Kelsea Stahler
Celebrity Editor Kelsea Stahler was born in a pile of dirt. Okay, she was actually born in an old Naval hospital in San Diego, which then became a pile of dirt and remained as such for a number of years before becoming a parking lot perfectly sized for circus tents, and finally a museum. She eventually left San Diego to attend New York University, where she studied Journalism and English literature — two less-than profitable liberal arts degrees about which guidance counselors warned her. Against all odds, she now resides in Brooklyn, where she fights the constant fear that the locals will soon discover she isn’t quite cool enough to live there, and makes a living writing absurd, pop culture features about Batman, zombies, vampires, funny people, and Ron Swanson.
  • Leonardo DiCaprio: Tobey Maguire's Friendship Made 'Gatsby' Possible
    By: Kelsea Stahler Apr 29, 2013
    Fans of F. Scott Fitzgerald's beloved novel The Great Gatsby can easily remember the intense friendship between narrator and protagonist Nick Carraway and the beguiling Jay Gatsby. It is a delicate relationship not easily forgotten by any fan of the book, and it's one that Tobey Maguire and Leonardo DiCaprio (who play Nick and Gatsby, respectively, in the film) paid great attention to during the filmmaking process, thanks in large part to their "20 year" friendship outside of Gatsby's realm.  At the press conference for the film, held at the historical landmark (and the site of one of the most pivotal scenes in Fitzgerald's text) The Plaza Hotel in New York, Maguire spoke about his connection with his longtime friend. "I think Leo and I have a very trusting and close friendship, so I think just the level of comfort we had in terms of the work process ... I definitely have affection for Leo so it's easy for me to have affection for Gatsby as Nick as well," he said. But DiCaprio took it a step further, saying that in order to undertake a classic as beloved as Gatsby, he needed someone like Maguire to make him feel at ease as the mysterious title character. "To venture into a project of this magnitude, it really took a core of trust for me to feel comfortable, so to know that somebody I've known for 20 years, and Baz Luhrmann [was] involved, and Tobey was immediately involved in that process from the onset, was incredibly comforting," he said.   But it wasn't just some sort of buddy system that made DiCaprio feel alright. Their friendship also informed their characters' friendship onscreen: "We're always extremely honest with each other. And for me, I don't know if this project would have happened if we didn't have that sort of relationship. We needed it, and we needed those checks and balances and contact with each other in order to be honest with one another," he added. Of course, DiCaprio was being a little vague about just what he meant by having this system of "checks and balances" with Maguire, but Luhrmann stepped in to give a practical example, citing the scene they shot first: Gatsby's meeting with Daisy (Carey Mulligan) at Nick's cottage. Luhrmann asked the actors to take a break from their written lines and improvise a bit of dialogue, which ultimately made it into the final cut because it worked so well and the actors played so honestly off of each other. "And that moment, I think it's one of the clearest, most connected moments of the film, and that completely came from the depth of their relationship ... it was one of the first things we shot and it's one of the most connected and truthful moments in the film," said Luhrmann.  It's enough to put any skeptical fan of the novel at ease as we go into the film's May 10 release. While the relationship between Daisy and Gatsby is the one that reeks of romance and longing, it's the core relationship between Jay and Nick that drives the narrative, and in turn Luhrmann's film. As such, it's comforting to know that at the center of the film are two actors whose friendship drives and protects that precious story line.  Follow Kelsea on Twitter @KelseaStahler More:Florence + The Machine's New 'Gatsby' Track Is Moody, Sexy Cannes Film Fest: Emma Stone, Ryan Gosling and More Head to FranceBeyonce Steals the Scene in New 'Great Gatsby' Trailer From Our Partners:Beyonce Flaunts Bikini Bod for H&M (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Unhappy Hour: Jennifer Lawrence Gets Snubbed, America's Sweetheart Divas Out & 9 Other Reasons to Drink
    By: Kelsea Stahler Apr 27, 2013
