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The Real Housewives of Atlanta gave us the saga of the "The Old Lady and the Shoe" but I wish Mama Joyce would just put her shoes back on and walk out the door. We recap the wedding dress drama in our THG +/- review.
But first Kandi Burruss takes the girls to a dance class to get them moving but Cynthia Bailey's sparkles nearly blinded me. Minus 15.
Even worse was the close up of Phaedra Parks tummy. Minus 21. The woman just had a baby for goodness sake.
But wait, they're not done.
Kenya Moore sent rival Phaedra her Booty Bootcamp video after she gave birth. Minus 25. That's just so wrong.
Does Kenya think that's cute? Just wait until she has a child, which if her aunt has any say in it will be soon. Since Kenya's always picking the wrong men, her aunt's advice is to skip that part and go straight to the baby.
Yes, Kenya seems to do fine with her little dog but a child…I'm not so sure.
Speaking of kids, Cynthia had a sit down with Noelle's daddy to talk about the girl's new boyfriend. Plus 42. Noelle's a lucky girl. Most kids are lucky to have one parent who is interested. She's got a mother and two fathers who are actively involved in her life.
NeNe's planning a girls' trip to Savannah, Georgia. Plus 50. I love Savannah. I'm just not sure how much I'll love it after these ladies get through with it.
Brace yourself Savannah. The Housewives are coming.
Hopefully Porsha Williams will be able to make it. The stress of the divorce must be taking its toll because she's been plagued by headaches and she fainted on the stairs.
Maybe it's a good thing she didn't move out of her Momma's.
But if Porsha needs to be close to her mother, Kandi needs to run from hers.
Mama Joyce is a complete mess. Who goes to see their daughter try and wedding dresses and says "She ain't gonna wear it no where" while the girl is in the dressing room. Minus 33. That's just mean.
But Mama Joyce is cruel. She's a bully, only Kandi's so used to having it in her life that she just can't see how bad it really is.
Joyce and her sisters came into that bridal salon like a mean spirited little gang and did their best to ruin Kandi's day. And when Carmon tried to stand up to them, Mama Joyce threatened to beat her with a shoe!
Kandi doesn't like confrontation so she just backs down to Mama but if she keeps that up Mama Joyce will push Kandi's best friend and fiance right out of her life. Minus 40.
But that seems to be exactly what Joyce wants. Her daughter to be just as lonely and miserable as she is.
Maybe the ladies can convince Kandi to put her big girl panties on and stand up for herself when they get to Savannah, but after a lifetime of cow-towing to Mama Joyce, I doubt it.
Episode total = -42! Season total = -329!
Some of the critics have spoken, and it’s tempting to act as if they’ve told us important things about this year’s Oscar race.
Tempting, but not necessarily true – particularly in a year like this one, with an abundance of strong contenders, almost all of which had enough success in the first week of critics’ kudos to emerge feeling good.
With the caveat that you should never try to read too much into the tea leaves left by the New York Film Critics Circle, the Los Angeles Film Critics Association and their ilk, here are 10 lessons to be drawn from the last seven days of awards-giving:
1. This is not a year for critic-awards sweeps.
Over the last few years, we’ve seen times when one film has unequivocally dominated the critics’ voting. “The Hurt Locker” did so in 2009, and the sheer number of awards it won eventually helped establish it as the alternative to “Avatar,” the little movie that could take down the big movie.
The next year, David Fincher’s “The Social Network” had an even more impressive, and nearly unanimous, run through the critics’ awards – and while that may have helped establish it as the alternative to “The King’s Speech,” it wasn’t enough to persuade Academy and guild voters to forsake that crowd-pleaser for something chillier, more artful and more appealing to critics.
This year, the first week of awards found “American Hustle” winning in New York, “Gravity” and “Her” tying in Los Angeles, and “12 Years a Slave” picking up three awards. (You could throw in the National Board of Review win for “Her,” but that’s not a critics’ group, though it is often lumped with them.)
There’s simply too much good stuff out there for any film to sweep through awards the way “The Hurt Locker,” “The Social Network” and to a lesser degree “The Artist” did.
2. But “12 Years a Slave” remains the leader.
All that talk that the race was over when “12 Years” debuted at Telluride and Toronto was clearly premature. Steve McQueen’s dark, brutal film’s appeal to the Academy and the guilds remains to be seen.
But the film has done what it was expected to do, which is to win most of the critics’ awards so far. It was bypassed by the main groups in New York and L.A., but it won in Boston and among the New York online critics – and so far in the best picture, best director, best actor and best supporting actress categories, it has won more awards than any other film.
