous album cover ..." -- One of these things doesn't belong, Mozzie.
"Things are getting really bad. He thinks he's someone named Marquis De Grouchy and he's talking to Napoleon." -- Elizabeth explaining to Jones and Berrigan that Mozzie was delirious and talking in French.
Spike Jonze doesn't waste any time introducing us to the technology at the center of Her. "An operating system that can mimic human sentience?" a dangerously lonely Joaquin Phoenix wonders after catching glimpse of an ad in a transit station. "Don't mind if I do!" (He doesn't actually say that, don't worry.) But by the time we're meant to believe that such a world can seamlessly integrate characters like Scarlett Johansson's automated voice Samantha into the lives of living, breathing men and women like Phoenix's Theodore, we're already established residents of this arresting, icy, quivering world the filmmaker has built. We meet Theodore midway through his recitation of a "handwritten letter" he penned on behalf of a woman to her husband of many years. That's his job — tapping into his own unique sensititivies to play ghostwriter for people hoping to adorn their spouses, boyfriends, girlfriends, parents, and children with personal notes of personal affection. Theodore is no independent contractor; he's part of a thriving company, and we almost get the feeling that the folks on the receiving end of these letters are in the know. Before we ever encounter Samantha, we're embedded in the central conceit of the movie: emotional surrogacy is an industry on the rise.
What makes Jonze's world so palatable is that, beneath its marvelously eerie aesthetic, this idea is barely science-fiction. Theodore, humbled and scarred by a recent divorce from lifelong love Catherine (Rooney Mara, who contrasts Johansson by giving a performance that, for a large sum of the movie, is all body and no voice), accesses the will to go on through interractions with video game characters and phone-sex hotlines. But the ante is upped with Samantha, the self-named operating system that Theodore purchases to stave off loneliness, deeming choice a far less contorting one than spending time with old pals like Amy (Amy Adams)... at first.
Samantha evolves rather quickly from an articulate Siri into a curious companion, who is fed and engaged by Theodore just as much as she feeds and engages him. Jonze paces his construction of what, exactly, Samantha is so carefully that we won't even catch the individual steps in her change — along with Theodore, we slowly grow more and more enamored and mystified by his computer/assistant/friend/lover before we can recognize that we're dealing with a different being altogether from the one we met at that inceptive self-aware "H-hello?" But Jonze lays tremendous groundwork to let us know this story is all for something: all the while, as the attractions build and the hearts beat faster for Samantha, we foster an unmistakable sense of doom. We can't help but dread the very same perils that instituted one infamous admission: "I'm sorry, Dave. I'm afraid I can't do that."
But Jonze's sci-fi constructs are so cohesively intertwined with his love story that our dread doesn't exactly translate to an anticipation of HAL's hostile takeover. Her wedges us so tightly between Theodore and Samantha that our fears of the inevitable clash between man and machine apprehend a smaller, more intimate ruin. As Samantha's growth become more surprising and challenging to Theodore, to herself, and to us, the omens build for each.
And although all three parties know better, we cannot help but affix ourselves to the chemistry between Theodore and Samantha, and to the possibility that we're building toward something supreme. A good faction of this is due to the unbelievable performances of Phoenix — representing the cautious excitement that we all know so painfully well — and Johansson, who twists her disembodied voice so empathetically that we find ourselves, like Theodore, forgetting that we have yet to actually meet her. The one castigation that we can attach to the casting of Johansson is that such a recognizable face will, inevitably, work its way into our heads when we're listening to her performance. It almost feels like a cheat, although we can guarantee that a performance this good would render a figure just as vivid even if delivered by an unknown.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
In this way, Her is as effective a comment on the healthiest human relationships as it is on those that rope in third parties — be they of the living, automated, or greeting card variety. In fact, the movie has so many things to say that it occasionally steps on its own feet, opening up ideas so grand (and coloring them so brightly) that it sometimes has trouble capping them coherently. Admittedly, if Spike Jonze had an answer to some of the questions he's asking here, he'd probably be suspected of himself being a super-intelligent computer. But in telling the story of a man struggling to understand what it means to be in love, to an operating system or not, Jonze invites us to dissect all of the manic and trying and wonderful and terrifying and incomprehensible elements therein. Just like Samantha, Her doesn't always know what to do with all of its brilliance. But that might be part of why we're so crazy over the both of them.