    Each week, Hollywood gives us something to whine about, and the week of April 22 was no different. We could make a drinking game out of this week, but that would be too dangerous. Instead, we'll stick to the usual formula: varying levels of alcoholic respite depending on how bothersome the week's issues are. Is your biggest complaint this week a flimsy one? How about a light cocktail to take the edge off? Got a real bone to pick with a celeb or entertainment entity this week? Go ahead, grab a drink that'll put hair on your chest. Here are the week's entertainment stories that are forcing us to seek a bubbly or boozy refuge. And maybe an idea or two about how you should wash them down. Gimme a Piña Colada, I Want to Pretend It's Summer AlreadyJust take the edge off.  Because Jennifer Lawrence was somehow not named People's Most Beautiful Person in 2013. Gwyneth Paltrow nabbed the title in a seeming reprisal of the Bradley Cooper-Ryan Gosling debacle of 2011.  Mark Wahlberg doesn't even know how funny he is. We have proof! Speaking of Wahlberg, you might actually like his new movie. From Michael Bay. About body builders. Beating people up. In Florida. No, seriously. You'll like it. Just read the review.  Let's Just Go Straight for the Margaritas on the RocksThis is worse than we thought. Loosen up, you need it.  Psy has another hit on his hands. So, thanks to this new song, we can expect that dancing pistachio to keep playing during episodes of American Idol. Wonderful.  Gwyneth not only stole the People's Most Beautiful title, she stole the show on the Iron Man 3 red carpet. And we all learned that the term "side-butt" comes with a extra strength dose of jealousy. (Gwynny looks good.)  Duck Dynasty is officially the biggest show in America. Sorry, Ryan Seacrest. The Into The Woods movie might be headed into the weeds. Johnny Depp is up for a starring role, and that could be a very, very bad idea.  One Tequila, Two Tequila... But Stop Before You Get To Three Tequila, FloorGird your loins, everybody. "The Sign" is ruined. Well, sort of. The Ace of Base member with now-dormant Nazi tendencies has since apologized.  Everyone's favorite Super Bowl Half Time performer is starting to feel a bit like a sell-out. Beyoncé's new H&M ad teases us with the promise of new music, but ultimately disappoints. Justin Bieber's downward spiral continues... with the inevitable and very public drug bust. And Reese Witherspoon has a little meltdown of her own. But the former America's Sweetheart made sure to apologize after the drunken incident, so we can't hold too much against her. Follow Kelsea on Twitter @KelseaStahler From Our Partners:Beyonce Flaunts Bikini Bod for H&M (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Everyone Who Lee DeWyze Ripped Off on 'American Idol' Last Night
    By: Kelsea Stahler Apr 26, 2013
    As if the big, incredible, unbelieveable, and totally predictable "twist" (the equivalent of Ryan Seacrest popping on stage to say "Oopsie, America!") on American Idol wasn't enough to elicit sighs strong enough to blow houses down, it was preceded by the "triumphant" return of one Lee DeWyze.  DeWyze won Season 9 of American Idol and was promptly flung into obscurity, never to be heard from again until this fateful April night. He burst back onto the Idol stage, with a video package in which he declared his success since the finale (even though Idol fans knew better). Then, as he approached the mic and began to sing his new single "Silver Lining" (already echoing the recent success of a certain Jennifer Lawrence movie), it became apparent that Lee wasn't doing his thing, but several other people's "things."  Being the detailed, judgemental Idol viewer that I am, I couldn't help but draft a full report of all the grievances DeWyze has taken against other artists, beards, and Ryan Cabrera. But first, some context: Now, let us count the ways DeWyze has stolen every last piece of his new game: Ripoff #1: Ryan Cabrera's Hair, Ashley Simpson EraDeWyze chose a toned down version of Cabrera's 'do, because while he may be unoriginal, he's not that much of a masochist. And it's no longer 2003. Ripoff #2: Jonah Hill's NeckbeardThere are three kinds of people who can pull of neck beards: politicians from the 1860s, Sam the Eagle, and people who star on A&E reality shows. Clearly, DeWyze doesn't know that. Ripoff #3: Marcus Mumford's Dapper English Lad Style  I understand this one. Who wouldn't want to cash in on the ridiculous appeal of Mumford's boyish, delightful charms? The problem is, you kind of have to actually be Marcus Mumford to get any of the effect.   Ripoff #4: Phillip Phillips' "Home"DeWyze is in such dire straights that he needs a hit, and he needs it now. Rather than go back to drawing board to figure out which part of his own sound he could bring out of the Nickelback chasm it calls home in order to find success, he just looked to mildly successful Phillips, whose song "Home" blew up over the summer. Give the chorus of "Silver Lining" a listen and tell me it doesn't sound exactly like this: Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Results: The Big Twist Is Revealed'Idol' Recap: Angie Miller Rises to the Top of the HeapWhy 'American Idol' Made Me Love Keith Urban  From Our Partners15 Nude Photo Scandals (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • More 'Arrested Development' Character Posters, This Time With Actual Faces — GALLERY