3. And “Gravity” has done what it needs to do.
Alfonso Cuaron’s game-changing spectacle doesn’t need to win a lot of critics’ awards – it just needs to remain in the conversation, to be seen as a serious artistic statement rather than just a great popcorn movie. And it did that with best-director wins from L.A. and New York online, with a shared best-picture prize in L.A. and with three cinematography awards for Emmanuel Lubezki.
When you add that much critical respect to more than $630 million in worldwide grosses, “Gravity” is still nestled in the right awards orbit.
4. The Best Actor race is narrowing.
It is one of the most competitive Oscar categories most years, but Best Actor is positively brutal this year. More than a dozen high-profile actors could easily lay claim to deserving a spot among the nominees, and you could make up a formidable slate of nominees from among the men who are scrambling to secure what might be the last open spot: Tom Hanks in “Captain Phillips,” Oscar Isaac in “Inside Llewyn Davis,” Michael B. Jordan in “Fruitvale Station,” Forest Whitaker in “The Butler,” Leonardo DiCaprio in “The Wolf of Wall Street,” Christian Bale in “American Hustle,” Joaquin Phoenix in “Her,” Idris Elba in “Mandela: Long Walk to Freedom” …
But it is quite possible that all but one of those actors will be left out when nominations are announced, because a consensus seems to be tightening around Chiwetel Ejiofor in “12 Years a Slave” (winner of three critics’ awards), Robert Redford in “All Is Lost” and Bruce Dern in “Nebraska” (winners of one each) and Matthew McConaughey in “Dallas Buyers Club.”
There’s not much room left at the inn once you make room for those guys.
5. Cate Blanchett is undeniable.
On the Best Actress side, Blanchett was the presumed frontrunner way back in July, when Woody Allen’s “Blue Jasmine” came out and critics began raving about her turn as the self-destructive, delusional alcoholic sent on a downward spiral by the arrest of her Bernie Madoff-style husband.
And now, five months later, Blanchett is still the presumed frontrunner, easily holding off challengers like Sandra Bullock (“Gravity”) and Meryl Streep (“August: Osage County”). Her performance is so inescapable that even the L.A. Film Critics Association, which lives to single out the darkest of dark horses in this category – between 2009 and 2011, their picks were Yoon Jeong-hee, Kim Hye-ja and Yolande Moreau – could only offer token resistance to Blanchett’s victory parade. LAFCA made her share the award with Adele Exarchopoulos from “Blue Is the Warmest Color.”
6. So is Jared Leto.
The initial attention paid to “Dallas Buyers Club” was for Matthew McConaughey’s 40-pound weight loss in the lead role – but it’s his co-star, who lost just as much weight and had less to lose to begin with, who has been reliably winning awards so far. Aside from one loss to the late James Gandolfini and a tie with James Franco (those LAFCA contrarians strike again!), Leto has dominated in the way that Michael Fassbender (“12 Years a Slave”) was once expected to dominate.
Now, he just has to withstand a late charge from Jonah Hill as a rampaging, seriously unhinged stockbroker in Martin Scorsese’s “The Wolf of Wall Street.”
7. “Her” is sneaking in there.
Lots of people this awards season aren’t entirely comfortable campaigning – you could put Fassbender, Christian Bale, Joaquin Phoenix and Woody Allen in that category. But few films have had quieter launches than Spike Jonze’s “Her,” an utterly beguiling and singular near-future love story between a man and his operating system.
With Jonze laying back after a New York Film Festival premiere, Phoenix off the circuit entirely, Scarlett Johansson filming another movie in Paris and Amy Adams more visible on behalf of “American Hustle,” “Her” has done little but screen – but it has also won over enough people to nab the National Board of Review’s best-picture award, share the LAFCA’s top prize with “Gravity” and get on the board in a number of other categories.
Since the Oscar nominating system rewards movies that can inspire passion rather than consensus, “Her” may have quietly gotten to a very nice position in the race. (But now it might be time to make a little noise?)
8. It’s too early to tell on “The Wolf of Wall Street.”
While initial reports suggested that Martin Scorsese’s three-hour bacchanalia about excess in the financial industry might enter the race and become an instant juggernaut, it hasn’t happened that way. A week after guild screenings began, it made the NBR’s Top 10 list but hasn’t won any critics’ awards.
But that’s not a danger sign, because “Wolf” simply wasn’t ready in time to be seen by some critics’ groups, or to be processed by the ones who did see it. The New York Film Critics voted the morning after seeing the film, and weren’t inclined to rush to judgment; the Boston Society of Film Critics had one morning screening that a hefty percentage of members couldn’t attend, but it still finished a close second to “12 Years a Slave” in best-picture voting.
