Ben McKenzie Wasn’t Invited To Adam Brody’s Wedding, But The Ryan & Seth Bond Is Real

Ben McKenzie is still great pals with his "The O.C." co-star Adam Brody, even if he didn't snag an invite to Brody's wedding with Leighton Meester earlier this year.

During a chat with HuffPost Live's Caitlyn Becker about his role on "Gotham," McKenzie said he still keeps in touch with Brody and recently met up with him in New York City, and he didn't mind being left out of the Brody-Meester nuptials.

"I did not go to his wedding. I think they wanted to kind of keep it super low-profile, so I did not take umbrage," McKenzie said.

And despite not being there to see them wed, McKenzie is a big fan of the woman Brody married: "His wife is awesome. Leighton's great."

McKenzie listed two other former castmates he's still in contact with: Peter Gallagher and Kelly Rowan, who played the foster parents of his character, Ryan Atwood.

See more of McKenzie's "O.C." recollections in the video above, and catch the full HuffPost Live conversation here.

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Fleetwood Mac Reunite With Christine McVie at Golden Minneapolis Show

Sixteen years of domestic life in the English countryside, playing with her dogs and baking cookies – that was apparently quite enough for Christine McVie. The singer and keyboardist rejoined Fleetwood Mac earlier this year, and, at 71, she's touring with her old band – singer-guitarist Lindsey Buckingham, singer Stevie Nicks, drummer Mick Fleetwood and bassist John McVie – for the first time since 1997.

Fleetwood Mac have been on the road plenty in the past few years. But fans have craved a reunion of the lineup that first cohered in 1974 and went on to record that best-selling classic of tuneful romantic turmoil, Rumours. McVie's bandmates, apparently, felt the same way: Nicks in particular had lobbied for McVie's return, making onstage pleas and sending emails.

Last night, those wishes came true, as the band opened a 33-city North American tour at the Target Center in Minneapolis. Over the course of a generous two-and-a-half-hour set, the band ripped through 24 songs from the past four decades of their career. Here are five things we learned.

Fleetwood Mac don't stop thinkin' about tomorrow.
If the evening had an overarching theme – and trust us, it did – it was that Fleetwood Mac remain creatively active. "This is a band that continues to evolve through good times and adversity," Buckingham announced at one point, as though delivering a mission statement. His long introduction to "Big Love" highlighted "the power and importance of change." And when the time came for Mick Fleetwood to introduce the members of the group, the drummer commended Buckingham's "vision for the future of the band." That may not just be empty talk – the group has reportedly been writing and recording new material since McVie's return.

Lindsey Buckingham is still a talented weirdo.
Buckingham certainly did command the stage with the authority of a band leader. His wiry intensity makes him both charismatic and uncool – a winning combination – and with his shock of gray hair and his T-shirt and sports jacket outfit, his look is "chic English Lit professor." After bringing home a performance of "Tusk," he stomped on the stage as though he'd just completed a successful touch football play. His playing, meanwhile, remains fluid and effortless: Of course he nailed the tricky guitar parts you recognize from the records, but he also cut loose on an extended freak-out during "I'm So Afraid," climaxing in a flurry of intricate hammer-ons and crowd-pleasing heroics.

Stevie Nicks is the earnest and effusive heart of the band.
Look, a 66-year-old just can't whirl about the stage in a transported frenzy, no matter how close a contact she maintains with the spirits of the netherworld – it's an inner-ear thing. So Stevie's witchy gesticulations are subtler now, maybe a little hesitant, definitely more deliberate, yet still plenty captivating once she donned an appropriately-colored shawl for "Gold Dust Woman." Most importantly, she's not ashamed to gush, praising both the crowd and Christine: "We are all the dreamcatchers, and we got our dream girl back!"

There's a reason they're named for the rhythm section.
From the kick on "The Chain" to the cowbell on "Gold Dust Woman," so many of these hits are instant recognizable because of their drum parts, and Fleetwood and McVie remain the engine that keeps Fleetwood Mac on track. John McVie is as quietly spotlight-avoidant as ever, the kind of guy who stays in the living room reading the paper when company comes over. But age has only heightened Mick Fleetwood's air of good-humored Dickensian menace – "For sure," he shouted to the crowd, "the Mac is back!" For the encore, he even hauled off on a good old-fashioned drum solo, just like you used to hear on side three of double-live LP back in the Seventies.

