"Twilight Saga: Breaking Dawn - Part 2" poster
Photo: Summit Entertainment

Forbes notes, "With 67 percent of Americans viewing first lady Michelle Obama favorably, she's more popular than her husband. The President has never been shy about publicly expressing his adoration for his wife; in his election night victory speech, Obama gushed, 'I have never been prouder to watch the rest of America fall in love with you too as our nation's first lady.'"

Also on the list: Melinda and Bill Gates, Beyonce and Jay-Z, Hillary and Bill Clinton, Ellen DeGeneres and Portia di Rossi and Marissa Mayer, CEO of Yahoo!, and her husband, Zachary Bogue.

Click over to Forbes to see the rest of the list, then click through the slideshow below for more celebrity couples.

Keep in touch! Check out HuffPost Weddings on Facebook, Twitter and Pinterest.

According to a report in The Arizona Republic, U.S. Immigration and Customs Enforcement officials are investigating Bouzaglo, an Israeli citizen, regarding time he spent in prison prior to his immigrating to the United States. Bouzaglo's immigration lawyer did not disclose details of the case to the Republic, but the paper, citing a "high-ranking law enforcement source," reports that Bouzaglo's international record hints at involvement in "drug distribution, threats, and extortion."

The Scottsdale, Ariz., restaurant originally soared to infamous heights after a disastrous "Kitchen Nightmares" episode appeared to trigger a self-destruct sequence on the company's Facebook page. Owners Sami Bouzaglo and his wife, Amy, later stated the bizarre, profane posts ("You people are all s**t," "I AM NOT STUPID ALL OF YOU ARE," among others) were the work of a hacker.

More recently, the restaurant's PR firm, Rose+Moser+Allyn, which was hired specifically to manage the resulting storm of negative publicity, quit. Company spokesman Jason Rose diplomatically " target="_hplink">explained to Fox News, "It's fair to say, that while we were in agreement on some approaches, there was disagreement on others."

The report of Bouzaglo's deportation hearings comes less than a day after Amy's Baking Company marked its "grand reopening."

According to a report in The Arizona Republic, U.S. Immigration and Customs Enforcement officials are investigating Bouzaglo, an Israeli citizen, regarding time he spent in prison prior to his immigrating to the United States. Bouzaglo's immigration lawyer did not disclose details of the case to the Republic, but the paper, citing a "high-ranking law enforcement source," reports that Bouzaglo's international record hints at involvement in "drug distribution, threats, and extortion."

The Scottsdale, Ariz., restaurant originally soared to infamous heights after a disastrous "Kitchen Nightmares" episode appeared to trigger a self-destruct sequence on the company's Facebook page. Owners Sami Bouzaglo and his wife, Amy, later stated the bizarre, profane posts ("You people are all s**t," "I AM NOT STUPID ALL OF YOU ARE," among others) were the work of a hacker.

More recently, the restaurant's PR firm, Rose+Moser+Allyn, which was hired specifically to manage the resulting storm of negative publicity, quit. Company spokesman Jason Rose diplomatically " target="_hplink">explained to Fox News, "It's fair to say, that while we were in agreement on some approaches, there was disagreement on others."

The report of Bouzaglo's deportation hearings comes less than a day after Amy's Baking Company marked its "grand reopening."

We cannot let ourselves be paralyzed by fear. We all have to take action in the fight against cancer. Of the many types of cancer, prostate cancer is the second-leading cause of cancer death among men in the United States. With one in six men diagnosed with prostate cancer in their lifetime, the disease currently affects more than two million men in this country.

What's even more heartbreaking than these statistics is that most men don't understand the risks surrounding prostate cancer, and they aren't taking the steps to educate themselves. Why is that? We all know a lot of men refuse to see a doctor about anything short of an emergency. But beyond that 'tough guy stereotype,' when it comes to many different types of cancer -- from colon to breast -- people can be incredibly sensitive due to anxiety, stigma or sheer embarrassment. In turn, this can make people, men in particular, reluctant to call on friends and family for support or seek help from a medical professional. We have to change that! (Early detection can dramatically increase your odds of beating prostate cancer.)

Men and their loved ones must take stronger actions to educate themselves about this disease. It's critical to have an open discussion with your doctor regarding any symptoms or signs, and when appropriate, screenings. Nearly 240,000 men will be diagnosed with prostate cancer this year alone -- that averages around one new case every two minutes. We all have two minutes to spare. Let's use this time wisely and encourage the men in our lives to proactively talk to their doctors about prostate cancer.

When cancer becomes personal, our priorities change, our perspective shifts and the world around us comes into focus. Things that once seemed important in life suddenly feel trivial and fade away -- we find a greater purpose in what matters the most. I became an advocate in the fight against cancer because I understand and relate to the devastation and sense of loss that comes with the disease. I feel for others who wake up to a new day with a challenge that wasn't there the night before and the emotional and physical pain they must learn to navigate. So, I joined the movement to end cancer once and for all.

Stand Up To Cancer has teamed up with The Safeway Foundation to increase awareness and funds for the fight against prostate cancer by designing a reusable shopping bag, embossed with the words, "It starts with a wish; it can end with a cure." This bag is available for purchase at all Safeway banner stores and online at http://www.safewayfoundation.org/. Proceeds will support accelerated prostate cancer research.

When I think about how lucky I am that my husband survived, it only reinforces my dedication to taking action against this disease. My wish for every man faced with a cancer diagnosis is to have the same success story.

The 13-acre estate, which some media outlets put in Montecito although public records have it in Santa Barbara, is a restored Tuscany villa with mature gardens that include olive and eucalyptus trees.

Think large scale here. The two-story, 10,500-square-foot home was built in the late 1920s using locally quarried stones and sits on 9.8 acres of land. The living room is 800 square feet; there are nine fireplaces and a Roman column that dates from 200 B.C. stands in the gardens.

Lookie-loos needn't bother making the trip because the house, gated of course, has a quarter-mile driveway and you can see nothing -- nothing -- from the road. Property records also show that the couple purchased a 3.8-acre plot right next door, although we can't imagine they have plans to expand the villa. The extra land is more likely another attempt to ensure their privacy.

The popular talk show host and her actress wife also own homes in Beverly Hills and a ranch in Hidden Valley that was affected by the recent Camarillo Springs wildfire. And this isn't the first time they've owned in the Montecito area either. In 2006, they bought a 1926 estate for $15.75 million that they sold in 2008 for about $20 million to multi-billionaire Eric Schmidt, the executive chairman of Google. Let's see how fast DeGeneres flips this new one.

Photos courtesy of Realtor.com

It might not have been the "Friends" reunion fans hoped for in April, when rumors of a Thanksgiving 2014 gathering had fans of the NBC sitcom in a frenzy, but the sketch featuring the actors best known as Rachel Green, Chandler Bing and Monica Gellar made waves on the Internet.

During Aniston's time on "Ellen," she interviewed De Rossi about her return to "Arrested Development." "I just think that must be like a dream come true to have one of the most beloved shows be taken away way before its time and then have it come back and have everybody be there," Aniston said to De Rossi (a.k.a. Lindsay Bluth) of the late Fox show's new season on Netflix. "It seems so seamless. Your fans must be so excited."

When De Rossi and DeGeneres pressed Aniston on her feelings about a true "Friends" reunion, she said, "What do you mean? I sort of just did one, no?" The audience laughed, but then, Aniston took the possibility a more seriously. "Doing that little bit with Matty and Court, we all were very nostalgic and miss working together and love each other," Aniston told DeGeneres, De Rossi and a very enthusiastic studio audience. "It's a great thing to get to go back to your family like that and also know that people will love it and enjoy it."

What'd you think of Jennifer Aniston on "Ellen"? Do you think a real "Friends" reunion could happen? Sound off in the comments!

OK, so maybe you've never dreamt of marrying at the singer's pad, but Sting and his wife, Trudie Styler, recently opened up their Tuscany home for weddings and private parties -- and it's gorgeous. Count us in!

Il Palagio, the couple's 16th century villa, can accomodate up to 200 guests, and can house up to 50 partygoers in the six guesthouses on the grounds. It is located 45 minutes southeast of Florence in the Chianti region.

The couple also produces wine, olive oil and honey at their estate, in case you want to go super local with your catering.

Click through the slideshow below to see photos of Il Palagio, then let us know in the comments: is this your dream wedding venue realized?

Keep in touch! Check out HuffPost Weddings on Facebook, Twitter and Pinterest.

"Be ambitious. There probably won't be another time in your life when you have such freedom of opportunity. Grasp it with both hands," Branson wrote. "If you can't find an opening that fits what you want to do, why not try to create one yourself?"

Branson was writing on LinkedIn as a part of the website's series of columns offering advice for newly minted college graduates. Branson wrote that he's never had a boss, and started a magazine when he was a teenager. Today, Branson's empire includes companies in the music industry, airlines, limousine services and hotels.

Much of Branson's advice centered on traveling, and he probably wouldn't mind if you flew Virgin Atlantic and stayed in one of his hotels.

"You may decide to take a break and consider your options. I would urge you to travel, take on new experiences and draw upon those when it comes to making the decisions that will shape your future," Branson wrote. "The amount of business ideas that people pick up from travelling the world is enormous."

Branson said traveling could be more beneficial than college.

"Gap years don't only have to happen before you go to college. Actually, a good option is to travel instead of going to university," Branson said. "You can work and still have a lot of fun along the way: you won't create as much debt, you'll learn an awful lot and may come back with some great ideas."

Other entrepreneurs, including Peter Thiel and Penelope Trunk, have advocated against college. Billionaire tech pioneers, including Mark Zuckerberg and Bill Gates, fuel the debate about whether a degree is needed for success.

Branson quit school when he was 16.

"Education doesn't take place in stuffy classrooms and university buildings," Branson wrote. "It can happen everywhere, every day to every person."

The 33-year-old entertainer looked gorgeous at the De Grisogono Party the evening before.

Directed by Rawson Marshall Thurber ("Dodgeball"), "We're The Millers" focuses on a small-time drug dealer (Jason Sudeikis) who hires a stripper (Aniston) and a couple of youngsters (William Poulter and Emma Roberts) to help him get a shipment of his boss' marijuana over the border from Mexico. Spoiler: It's more than he excepted. Says Sudeikis to the drug dealer (played by Ed Helms): "This is not a smidge. You've got me moving enough weed to kill Willie Nelson."

Also starring Nick Offerman, Kathryn Hahn and Ken Marino, "We're the Millers" is out in theaters on Aug. 9. Check out the trailer above. Chasing waterfalls is optional.