Doomsayers might be tempted to downplay “Wolf” on Wednesday if it doesn’t show up in the Screen Actors Guild nominations, but Paramount didn’t send out screeners to the SAG nominating committee, and were barely able to screen the film for voters.
Like “Django Unchained,” which entered the race late last year and surprised some by the strength it showed at the Oscars, “Wolf” still has time to make its mark.
9. We don’t have the right kind of information to assess “Saving Mr. Banks” or “August: Osage County.”
Some movies simply aren’t critics’ movies. “The King’s Speech,” for instance, barely won any critics’ awards – but when the guilds started voting, it won everything. So the fact that John Lee Hancock’s “Saving Mr. Banks” and John Wells’ “August: Osage County” haven’t shown up on any lists so far really doesn’t mean a thing. They can still end up with strong constituencies among awards voters – but if so, those constituencies will more likely be among guild and Academy members than critics.
Of course, any awards movie worth its salt will tell you which of those constituencies is more valuable come Oscar time.
10. Finally, none of this means much until the guilds start voting.
It’s always tempting to see the first week of critics’ awards as a bellwether of what’s to come in awards season, to draw lessons from each new round of kudos. But as the saga of “The Social Network” showed three years ago – and as we suggested in item No. 9 – you can’t really tell what’s going to happen until the guilds chime in.
First up, on Wednesday, is the Screen Actors Guild. SAG has its own idiosyncracies: A random sampling of about two percent of the guild is responsible for nominations, and late-arriving films that might otherwise be real contenders can lose out. But the SAG nominations will still tell you far more about which way the wind blows than Thursday’s Golden Globe noms, and the picture will become even clearer in early January when the Producers, Directors and Writers Guilds sound off.
Until then, though, critics are all we’ve got. So let the tea leaves fall where they may.
The post 10 Oscar Lessons From the First Blitz of Critics’ Awards appeared first on TheWrap.
“The Hobbit: The Desolation of Smaug” arrives in theaters next week with a marketing blitz reserved for billion-dollar franchises, but a key aspect of the fantasy sequel is sneaking through unnoticed.
Director Peter Jackson shot the film at 48 frames per second, double the standard speed, in an attempt to make its 3D crisper and more realistic. The first “Hobbit” film was shown at the higher frame rate — one of a half dozen different formats viewers could watch it in – and Jackson hailed it as the future of film.
The studio is substantially expanding the number of theaters this time around. As many as 750 theaters will exhibit “The Desolation of Smaug” in the enhanced projection — up from roughly 450 theaters the first time.
The growth overseas is even more impressive, as “The Hobbit: The Desolation of Smaug” will screen on almost 2,500 screens internationally — up from 1,669 last time.
Despite those increases, discussion around his use of higher frame rates has been virtually non-existent in recent months. That stands in sharp contrast to a year ago, when dissections on the merits of faster shooting and projection dominated many stories leading up to the release of 2012′s “The Hobbit: An Unexpected Journey.”
“The issue with the last one was the focus in a lot of the press was on the format and not the movie,” Warner Bros. domestic distribution chief Dan Fellman told TheWrap. “This time we downplay the formats and are playing up the movie.”
Jackson has acknowledged that they want to shift the focus with the sequel, telling a reporter at a recent premiere of the film that “technology drove a lot of the reviews” last time.
Critics screenings for “Desolation of Smaug” were offered in standard projection, so that it will not factor into reviews. Some major exhibitors have opted not to stress the higher frame rate screenings with expansive splash pages as they did before, even though they will continue to offer the film at the higher speed.
The reticence to bang the drum for higher frame rates is filtering into the online buzz around the film. Last year, at a similar point prior to “The Hobbit: An Unexpected Journey”s’ debut, conversation about the films amped up frame rates on Twitter, Facebook and other digital platforms were eight times more prevalent than they are as its sequel gets ready to launch, according to social media tracker Fizziology.
“There’s almost no social conversation and buzz around frame rates this year,” Ben Carlson, Fizziology’s president and co-creator, said. “That may be indicative of a change in strategy…the smallness of the high frame rate conversation seems to signal it’s not as big a part of the marketing and publicity.”
Carlson said that once the last film debuted, reactions across the web were evenly divided between those who thought it made the 3D imagery pop and others who argued that it left them feeling dizzy.
The absence of chatter about the film’s higher frame rate may be attributable to its lack of “newness,” but there’s no question the studio wants to avoid the great debate that greeted the release of the first “Hobbit” film.