Christine McVie is so necessary.
Without her, of course, there's no "You Make Loving Fun," no "Say You Love Me," no "Over My Head." But those aren't just great songs – they're expressions of a homey yet sexy sensibility that balances off Nicks' supernatural romanticism and Buckingham's passionate exasperation. McVie struck a confident presence behind her keyboards, reminiscing about the "fugly little flat in Malibu" she and John once shared and expressing her happiness to be back with the band. "Our songbird has returned," Fleetwood announced grandly when introducing her – and, appropriately, McVie closed the night with  the simple, lovely "Songbird."

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Woman’s Racist, Drunken Rants On Airplane Get Live Tweeted

For those needing one more reason to never fly again, "Modern Family" editor Ryan Case has provided one.

On Monday night, she found herself sitting behind "the worst person in the world."

The woman, who apparently is named "Nadia," made a series of obnoxious, racist and very loud comments throughout the flight and was eventually told that she needed to chill out.

Here is an abridged series of Case's tweets which chronicle the passenger's infuriating behavior and its consequences.

But, fellow passenger and former Miss Puerto Rico Alba Giselle Reyes tweeted that "Nadia" didn't get arrested and didn't even have to use her legs to leave the airport.

There is no justice in this world.

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Hear the Jackson 5′s Long-Lost First Recording ‘Big Boy’

Since 1968, the earliest commercially available Jackson 5 recording has been the "Big Boy" 45 that the band cut for Steel Town Records and released in January that year. The previous July, however, they had cut the same track for Chicago's One-derful! Records, playing all of their own instruments at the label's Tone Studios. Michael, then just eight years old, sang lead.

This session had been all but forgotten until 2009, when guitarist Larry Blasingaine brought it to the attention of Jake Austen, a Chicago Reader writer who was researching a story about the Steeltown release. Austen then contacted Eric D. Leaner, one of the four siblings who inherited the One-derful! masters from their dad Ernie, and Leaner began to search for the lost tape.

"Until Jake Austen called me to explain that there was potentially a missing Jackson 5 demo tape, and if we had it it would be the holy grail of Jackson recordings, we had no idea we had it in our possession," says Leaner. "I asked my brother-in-law Herb Newkirk to see if he could find it with little hope since we had already been through the tapes. A couple of days later, he called me and said, 'Brother-in-law, I found it!'"

Now, a 45 of the original "Big Boy" is available for the first 500 people who order the One-derful! Collection subscription, a compendium (seven CDs or 12 discs of vinyl) of soul, funk and gospel that the label released between its founding in 1962 and 1971. The entire set contains 147 tracks – 57 of which have never been issued. It will be released on October 28th via Secret Stash Recordings and can be pre-ordered here. "Big Boy," as recorded by the Jackson 5 for One-derful! Records, can be streamed for the first time below.

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Donald Trump Tweets He Was An ‘Inspiration’ For Serial Killers

Donald Trump became the laughing stock of Twitter Monday after accidentally re-tweeting that he was a “big inspiration” to a husband-and-wife team of serial killers.

That morning, twitter user Phil Bradbury tweeted at Trump, writing, “My parents who passed away always said you were big inspiration. Can you pls RT for their memory?”, The Guardian reports.

The tweet included a photo of Fred and Rose West, notorious British serial killers responsible for torturing, raping and killing multiple young women.

Apparently Trump wasn’t familiar with their faces, because he retweeted Bradbury, much to the public’s joy. “They seem like lovely, kind caring parents, don’t you think Donald?” tweeted comedian Dom Joly.

@NeonWhisky " target="_hplink">posited the question, “Did someone saying you were an inspiration not make you a little bit suspicious?”

Others saw it as an honest mistake, and thought Trump was simply being kind by retweeting. "Even though @realDonaldTrump is getting so much flack I think it's really sweet he bothered to retweet at all," wrote @Kezsez13.

The 68-year-old tycoon and reality star deleted his retweet and publicly responded to the prank by calling Bradbury a “jerk” and threatening to sue:

In a follow-up tweet, Trump stated, “I thought I was being nice to somebody re their parents. I guess this teaches you not to be nice or trusting. Sad!”