Two days after much of Moore, Okla., was flattened by a powerful tornado that killed 24 people, Obama pledged anew that the nation will assist with the town's recovery and rebuilding for as long as it takes.

"Eventually, life will go on and new memories will be made. New laughter will come. New songs will be sung," he said during a tribute concert for King in the East Room of the White House. "And that's often why we turn to music during trying times, for comfort and for inspiration, and sometimes just for a good diversion."

Calling her a "living legend," Obama presented King with this year's Gershwin Prize for Popular Song, an award given by the Library of Congress. She is the first woman so honored and joins a list of recipients that includes Paul McCartney, Stevie Wonder and Paul Simon.

"I'm honored to be recognized by the Library of Congress as the fifth recipient and first woman as has been stated," the 71-year-old King said. "I can't say it enough. I am so excited."

She accepted the honor on behalf of the co-writers who worked on some of her songs, a massive portfolio that includes such hits as "(You Make Me Feel Like) A Natural Woman" and "You've Got a Friend."

Several friends from King's decades in the music business came to the White House to perform in her honor, including Gloria Estefan, Billy Joel, Jesse McCartney, Emeli Sande, James Taylor and Trisha Yearwood.

King opened the show on the piano before taking a front-row seat between Obama and Vice President Joe Biden.

Estefan, Yearwood and Sande followed with King's "Will You Love Me Tomorrow," one of her No. 1 hits. She and Taylor put their voices together on "You've Got a Friend" to close the concert.

King also sang "I Believe in Loving You," co-written with Hal David. She told The Associated Press in a recent interview that her plan is to release the song as a single to honor David, a Gershwin Prize recipient who died last year.

"I'm hoping that this will become a song that people will want to play at their weddings," she said. "It's so romantic. Hal is such a great writer, and his words live on forever."

In the interview, King said it was a tremendous honor to be recognized with a place in history she never would have expected, and to have it happen at a venue as historic as the White House.

"It is yet another of the many important messages to young women that women matter, women make a difference," King said. "That popular music is recognized by the Library of Congress as being worthy of a place in history is especially significant to me."

As her memoir, "A Natural Woman," began to sell last year, King hinted that she would like to retire. But she since has gone on tour in Australia and plans to sing at a benefit concert for Boston Marathon bombing victims.

She now says she's too busy to retire.

"I still feel that it would be lovely to retire, but that time is not yet here apparently," King said.

King got her start in music growing up in Brooklyn, N.Y., and wrote her first No. 1 hit at age 17_ "Will You Love Me Tomorrow" for the Shirelles – with then-husband Gerry Goffin.

Her breakout 1971 album "Tapestry" remains one of the best-selling records of all time. It is the first female solo album to reach Diamond status, surpassing 10 million copies sold. The album included No. 1s "It's Too Late" and "I Feel the Earth Move," as well as "You've Got a Friend" recorded by Taylor.

It was the first album by a female artist to win all the top Grammy awards – for record, song and album of the year, along with the Grammy for best pop vocal performance.

"And as one of the best-selling albums of all-time, it cemented Carole's status as one of the most influential singer-songwriters that America has ever seen," Obama said.

More than 1,000 artists have recorded hundreds of King's songs, including The Beatles, Mary J. Blige, Cher, Phil Collins, Aretha Franklin, Barbra Streisand and many others.

In 1990, she and ex-husband Goffin were inducted into the Rock and Roll Hall of Fame.

Wednesday's tribute is the latest in the "In Performance at the White House" series under Obama. It will televised nationally by PBS stations on May 28.

___

Associated Press writer Brett Zongker contributed to this report.

___

Online:

Gershwin Prize for Popular Song: http://www.loc.gov/about/awardshonors/gershwin/

___

Follow Darlene Superville on Twitter: http://www.twitter.com/dsupervilleap

Irina Shayk was the latest to join the sideboob brigade in a very open, very sheer, very dangerous dress. The actress slipped into a slinky black Roberto Cavalli number with belly cutouts, a plunging neckline and sheer fabric for Wednesday's "All Is Lost" premiere.

We'd typically fear a nerve-wracking wardrobe malfunction in such a provocative gown, but Irina appeared comfortable and radiant. (Hey, posing for Sports Illustrated probably gets a girl accustomed to baring midriff in front of flashbulbs.) We didn't just see the largest amount of skin on Irina on Wednesday... we also saw the largest smile.

PHOTOS:

Hey, if you've got it, flaunt it:

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Crystal has landed the title role in FX's comedy pilot "The Comedians." On the potential series, Crystal will play a veteran comedian, who is paired with a "younger, edgier" comedian for a late-night show.

“It truly is an honor to be in business with Billy Crystal and Larry Charles, two of the all-time greats in comedy,” FX president John Landgraf, said in a statement. “We have also wanted for some time to be in business with Matt Nix, who has done such an amazing job creating and running 'Burn Notice.' They, along with Ben Wexler, are an unbeatable team and we’re incredibly excited about this project.”

If FX picked up "The Comedians," it will mark Crystal's first regular comedy gig since his mid-'80s "Saturday Night Live" stint.

To celebrate "Fast Six" (out on May 24), HuffPost Entertainment has compiled the best Diesel quotes from the "Furious" press tour for Justin Lin's new film. Ride or die and enjoy the wisdom of Big Vin below.

On his hobbies: "Maybe because I'm a Dungeons & Dragons head, my approach to everything is a little more thought-out." (via EW.com)

On his 40 million Facebook fans: "Facebook really owes me billions of dollars. But whatever. [Laughs]" (via EW.com)

On social media's influence: "If there was social media in the '50s, there probably would've been a sequel to 'On the Waterfront.' There would've been a sequel to 'Rebel Without a Cause.' We would've finally gotten the 'Gone With the Wind' answer. So many of these films would've continued if the audience was able to speak directly to the braintrust, to the core, to say: 'We have to have another one.' I think Hollywood, and the choices Hollywood has made, would've been radically different if Clark Gable had 40 million people on his Facebook page." (via EW.com)

On awards possibilities for "Fast Six": "When this film comes out, quite frankly, there's gonna be some real Oscar watch." (via EW.com)

On his physique: "Being a physical presence will rule you out of a lot of roles. I couldn't have done 'Ferris Bueller's Day Off' with that physical presence." (Men's Fitness via Vulture)

Remembering the first "Fast and Furious" film: "When we first did this we were thinking we had the opportunity to do 'Rebel Without A Cause.'" (via Moviefone)

The best contact in his phone: "Bill Clinton." (via Moviefone)

The future of the "Fast & Furious" franchise: "I think the debate is whether it's 7, 8, 9 or 7, 8, 9, 10. I know, it doesn't even make sense." (via Moviefone)

His review of "Fast & Furious 6": "It's the best movie in the world and it's a love story and it's baller status." (via Moviefone)

We think. A photo started circulating this morning allegedly pulled from RiRi's Instagram, showing nothing but a bare butt wearing a red lacy thong and a pair of jeans cut into a thong shape on top.

While the photo isn't currently up on Rihanna's Instagram, our friends at The Cut helpfully pointed out that the tattoo on the left, er, cheek matches Rihanna's Tibetan tattoo seen in other photos. Plus, posting backside selfies is sort of Riri's thing.

But the identity of the taut tush is not the most important issue at hand. The more pressing matter that must be discussed: that DENIM THONG. How does one cut such a thing so perfectly? How uncomfortable is it? Do they sell those in stores? We just have so many questions.

Check out the photo:

FAST FORWARD TO May 2013 and you have Miss ThangRihanna 'Pouring It Up' in this 'Denim Thong' number! Thoughts? twitter.com/JerriMokgofe/s…

— ACCORDING TO JERRI (@JerriMokgofe) May 22, 2013

Always the sartorial adventurer...

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“We tell the audience what we are about to do in the special and then five different groups talk about her. What was really funny was how much we all had in common. Kristoff St. John was a little pissed off because he thought he had a special relationship with her and it turns out everybody had a special relationship with her. She had the power to make everyone feel so special.

A week after the network announced its new fall TV schedule, CBS announced it was picking up "Bad Teacher," a TV series based on the movie of the same.

Ari Graynor takes on the role Cameron Diaz played in the film, with CBS describing the character as an "inappropriate, fearless and unapologetic former trophy wife who masquerades as a teacher in order to find a new man after her wealthy husband leaves her penniless." The rest of the cast includes Ryan Hansen, David Alan Grier, Sarah Gilbert and Kristin Davis.

Graynor recently starred in the flick "For a Good Time, Call..." and appeared in "Fringe" as Rachel.

"Bad Teacher" is set to debut midseason on CBS, according to Deadline.

"Bad Teacher" joins and "Friends With Better Lives," which will also debut midseason. "Mike & Molly" is also being held for a later date. New CBS dramas include "Hostages" and "Intelligence."

Paris Hilton
Photo: Jason Merritt/ Getty Images

Kanye West and Kim Kardashian
Photo: Getty Images

We first spotted these modernized masterpieces on Laughing Squid, but it isn't the first time celebrities have gone under the brush, of course.

Scroll through the slideshow below and let us know which modern classic you like best.

In 2012 Kanye West introduced most of the world to Chief Keef, via the G.O.O.D. Music remix of Keef's local hit "I Don't Like." (I know, I know, you knew about Keef before Kanye, but most of America can't touch your impeccable blog game.) This was something of a confusing move at the time, at least for me; the remix wasn't an improvement by any means, and it had been a while since Kanye had shown significant interest in preserving his Chicago affiliations, but there he was, shouting out all the local rappers, putting on a 17-year-old kid from one of the most fucked up neighborhoods in the country. But I know why Kanye did the remix now (and I think he knows he didn't improve upon the original either). He needed to confront white America with what they presumed at the time was their worst nightmare: a young black male who grew up in hell and no longer gave a single fuck, who used unfamiliar words and rapped about guns and money and drugs. You know, rapper stuff. (NOTE: When I say "white America" please know I am not being all-inclusive. Like, fuck, I'm white, I get that there are many white people who fully support and understand the racial and socio-political issues at hand here, and that I am being reductive by dichotomizing it into simply "black" vs "white" to begin with. Consider it shorthand for the type of non-black American unconcerned by or complicit in the perpetuation of these issues.)

In reality though, Chief Keef isn't white America's worst nightmare. Because while he scares the living shit out of them in person, he fits neatly into the trope that many racist white Americans need young black men to fit into: violent, uneducated, aimless. They expect this kind of character, and in turn know how to strip him of his humanity, dismiss him and avoid him.