    By: Kelsea Stahler Apr 25, 2013
    Heyyyy, brother. Yep, that's Buster Bluth and his sole purpose in this poster is to tug at your most nostalgic of heart strings in preparation for the fourth season of Arrested Development. We're just about a month away from the full season release on Netflix on May 26, but in the meantime, the streaming site has a few questionably cheesy taglines, including "It's not an illusion, it's Netflix," to get us excited (let's hope the new season's writers weren't involved in the poster creation process).  Still, it's fun to return to a Bluth family in the face of change: Michael and Lindsay have new haircuts, Maeby is suddenly a total babe, and Buster, well, those are probably new socks, right? Click the link below to view all the pics! GALLERY: Every Single 'Arrested Development' Poster  Follow Kelsea on Twitter @KelseaStahler More:'Arrested Development': Where The Hell Is Our Movie?9 People You Didn't Know Were on 'Arrested Development'20 'Arrested Development' Running Jokes That Need to Keep Running  From Our Partners50 Worst Celeb Mugshot Fails (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'American Idol' Results: Ryan Seacrest Reveals the Big Twist & The Bottom Two
    By: Kelsea Stahler Apr 25, 2013
      All week, American Idol has been teasing us with some collassal, unbelievable twist that we'll just have to tune in and hear from Ryan Seacrest's birdlike lips to believe. Then, the end of Thursday's episode arrived and so did the twist so incredible that Idol made us tune in because there's absolutely no way our little pea brains could have guessed it: The way they're dealing with the extra week of programming (thanks to the fact that the judges never used the Save) is by not eliminating anyone this week. Rivetting. Revolutionary. Absolutely not something we totally could have guessed a week ago.  Granted, they did still give us some form of results: the bottom two and the top two. And in some twist that defies all logic, Kree Harrison survived one of her worst sets of performances on the show and nabbed a spot in the top two alongside the hashtag pow-level singer, Angie Miller. That means in the bottom two, we find Amber Holcomb, who continues to make song choices that confuse viewers, and Candice Glover, who does not belong there in the least. While it's a relief to know that Candice is in no way going home, it does mean we're going to have yet another week of "Who Chose the Best Song?" when all we want is to know who's getting that confetti shower.  The episode did give us a few other reasons to tune in (like the impossibly adorable moment when Nicki Minaj called her friend Drake in to surprise Candice on stage), but mostly it had us shaking our heads and asking questions like: Why was Lee DeWyze performing? Why was he dressed like Marcus Mumford? And is he aware that he stole the chorus of his song from Phillip Phillips? Does Stefano Langone really need glasses or is the latest edition to the Urban Outfitters Fake Glasses for suckers club? Did Ryan Seacrest think that "whoops, I disappeared" joke worked? Did he know that line about polishing Tom Bergeron's Emmys sounded like a euphamism? And finally: Why the hell was voting last night? Were they a bunch of first time viewers who think that Candice's only performances were that of Drake's "Find Your Love" and that BeeGees song?  With next week acting as somewhat of a do-over, we'd better see something that manages to keep us awake during that two-hour broadcast (and I'm not referring to stoking more jokey romance rumors between Jimmy Iovine and Nicki). And of course, Candice had better not find herself in the bottom two again, America.  Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Recap: Angie Miller Rises to the TopNew 'Idol' Judges Already? Ratings Are Low, But Don't Blame Mariah'American Idol' Made Me Love Keith Urban From Our Partners50 Worst Celeb Mugshot Fails (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • H&M Shamelessly Exploits Beyonce's New Song To Sell Bathing Suits — VIDEO
    By: Kelsea Stahler Apr 25, 2013
      You can't blame H&M for wanting to cash in on Beyoncé's incredibly powerful popularity, or should we say "reign over all living things and most cellestial beings." Bey has the entire world wrapped around her perfect little finger, so when H&M was looking to boost their national cred, who better than Miss Bow Down, Bitches herself? No one.  