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The Real-Life ‘Olivia Pope’ Got Pranked By George H.W. Bush

Former President George H.W. Bush -- a known prankster -- pulled a fast one on the real-life Washington fixer who inspired ABC's hit "Scandal."

As anyone who's a "Scandal" fanatic knows, Olivia Pope (played by Kerry Washington) is involved in a complicated and steamy love affair with President Fitzgerald Grant III (Tony Goldwyn). Pope, the show's main character, was inspired by Judy Smith, a real-life crisis management expert and co-executive producer of the show. In the early 1990s, Smith served as special assistant and deputy press secretary to Bush. The show is loosely inspired by many aspects of her biography -- but the affair is purely fictional.

Before the show premiered in spring 2012, Smith thought it would be a wise idea to inform her former employer that the plot line of the show would include Pope's affair with the president.

Speaking at a conference in Nantucket last week, Smith recalled that she had contacted Bush’s office and insisted on speaking with him “one on one.”

When Bush called Smith back, she was busy and could not pick up the phone. So he left her a message: “Love you. Want you. You left me! And by the way, this is the former leader of the free world. Call me.”

"So I called him back and said, 'See, this is why I'm calling you now. You need some talking points. You need to stay on message,'" Smith recounted.

"I'm going to confirm the affair," Bush replied, according to Smith. “I have young people working in my office now. They said I need to stay relevant. It’s good for my reputation.”

Watch Smith’s full account of the conversation above.
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The Worst Texting Crimes Guys Commit, According To Lisa Ramos

Lisa Ramos is making sure that you're sending the right message to the cuties on your contact list.
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Jimmy Fallon Says What We’re All Thinking About The ‘People You May Know’ Facebook Feature

During his "Thank You Notes" segment on "The Tonight Show" on Friday, Jimmy Fallon paid homage to possibly the most awkward Facebook feature there is.

"Thank you, 'People You May Know' feature on Facebook," he said, "for being the online equivalent of seeing an old friend in the grocery store and avoiding eye contact."

Other thank you note recipients included Dr. Dre, Attorney General Eric Holder, and dumplings, "for tasting way better than they sound."

Watch the full clip above.
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‘How to Get Away With Murder’ Episode 1 Recap: The Body Count Starts At Two

“How to Get Away With Murder” opens with a murder. No one is surprised.

After a dark and mysterious flash forward that features four 20-somethings whining about having killed someone, we get to the central force of the show: Professor Annalise Keating. Played by the magnificent Viola Davis, Annalise is fierce, authoritative, and yet shockingly vulnerable as a brilliant Criminal Law professor who is also one incredible defense lawyer. The show lives for her scenes, the physicality of her acting and the brilliance of her intonation.

A minute into Annalise’s first classroom appearance, it’s clear she’s ready to chew up and spit out Philadelphia University law student Wes Gibbins (Alfred Enoch from "Harry Potter"). Fresh off the wait list and doe-eyed, Wes shows up to the first day of class without doing his homework. The kid obviously never saw “Legally Blonde.”

Wes and his fellow students are tasked with helping Annalise with her latest case, defending a CEO's mistress from charges of attempted murder. The four students with the best defense ideas will get coveted spots at Annalise’s practice. And the top student gets what turns out to be the future murder weapon -- a miniature statue of Lady Justice.

Flash forward three months and four students (Wes, Connor Walsh, Michaela Pratt, and Laurel Castillo), are attempting to move a body across campus in a massive rug. They sweet talk a campus cop into thinking moving such a large rug in the middle of the night is normal, which accurately depicts the investigative abilities of most campus police.

Back in the classroom months earlier, Annalise lays out her fundamentals to winning her cases, which she puts into practice for the trial of the week. Through various deceptive means, Michaela helps discredit the witness, Connor illegally gets an email that introduces a new suspect, and Annalise herself buries the evidence by putting her love interest, Detective Nate Lahey, on the stand. Connor ends up winning the top student slot and Lady Justice, which is ironic considering it’s pretty clear the accused he helped set free is guilty as sin.