Follow @Michael Arbeiter
| Follow @Hollywood_com
The best player in the World for movie trailers, Hollywood interviews and movie clips.
It is an unspoken rule that every awards season must include at least one film about World War II. After all, it was a period of great devastation that affected the entire world, and has inspired many powerful and moving stories. However, George Clooney seems to be taking a different approach with 2013's entry, The Monuments Men. Directed by, starring, and co-written by Clooney, the film seeks to bring audiences and often-untold story about the war and its cultural impact.
Clooney and Matt Damon lead a team of art historians and museum curators who are racing against time to save priceless works of art that has been stolen by the Nazis. Hitler has promised to destroy everything that has been taken over the course of the war if the Germans lose, and so they must find and retrieve the art before the war's end. Naturally, that also means that they must contend with the Allied generals, who think the whole operation is a bit frivolous in the grand scheme of things. In addition to Clooney and Damon, the all-star The Monuments Men cast includes John Goodman, Bill Murray, Jean Dujardin, and Cate Blanchett, with an accent that appears to halfway between German and French.
Based on a true story, the trailer promises a WWII film that focuses on a different, but no less important, aspect of the war. It seems as if The Monuments Men will balance out the action of the battle scenes and the suspense of the Monuments Men's race against time with the personal and cultural impact that losing so much priceless art had on the people of Europe. And, just in case things get too heavy, Murray is there to inject a little bit of humor into the affair with some physical comedy.
The Monuments Men opens in theaters on December 18.
Rush treats its Formula 1 racing subjects James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl) like gods, no doubt. But it's Olivia Wilde who makes the best entrance in the film as Suzy Miller, a British supermodel who finds Hunt and his throbbing engine attractive. In the video above we caught up with Wilde at the Toronto Film Festival about her role as Miller and why she thinks we all seem to find the '70s so romantic these days. We also asked that question of Ron Howard, for whom the answer seems pretty obvious: the '70s were a romantic time for him, as Happy Days was the #1 TV show in the world and he was just getting his start behind the camera directing Grand Theft Auto for Roger Corman, another movie about vehicular destruction. Is Rush a full-circle moment for him then? Watch below to find out.
More: Chris Hemsworth Strips Down for Natalie Dormer in New ‘Rush’ Trailer New Trailer Proves ‘Rush’ Is Much More Than a ‘Fast & Furious’ Movie Check Out Chris Hemsworth & Olivia Wilde’s ‘Rush’ Wedding Album
From Our Partners:A Complete History Of Twerking (1993-2013) (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
At the center of the fast-paced racing film Rush is one of the most bromantic rivalries you'll see on the silver screen this year. Ron Howard directs the film about 1970s Formula 1 rivals James Hunt (a slimmed down Chris Hemsworth delivering as the cool, lady-killing idol) and Niki Lauda (Daniel Brühl playing his character with a strict reserve fueled by a repressed aggression). Both men were major stars of their time, and their distinct approaches brewed a competitiveness that proves exhilarating to watch on the big screen, not only during many a thrilling race but also during some chest-to-chest and mind-to-mind confrontations.
The actors approach their roles with an honest investment, revealing a nice chemistry between these apparent opposites who actually come to learn they need one another as badly as they want to beat each other. Both men have their flaws, and Howard is able to balance sympathy for the characters at different moments in the film's unfolding drama to make it difficult to decide who we want to cheer for.
Despite this keen approach to characterization, Howard remains a heavy-handed storyteller. During the violent aftermath of one crash, a racer is carried away on a stretcher with a leg wound. He throws in a lingering shot of a close-up of the wound. You know, just so you might get a peek at what bone he broke in the crash. Howard also establishes Hunt as someone with a vomiting issue; the character throws up at least four times over the course of the movie. Okay, we get it.