The problem is, the clothing chain has decided to continue its pattern of using artists' music to sell its wares. They did it with Lana Del Rey, who debuted a cover of "Blue Velvet" with a very Del Rey video that looked like it came straight from the '60s, for their Fall collection. Now, they're blowing that out of the water with Beyoncé's new spot, which is basically a music video for her new song "Standing on the Sun." Until, that is, the giant corporate logo is slapped on the end. It feels like a giant slap in the face. "You want a new Beyoncé song? Great. Just make sure you buy one of our swimsuits too, sucker." When Del Rey did it, the relationship with the company seemed to be somewhat symbiotic. Her flubbed performance on SNL and a few wacky interviews had taken her from rising star to an indie singer in need of a relaunch. The H&M campaign let her come back into our consciousness with a layer of elegance and beauty. She needed that commercial as much as H&M needed her name.  With Beyoncé, the commercial feels like a company taking advantage of our hunger for anything and everything King B. Her new album may be heard by the few lucky souls around the world who secured tickets to her fantastical Mrs. Carter Show tour, but the rest of us schmucks have to look to the Internet for each ounce of new Bey material. It feels like a cheap trick: we buy into this magnificent music video, with B throwing sand and dancing around on tropical beaches, only to find that we don't actually get the whole song and that this is simply a clip hoping to make us buy something.  Look, we know that for H&M this is a huge coup. But what we're wondering is why Beyoncé would do this to us. Why would she debut pieces of her highly-anticipated new album in an ad? It was slightly annoying when she did it with "Grown Woman" in her latest Pepsi TV spot, but doing it a second time is obnoxious and degrading to her music. It's not like she needs the cash — after all, she did just sell tickets to stadium concerts all over the world and she's married to Jay-Z. She doesn't need the exposure; she's practically over-exposed as it is. What motivation does she have, then, to turn her music into a high class commercial jingle?  Not to mention, if she's going to take all this time to film mini music videos for soda brands and clothing companies, can those of us who got shut out of Ticketmaster a grand total of three times get something in the form of a real Beyoncé video? One that blows our minds like "(Girls) Run The World" or "Single Ladies" or "Upgrade U" or anything else she's ever done? We love Beyoncé, but there's just something so cheap and tawdry about obtaining our fix through all of her corporate sponsorships. We want the real B. Even if it's the carefully curated, self-made-documentary version of Ms. Knowles, it's better than this. Follow Kelsea on Twitter @KelseaStahler More:Bey and Jay's Cuba Trip Was Not Against the RulesBeyoncé Steals the Scene in New 'Gatsby' TrailerBeyoncé's Pepsi Ad: Did Britney Do It Better?  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'American Idol' Recap: Angie Miller Rises To The Top of the Heap
    By: Kelsea Stahler Apr 25, 2013
    So we’re here. The part of Season 12 of American Idol where we’re no longer paying attention to runs and vocal flourishes, big notes and clarity of tone. We know that Angie Miller, Amber Holcomb, Candice Glover, and Kree Harrison are all powerhouse singers with incredible talent. That’s no longer up for debate. So what the hell do we do now? Well, we start focusing with incredible intensity on the song choices, the arrangements, the way each singers’ eyes behave while they sing, and of course, their resemblance to such confectionery delights as New York’s famous Black and White cookie. You know, the really important stuff. The problem is, these ladies are on their own. They’re not being carefully managed by a team whose job it is to make these girls relevant and valuable in mainstream music. These are young girls, picking songs from a list that’s been given to them and they’re making it work. They’ve got assistants in their process, but these assistants, from the band to their stylists, aren’t there to make each person the best performer. They’re like rented softball gear at the rec center: if you use it right, you’ll hit the ball out of the park. If not, you’re swinging around a dingy old bat and putting your hand in a leather flap full of God knows how many forms of bacteria. They are professional tools, but they’re not there to make the right decisions for these ladies. And now that we’ve got past the point of being able to tell who’s crashing and burning and who’s flying high, the show is getting very detailed, very subtle, and so boring they had to bring Jimmy Iovine onstage so he could get in a fight with Nicki Minaj over some incredible correct comments he made backstage. Who needs a real singing competition when you can have Nicki faux-strangling Jimmy while Randy plays lame dad, joining in with no idea of what’s actually going on? Really. Why would you want to be entertained by the point of the show at this point? Perhaps because there seems to be so little game left in the series that dragging on until May 16 feels about as appealing as being made to watch the same Storage Wars episode 