Kanye West is white America's worst nightmare. Because as much as one may attempt to dismiss him -- by calling him an asshole or classless or deranged or various other adjectives that fill the comment sections of literally every article about him -- you still have to turn on your regularly scheduled late night comedy program and stare him in the face. You can't avoid Kanye. He's made very sure of that.

I'm not going to get too deep into breaking down the messages in "New Slaves" and "Black Skinhead"; these articles in Salon, The Week and The Huffington Post have done a good job of that already. I'd rather respond to the overwhelming criticisms that have already emerged in response to his premiere of the songs, "New Slaves" in particular, this weekend. Most of these criticisms fall into three categories: "He's A Hypocrite," "This Isn't New" and "He Wants Attention."

Lost in translation with a whole fucking nation
They said I was the abomination of Obama's nation
Well that's a pretty bad way to start a conversation
("Power")

This is the easiest and most obvious way to attempt to dismantle the messages in "New Slaves." "But how can a millionaire who just impregnated his millionaire girlfriend critique a culture of conspicuous consumption in which he participates?" Let's get the Kim thing out of the way from the start, considering its total irrelevance (I'm going to quote David Turner's tweet from yesterday here: "If You Use Kim Kardashian To Dismiss Kanye's Music STOP AND LOOK AT HOW YOU EVALUATE MUSIC AND PROBABLY JUST STOP DOING IT ALL TOGETHER"). Most of the bitterness and accusations of the so-called hypocrisy of Kanye's relationship with Kim seem eerily compatible with the lyrics of "Black Skinhead": "Enter the kingdom/ But watch who you bring home/ They see a black man with a white woman/ At the top floor they gone come to kill King Kong." Furthermore, since when is it acceptable to judge an artist on the merit of who they love? With what kind of partner would you feel comfortable seeing Kanye? Regardless, it doesn't belong in this discussion.

Questioning why a rich black man has a right to express anger at the plight of less rich black people is essentially asking, "Well, you're gonna be okay, so what's the problem?" Kanye's wealth and participation in consumerist culture (by selling records and concert tickets and having a clothing line, as though he couldn't possibly be doing these things as a multi-genre artist and restless creative, but instead is surely just trying to cash out -- because he totally needs that extra Air Yeezy dough) cheapens his message to certain critics. This is because they are approaching the hyper-consumerist culture Kanye references when he says "What you want a Bentley, fur coat and diamond chain?/ All you blacks want all the same things" as a force that is very bad, certainly; but not as a force that has enslaved them, personally, into a permanent underclass and then gone on to laugh at them for accepting the ideals and signifiers of this culture.

Kanye has transcended the class that is bearing the brunt of the issues at hand in "New Slaves," and thus is expected to gratefully shut the fuck up and let it slide ("throw him some Maybach keys/ Fuck it, c'est la vie"). He now belongs to the same social class that has essentially trapped his people, via the "DEA teamed up with the CCA" compounded with "broke nigga racism vs rich nigga racism." Kanye is not a "new slave" in the same sense as the victims of the prison industrial complex, but he is still trapped in a world that expects him to not only be complicit with the struggle of his people, but to be appreciative that he is not one of them. And on top of all that, while he gets to exist in the world of the 1%, having the money and signifiers of success still aren't enough to make his (white) 1% peers actually even respect him. Here is where Kanye's most misunderstood quality is of great significance: for all the talk of his inflated ego (a good deal of which is accurate), Kanye hates himself more than he loves himself, and his self-loathing has only grown as he has accumulated wealth -- the very thing he'd once been deluded into believing would be the answer to everything. When "Power" was released as a single in 2010, I don't think too many people (myself included) saw the line "No one man should have all this power" as much more than another grandiose rap boast. In fact, he was being literal.

And for as miserable as his wealth has made him by this point (see "Hit the mall, pick up some Gucci/ Now ain't nothing new but your shoes" from 2011's "Murder to Excellence"), he anticipated this back in 2003 in the College Dropout days. Despite being more narratively framed and mildly worded, "All Falls Down" is very thematically similar to "New Slaves" a decade prior: "Shine because they hate us/ Floss cause we the greatest/ We tryna buy back our 40 acres," and yet -- and yet! -- after you succeed in buying back those 40 acres, "Even if you in a Benz you still a nigga in a coupe," "Because they made us hate ourself and love they wealth," "And the white man get paid off of all of that." Sounds pretty familiar -- yes, gasp! in the "good old days" before he "sold out" and "lost touch with himself" Kanye was talking about the same things! Not to mention it acknowledges and does away with accusations of hypocrisy on its own: "I ain't even gon act holier than thou/ Cause fuck it, I went to Jacob with 25 thou..." Like, duh guys, he's painfully aware that he's part of the problem. He hates himself for it. He's still trapped in it. And now he's going to try and find a way out.

Face it, Jerome get more time than Brandon
And at the airport they check all through my bag
And tell me that it's random
But, we stay winnin
("Gorgeous")

(As a side note: I'm very interested to see what happens with regard to Kanye's corporate ties as "Yeezus" starts to pick up speed. Because let's look at what's happened recently when a black man starts saying shit that makes his sponsors uncomfortable -- and yes, it's cheap to compare Lil Wayne and Rick Ross' recent loss of sponsorships with what Kanye's doing right now, but simply for reference: they will snatch that endorsement and that check away with the quickness, but not before they capitalize on your "urban" appeal without really knowing shit about your music to begin with. Because up until the point that you start to make people nervous, as stated in 2005's "Crack Music," "This dark diction has become America's addiction/ Those who aren't even black use it." Real trap shit.)

A lot of critics of "New Slaves" seem perturbed by the fact that Kanye is not the first to espouse or rap about racism and political ideals. I feel like "...and?" is a sufficient response, but to elaborate: this criticism suggests not only that it is not worthy to revisit topics initiated by, say, the Black Panthers or Public Enemy or Gil Scott Heron (all of whom Kanye is intimately familiar with -- let's revisit "Crack Music": "How we stop the Black Panthers? Ronald Reagan has the answer/ You hear that? What Gil Scot was Heron") because, you know, been there done that, but also that the context and platform of Kanye's approach are unremarkable and precedented. They are not. No figure in mainstream culture, with as universal and inescapable and unremovable a presence in the average person's life, has challenged that very culture so blatantly in decades. The ideals of Public Enemy are as relevant today as they were in the 80s, but hip-hop was nowhere near as dominant and omnipresent a cultural force as it is at this moment; to compare the reach of their messages is silly. Upper-middle class white families did not have to deal with Public Enemy if they didn't want to. Similarly with politically-minded "noise rap" artists that have been name-dropped in reviews of Kanye's new material -- it's all well and good for Death Grips and Blackie and even Killer Mike to espouse similar messages and sounds (and honestly, the sonic qualities of "New Slaves" and "Black Skinhead" are hardly at the top of the list of why they're important), but none of them have anywhere near the amount of visibility and influence as Kanye, even if they did hit it first. The position from which Kanye is delivering his message is essential to the message's power; for this same reason, while it may seem crass that a pop star be the one delivering these messages, from a logical perspective it's perfectly effective (returning to "Crack Music": "And we've been hanging from the same tree ever since/ Sometimes I feel like the music is the only medicine").

Tell me how do you respond to students
And refresh the page and restart the memory
Respark the soul and rebuild the energy
We stop the ignorance, we kill the enemy
("Dark Fantasy")

Many people seem to think that Kanye's gestures are ultimately empty because, you know, he's an asshole, remember, and an egomaniac, and he's clearly just reaching for new ways to get attention. People in current positions of comfort and stability are so willing to dismiss the transgressive thoughts of an angry black man that they will use any convenient excuse to diminish from them; if someone says something that makes you uncomfortable, why not immediately change the subject to his girlfriend's ass or that time he yelled at a papparazzi or that time he got drunk and embarrassed a white girl? When was it exactly that Kanye shifted, in the eyes of the mainstream, from lovable polo-wearing backpacker to perpetually and unanimously An Asshole? When, precisely, did everything he said get immediately categorized as a "rant" or "controversial" regardless of the actual content? I want to say it was around the time when he said that George Bush didn't care about black people on live tv. Hmm. Odd.

Accusations of desperate grasps at attention and relevancy -- that "Yeezus" is just Kanye's "politcal phase," like how "808's" was his "sad phase" -- completely ignore the political undercurrents that have characterized Kanye's music from the very beginning. On "We Don't Care," or in other words the mainstream world's introduction to Kanye, literally within the first four bars he taunts, "We wasn't supposed to make it past 25/ Joke's on you, we still alive," referencing the same forced entropy from institutionalized racism that he's dealing with in "New Slaves" and "Black Skinhead." And while Kanye's discography in general is usually acknowledged as more personal interpretations of racism, this isn't entirely accurate. The fairly explicit political themes of My Beautiful Dark Twisted Fantasy were largely ignored due to most of its standout singles being more inwardly focused (the star-studded yet thematically unremarkable "Monster," the intensely personal "Runaway," the fictional narrative of "All of the Lights"). Yet "Dark Fantasy," "Gorgeous," "Power," "Hell of a Life," and "Who Will Survive in America" are aggressively political and lay a very clear foundation for the messages of his new songs. In fact, it's very easy to look at his career and accumulation of a padding of super-celebrity as a preparation for this very moment with "New Slaves." He had all the ideas before; he just wasn't yet in the position to fully unleash them, because not enough people would be forced to hear him in 2003, or even in 2010. In "Power" Kanye asks, clearly to himself, "You got the power to let power go?" but it goes unanswered, the clock ticking. "New Slaves" is him affirmatively answering that question ("Black Skinhead"s bridge, "I'm doin 500 I'm outta control now/ But there's nowhere to go now/ And there's no way to slow down" is the sound of him letting that power go and free-falling), which is in itself a sort of follow-up to the questions posed in one of his first singles, "Jesus Walks." That is, if I get the balls to make music about something that is actually important (in this case, unabashed belief in god), is anyone going to respond, and will I hate myself less? ("Well if this take away from my spins, which'll probably take away from my ends/ Well I hope it take away from my sins.") Except ten years later, money is not an issue, and neither is the prospect of heaven -- it's clear that by this point Kanye no longer believes in a god anymore at all. And that's why he has to become one himself.

Human being to the mob
What's a mob to a king?
What's a king to a god?
What's a god to a non-believer?
Who don't believe in anything?
We made it out alive
("No Church In The Wild")

Shelton told reporters about the fundraising effort after Tuesday night's episode of "The Voice." Shelton, an Oklahoma native, paid tribute to the thousands affected by Sunday and Monday's tornadoes by performing an acoustic version of the hit "Over You" with wife Miranda Lambert.