“You don’t want to lead with your chin,” as one former studio executive put it.
A special high frame rate sneak peek at the exhibition trade show Cinemacon in April, 2012 sparked a wave of withering articles and left the studio scrambling to put out public relations fires.
The discussion over the benefits and demerits of the new technology also dominated many reviews, leaving some critics like New York magazine’s David Edelstein, who likened it to “tatty summer-stock theater,” and Slate’s Dana Stevens, who compared it to an ’”80s-era home video,” unimpressed.
Part of the problem was the hype, as Jackson, James Cameron and other prominent filmmakers rhapsodized about how 48 frames per second represented the next revolution in filmmaking — a step forward that was analogous to the introduction of sound and color and the growing popularity of 3D.
(Cameron, who will shoot his follow-ups to “Avatar” at higher frame rates, is one of the only prominent filmmakers to follow Jackson’s lead.)
The controversy had no impact on the film’s bottom line, as “An Unexpected Journey” still grossed more than $1 billion worldwide. Yet the lack of conversation this go round has been noticeable.
“They seem a little gun shy after what happened the last time,” a rival studio executive said.
The mixed reaction didn’t scare off the major theater chains. A spokesman for AMC Theaters, which offered the higher frame rate versions of the first film in roughly 140 theaters, said it will screen 48 frame copies in “dozens and dozens” of theaters this time.
Regal Cinemas is the most bullish, expanding from 100 locations for the first film to nearly 400 high frame rate compatible theaters this go-round and reporting strong sales as a result.
“With the original ‘Hobbit,’ we kept selling out of tickets for our high frame rate auditoriums,” Russ Nunley, a spokesman for Regal, said. ” There was a huge demand from moviegoers who wanted to see the film exactly the way director Peter Jackson shot it.”
Likewise, IMAX will double the number of screens with the technology to more than 100 worldwide, IMAX Entertainment CEO Greg Foster told TheWrap. He said that number will rise, because the company is still determining screen counts in China.
Some exhibitors remain conflicted about its value even as they have expanded the number of theaters that can screen higher frame rate productions.
“Some theater owners were fine with it,” an exhibition executive said. “But except for people who are really, really into that kind of experience, it’s not a big draw.”
At a reported cost of $10,000 to update equipment to screen films at 48 frames per second, it represents a relatively small expenditure for the bigger chains. Still, the format does not exert the same pull on audiences that 3D or IMAX, with their premium ticket prices, enjoy.
Fellman agreed, suggesting most moviegoers don’t consider format when selecting a particular showing of a film. Those who do care will go out of their way to see it at the higher frame rate.
They will just have to find those theaters on their own.
“We’re not going out of our way to spell out the pros and cons of every format,” Fellman said. “It’s there; it’s one of a variety of formats.
The post ‘Hobbit’ Sequel’s High Frame Rate Theaters Nearly Doubled – But Warner Bros. Keeps It Quiet appeared first on TheWrap.
Twitter Is Taking A “Log-Out” Approach To Raise Usage, Awareness In Emerging Markets With USSD On MobilesTwitter is working hard to build up its profile and usage among people in developing markets, and today another piece of that strategy has come into focus. It has signed a deal with Switzerland-based mobile software company Myriad Group to provide access to Twitter via mobile devices without using a mobile Internet connection, instead relying on a text-only transmission technology called USSD. The service will let users experience Twitter purely as "consumers" who do not need to log in, or even have an account at all to use it.
Leighton Meester will make her Broadway debut opposite James Franco and Chris O’Dowd in “Of Mice and Men.”
The “Gossip Girl” star will play Curley’s Wife, a vain woman who flirts with the ranch hands who work for her husband with tragic consequences. The adaptation of John Steinbeck’s Depression era novel also marks the Great White Way debuts of Franco (“This Is The End”) and O’Dowd (“Bridesmaids”).
Performances begin March 19, 2014 with an official opening set for April 16, 2014 at the Longacre Theatre. The limited engagement will run through July 27, 2014.
Tony-winner Anna D. Shapiro (“August: Osage County “) directs the play. It’s the first time in 40 years that a stage version of Steinbeck’s tale of two drifters has been seen on Broadway.
In addition to playing the big city social butterfly Blair Waldorf on “Gossip Girl,” Meester’s credits include the film “Country Strong” and the television shows “24,” “Entourage” and “House.”
David Binder is producing “Of Mice and Men” with Kate Lear, Darren Bagert, Adam Zotovich, Barbara Whitman and Latitude Link.