15 times in a row. Yet, here we are. Let’s make the best of it. For the first round, there may have been a theme, but I couldn’t care less at this point. It was likely something like “Songs That Make Your Ears Listen Hardest” or “Tunes That You Like Hearing on the Radio When You’re Driving and It’s Nighttime” and we’d probably end up with the same lineup. Amber opened it up with, you guessed it, yet another dated ballad, that she can sing each note to absolute perfection, but we. already. know. that. So when she sings “The Power of Love” by Celine Dion at the top of the stairs with an outfit and hair straight out of Whitney Houston’s I’m Your Baby Tonight playbook while psychedelic henna tattoos swirl on the screens in the background, we’re inclined to think what we’ve been saying all season: incredible voice (now with added personality and confidence), but what exactly about this screams contemporary? Well, nothing unless you’re one of the judges, who apparently have no issue with this becoming an old episode of Star Search. She has grown significantly in the past few weeks, but doesn’t anyone else seem to think it’s a problem that putting a finger on who she is is still proving to be almost impossible? Candice took a bit of a chance with “Find Your Love” by Drake, and while her crush on the singer/rapper is completely charming, this may not have been a totally sound choice for her. She deconstructs Drizzy’s song and makes it a jazz club version of the original. It works better for her voice and range than the original, but it does come across as a little unremarkable. It’s a fun rendition for a Drake fan, but it’s not something that showcases her talent or her ability to crush her audience’s souls. It’s simply nice. Keith points out that she’s still very much herself, which isn’t really a problem for anyone on this show right now, so thanks, cap’n. And the mediocrity continues with Kree, who’s also a victim of her own song choice. This week is not the time to pick songs because they were something you listened to as a kid. This is the time to bring out the claws, big guns, best songs to potentially make you more popular and most likely to win. It’s not the time for a last ditch effort or a wild hair. Save that for the Idols tour, or did you all forget you’re contractually obligated to do that? Anyway, Kree sings “It Hurts So Bad” and it showed off her voice, per usual, but felt more like that episode of Dawson’s Creek where Andy and Dawson get drunk and sing the blues on stage. Kree’s playing the part of a blues singer, and unlike James Van Der Beek, she can really sing, but it’s still a performance better served with a third glass of whiskey than as a Top 4 performance on Idol. Finally, we get a tiny bit of relief in the form of a girl I’ve been rather harsh on: Angie. She reprises her rendition of “Who You Are” by Jessie J, which she sang during the audition rounds, and if we’re going to do a mini half-time report after the episode’s first hour mark, Angie was the one moving the majority of the chains. The song doesn’t overtake her the way last week’s tribute to Boston did. She’s able to be more herself: Her facials are less canned, she’s not singing like Mary Poppins, and she’s not thinking about making cute or attractive faces. She’s just singing the hell out of the song and doing her thing on the piano. But we need to fill two hours, folks. It’s time for everyone’s favorite Idol moment: duets. (Not.) First up are Kree and Amber with “Rumor Has It,” and while this Adele song is something that either one of them could have performed on her own to sheer perfection (I’m looking wholeheartedly at Amber here, who needs some contemporary flavor more than Kree), together they fumble it. The vocals (as we’ve been saying all night) are wonderful, but it’s the performance that suffers. They were clearly tired and unwilling to put forth the extra effort for this third song that was forced upon them in addition to their two solo performances. Kree was distant and Amber relied on her newfound power stance. There was no fire for a song as incendiary as “Rumor Has It.” And as convenient as the exhaustion excuse was, it didn’t hold water once Candice and Angie took the stage for their duet of “Stay” by Rihanna. This simple duet is far more engaging even with the first few moments in which Angie looks like a young girl getting the shot to sing with her Idol. By the time they reach the end of the song, they’re so in sync. Their tones wouldn’t normally seem to fit, but emotionally, they’re on the same playing field, adding depth and emotion to their final back and forth, a friendly tete-a-tete of vocal skill. The result is pure emotion, a known form of musical magic. It makes the judges lose their minds and it shows that Angie and Candice are the two most dynamic performers in the set. It’s something Candice needed, because her song choices for the rest of the