He said the benefit would be held soon in nearby Oklahoma City.

At least 24 people, including nine schoolchildren, were killed Monday afternoon in Moore, Okla., when an F-5 tornado with 200 mph winds touched down for 40 minutes and destroyed entire neighborhoods.

Toby Keith, a native of Moore, also is planning a benefit. His sister's house was hit by the tornado.

More details about both fundraising efforts will be released later.

Shelton told reporters about the fundraising effort after Tuesday night's episode of "The Voice." Shelton, an Oklahoma native, paid tribute to the thousands affected by Sunday and Monday's tornadoes by performing an acoustic version of the hit "Over You" with wife Miranda Lambert.

He said the benefit would be held soon in nearby Oklahoma City.

At least 24 people, including nine schoolchildren, were killed Monday afternoon in Moore, Okla., when an F-5 tornado with 200 mph winds touched down for 40 minutes and destroyed entire neighborhoods.

Toby Keith, a native of Moore, also is planning a benefit. His sister's house was hit by the tornado.

More details about both fundraising efforts will be released later.

Nick and JoAnna Garcia Swisher have reportedly welcomed their first child.

The first baseman for the Cleveland Indians, 32, was put on the teams’ paternity list (mandatory one to three-days leave) Tuesday, revealing the happy news.

Nick and JoAnna Garcia Swisher have reportedly welcomed their first child.

The first baseman for the Cleveland Indians, 32, was put on the teams’ paternity list (mandatory one to three-days leave) Tuesday, revealing the happy news.

On Forbes' annual list of 100 influential women, Gisele ranked No. 95 among iconic entrepreneurs, CEOs, politicians and philanthropists. She made the list last year, too; Forbes seeks out "change-agents" for their list, so surely they were attracted to Mrs. Brady's ambassadorship for the U.N.'s Environmental Program just as much as they were her catwalking skills.

Gisele's influence is also based on her massive wealth: She topped Forbes' Top-Earning Models List in 2011. The mag also named her and hubby, Tom Brady, the world's highest-paid celebrity couple that same year.

Gisele may be the sole model to make Forbes 2013 power ranking, but plenty of other fashionistas made the list: Spanx maven Sara Blakely; Miuccia Prada; Tory Burch; Zara founder Rosalia Mera; Diane von Furstenberg; and Anna Wintour, who jumped from No. 69 in 2011 and No. 51 in 2012 to No. 41 this year (we're pretty sure we can chalk her promotion up to her new job).

We're happy Gisele's been recognized for her contributions to fashion and philanthropy -- but do you think the catwalker is really more powerful than major league contemporaries like Tyra and Heidi?

Now this girl can sell a magazine:

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Minister Pablo Groux is slamming Penn's proposal to a U.S. congressional subcommittee Monday that Bolivia be cut out of the Dakar motor sport rally unless it frees a U.S. citizen under house arrest two years after he was jailed without charge in a money-laundering probe.

Penn suggested that unless Jacob Ostreicher is freed, sponsors should drop their backing for the January event – which is to include Bolivia for the first time.

The New York man invested in a rice-growing venture and, once jailed, fell prey to an extortion ring that allegedly included the Interior Ministry's top lawyer.

Penn helped get Ostreicher out of prison. But the case is stalled in court.

Roberts, who recently filmed a Fox pilot titled "Dellirium," is currently dating "American Horror Story" star Evan Peters. Peters will return for "Coven" alongside familiar "AHS" faces Jessica Lange, Sarah Paulson, Lily Rabe, Frances Conroy and Taissa Farmiga.

Along with Roberts, new cast members for "Coven" include Kathy Bates, Angela Bassett, Patti LuPone and Gabourey Sidibe.

Though we don't know much about "American Horror Story: Coven," we do know it'll be witch centric, as the title indicates, and parts of the season will be set in New Orleans.

"It's a really cool story that we've been talking about for a couple of years, and this seemed like the year to do it," co-creator Ryan Murphy said on panel about "American Horror Story."

"American Horror Story: Coven" premieres in October on FX.

Roberts, who recently filmed a Fox pilot titled "Dellirium," is currently dating "American Horror Story" star Evan Peters. Peters will return for "Coven" alongside familiar "AHS" faces Jessica Lange, Sarah Paulson, Lily Rabe, Frances Conroy and Taissa Farmiga.

Along with Roberts, new cast members for "Coven" include Kathy Bates, Angela Bassett, Patti LuPone and Gabourey Sidibe.

Though we don't know much about "American Horror Story: Coven," we do know it'll be witch centric, as the title indicates, and parts of the season will be set in New Orleans.

"It's a really cool story that we've been talking about for a couple of years, and this seemed like the year to do it," co-creator Ryan Murphy said on panel about "American Horror Story."

"American Horror Story: Coven" premieres in October on FX.

He doesn't have much choice. A man-versus-nature tale about a lone sailor adrift on the Indian Ocean, J.C. Chandor's movie has no dialogue, just a few lines of voiceover at the start and a couple of heartfelt expletives.

Redford said he was excited by "the challenge of being solitary, alone, without having the crutch of words."

The second feature from "Margin Call" director Chandor, "All Is Lost" is screening out of competition at Cannes, where both it and 76-year-old screen icon Redford got a warm reception Wednesday.

The Independent newspaper declared the film "utterly compelling viewing," while Variety called Redford "superb."

"I believe in the value of silence in film," Redford told reporters. "I believe it in life as well, because there's a lot of talk around – maybe too much."

Silence "forces you as an actor to be completely inhabiting your role," he added. "If you're not, it's going to show. And that's an attractive challenge.

"It allows you to be totally free and unaware of everything around you except what you had to be aware of, which is the boat, the sea and the troubles that were coming."

Redford, himself the director of movies including "Quiz Show" and "The Horse Whisperer," also said he "really wanted to have an experience where I could give myself over completely to a director."

Chandor – who premiered "Margin Call" at Redford's Sundance Film Festival in 2011 – said he always had Redford in mind for the role.

Alone on screen for the film's hour and 45 minutes, Redford gives a master class in physical acting. His famous face, as brown and grained as the wood of his yacht, is silently expressive.

Confined to the claustrophobic setting of a damaged and becalmed yacht – and later a tiny life raft – he conveys both the unnamed character's physical struggle with the elements and his deteriorating condition.

While stunt performers were used for some scenes of the movie – filmed in large part on the open sea – Redford took pride in jumping into the physical rough-and-tumble of the film.

"I decided that I wanted to try to do what I could physically myself," Redford said.

"I thought, well, if I could do some of these action things myself, it would be better for (Chandor) – and pretty good for my ego, so why not?"

Chandor, who wrote the script with Redford in mind, said he relished stripping the actor of "his most beautiful tool besides the jawline – his voice."

"His voice is this beautiful thing, and we took that almost away from him."

He also said that silencing an actor with Redford's power as an icon helped give the film a deeper resonance.

"You're taking this person that essentially so many people have a relationship with – their own stories and their own ideas and their own experiences with his films," the director said.

"I felt as a filmmaker I was going to be able to have all that history that you as an audience have with him, but then he as an actor sort of erase it."

Redford said the film could be seen in any number of ways. As a reflection on nature and our destructive relationship to it, perhaps. Or as a contrast to our hyperactive, technology-driven world.

"I've seen the role that technology has played in driving things faster and faster," he said. "There's too many people talking too much of the time.

"This film is about having none of that. ... Maybe this film will be seen in contrast. Because there's nothing but the elements. Nothing but the weather, a man, a boat – that's it. Maybe this could be contrasted with all the noise that's out there that I think confuses people."

Fundamentally, though, he's happy for audiences to form their own interpretation.

"It's kind of existential in a way, because it leaves so much open for the interpretation of the viewer," Redford said.

___

Jill Lawless can be reached at http://Twitter.com/JillLawless

Psy
Photo: Imeh Akpanudosen/ Getty Images

And I'm left to wonder what Harvey would say if he were here.

I imagine he'd start by saying that this day isn't about him. For Harvey, it was always about the movement, never about ego.

He'd likely say that this day is for the kids out there in Altoona, Pa., who still feel that what makes them different makes them "less than" and are feeling hopeless. He'd tell anyone who would listen that they must come out and stand up -- and send that young person a much-needed message of hope.

But I'm afraid that the next thing Harvey might ask is, "What has happened to the coalitions we started building?"

Because as proud as I am of the work that so many brave people have done to come out and share their stories, I'm afraid that we have neglected one of the most critical pieces of Harvey Milk's successful political philosophy.

Harvey Milk was not myopic when it came to his equality. If he had been, he never would have been elected. Harvey was a pure populist. He worked hard for all people who have been made to feel "less than," and all minorities whom the system wasn't working for.

Early on, he backed the unions in the Coors beer boycott in the '70s, forging an unexpected alliance between gays and union truck drivers. He went into Chinese communities and made sure that the ballots were written in Mandarin instead of in English. He fought for seniors and the homeless.

It seems that the message we too often miss from Milk's work is that all Americans have an interest in equality because soon we will all be minorities in some way or another; it just depends on how we slice the pie.

Separate, we are all vulnerable. Together we are unbeatable.

Harvey called this his "coalition of the us's" -- not only gays but blacks, Asians, seniors, the disabled. He understood the interconnectedness of our common struggles.

The idea was simple but brilliant. Harvey believed that people who are very different deserve equal protection. And he knew that if we were ever going to win that freedom and keep it, we had to stick together.

When I wrote the movie Milk, I focused mostly on Harvey's call to send a message of hope to the young LGBT people who were suffering, likely because I had grown up feeling a lot like that isolated kid from Altoona.

But here's the thing: I grew up gay, but I also grew up Mormon and in Texas. I grew up with a single mother who walked with crutches because of polio. And we had no money. I was a free-lunch kid. We were different in so many ways beyond just the gay thing. So why didn't I shine a brighter light on Harvey's "coalition of the us's"? It's one of my few regrets with the portrayal.

Because the bottom line is this: We in the LGBT movement have a long way to go when it comes to joining together with other groups who are seeking equal opportunity and equal protections. Too often I witness a myopia that I fear may keep us from crossing the finish line of full equality and leave any gains we make feeling impermanent.

Never has this been clearer to me than in these weeks leading up to the Supreme Court's ruling on full marriage equality. With a true coalition, every citizen, regardless of sexual orientation, would understand that this isn't simply a gay and lesbian fight but a fight for justice and equality for anyone who has ever been singled out as second-class.