The post Leighton Meester to Make Broadway Debut Opposite James Franco in ‘Of Mice and Men’ appeared first on TheWrap.
Art Basel and its shoulder economy of cocktail parties, dinners, private viewings, and collective “inhale-flex-grin” approach to trumped-up cultural elitism swallowed Miami whole this week, from the design district on the mainland to South Beach.
One Miami lifestyle anchor tells TheWrap that there are more private jets landing for Art Basel than for the Super Bowl.
The highlights and lowlights of the Hollywood social graph flocked to the southeast: a Kanye “lecture”, a Lohan vs. Hilton fight that ended in blood, a slew of car brands recruiting hot artists to paint their cars as “sculptures”, and usual scenesters Diddy, Pharrell Williams, Vanity Fair, and other glossy mags throwing parties.
Here’s the best of the photos from the Art Basel 2013 scene:
Dressing alike from the waist up wasn’t enough for Brian Grazer and Jimmy Iovine to camouflage into the background at the actual Art Basel Convention Center.
Before Kim Kardashian posted this Instagram of herself talking to Roberto Cavalli…
Author and columnist Jon Warech snagged this photo behind the scenes revealing the famous Yeezus behind the lens.
Magazine man Jason Binn, Steven Tyler, a fresh wave of “Hunger Games: Catching Fire” promotion included appearances by Lenny Kravitz, DJ Ruckus and Zoe Kravitz at Wall in the W on Thursday night. (Photo by Seth Browarnik/World Red Eye.)
The background mural was rushed in to production only hours earlier.
Damien Hirst with Pharrell Williams (left), and with Soho House founder Nick Jones (far right) broke bread together at a Vanity Fair dinner for British artist Tracey Emin at Miami’s Soho House. Their version is called “Soho Beach House”.
Vanity Fair publisher Edward Menicheschi, who hosts an event every night of Oscar week, grabbed a seat with girlfriend Jennifer Zuccarini while hosting a dinner with Cadillac in the Wynwood area. Female artists had painted “the Wynwood Walls”.
The Elton John Aids Foundation events are not just an Oscar-night bash here in L.A. Val Kilmer and Marina Abramovic (both in person, and a selfie on the wall behind her) got the week started at an EJAF benefit.
David Lynch (not pictured) has a nightclub in France – Silencio. It’s six stories underground and takes its name from the theater in his film “Mulholland Drive.”
This week, it popped up as a satellite at Art Basel (above ground), where a conga line broke out at the Grey Goose bash as Pharrell broke the silencio. Takashi Murakami (left, the pop artist who’s collaborated with Louis Vuitton and Kanye) and Diddy buddied up to the “Despicable Me 2″ composer.
Shepard Fairey and Rose McGowan (center) at Silencio.
Hip-hop and Art Basel were having a fling.
Kendrick Lamar performed his crowd pleasers “Swimming Pools” and “Don’t Kill My Vibe” for 500 at (Belvedere) Red’s Basel party.
You can’t dabble in Miami news without at least a mention of the king of the city, Lebron James. The NBA star’s analog to Larry Rudolph, his manager, maestro, and childhood friend Maverick Carter, with Jason Odio at the Kendrick Lamar event.
Zoe Saldana and Jared Shaprio arrive at Niche Media’s party on the posh man-made Hibiscus Island.
WWE wrestler “Big Show” introduces David Arquette to the space between high and low art at Flaunt magazine’s event.
Performance art that is batting .666 with environmentalists: artist Rob Montgomery wrote a poem, carved it in oak to make a sculpture, and then set it on fire to close the Flaunt bash.
Rose McGowan (center) marinates in a quintessential Art Basel dinner, as never-one-to-miss-a scene Adrian Grenier lurks in the background at a small gathering Shepard Fairey hosted in the private villa for the Chandran Gallery at the Shore Club on Friday night.
At this Shore Club dinner, there was a canoe in the pool. Artist Tim Biskup took it for a test drive. Super cool.
A few feet away in the famed red room (one of this writer’s hall of fame venues) L.A. artist and nightlife director Louis Carreon took over the walls for the Bootsy Bellows pop-up.
In larger vessel imagery…
…the scene at street artist Alec Monopoly’s docked-yacht party for his “Man Overboard” collection.
Monopoly held down choice property, landing Samsung Galaxy as his party partner
Photo credits: Instagrams by the respective posters Instagrams, Lenny Kravitz and Val Kilmer both shot by South Beach’s most popular, Seth Browarnik/World Red Eye, and all else by Getty Images.
The post How Hollywood Infiltrated Miami’s Art Basel (Photos) appeared first on TheWrap.