But that tendency to overemphasize detail also makes the racing scenes intensely visceral. From the cars whooshing past the screen to the insides of engines, Howard presents it all. Sometimes these scenes only last seconds as montage sequences, collating the most powerful sounds and images in an abstract but impressionistic manner that transcends narrative. Howard should be commended at how much of this story he can pack into montage. The racing scenes become well-balanced against the drama. Neither personal character development nor racing ever overtakes the narrative to the point that the film feels dull either way.
The heavy-handedness, however, also appears in the sometimes obnoxious, often overwrought score by Hans Zimmer. But that same zealous controlling hand benefits the film’s authentic recreation of the era via production design, makeup, and costumes. During the sweeping aerial views of the race tracks, the production team even seems to get the color pattern of tents and people during the era. The privileged women who surrounded these men (including Olivia Wilde and Natalie Dormer) offer little more than set-dressing, as the film is all about these two men. The one who truly ties all these production elements together, however, is the movie's cinematographer, Anthony Dod Mantle, who previously won an Oscar for his work on Slumdog Millionaire. It is his work that captures the light that virtually transports you to the '70s, whether it shines through the trees or the frizzy, layered hair of the actors.
In the end, it all serves to enhance the relationship between Hunt and Lauda. Howard works it all to heightened effect. Sometimes he oversteps the obvious to inspire some eye rolls, but Howard still proves he knows how to make a thrilling film without forgetting its heart.
Follow Hans Morgenstern on Twitter @HansMorgenstern | Follow hollywood.com on Twitter @hollywood_com
The Star Wars origin story films are a go, whether we're on board or not. So we might as well keep positive and hope for the best. We don't know for sure which Lucasfilm characters we'll see get individual treatment — beyond rumors about Han Solo, Boba Fett, and Yoda — but we can muster up a list of which denizens of that Galaxy Far, Far away would be most compelling. And, just to conflate our Star Wars nerd-dom with our general film industry nerd-dom, we can toss in a list of directors we'd like to see take on these projects. How likely are any of these creations we've come up with? Not at all. But this is a land for dreaming. Behold the Star Wars origin story movies we'd very much love to see...
Han SoloGreedo Shooter, a twisted account of the pilot's young days of skirting the law and living it up. Written and directed by Harmony Korine.
Boba FettThe Man with No Face, a vivid, heavy dramatic thriller. Written by Luc Besson and directed by Kathryn Bigelow.
YodaMaster, a weighty drama about the dark depths to which a Jedi's mind can plunge. Written and directed by Werner Herzog.
Princess LeiaThe Princess' Revolution, a politically-charged drama about ascending from royalty to righteousness. Written by Emma Thompson and directed by Joe Wright.
ChewbaccaThe Growl of Man, a wordless epic about the Wookiee's journeys through the forests of Kashyyyk. Written and directed by Terrence Malick.
C-3POJust the Droid You're Looking For!, a verbose comedy about one droid's neurotic self-sabotage. Written and directed by Woody Allen.
R2-D2(beep!), a charming Pixar film about a whistling robot who changes lives everywhere he goes. Written and directed by Brad Bird.
Jabba the HuttPorcelain Palace, a dark, perverse nightmare about the goings-on in a crime lord's den of sex and violence. Written and directed by David Lynch.
Lando CalrissianHead in the Clouds, a sardonic farce about the Cloud City kingpin's moral decay. Written by Diablo Cody and directed by Jason Reitman.
Admiral AckbarCalamari, a sweeping exploration of the waterlogged planet of Mon Calamari. Written and directed by James Cameron.
Figrin D'an and the Modal NodesA Kloo Horn Melody, a pithy mockumentary about the longstanding rivalry of the Mos Eisley Cantina's house musicians with the Max Rebo Band. Written and directed by David Guest.
Jar Jar BinksGungan Man, a disturbing mission to latch onto one of the universe's most vile, deplorable creatures. Written and directed by David Cronenberg.
Uncle Owen and Aunt BeruMidtown Tatooine, a dry dramedy about a loveless pair's decision to raise their ungrateful young nephew. Written and directed by Wes Anderson.
Grand Moff TarkinAbandon Ship, a wily, haunting adventure about a crew of Stormtroopers who want out of their dead-end business. Written and directed by Pedro Almodóvar.