When the Supreme Court does get it right, it should be clear that this is a victory for everyone who has ever felt different in some way, which increasingly means every single one of us. But if it continues to leave gay and lesbian families vulnerable, it is making all families vulnerable.

Now more than ever, we need organizations and individuals to do the hard work to rebuild, build out and strengthen our coalitions and reach out and find commonality with unexpected new allies.

We need the "us's" to stand together publicly with our voices raised to remind the world that this nation is strong because of our differences, not despite them.

Because when the day comes that the U.S. Supreme Court rules for full equality for gays and lesbians, it should not send a message of hope solely to LGBT young people. It should be clear that the court has sent a message of hope to every young person who has ever felt "less than" for being different.

"If you make a film with someone, maybe they don't like it or they're looking for reasons not to like it. They're like, 'Oh, it didn't turn out the way we thought,'" Linklater told HuffPost Entertainment. "That's kind of my history: You do a film with someone and they kind of glass-half-empty it. 'Here's what it's not. Forget what it is; we're going to focus on that.'"

Linklater had no such concerns on his latest film, "Before Midnight." Set nine years after "Before Sunset" -- which itself was set nine years after "Before Sunrise" -- "Before Midnight" reunites Linklater with Ethan Hawke and Julie Delpy for another talky romance about love and life in the world of Jesse (Hawke) and Celine (Delpy). Linklater co-wrote the film with the two stars, and was able to finance the feature independently. The gambit paid off: "Before Midnight" has won raves on the festival circuit this year and has a near-perfect score on Rotten Tomatoes.

Ahead of the film's May 24 limited release, Linklater, 52, spoke to HuffPost Entertainment about the indie franchise's studio origins, how he was able to shoot one of the most intense sequences of 2013 and why "Before Midnight" is even larger in scope than its two predecessors.

(WARNING: Some slight spoilers about the plot of "Before Midnight" are discussed below.)

It's hard to believe that when "Before Sunrise" came out in 1995, it was a studio production.
It is a statement of how the industry has changed. Nineteen years ago when we were headed off to Vienna to do that, we were financed from Columbia Pictures through Castlerock with a $2.7 million budget. The fact that a studio would even bother with something like that now is just laughable. Nine years later, we were at Warner Independent, which is the indie division of a studio. Same $2.7 million budget, by the way, nine years later, but it was kind of an industry indie. Now, we were completely equity financed. We didn't have any industry connection in the financing of this movie whatsoever. Ultimately, Sony picked it up to distribute.

Are you shocked how much the industry has changed?
Not really. In its current form, of course, it has changed so much. What happened somewhere along the way -- and I lived through this, because I got films like this made; "Dazed and Confused" was done at Universal -- studios figured out what they weren't doing, what they were doing, what they did best and what made sense for their shareholders and bottom lines. They've figured out these bigger films are the smartest investment of their time and energies. That's freed things up. You used to spend a lot of time trying to get studios to say yes or no. Now, you don't even take certain kinds of films to the industry. I don't waste anyone's time saying, "I have this small film about this." You don't even bother them with it because you know they're not going to be interested. It's not their business. There are a couple of different businesses here within the realm of film.

When you decided to make "Before Midnight," who did you call first: Ethan or Julie?
We're all in conversation. We talk about it. Two years ago, we got together in New York and started talking about what this could be. We've done this twice now, where we don't have any ideas for six or seven years and then it's sort of like, "You know, what about? ..." Then the ideas get more substantial. What's going on is that everyone has lived another six or seven years of life and we can imagine Jesse and Celine at some new station in life. So, we spend a year or so talking about it and go down these paths of what it could be. Maybe we'll go down one path for six months and then change it. We learn a lot every step of the way.

Was there more pressure this time since "Before Sunset" was so well received?
Not so much pressure from the way "Before Midnight" would be received, but from the expectations. The fact that we had done a second one, it was sort of like, "Oh, are you going to do another one?" Especially the way that one ended. "Oh, what happens next?" It was kind of a cliffhanger. The first film didn't have that at all; no one was clamoring for a sequel. The second one, however, we've all had to answer for it over the years since. Like, "Are Jesse and Celine ever going to be together?" I do Q&As about other films I'm doing, and maybe the last question is, "If you don't mind me asking, I was just wondering if Jesse and Celine are ever going to ..." And I'll have to go, "Well, I don't know." As we got closer, however -- when I was doing Q&As for "Bernie" just a little more than a year ago -- I was getting that question and we did have an outline. My answer changed to "I wouldn't be surprised if they showed up again."

Shortly after the film opens, there's this long, uninterrupted take with Jesse and Celine driving in a car with their two children in the back. It ends up being one of the most tension-filled sequences of the year because of those kids. I kept waiting for them to wake up and blow the moment.
They're the unsung heroes. There are four actors in that scene, and two of them are these little girls in the back pretending to be asleep. [Actresses Charlotte and Jennifer Prior play the twins.] They're not really asleep; they're keeping their eyes shut and they're even kind of fake waking up. It's kind of a great performance. Then, boom, 13-plus minutes in, they nail their two lines. It's kind of amazing.

It's incredible. How much rehearsal did that take?
Lots of rehearsal. Not so much with the kids. Ethan and Julie were working on that for months. The kids we incorporated as we got closer to shooting. Maybe a week or two before was when we started working with them. They were very calm, well-mannered little girls. I have girls roughly their age and they could never have done that! They would look at the camera. Three minutes in and they would have been completely bored and unable to keep their eyes shut. It's really a stunning child performance. I've directed a lot of kids and I'm most impressed with what they did there.

When you were writing the script, did you always know that sequence would occur in one take?
That was always my intention. Ethan and Julie know me well enough at this point to go, "OK, he's going to want to do this in one take." Early in the movie, this is the illusion we're creating: The ideal would be to drop a viewer in on Jesse and Celine's reality. If you can have a take play out like that -- long -- viewers have to accept this as real on some unconscious level. These are real people and we're in their real world and this is their reality. That scene provided a lot of backstory. Those nine years disappear in that scene. If you know the movies, it's like you're hanging out with old friends; if you don't -- and this film stands alone -- you learn a lot about these two people in some very realistic way.

In my mind, Ethan is one of the most underrated actors in Hollywood ...
He can do anything. He can be a big comedic actor; I would put him in the next Vince Vaughn-Owen Wilson movie. He could do that. I think because he does so much theater -- he's in Chekhov, he's in Shakespeare -- people think he's one of those serious New York actors. He could do anything. He's so versatile and so smart. But, you know, a good-looking guy who's popular -- no one is going to say, "You're a really good actor, bud!"

That's what they say about an actor like Brad Pitt; he won't win awards because he's too handsome.
You look how long it took Paul Newman to win an award. He had to be an old man. Even Brad Pitt, as good as he is -- you might get a nomination now and then, but you're not going to get [an award]. People don't want to reward that. "It looks effortless, you're too smooth." They figure you're wealthy, you're getting laid, screw you. It's just the dynamic of our culture.

I feel like both Ethan and Julie have gotten better as actors as they've gotten older. Is that fun for you as the director, to know you can do things with them that maybe you weren't able to on "Before Sunrise"?
Yeah! There's been an evolution. Our high-wire act has gotten bigger because I know what they can do. I can push them a little further than I did the second time, which was a little further than I did the first time. I just know we can get there. It's going to be hard work, but they can do it. I know their abilities. Not every actor can do what's required in this film. In fact, very few probably could. Every actor has strengths and weaknesses, but this just really plays to their strengths and what they can do.

Have you ever given thought of writing something that wasn't related to Jesse and Celine with Ethan and Julie?
That would be an interesting exercise for us. To write together and not be Jesse and Celine and just be something else. I don't know what that would be to pull us together; we're all so busy with other things. That would be kind of fun. We're going to write an action-thriller together! We could do it.

"If you make a film with someone, maybe they don't like it or they're looking for reasons not to like it. They're like, 'Oh, it didn't turn out the way we thought,'" Linklater told HuffPost Entertainment. "That's kind of my history: You do a film with someone and they kind of glass-half-empty it. 'Here's what it's not. Forget what it is; we're going to focus on that.'"

Linklater had no such concerns on his latest film, "Before Midnight." Set nine years after "Before Sunset" -- which itself was set nine years after "Before Sunrise" -- "Before Midnight" reunites Linklater with Ethan Hawke and Julie Delpy for another talky romance about love and life in the world of Jesse (Hawke) and Celine (Delpy). Linklater co-wrote the film with the two stars, and was able to finance the feature independently. The gambit paid off: "Before Midnight" has won raves on the festival circuit this year and has a near-perfect score on Rotten Tomatoes.

Ahead of the film's May 24 limited release, Linklater, 52, spoke to HuffPost Entertainment about the indie franchise's studio origins, how he was able to shoot one of the most intense sequences of 2013 and why "Before Midnight" is even larger in scope than its two predecessors.

(WARNING: Some slight spoilers about the plot of "Before Midnight" are discussed below.)

It's hard to believe that when "Before Sunrise" came out in 1995, it was a studio production.
It is a statement of how the industry has changed. Nineteen years ago when we were headed off to Vienna to do that, we were financed from Columbia Pictures through Castlerock with a $2.7 million budget. The fact that a studio would even bother with something like that now is just laughable. Nine years later, we were at Warner Independent, which is the indie division of a studio. Same $2.7 million budget, by the way, nine years later, but it was kind of an industry indie. Now, we were completely equity financed. We didn't have any industry connection in the financing of this movie whatsoever. Ultimately, Sony picked it up to distribute.

Are you shocked how much the industry has changed?
Not really. In its current form, of course, it has changed so much. What happened somewhere along the way -- and I lived through this, because I got films like this made; "Dazed and Confused" was done at Universal -- studios figured out what they weren't doing, what they were doing, what they did best and what made sense for their shareholders and bottom lines. They've figured out these bigger films are the smartest investment of their time and energies. That's freed things up. You used to spend a lot of time trying to get studios to say yes or no. Now, you don't even take certain kinds of films to the industry. I don't waste anyone's time saying, "I have this small film about this." You don't even bother them with it because you know they're not going to be interested. It's not their business. There are a couple of different businesses here within the realm of film.

When you decided to make "Before Midnight," who did you call first: Ethan or Julie?
We're all in conversation. We talk about it. Two years ago, we got together in New York and started talking about what this could be. We've done this twice now, where we don't have any ideas for six or seven years and then it's sort of like, "You know, what about? ..." Then the ideas get more substantial. What's going on is that everyone has lived another six or seven years of life and we can imagine Jesse and Celine at some new station in life. So, we spend a year or so talking about it and go down these paths of what it could be. Maybe we'll go down one path for six months and then change it. We learn a lot every step of the way.