And as for that love interest, who Wes caught -- ahem -- servicing Annalise: he’s not her psychology professor husband, Sam. Because it wouldn’t be Shondaland if the main characters weren’t being unfaithful.

Due to their assistance in the courtroom or prowess in the classroom (or in Wes’s case, what he saw), Wes, Connor, Michaela, Laurel and C.O. John Bennett Asher Millstone land the (now) five spots at Annalise’s practice. They’ll be working with associates Paris Gellar/Amanda Tanner Bonnie Winterbottom and Frank Delfino. Annalise’s associates have plenty secrets of their own: Bonnie has the hots for Sam Keating, and Frank appears to be making moves on every coed who walks by (and eventually, Laurel).

While the premiere opened with a murder, the body count gets upped to two when a missing sorority girl, Lila Stangard, is found floating in her chapter’s water tank. Wes’s emo bartender neighbor, Rebecca, who we see fighting with the dead girl’s boyfriend, seems to have a few secrets to hide. But based on the final sequence, Annalise’s husband was most likely sleeping with the deceased. No one can keep their pants on in this show.

And as for that dead body the kids lugged into the wood and lit on fire? The ending shot of the episode reveals it’s Sam, Annalise’s husband. And all of this happened in the first episode.

Best line of the night goes to Annalise, as she’s pushing Wes to take the job at her practice: “You can spend [your life] in a corporate office drafting contracts and hitting on chubby paralegals before finally putting a gun in your mouth, or you can join my firm and become somebody you actually like.”

Three months into working at her firm, Wes and his partners in crime appear to have committed murder. That didn’t turn out quite as expected.

Odds and Ends:
  • According to the National Association for Law Placement, “Prospective employers and first year law students should not initiate contact with one another and employers should not interview or make offers to first year students before December 1.” Awkward. (h/t @carolynshanahan)

  • Does no law student wear their hair in a ponytail? Everyone has perfect hair for class?

  • So many Harry Potter Dean Thomas feels.

  • Did all four of them bludgeon Sam Keating to death? What, they took turns hitting him on the head with the statue?

  • No law professor has that good of a wardrobe.

  • And Asher is angling to be the Chuck Bass of 2014 -- who else rocks an ascot?

"How to Get Away With Murder" airs on Thursdays at 10 p.m. EDT on ABC.
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‘Transparent’ On Amazon Is Terrific And Belongs In TV’s Top Tier

"Transparent," which arrives Friday on Amazon Prime, is not just the best new show of the fall, it's one of the best new shows of the year.

Within the first few episodes, "Transparent" gracefully launches itself into television's top tier, and though Amazon has been dabbling in this realm for some time, it has finally found the program that will put its scripted offerings on the map.

What a lovely heart this show has, and what supple skills "Transparent" uses to explore the questions of identity and connection rolling around inside that wounded, hopeful heart. This is simply a great show.

Like so many bigger, brasher (and often blander) shows on traditional networks, "Transparent" has a hook. The show's not gimmicky per se, but there's an attention-grabbing story about gender that unfolds over the course of the first half-hour, one that you may already have read about.

When viewers first meet Jeffrey Tambor's character, he's Mort Pfefferman, a retired professor and the divorced father of three self-absorbed adult children. The show gradually allows the personalities of the various Pfeffermans (including Mort's ex-wife, Shelley, played by Judith Light) to reveal themselves, and that's one of "Transparent's" chief pleasures. Creator and director Jill Soloway ("Six Feet Under," "Afternoon Delight") has a keen eye for telling moments of human behavior and, thankfully, "Transparent" doesn't hammer points home with exposition and repetition. It observes.

The characters are so multi-layered and their stories so thoroughly tied to each other that "Transparent" achieves a pleasing denseness, but one of its signal achievements is that it breathes. This is the kind of story that can be told by media companies who are unmoored from most traditional commercial constraints: They can make television that feels artisanal, specific and organic in all the best ways.

"Transparent" ambles along, quietly building layers of characterization and gently poking into various layers of the Pfeffermans' relationships, but there is a well-constructed engine pulling the whole thing along. Unknown to the family, Mort has begun transitioning into Maura, and she is both terrified and overjoyed at the thought of re-starting life as the woman she has always felt herself to be.