Biggs Darklighter, Wedge Antilles, and Jek Tono PorkinsFly, a dreamy navel-gazer about three Academy students who'd rather soar through space than think about the future. Written and directed by Richard Linklater.
Ponda Baba and Dr. Cornelius EvazanWe Don't Like You, a subversive buddy crook comedy about two wanted men who only love each other. Written and directed by Edgar Wright.
Mon MothmaCenter of the Universe, a political satire about the deafening bureaucracy behind the curtains of the Galactic Republic. Written and directed by Armando Iannucci.
Mace WinduThe Mighty Purple, a bloody exploitation film about a no-mercy warrior who takes justice into his own hands. Written and directed by Quentin Tarantino.
General GrievousSo I'm a Robot Now, a screwball comedy about a man-turned-cyborg who must adjust to life in his new form. Written and directed by David Wain.
WicketFluff, a wondrous ballad about a delightful creature trying to find beauty in times of fear. Written by James Schamus and directed by Ang Lee.
What else can you come up with: a John Waters film about Bib Fortuna? A slow-burning Coen Bros drama about a young Qui Gon? Paul Thomas Anderson's take on pod racing? We're intrigued by all and any ideas. Sound off!
More:Disney Offers Details on 'Star Wars' Origin StoriesBenedict Cumberbatch Rumored for 'Episode 7'Alex Pettyfer and Rachel Hurd-Wood for 'Episode 7'?
Follow @Michael Arbeiter
| Follow @Hollywood_com
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
Warning: The following contains spoilers for the movie Riddick.
It says something that one of Hollywood.com's top viewed articles, to this day, is a 2006 post titled "Vin Diesel Slams Gay Rumors." Seven years and an ostensible leap forward in our nation's attitude toward sexual identity and there remain those who are bewildered, outraged, and mortified over the idea of Diesel, the poster boy for all things manly, being gay. We can't blame the actor for this flowing river of backwards thinking, but we can take issue with some of his creative endeavors. Made famous by action-heavy, brutally macho movies like xXx and the Fast and Furious franchise, Diesel seems to have made a habit of aligning himself with the sort of project that glorifies the heteronormative idea of man: someone who fights, frowns, and beds as many nameless women as he can. And although there is nothing impressively progressive about the actor's past choices, their offense might pale in comparison to his latest gig: the new installment of the Richard Riddick trilogy, Riddick. A movie that is so frought with gender-political issues that we're beginning to wonder if the people populating the "Vin Diesel Slams Gay Rumors" comment section actually had a hand in writing the script.
What's curious about Riddick is that it actually approaches the ideas of gender roles and sexual orientation head on. With a lot of time to chat during their motionless stakeout of a wasteland planet in hopes of apprehending the titular criminal, a pair of bounty hunter teams gets into some heated trifles. The head of Team A, Jordi Mollà's Santana, is a sociopathic bandit defined by his plaguing pride issues and a sexual predatory streak, the target of his assaults being the film's sole female character, a strong-willed agent played by Katee Sackhoff (who also, it must be noted, denounces any sexual interest in men at the start of the movie). Santana is obsessed with seizing control from Team B captain Boss Johns (Matt Nable), an intellectual stoic who matches every one of Santana's threats with a passive-aggressive alternative, opting for patience and collection over his opponent's venemous bravado. Fairly quickly, the dynamic between the two men becomes little more than a pissing contest between the contrasting alpha males, each losing battles along the way as the other's methods prove conditionally more effective in the maintenance of his camp.
Early on in the movie, you're inclined to sympathize with Boss Johns, championing his intelligence over the all brawn and balls approach of the deplorable Santana character (who, it's made clear from the start, you're supposed to hate). But while Nable's temperate captain is presented initially as the Spock to Mollà's Kirk, he descends pretty quickly into his own corrupt drive to capture Riddick, the man he believes to be responsible for his son's death. But this particular conflict of allegiance is resolved when another one spawns: by this point in the movie, you're meant to have allied your sympathies with Riddick himself, who might be the closest thing this film has to a Bones, were not for his own predatory inclinations. And that's where the real issues with Riddick's attitudes on gender come in: when the hero becomes just as big a sexual criminal as the villain, but is applauded for it.