Was there more pressure this time since "Before Sunset" was so well received?
Not so much pressure from the way "Before Midnight" would be received, but from the expectations. The fact that we had done a second one, it was sort of like, "Oh, are you going to do another one?" Especially the way that one ended. "Oh, what happens next?" It was kind of a cliffhanger. The first film didn't have that at all; no one was clamoring for a sequel. The second one, however, we've all had to answer for it over the years since. Like, "Are Jesse and Celine ever going to be together?" I do Q&As about other films I'm doing, and maybe the last question is, "If you don't mind me asking, I was just wondering if Jesse and Celine are ever going to ..." And I'll have to go, "Well, I don't know." As we got closer, however -- when I was doing Q&As for "Bernie" just a little more than a year ago -- I was getting that question and we did have an outline. My answer changed to "I wouldn't be surprised if they showed up again."

Shortly after the film opens, there's this long, uninterrupted take with Jesse and Celine driving in a car with their two children in the back. It ends up being one of the most tension-filled sequences of the year because of those kids. I kept waiting for them to wake up and blow the moment.
They're the unsung heroes. There are four actors in that scene, and two of them are these little girls in the back pretending to be asleep. [Actresses Charlotte and Jennifer Prior play the twins.] They're not really asleep; they're keeping their eyes shut and they're even kind of fake waking up. It's kind of a great performance. Then, boom, 13-plus minutes in, they nail their two lines. It's kind of amazing.

It's incredible. How much rehearsal did that take?
Lots of rehearsal. Not so much with the kids. Ethan and Julie were working on that for months. The kids we incorporated as we got closer to shooting. Maybe a week or two before was when we started working with them. They were very calm, well-mannered little girls. I have girls roughly their age and they could never have done that! They would look at the camera. Three minutes in and they would have been completely bored and unable to keep their eyes shut. It's really a stunning child performance. I've directed a lot of kids and I'm most impressed with what they did there.

When you were writing the script, did you always know that sequence would occur in one take?
That was always my intention. Ethan and Julie know me well enough at this point to go, "OK, he's going to want to do this in one take." Early in the movie, this is the illusion we're creating: The ideal would be to drop a viewer in on Jesse and Celine's reality. If you can have a take play out like that -- long -- viewers have to accept this as real on some unconscious level. These are real people and we're in their real world and this is their reality. That scene provided a lot of backstory. Those nine years disappear in that scene. If you know the movies, it's like you're hanging out with old friends; if you don't -- and this film stands alone -- you learn a lot about these two people in some very realistic way.

In my mind, Ethan is one of the most underrated actors in Hollywood ...
He can do anything. He can be a big comedic actor; I would put him in the next Vince Vaughn-Owen Wilson movie. He could do that. I think because he does so much theater -- he's in Chekhov, he's in Shakespeare -- people think he's one of those serious New York actors. He could do anything. He's so versatile and so smart. But, you know, a good-looking guy who's popular -- no one is going to say, "You're a really good actor, bud!"

That's what they say about an actor like Brad Pitt; he won't win awards because he's too handsome.
You look how long it took Paul Newman to win an award. He had to be an old man. Even Brad Pitt, as good as he is -- you might get a nomination now and then, but you're not going to get [an award]. People don't want to reward that. "It looks effortless, you're too smooth." They figure you're wealthy, you're getting laid, screw you. It's just the dynamic of our culture.

I feel like both Ethan and Julie have gotten better as actors as they've gotten older. Is that fun for you as the director, to know you can do things with them that maybe you weren't able to on "Before Sunrise"?
Yeah! There's been an evolution. Our high-wire act has gotten bigger because I know what they can do. I can push them a little further than I did the second time, which was a little further than I did the first time. I just know we can get there. It's going to be hard work, but they can do it. I know their abilities. Not every actor can do what's required in this film. In fact, very few probably could. Every actor has strengths and weaknesses, but this just really plays to their strengths and what they can do.

Have you ever given thought of writing something that wasn't related to Jesse and Celine with Ethan and Julie?
That would be an interesting exercise for us. To write together and not be Jesse and Celine and just be something else. I don't know what that would be to pull us together; we're all so busy with other things. That would be kind of fun. We're going to write an action-thriller together! We could do it.

J. Cole and Kanye West
Photo: Getty Images

Liberace, forever hailed as "Mr. Showmanship," was the excess-to-the-max pianist-personality whose onstage and offstage extravagance were legendary, and who wowed audiences in Las Vegas and worldwide to become the best-paid entertainer on the planet during his heyday from the 1950s to the 1970s.

He was the forerunner of flashy, gender-bender entertainers like Elton John, David Bowie, Madonna and Lady Gaga even as he kept a tight lid on his gay private life, which he feared could have ended his career had it come out. (His fans never seemed to get wise.)

By contrast, Michael Douglas is a 68-year-old movie star known for he-man performances and morally ambiguous roles. And he was no piano player.

But Douglas now dazzles as Liberace in the new HBO film, "Behind the Candelabra," including lavish musical numbers where he tinkles the ivories and flourishes his jewel-and-ermine finery. The film (executive produced by show-biz veteran Jerry Weintraub, a Liberace friend) premieres Sunday at 9 p.m. EDT.

Douglas' co-star is Matt Damon, who, in a casting choice almost as counterintuitive, plays Scott Thorson, a dreamy, strapping teen who in 1977 met Liberace in his Vegas dressing room and almost instantly became his personal assistant, live-in companion and top-secret lover.

"Candelabra" (whose title cites the trademark prop ornamenting his onstage piano) also features Dan Aykroyd, Scott Bakula, Paul Reiser, Debbie Reynolds and a hilarious turn by Rob Lowe as Liberace's on-call plastic surgeon.

It was the film's director, Steven Soderbergh, who brought together the two lead actors, helped shape their splendid performances and masterminded this portrait of a loving but bizarre and tempestuous affair.

This show-biz saga may be over-the-top, but there's plenty of depth and it dives deep.

"We played the script and tried not to wink at the audience," said Douglas. "It's a great love story. I watch it and I forget about Matt and myself. Then, pretty soon, I practically forget it's two guys: The conversations and arguments sound like any ol' couple."

Adds Damon in a separate interview: "The question for us was, How do we make this look like a marriage that we recognize? Most of our scenes we could relate to because we're both in long-term marriages. It was a male-female story with two guys."

Well, maybe. But that doesn't override the risk factor for Douglas and Damon as they tackled roles dramatically at odds with their images and past work.

"I looked at Matt and thought, `Man, this guy's brave,'" said Douglas. "It's one thing for me at my age to stretch a little bit and try different characters. But `Bourne'! A man in the prime of his career going this route?! I was in awe of Matt's courage."

"He's being nice," laughed Damon, 42, when told what Douglas had said. "He would've done it in a second! He'd never turn down a great role."

Why did Damon say yes to man-to-man pillow talk and sequined thongs?

"I've never said no to Steven," he replied, noting he had worked with Soderbergh before in "The Informant!" and the "Ocean" trilogy. "It doesn't get any more fun than working with Steven."

Douglas, too, had been in Soderbergh films – including the 2000 thriller "Traffic," during whose production the director first proposed Douglas playing Liberace.

Why did he agree?

"First of all, Lee was a nice guy," Douglas began, calling Liberace by the given name he never used professionally. "He was a lovely, lovely guy. I don't play many nice guys."

Douglas nails Liberace's velvety, nasal voice and almost-ever-present pearly smile.

"One of the things I enjoyed about this part was, I got to smile," he said. "I don't smile a lot in my pictures. I'm always so ... grim."

Still, in "Candelabra," there isn't always lots to smile about.

Thorson, a child of foster care, falls sway to Liberace's charm and support, but it comes with a price. He is subjected to plastic surgery to mold him into a young Liberace (one of the remarkable makeup transformations Damon undergoes). He also becomes hooked on drugs in his mission to stay slim for Liberace, and, after a few years, his addiction and Liberace's philandering bring a cruel end to the relationship, after which Thorson unsuccessfully sues for palimony.

Douglas, too, sports a variety of looks. Liberace is seen before and after his own plastic-surgery refresher, and, in a final scene, gravely sick from an AIDS-related illness from which he died in 1987 at age 67.

This death scene is particularly haunting for anyone who followed Douglas' recent near-death experience. "Candelabra" is his comeback performance after a brutal six-month regimen of radiation and chemotherapy for stage 4 throat cancer in 2010.

When he stepped in front of the cameras after his own brush with mortality, he seems to have embraced Liberace as a positive life force and a fitting way to get back in the game.

"Yeah, I did," he nodded. "I was enraptured by the joy that Lee had. He was a bit of sunshine to me."

But Liberace also had a dark side. This, Douglas also captures despite a refusal to acknowledge it.

"It sort of happened," he said. "It was there in the story."

And while he allowed that "Candelabra" viewers might see Liberace as tormented and self-destructive, among sunnier traits, "I didn't see him that way. I didn't see a dark side to him.

"My career has been more in the gray area, if not the dark area," Douglas went on (needing to point no further than rapacious money man Gordon Gekko in the 1987 film "Wall Street," a character for which he won a best-actor Oscar, then revived it in the 2010 sequel, "Wall Street: Money Never Sleeps").

Playing Liberace "was so much fun!" he said. "You put on this mask and it allows you to do anything you want. I don't get to do that very often. My movies are usually about stripping off the makeup, getting down to the skeleton."

In "Candelabra," Douglas certainly got to wear a lot of makeup, and subsequent projects should allow him to embody other colorful characters – such as President Ronald Reagan in the film he was about to start, "Reykjavik."

"I've always been somebody who, when I started a picture, never knew what the next picture would be," Douglas said. "But during this two-year-plus hiatus, a bunch of good material came my way."

As he spoke, he had already wrapped a comedy called "Last Vegas." Ahead is a Rob Reiner film with Diane Keaton, and a couple after that.

"I'm at an age where I can try different things, do much different stuff than I thought I could do," he summed up, looking pleased at a career (and himself) unexpectedly reborn. "I'm starting over. What I went through with Liberace has given me the confidence for this."

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Online:

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EDITOR'S NOTE – Frazier Moore is a national television columnist for The Associated Press. He can be reached at fmoore(at)ap.org and at http://www.twitter.com/tvfrazier

"It was very tough because I had to revisit what that period was and go deeper into it," he said of his daughter Nikki's premature birth, years of emotional issues, and eventual suicide at the age of 40.