night weren’t as on point as they needed to be. Part of that was Candice’s (or the other ladies’) faults. They were given the second category of “One Hit Wonders” (a.k.a. songs people heard so many times they never wanted to hear more from the original artist). Great category, voters. Amber starts of this stellar category of 20-40 year old songs with “MacArthur Park” (that’s the one about leaving cake out in the rain, or about the dinosaurs running wild in Jurassic Park if you’re more of a Weird Al person). And not only did she pick one of the cheesiest songs possible, she chose to perform the Donna Summers disco version. It’s as if she doesn’t even want to win. That glorious, beautiful voice is going to waste on songs that no modern music fan would want to buy. Still, Randy continues to call her current, hoping that if he keeps saying it, it will become true, when what he should be saying is that she can be current, if she makes the right calls. She possesses that ability, she’s just not exercising it. Candice makes a similar mistake, though not to the extent that Amber did. She tries “Emotion” by the Bee Gees (and Destiny’s Child if you need a Beyonce connection here). Candice is still able to bring her own genuine brand of singing to the classic song as usual, but she’s fighting something she shouldn’t have to. She’s struggling against the song, not vocally, but with her own personality to make herself the takeaway, and not the fact that everyone remembers that song from the Gibb brothers’ rendition. What’s worse, is that while they were supposed to be judging Candice, the judges veered off into more discussion about Amber and eventually the aforementioned playfight with Jimmy steals every last ounce of Candice’s thunder. Kree goes a step above Candice and picks a slighter better song: “A Whiter Shade of Pale.” It’s still an old as dirt song, but at least it’s organic-feeling enough to let Kree be bigger than the song. It’s clear that after the judges called her out for needing to loosen up, that she’s making a conscious effort during the song, which detracts a little from what could be a typical Kree smash. But when Nicki points out that something about Kree is dimming, it’s a bit puzzling. While it definitely seems that way, nothing about the way Kree performs has really changed. She’s always been that effortless, laid back, less excitable girl, who can sing absolutely anything with total vocal clarity. Perhaps her light’s not dimming, but she’s been the most consistent all season, so while the other ladies have more triumphant journeys, Kree is static and therefore her luster loses its effect on us, rather than losing its place in her eyes altogether. Finally, Angie continued to reign supreme over the Top 4. She sang “Cry Me a River” (not the Justin Timberlake one because he’s not a one hit wonder, unless you’re choosing to forget screaming women all over the world and one very sexy Bud Light commercial) and while it’s not typical Angie, it really works. Someone needs to teach her that bobbing your head like a bobble head doll while singing is the new Christina Aguilera emphatically-moving-hand-scale-o-meter (see: annoying), but other than that the performance is on point. She’s elegant, but not too stiff: she’s simply living in the song and making it all her own. I’d say she won the night, but unfortunately my opinion was not unique on that point because all four judges said the same thing. Angie is making it a lot harder to decide who’s winning this competition. At this point each year, it seems like fans have picked their favorites and their sticking with them. But it’s not that easy with these girls switching pole position each and every week. Follow Kelsea on Twitter @KelseaStahler More:New 'Idol' Judges? Ratings May Be Low But Don't Blame Mariah 'Idol' Results: Which Little Lady Sang For the Save?'American Idol' Made Me Love Keith Urban From Our Partners50 Worst Celeb Mugshot Fails (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • Emma Stone: The Best Woody Allen Muse Since Diane Keaton
    By: Kelsea Stahler Apr 24, 2013
    In what seems like the biggest breath of fresh air in the Woody Allen realm since Midnight in Paris charmed us all, comes the news that the beloved director/writer/actor is eyeing Emma Stone as his next movie muse according to Deadline. Could his choice be any more perfect? Unless you have some time traveling magic that can bring back young Diane Keaton, I highly doubt it.  While Allen has leaned on such vibrant actresses as Scarlett Johansson (Matchpoint, Vicky Cristina Barcelona, and – unfortunately – Scoop), his ex Mia Farrow (13 movies, including A Midsummer Night's Sex Comedy, Alice, and Hannah and Her Sisters), and of course Annie Hall darling (and another Allen ex) Diane Keaton, who worked with him on eight total films. Now that Allen has moved on to frequently working with actresses he's not romantically involved with, Stone is about as perfect as it can get.  