We do not struggle with our affection for Riddick in the early chapters of the movie. We catch up with him surviving alone, abandoned on a near-apocalyptic planet. He gets by on his stealth and agility. He longs humbly for his distant homeland of Furya. He befriends a wild dog. The film might as well open on him carrying a baby out of a burning building, draped in a Beatles t-shirt and a red, white, and blue cape. And not only is he heroic, but exacted as a character symbolizing an array of liberal values: He rejects another character's compulsion to pray to God in a time of duress, favoring tactile logic over faith. He swipes spaceship batteries from the bounty hunter crew, leaving his mark with the none-too-subtle graffiti tag "FAIR TRADE." Hell, he conducts an ad-hoc abortion on a pregnant alien reptile. By displaying both these values and those way across the spectrum, brazen machismo, the movie is really setting us up with an all-purpose good guy.
But what's troubling is that this established affection is meant to carry over during Riddick's less favorable antics. Once captured by the troops, Riddick engages in provocative dialogue with Sackhoff's character — who is so unfortunately named Dahl (pronounced "doll") — that is no less repugnant than the sort of vile lines tossed her way via the Santana we are all understood to be the film's biggest douchebag. But when Riddick does it — objectifying her, prompting her for sex, remarking quite shamelessly on her breasts — the audience is asked to cheer. (And actually mine did.) But that's not even the worst part: the impassioned viewer isn't the only one who gets on board with Riddick's behavior. Dahl does too.
By the end of the film, Sackhoff's heroine — the intelligent, dutiful, strong, and proud woman who identifies her sexual orientation fairly bluntly early in the film ("I don't f**k guys" isn't too ambiguous) not only stands alone in sympathizing with the criminal Riddick, but risks her life to save him in the final moments of the planet's decay, succumbing to his previous advances by professing her desire to sleep with him as the two retreat to the safety of the ascending spaceship. And thus, her story is resolved. Boss Johns comes to terms with Riddick's innocence in regard to his son's death (coming to accept that Johns Jr. was a junkie and a criminal). Riddick finally flees the impending Armageddon that has proven his feature-long mortal enemy. And Dahl shirks her avowed disinterest in the male form, submitting to the calls of heteronormativity, and closing her story on a request to sleep with the guy whose only other converastion with her had been comprised of lewd, perverse come-ons.
So how can a movie villify a character like Santana and champion one like Riddick? The difference between the two men is microscopic, but Santana is reviled in-universe as feeble and depraved, whereas Riddick is adored (or at least admired) for his gallant displays of masculinity. Santana comes up short in challenging Johns for top banana status, but Riddick earns celebratory laughs over his casual insistence that Nable's increasingly agitated character "ride b***h" on their shared hover-bike during a quest to retrieve a spaceship battery buried in the wilderness. The only thing that keeps us from feeling about Riddick the way we do about Santana, in fact, is the fact that we're not obligated to. As this film is a Vin Diesel vehicle, and as Diesel is a moreover charismatic actor, we know that we can "get away" with laughing off his oh-so-charming aggressions, his that's-just-Riddick-bein'-Riddick come-ons. We feel as though we're allowed to like him and all his bravado, despite the fact that we know better. Riddick is the "Blurred Lines" of movie characters.
And therein is our problem: Characters and ideas we root for, our value system notwithstanding, just because we don't feel the threat of scorn and judgment present. When we feel safe and comfortable among things we know we should detest it should not be an invitation to get behind them. It should be all the more reason to challenge our own attitudes. Yes, we can clap for Riddick, derive satisfaction in his snappy "flirtations" and hoot and holler when he finally gets (in the most material sense of the word) the girl. It'd be fun, it'd be easy. And there'd be nobody there to wag a finger. But that's the same kind of attitude that allows some folks to rest comfortably among the masses who are disgusted by the idea of an action movie star being gay. If you do see Riddick, don't let it convince you to excuse the criminal behaviors imparted by its title character or the "victorious transformation" of an established lesbian into the hero's heterosexual bounty. Feel what you know you should, take as much issue as your gut tells you to, and embrace that... no matter how many other people are cheering beside you.