The 84-year-old award-winning music composer of such classics as "I'll Never Fall in Love Again," the Oscar-winning "Raindrops Keep Fallin' on My Head," and The Carpenters' "(They Long to Be) Close to You," understood that baring his deep, dark secrets was essential to his recently released autobiography, "Anyone Who Had a Heart: My Life and Music" (Harper).

The idea for a memoir came long before Nikki's death in 2007. Bacharach had Nikki with former wife Angie Dickinson, best known for her role on the seventies drama, "Police Woman."

"(Nikki) was one-pound, 10 ounces at birth, you should know the deck is stacked against you then," Bacharach said.

According to Bacharach, she grew up with emotional issues, which he later found out was an undiagnosed case of Asperger's syndrome (the autism spectrum disorder is a relatively new diagnosis.)

"Nobody said she's got Asperger's or she's got autism. (They said) she's just got behavior things," he said.

But after suffering for so long, he never imagined she would actually kill herself.

"It's like the boy who cried wolf. Somebody who says, `I can't stand it. The helicopters are making too much noise and the gardeners and the blowers are making too much noise and if they don't stop I'm going to kill myself,'" he said, his voice cracking. "And you hear that enough and you know it's never gonna happen and then one day she just goes and kills herself."

She committed suicide in her southern California apartment.

"When she did kill herself she did it alone, Textbook 101. Bag over her head. Alone. Kind of brave I guess for somebody who (was) scared of so many things and (she) left a note to me."

He later realized that the signs were always there, but thought that the strong relationship she had with her mother would prevent it from ever happening.

"They had a very connected, symbiotic relationship," he said, adding, "We all did everything we could. I did what I thought would be the right thing and it wasn't the right thing and I was just trying to get her better."

Bacharach was referring to the painful decision to send her away to a special school. He feels he made the decision because Nikki was not properly diagnosed. Because Nikki spent some time away from her mother, he feels she always held that against him.

"There was always that resentment that I kind of imprisoned her and the last thing in the world you know," he said. "I wish somebody would have just said, you're not going to heal her, let her be."

Asperger's syndrome is a pervasive developmental disorder on the autism spectrum. People with Asperger's often have high intelligence and vast knowledge on narrow subjects but lack social skills.

With his family struggles hidden from the world, Bacharach continued to make great music.

"I was always able to alleviate the noise, some of the noise with what was going on with Nikki becoming a Sikh, or whatever, because I would go to my music. ... It was during that time I scored `What's New Pussycat,' I scored the first `Casino Royale.' I would get engrossed in my music because there's no other way for me."

And while he continues to make music (he has an upcoming project for a musical with Elvis Costello), Bacharach is still haunted by her death. When they discovered the body, Nikki had left him a note.

"I know exactly what's in the note. I never read the note. I never will," Bacharach said as his voice cracked. "There is no need to read it. I already know what she said."

___

Folllow John Carucci on Twitter at http://www.twitter.com/jacarucci

It is no secret that I have the world's most sensitive left eye. I cannot wear contacts and have been sporting glasses, which have morphed into my trendiest and best accessory, for over 11 years. When it comes to makeup, I wear very little around the eyes and I'm extra selective about products that cater to sensitivity. More often than not, I skip eye makeup altogether. For special occasions (i.e. weddings and parties), I use a tiny bit of primer under my brows and a very light pink shadow over it. I've been trained to stick with Clinique for my sensitivity, but when daring to use eyeliner, Makeup Forever is the only brand I trust. It stays put without a smudge through rain, sleet and tears and I know it won't migrate into my eyes. Then I make sure my brows are groomed perfectly. Mostly satisfied with this routine, I still wonder if it is possible to enhance my lashes and line my eyes, to give myself that sculpted, almost alien-like high cheekbone appearance that instills envy -- yes, come on, admit it -- Kardashienvy.

They may be becoming a tad passé, and we may currently see more of Kim's under-fire pregnancy fashion, but millions of Americans still seethe while secretly admiring the Kardashians. According to the program's ratings, many are still keeping up!

I decided to seek out the advice of sought-after makeup artists and ask them "Is it possible to get Kim's look if you have sensitive eyes?" Realize, when reading the responses that follow, eyes have varying degrees of sensitivity. If you are as highly sensitive as I am, you might want to skip eye makeup altogether and focus on the rest of your visage. A clean looking face with the right blush countering and brow shaping will naturally draw attention to your eyes anyway.

According to Meira Joselit, a New Jersey based makeup artist and Arbonne consultant, "Fake lashes and glue, so obviously a part of the Kardashian routine, hurt sensitive eyes!" So skip it, she advises. "You can get the smoky look, but a tight line (which is inner-rimmed and basically touching the eye) in addition to fake lashes with glue will really irritate your eyes." She recommends Arbonne's water resistant and super gentle mascara, and she herself has extremely sensitive and easily irritated eyes. If you want to get a good line and a "big draw" on the upper eye lids, Joselit likes Smashbox's black gel liner because it stays put. She also recommends Trish McEvoy's intense gel black liner pencil as another non-smudge pick. I plan to try this product myself because I prefer to use a pencil when it comes to my own coordination (or lack thereof!).

Celebrity makeup artist Alison Raffaele, who was Bobbi Brown's head assistant for three years and who employs techniques that have graced famous faces (i.e. Gwyneth Paltrow, Jennifer Aniston, Sigourney Weaver and Gisele Bundchen), points out that it is important to understand which types of eye makeup cause sensitivity:

"Among those that are irritating are powdered eye shadows, particularly ones that contain shimmer or sparkles (the particles can easily get into your eyes when applying) as well as anything purple (purple pigments are well-known allergens)."

She adds that anything with fragrance, the latex in eyelash glue, fast drying eyeliners (liquids, gels) and mascaras with fibers are seldom compatible with sensitive eyes.

"Now, this is not to say that every person with sensitive eyes will necessarily be sensitive to all of these things; this is simply a list of the most likely culprits," explains Raffaele.

So, what's a sensitive girl to do?

Raffaele delineates the following steps for getting Kim Kardashian's look:

"1. Use cream shadows & liners. These fly around less than the powdered kind, making them less likely to get into your eyes. To set them in place and keep them from smearing (particularly darker shades), set cream eye shadows with a colorless setting powder like my own brand's Transparent Finish (Alison Raffaele Cosmetics). The best way to do this is to dip a velour puff into the powder, work the powder onto the puff (don't use too much), and then press the puff onto closed eyelids. To get a major highlight under your brow bone, use a luminizer product like my Incandescence Luminizer. The optical diffusers in it reflect light without the use of potentially irritating shimmer particles.

2. A big part of Kim's look is an obscene amount of lashes, but many sensitive girls are not able to tolerate lash glue. To make the most of your natural lashes, curl them with a good eyelash curler (I like the ones by Tarte, Kevin Aucoin & Shu Uemura), then apply your mascara. To make your lashes thicker, you can dust them with a bit of powder (like Transparent Finish) in between coats. Just make sure you are not using a loose powder whose first ingredient is mica.

3. For eyeliners, the safest best is to use a cake liner with a brush, which is a powder you dampen with water to make a paste. Pencil liners can work for sensitive eyes, too, but they tend to smear and melt down more quickly than cake liners.

4. One thing a lot of people don't realize: Natural bristle brushes must be sprayed with loads of chemicals to make sure there are no bugs in the hairs when they are imported into the U.S. An easy way to avoid these chemicals is to use only synthetic bristle brushes, which do not need to be fumigated."

In addition to the tips above, there are other ways to get the Kim K look without tearing your eyes out.

To read more tips, click here.

It is no secret that I have the world's most sensitive left eye. I cannot wear contacts and have been sporting glasses, which have morphed into my trendiest and best accessory, for over 11 years. When it comes to makeup, I wear very little around the eyes and I'm extra selective about products that cater to sensitivity. More often than not, I skip eye makeup altogether. For special occasions (i.e. weddings and parties), I use a tiny bit of primer under my brows and a very light pink shadow over it. I've been trained to stick with Clinique for my sensitivity, but when daring to use eyeliner, Makeup Forever is the only brand I trust. It stays put without a smudge through rain, sleet and tears and I know it won't migrate into my eyes. Then I make sure my brows are groomed perfectly. Mostly satisfied with this routine, I still wonder if it is possible to enhance my lashes and line my eyes, to give myself that sculpted, almost alien-like high cheekbone appearance that instills envy -- yes, come on, admit it -- Kardashienvy.

They may be becoming a tad passé, and we may currently see more of Kim's under-fire pregnancy fashion, but millions of Americans still seethe while secretly admiring the Kardashians. According to the program's ratings, many are still keeping up!

I decided to seek out the advice of sought-after makeup artists and ask them "Is it possible to get Kim's look if you have sensitive eyes?" Realize, when reading the responses that follow, eyes have varying degrees of sensitivity. If you are as highly sensitive as I am, you might want to skip eye makeup altogether and focus on the rest of your visage. A clean looking face with the right blush countering and brow shaping will naturally draw attention to your eyes anyway.

According to Meira Joselit, a New Jersey based makeup artist and Arbonne consultant, "Fake lashes and glue, so obviously a part of the Kardashian routine, hurt sensitive eyes!" So skip it, she advises. "You can get the smoky look, but a tight line (which is inner-rimmed and basically touching the eye) in addition to fake lashes with glue will really irritate your eyes." She recommends Arbonne's water resistant and super gentle mascara, and she herself has extremely sensitive and easily irritated eyes. If you want to get a good line and a "big draw" on the upper eye lids, Joselit likes Smashbox's black gel liner because it stays put. She also recommends Trish McEvoy's intense gel black liner pencil as another non-smudge pick. I plan to try this product myself because I prefer to use a pencil when it comes to my own coordination (or lack thereof!).

Celebrity makeup artist Alison Raffaele, who was Bobbi Brown's head assistant for three years and who employs techniques that have graced famous faces (i.e. Gwyneth Paltrow, Jennifer Aniston, Sigourney Weaver and Gisele Bundchen), points out that it is important to understand which types of eye makeup cause sensitivity:

"Among those that are irritating are powdered eye shadows, particularly ones that contain shimmer or sparkles (the particles can easily get into your eyes when applying) as well as anything purple (purple pigments are well-known allergens)."

She adds that anything with fragrance, the latex in eyelash glue, fast drying eyeliners (liquids, gels) and mascaras with fibers are seldom compatible with sensitive eyes.

"Now, this is not to say that every person with sensitive eyes will necessarily be sensitive to all of these things; this is simply a list of the most likely culprits," explains Raffaele.