She's got the easy-going confidence of the best sort of Allen heroine, but enough talent to add a layer of duality that's so inherent to his characters. But best of all, her very nature seems to be a call back to Annie Hall, who is arguably Allen's best female character. She's not a vixen in the way Johansson's characters or even Midnight in Paris' cheating Inez (Rachel McAdams) and Whatever Works' Melody (Evan Rachel Wood) are. Stone, like Keaton in Annie Hall and to some extent Manhattan, is an intellectually sexual being. She's beautiful and alluring, but it's more about her manner and her substance than her ability to fill out a great dress. Like Keaton, Stone could don a man's shirt and slacks and still be one of the most magnetic, modest characters in a room. And of course, there's the part where Stone is a unique, fanstastic strain of goofball. Put Stone together with Allen, and we may just be looking at a film that hearkens back one of the first films that made Allen a legend. Of course, this new film will continue to make use of Allen's recent Francophila, shooting in the South of France, but as is usual with his films, details of the plot are completely under wraps. Still, isn't it enough to know that the woman standing at the center of his next artistic vision is someone as perfectly suited for his style as Miss Stone? Need proof? This scene from Annie Hall says it all: Follow Kelsea on Twitter @KelseaStahler More:Emma Stone Teaches Ryan Reynolds How to GIF - VideoEmma Stone Does the Semi-Undressed Cool Girl Thing for 'W''Amazing Spider-Man' Star Emma Stone Knows You Make Her Into GIFs -Video From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • New 'Idol' Judges Already? Ratings May Be Low, But Don't Blame Mariah
    By: Kelsea Stahler Apr 24, 2013
    Update: Rumors are now surfacing that claim none of the Idol judges will return next season. Earlier: American Idol's ratings have been in a steady decline since 2008, and its 12th season has reached a low point. Just 12 million viewers have tuned in for the past four weeks, a far cry from the more than 30 million in Idol's prime. But instead of examining the deeper reasons for such a steep fall in viewership, Idol brass are once again hoping a judging shakeup will bring in the eyeballs they need. Jennifer Lopez back, Mariah Carey gone? That's the new plan, according to The Hollywood Reporter (which Fox has refuted). But there's some faulty logic at work there, because the judges aren't the problem. Idol ratings have been in free fall for years, and no judging shakeup has managed to change that. Season 8 saw the first change, with the introduction of Kara DioGuardi and the four-judge panel, yet ratings started to slip with both the premiere and the finale seeing about a 3 million drop in viewership. Season 9 didn't fare much better when beloved comedian Ellen DeGeneres replaced Paula Abdul while DioGuardi, Randy Jackson, and Simon Cowell continued on. Swapping out Steven Tyler and Jennifer Lopez for Cowell, DioGuardi, and DeGeneres the next season couldn't provide ratings stasis. And now, the panel comprised of Jackson, Carey, Keith Urban, and Nicki Minaj is failing to prop up Idol's droopy legacy. Sensing a pattern? Anyone who thinks bringing in more stunt judges is the key to an Idol uptick is off their rocker: It doesn't matter who's in those judges' seats. It's the formula. It's the contestants. It's the feeling. It's the fact that Idol has been at it for 12 years and there is another dog (The Voice) doing new tricks.  And, if we're being completely honest, it's the fact that Idol's desperation is showing. It's like every fiber of the series' being is screaming "love me!" at every single turn. First, there's the series' quest to crown a lady the champion this season, pushing aside all their cute boy failures and hearkening back to the era of Carrie Underwood, Kelly Clarkson, and even Jordin Sparks. It's something many fans have been crying out for (ahem, included), but this year's effort has been so hamfisted. First, the series delivered a set of boys doomed to fail. It wasn't even fair. There wasn't a single young man who could stir up audiences a la Phillip Phillips. Instead, we were given Burnell Taylor, who only managed to wow a few stalwart fans much like the fallen Deandre Brackensick before him.  Without that glue, we're left with a set of very talented ladies – now whittled down to a pretty quartet – and it almost doesn't matter who wins. We like them all, they're all gorgeous and talented, and the battle has already been won. There's no drama, no intrigue. Idol wanted a lady victor and Idol will get one. It might have been more exciting or satisfying if we hadn't known Nigel Lythgoe was sitting in the wings and smiling at how his girl-centric plan had come together. It doesn't feel like a victory; it feels like a prescription that's been filled, and that's not why Idol fans love this series. Sure, you can often tell who's going to be standing on stage at the finale, awaiting his or her fate, but never before has it felt like a master puppeteer and his subjects loping towards a forseeable conclusion. That's on Idol, not the judges, who've provided a great deal of entertainment for viewers this season.  