More:'Riddick' Review7 Reasons Vin Diesel Will Play 'Guardians' Tree Groot'Fast 6' and 'Turbo' Mashup!
Follow @Michael Arbeiter
| Follow @Hollywood_com
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
Truebies, it's time to face the disturbing fact that there is only one more episode left of this season. As much as it's a downer to picture future dark, dark days absent of True Blood amazingness, we must try our best to put those horrible images aside as we get ready for the upcoming season six finale.
But before we get our blood pumping at the thought of next week's ill-fated, heart-breaking finale, let's go over some of the crazy shenanigans that seized the screen in this week's episode. And thankfully, the minds behind True Blood kept this episode plain and simple, focusing this episode on two main storylines: pairing Terry's heartfelt funeral with the contrasting chaos at vamp-camp. There was not much Warlow chaos and there was no unwanted werewolf/shifter drama. Phew!
First off, let's head on over to Bon Temps where townies gathered to celebrate the life of Terry Belfleur at his funeral.
Remembering TerryWe finally bid farewell to the much-loved Terry Bellfleur with a slew of eulogies that trigger a whole lot of flashbacks. Andy remembers when Terry first returned home from war and hid out at their childhood fort. Sam recalls an especially sentimental moment when Terry declared that "every life matters," even a mere catfish while out fishing. And Lafayette reveals how after he peered into Terry's soul, he became his french-fry, booty-popping mentor.
Right before Arlene shares her eulogy, Sookie jumps in and shares a memory of when she witnessed Terry fall in love with Arlene for the first time. Sook confesses to listening in to Terry's thoughts one evening at Merlott's and hearing his heart racing as he thought how being with Arlene "would make coming out of the woods not so bad." Aw!
And finally, it's Arlene's turn to remember her hubby, which prompts her to recall the day baby Mikey came into the world. In the midst of Arlene fussing about how Mikey's despises her and refuses to breastfeed, Terry comes to the rescue and consoles the now-weeping redhead by telling her how much this family meant to him. Ugh, we're going to miss that fellow.
Warlow Life UpdateAfter last week's episode left Warlow looking not so hot– thanks to Eric who almost drained him to the core–Sookie revives the guy with some of her lovely fairy blood. Phew! P.S. I'm starting to hear wedding bells for these two... Yes, Sookie finally told Warlow she intends to keep her promise and become his fairy-vampire bride!
Bye Bye Vamp-CampEric's hype on Warlow's blood with a mission to save vampire kind from extinction over at vamp-camp. Bill rolls up to vamp-camp ready to save the day and carry out his Lilith-sent mission. But, it's clear Eric's already on the job: not only is the hottie vampire freeing his fellow vampers, but he's also brutally ending every human life in sight at vamp-camp, including Dr. Overlark's… and why yes, he does rip off his penis. And yes, I will never look at a penis the same way, ever, ever again.
And Jason fans, don't fret, Eric not only saves our favorite piece of man-candy from the confines of vamp-camp, but also heals him and clues him in that "he's in for a treat." So, I guess we have some more gay wet dreams from Jason coming up. P.S. Just because Jason's free from vamp-camp, that doesn't mean he's free from Violet. Oh yes! He's still Violet's sexy little human playtoy.
Sarah Newlin is Saved… But Why?!While every doctor/ researcher who tortured away at vamp-camp gets savagely murdred, Sarah Newlin manages to sneak past and expose all our vampires in the white room to the sun. But right as Newlin squeals "Die F*ckers," she realizes that these vampers aren't quite ready to hit the grave for good. Bill has come to the rescue! Rejoice! He's shared a lil bit of his Warlow-ified blood with all his vamper friends. Can I get a hell yeah!?
But fortunately, one vampire can't seem to get a lick of Bill's blood and ends up shredding to pieces in the sunlight. Yes, truebies, we FINALLY get to say goodbye to the one, the only Steve Newlin… but not before he manages to scream out "I love you, Jason Stackhouse". And then I died of laughter for the rest of the episode.