There are many things to praise about "Transparent": Its pacing is assured and unrushed, and its characters reveal their messy humanity in a variety of ways -- some humorous, some ambiguous, some sad. But the positive response to the show begins with Tambor's performance, because none of "Transparent" works if viewers don't buy everything that Mort and Maura are going through. Handed the role of a lifetime, Tambor gives "Transparent" everything he's got, but he uses such restraint and such delicacy that Maura's hopes and fears might just break your heart.

Tambor is most well known, certainly in recent years, for his comedic roles on shows like "Arrested Development" and "The Larry Sanders Show," and it's fair to wonder if the actor chose to play up the more striking and attention-getting aspects of Maura's emergence. But Tambor is fantastically subtle here, and his ability to carry dramatic moments grew more impressive in each of the first four episodes. (The first season contains 10 episodes.)

Flashbacks show just how difficult it was for Maura to privately acknowledge her truths to herself when the children were young. Decades later, she's no longer tied to her former identities as a breadwinner, husband and educator, but she's still a parent, one who is coming to terms with a legacy that is mixed at best. There is an unfinished quality to the entire Pfefferman clan, and without making the question clumsy and overt, "Transparent" asks whether the secret at the core of the family prevented the Pfefferman kids from fully embracing their own identities as adults.

Critics often describe shows they like as "character-driven," but what does that even mean? It means that a show thinks one individual can be a universe: One person can be deep, contradictory, selfish, grand and surprising in any number of ways. Character-driven shows know that when shaggy, unfinished, evolving people (words that describe all of us) come into contact with each other, the results are unpredictable. As is the case with "Rectify," "Happy Valley," "Orange Is the New Black" and other wonderfully observational dramas that have come down the pike of late, this show is full of people who seem like people, not TV characters. That's not the only way for a show to approach its characters: I like melodramatic stories and outsized people as much as the next "Scandal" fan. But the array of strikingly detailed individuals in "Transparent" make the crop of characters on most of the new broadcast network shows seem even more pallid and forgettable by comparison.

The Pfeffermans are frustratingly myopic, but each has wonderful qualities too. The youngest, Ali (Gaby Hoffmann), can't get her life together at all, but she's the only sibling who pays attention to Ed, Shelley's second husband, who has dementia that prevents him from speaking. Sarah (Amy Landecker) is hypervigilant to the point of exhaustion (at one point, she wipes barbecue sauce off Maura's face, as if she was one of her kids), but she's genuinely and painfully torn about a secret that lies at the heart of her life. Josh (Jay Duplass) at first comes across as a classic Los Angeles hipster douchebro, but slowly, "Transparent" reveals his wounds and makes you wonder just how deep his damage goes.

Here's a character-driven Maura moment: In a flashback, Mort sits in his office and takes a bag from a nice department store from a desk drawer. He takes a colorful blouse from the bag and ponders it. Given what we know about Mort and Maura at that point in the show's narrative, the moment resonates in any number of ways (and the sub-plot's coda resonates even more). Who do we choose to be, what spaces are safe for our most private selves, can people every truthfully see themselves or the people around them? "Transparent" explores these questions with conscious intent and thoughtful energy -- and it's funny too, because life is just ridiculous sometimes, whatever your secrets or sadnesses.

Every single one of the characters in "Transparent" is in transition: They're all confronting truths in their lives -- some of them painful, some of them liberating, many of them both. What's astonishing about the show is how compassionately Soloway treats all of these people while essentially putting them under a microscope. Soloway doesn't handle the Pfeffermans with kid gloves; they're not saints or tragic figures. Those making "Transparent" are simply curious about these people and what they'll do next, and that curiosity is addictive.

One word of caution as you tackle the first season of "Transparent": Don't binge. There's a lot to process and savor here. Like Maura, take it slow.

Season 1 of "Transparent" premieres Friday, Sept. 26, at 9:00 a.m. ET on Amazon Prime.

My colleague Erin Whitney spoke to Jeffrey Tambor, Gaby Hoffmann and Jill Soloway about the show. I also interviewed to Soloway earlier this year; that discussion can be found here and in podcast form. Ryan McGee and I discussed "Transparent" in the most recent Talking TV podcast, which is here, on iTunes and below.

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