But if the obvious lady-centric mission wasn't enough, Idol is also jumping through hoops to be "fresh" and "different," yet the biggest moves consist of mirroring its competitors The X Factor and The Voice and changing up the process and intensity of its Thursday night results shows. Sometimes we find out the top three, sometimes we get zero results until the last five minutes, you just have to tune in to find out! It's an attempt at freshness that just feels like Grandpa trying to make a pair of Justin Bieber's famous harem pants work. At times, the secondhand embarrassment is almost unbearable. Finally, it's the show itself. After 12 years, it makes little sense to drop the familiar pieces that fans react to in an almost Pavlovian sense: Ryan Seacrest's "THIS... is American Idol" and "Dim the lights, here we go," plus the classic, yet dated theme song and opening credits. Without these elements, the show isn't really American Idol, it's just some other singing competion, yet it's these elements that ensure Idol is a relic, slowly slipping toward retirement age, instead of being a young, spry competitor for the fresh face of NBC's The Voice.  The producers may or may not have tried to shake up the judging panel as a means of raising the ratings a la NBC's recent acquisition of Usher and Shakira and the magic they've worked for The Voice's numbers, but that plan, however real, would be misguided.  This year's panel has incredible chemistry. They're wildly entertaining, so much so that they've managed to rejuvinate the appeal of Jackson (even if it's only in the way that they all respond to him the way my brother and I respond to our father's dad jokes). And no amount of stunt casting at the last minute or next year will best their performance enough to boost viewership. Nothing can last forever, and 12 years is quite a run. Idol is best accepting that it's no longer top dog, dawg, and slip quietly and gracefully towards what will be its eventual retirement. After all, it's far better to go out with style and grace than kicking and screaming in some fiery downfall marked with gaudy baubles and stunts.  Follow Kelsea on Twitter @KelseaStahler More:'American Idol' Really, Really Wants a Girl to Win'Idol' Results: Which Little Lady Sang for The Save?'American Idol' Made Me Love Keith Urban From Our Partners50 Worst Celeb Mugshot Fails (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • Michael Bay Apologizes for Apologizing for 'Armageddon'
    By: Kelsea Stahler Apr 23, 2013
    Don't believe everything you read in plain English, Michael Bay is actually really happy he made Armageddon despite previously uttering the phrase "I will apologize for Armageddon."  He's so happy, in fact, that he went back in time to the film's year of release to publish his love for the Ben Affleck-starrer on an old-fashioned message board. (Yeah, those still exist!) Apparently, Bay's not a big Twitter fan, but don't even get him started on how much he loves his third-ever feature film about Ben Affleck stuffing animal crackers in Liv Tyler's underwear. (That is what it's about, right?) Anyway, Bay refuted his comments, which seemed a little taken out of context if we're being fair, and set the record straight on his super cool message board: One press writer has gone too far in reporting false information. He has printed the bare minimum of my statement which in effect have twisted my words and meaning. I'm not in the slightest going to apologize for the third movie in my movie career, a film called Armageddon. On the red carpet for Pain & Gain some reporters asked me what are you apologizing for, and I said what on earth are you talking about? What I clearly said to the reporter, is I wish I had more time to edit the film, specifcally the the third act. He asked me in effect what would you change if you could in your movies if you could go back. I said, I wish we had a few more weeks in the edit room on Armageddon. And still today  Armageddon, is still one of the most shown movies on cable TV. And yes, I'm proud of the movie. Enough said. Michael So, author-of-this-article-who-totally-didn't-cry-when-Bruce-Willis-died-in-Armageddon, you have Bay's permission to keep loving his sci-fi turkey of a film. Animal Crackers and all.  Follow Kelsea on Twitter @KelseaStahler More:Michael Bay 'Will Apologize for Armageddon'a'Transformers 4' Will Shoot in China, PartiallyMichael Bay's 'Ninja Turtles' Finds Its Splinter In 'Seinfeld' Reruns  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)