Decked out in a white pantsuit, Sarah Newlin tries to flee from the daywalkin' vamp clan… but the bump-it aficionado can't seem to run fast enough. Jason gets a hold of the crazy chick and claims its his religious duty to kill Sarah. Yet, Jason can't manage to pull the trigger and is lame enough to let her go. I'm sorry, but ARE YOU DUMB? Okay, like I knew Jason was stupid, but who knew this hunk could get himself to this uptime level of dumb-assness. Really, really, stupid decision Jason. I don't think I'll ever forgive you for this one… Then again, if you take your shirt off, maybe I'll take it easy on you.
Reunited and It Feels So Eh After Eric gets ear that the psychiatrist f*cked Pam, he's enraged to say the least. But, I was a tad thankful, because it led to a much-needed bonding moment for Eric and Pam. It seemed that their maker-protege connection rekindled when Eric gushed to Pam how he saved the therapist for her to kill off and she lit up like a full-blown Christmas tree. But, no… their bonding sesh didn't last for long at all. Right as Pam begs Eric not to go AWOL once more, Eric jets right on off. Ugh. Why must you go?!
The End of Billith As We Know ItEveryone's high and happy on Bill's blood, dancing in the sunlight, having a good ole party, and smashing every laced True Blood bottle in sight. But, Bill's not feeling happy-go-lucky like the rest of his vamper pals. Three Lilith sirens appear before Bill sharing that his time on earth is over. Although I'm not a huge Billith fan, that doesn't mean I'm even nearly ready to say peace out to Bill.
But thankfully, James has the nifty plan to feed Bill more Warlowy blood. Aha! That does the trick. So, does this mean we have the real Bill back? As in the Bill we first fell in love with… or is Lilith still controlling the dude? Dun dun dun!
Follow Cori on Twitter @gimmegimmeCORFollow Hollywood.com on Twitter @Hollywood_com
More:'True Blood' Season 6 Spoilers:Which Main Character Will Be Murdered? 'True Blood' Stars Announce Kids' Names... After Nine MonthsNew 'True Blood' Trailer Features Shirtless Alexander Skarsgard
From Our PartnersStars Pose Naked for 'Allure' (Celebuzz)20 Grisliest TV Deaths of 2012-2013 (Vulture)
Action man Jason Statham insists he's the perfect choice to take on the speedy star of the Fast & The Furious movie franchise in the film series' seventh project - because he has already raced Paul Walker in real life. Statham thrilled fans of the fast-paced film franchise when he appeared briefly at the end of Fast & Furious 6 as the series' new villain, Ian Shaw - and it appears he has been revving up for the role for some time.
The Transporter star says, "I've actually been racing with Paul at Willow Springs (raceway) in L.A., so we've sort of chased each other around the track before."
And he can't wait to get started on the next film and face off against Walker, Vin Diesel, Michelle Rodriguez and Dwayne Johnson: "They're all a good bunch. I've met many of them in passing on numerous occasions and they seem like a solid little crowd so I'm happy to be a part of that."
Actor Channing Tatum fears teen singer Justin Bieber will struggle with the responsibilities of adulthood because he has so little experience of the real world after growing up in the spotlight. The pop star has attracted a slew of negative criticism for his bad boy behaviour in recent weeks, and most recently came under fire for allegedly racing his Ferrari sports car around his California gated community at high speeds.
Bieber's antics have sparked concerns he is spiralling out of control, and new father Tatum worries the Baby singer's early success could actually cripple him in later life.
Tatum tells Vanity Fair magazine, "I don't remember who said it, but I do believe that whatever age you become famous, you end up staying that age. Because from that point you're not asked to be a normal citizen. I broke through at 24 or 25. I had lived a pretty diverse life. When I was finally making money, I knew exactly what I needed... $5.67. I'd have one meal a day. I would go to Checkers (fast food joint) and get the No. 1 (meal) with everything...
"I worry about Bieber, man. That kid's wildly talented. I hope he doesn't fall down into the usual ways of (famous) young kids because it's so hard for someone to be responsible when they're not asked to be. We're not asked to do things ourselves. You have someone there with a coffee. (They say,) 'You want food? I'll get you food.'"
Tatum became a first-time father last week (31May13) when his wife Jenna Dewan-Tatum gave birth to a little girl, Everly.