So, what's a sensitive girl to do?

Raffaele delineates the following steps for getting Kim Kardashian's look:

"1. Use cream shadows & liners. These fly around less than the powdered kind, making them less likely to get into your eyes. To set them in place and keep them from smearing (particularly darker shades), set cream eye shadows with a colorless setting powder like my own brand's Transparent Finish (Alison Raffaele Cosmetics). The best way to do this is to dip a velour puff into the powder, work the powder onto the puff (don't use too much), and then press the puff onto closed eyelids. To get a major highlight under your brow bone, use a luminizer product like my Incandescence Luminizer. The optical diffusers in it reflect light without the use of potentially irritating shimmer particles.

2. A big part of Kim's look is an obscene amount of lashes, but many sensitive girls are not able to tolerate lash glue. To make the most of your natural lashes, curl them with a good eyelash curler (I like the ones by Tarte, Kevin Aucoin & Shu Uemura), then apply your mascara. To make your lashes thicker, you can dust them with a bit of powder (like Transparent Finish) in between coats. Just make sure you are not using a loose powder whose first ingredient is mica.

3. For eyeliners, the safest best is to use a cake liner with a brush, which is a powder you dampen with water to make a paste. Pencil liners can work for sensitive eyes, too, but they tend to smear and melt down more quickly than cake liners.

4. One thing a lot of people don't realize: Natural bristle brushes must be sprayed with loads of chemicals to make sure there are no bugs in the hairs when they are imported into the U.S. An easy way to avoid these chemicals is to use only synthetic bristle brushes, which do not need to be fumigated."

In addition to the tips above, there are other ways to get the Kim K look without tearing your eyes out.

To read more tips, click here.

Daft Punk's Random Access Memories
Photo: Columbia

"One Direction: Where We Are: Our Band, Our Story" book cover
Photo: HarperCollins

Blake Shelton
Photo: Stephen Lovekin/ Getty Images

Bradley Cooper, Zach Galifianakis and Ed Helms in "Hangover III"
Photo: Legendary Pictures

The 32-year-old Canadian actor was unable to attend the premiere Wednesday of director Nicolas Winding Refn's film "Only God Forgives." Gosling stars in the Bangkok noir about a boxing club owner pressured by his mother to his avenge his brother's murder.

At a press conference Wednesday, Cannes director Thierry Fremaux read, in French, a letter from Gosling apologizing for his absence. The actor is currently in Detroit shooting his directorial debut, "How to Catch a Monster."

"I can't believe that I'm not in Cannes with you," Gosling wrote. "I was hoping to be coming but I am in the third week of shooting my movie. I miss you all.

"Nicolas, my friend, we really are the same, simply in different worlds and I am sending you good vibrations. I am with you all."

His absence is a blow to the festival, which depends on top stars like Gosling to walk its red carpet and draw the world's media attention to the annual French Riviera extravaganza.

Fremaux said he was sad that Gosling couldn't make it.

"He is not with us physically, but as he stated, his thoughts are with us," said Fremaux.

"Only God Forgives" is Gosling's second collaboration with Refn following 2011's "Drive."

"Only God Forgives" was screened for the media early Wednesday at Cannes, where it drew mixed reviews for its extreme violence and nightmarish treatment of such a Greek tragedy.

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Follow AP Entertainment Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

And yet, here we are with "The Hangover Part III," which runs a different sort of risk by going to darker and more dangerous places than its predecessors, both artistically and emotionally. It dares to alienate the very audience that made "The Hangover" the highest-grossing R-rated comedy of all time because, well, it isn't exactly a comedy.

Sure, there are some outrageous lines and sight gags, mostly courtesy of Zach Galifianakis and Ken Jeong, who function as central figures this time when, previously, a little bit of them went a long way. (This was also a potentially alienating decision.) But director and co-writer Todd Phillips signals early and often that he's much more interested than ever before in exploring matters of real consequence, rather than simply mining them for brash laughs.

Phillips and co-writer Craig Mazin have placed the unusual challenge on themselves of trying to create something bold and new while simultaneously remaining true to the trilogy and wrapping it all up in a satisfying way. They succeed somewhat; simply trying to be creative marks a huge improvement from part two.

This time, Galifianakis' insufferable, inappropriate man-child Alan has gone off his meds and is out of control. His family and friends – including fellow "Wolfpack" members Phil (Bradley Cooper), Stu (Ed Helms) and Doug (Justin Bartha) – stage an intervention and offer to drive him to a treatment center in Arizona. And so the four venture off on yet another journey, once again assuming their familiar roles: arrogant English teacher Phil is the de facto leader, Stu is the cautious and neurotic dentist and Doug is the bland and stable voice of reason.

In theory, this should be a pretty innocuous trek through the desert. But this is a "Hangover" movie. So, naturally, they get run off the road by masked thugs who work for crime boss Marshall (John Goodman, who improves everything merely by showing up). Turns out, some of their actions in Las Vegas four years ago have tied them to the evil, effeminate gangster Leslie Chow (Jeong) and put them in trouble with some powerful, volatile people. (Chow, we see in the prologue, has escaped a Bangkok prison, sparking an epic riot captured in dramatic, visceral detail by Phillips' frequent cinematographer Lawrence Sher.)

Now, they must make things right by finding Chow. And of course, there's a deadline, with Doug serving as collateral. Their assignment takes them to Tijuana and the rolling hills of northern Mexico until, inevitably, they must end up back in Vegas. In keeping with the tone of part three, this depiction of the city isn't sparkly and full of promise, but rather seedy and foreboding.

Las Vegas does, however, serve as the location for some rare moments of heartfelt emotion. One comes courtesy of Melissa McCarthy, in typical scene-stealing fashion, as the pawn-shop clerk who turns out to be Alan's trashy, mulleted soul mate. The guys also revisit Stu's first wife, ex-stripper Jade (Heather Graham), and find that she's living a happy suburban life with her son, who's now 4. The child actor who plays him, Grant Holmquist, was one of several infants used in the original "Hangover" as Baby Carlos and is the one featured prominently in that film's posters. It's a nice touch.

On the opposite end of the spectrum, Chow is more than just a silly, bisexual cokehead this time around. He's clearly a sociopath, and the group's association with him is more than just a nuisance. Jeong gets a bit more room to explore the role and finds a bit more shading, but if you hate this character, you might just hate this entire movie, as well.

Similarly, Galifianakis gets way more screen time here; he's essentially the star of "The Hangover Part III," with Cooper and Helms fading into reliable supporting roles. (Bartha once again misses out on the adventures.) The character of Alan is still odd and off-putting, unorthodox and unpredictable. But his loneliness and neediness shine through, which makes one of the more out-there figures in the "Hangover" universe unexpectedly relatable.

Your expectations – and keeping them in check – are a crucial factor here. This isn't a party: This finally, truly is the hangover. And it's also the recovery.

"The Hangover Part III," a Warner Bros. Pictures release, is rated R for pervasive language including sexual references, some violence and drug content, and brief graphic nudity. Running time: 100 minutes. Three stars out of four.

___

Motion Picture Association of America rating definition for R: Restricted. Under 17 requires accompanying parent or adult guardian.

Kimmel asked her if she would have said yes had Lowe proposed to her.

“Probably," Desiree said. "I don’t know.”

“What goes on with this show?! It’s like a vortex of crazy that happens," Kimmel mused. Desiree insisted that they are real feelings and emotions, but Kimmel responded, "Yeah, it really isn’t though. It couldn’t be less real.”

Desiree also addressed the infamous episode where Sean met her brother, and her brother wasn't very nice to 'The Bachelor." Desiree was eliminated after that, but everyone insists her it wasn't because of her brother's intimidation techniques. And Desiree says she doesn't blame her brother. Maybe he'll be on hand to glare down all the new bachelors as they arrive in the premiere.

Find out when the new season of "The Bachelorette" premieres Monday, May 27 at 8 p.m. ET on ABC. "Jimmy Kimmel Live" airs every weeknight at 11:35 p.m. ET on ABC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Alice Titzova of the PR agency 2media says the photos, stolen late Monday, were to be on display starting May 30 at the Prague Castle.

Titzova says mannequins and display cases which were part of the exhibition also disappeared. There was no word Wednesday whether the exhibition will be delayed or canceled.

The collection of various items including Monroe's dresses, shoes, photographs and diaries was assembled by curators at the Salvatore Ferragamo museum in Florence, Italy last year to mark the 50th anniversary of Monroe's death.

After Prague, the exhibition was to be moved to Tokyo.

Actually, the two became friends during the show, and remain close today. They even dropped by a Bluth's Banana Stand in Times Square that Netflix had set up to interact with fans of the cult comedy series. What they didn't realize was that there was also a "Never Nude" convention going on -- a nod to the "AD" character Tobias, played by David Cross.

“All these folks are wearing just tight jean cut-offs. There’s hundreds of ‘em out there," he said. "This particular group, they thought it’d really be a really funny thing if we took a bunch of pictures with them, which it’s a dodgy photo-op.”

He said the fans wanted the guys to "hold their bananas" and strike weird poses. At one point, both Bateman and Arnett apparently jumped into the banana stand to avoid "pressing the flesh," as Bateman put it.

The frozen banana stand, inspired by the show, has already made appearances in London, New York and Los Angeles as part of its promotional tour leading up to the premiere of "Arrested Development" Season 4 this Sunday, May 26, on Netflix.

Catch new episodes of "Late Show with David Letterman" every weeknight at 11:35 p.m. ET on CBS.

She has a 3-year-old daughter, but she doesn't live with her. Adelina believes children aren't at a "safe" age until they are seven. Until then, her daughter has to live with Adelina's mother -- the same process her three older children went through. But moving in with her doesn't mean they're "clean" enough.

She wakes her children every morning by spraying them with disinfectant. "I just feel that if I actually get that disinfectant spray on their body, it just kind of, like, throws off all the germs," Adelina explained.

She won't let anyone cook or eat in the house, either, because of the germs. This creates tension because her husband is a chef. When he made breakfast at home for the kids once, she ordered him to buy her a new table because hers was now "ruined" after everyone ate on it.

The irony of this is that the family owns a restaurant, which Adelina spends hours cleaning. Even more unexpected is the fact that Adelina is a smoker. At least by the end of the episode she had come to a realization that her germaphobia was taking over her life. She'd had it dating back to childhood, when her brother was sick and in the hospital.

See more "Extreme Moms" every Tuesday at 9 p.m. ET on Lifetime.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

He told the judges he was 18 and in high school before his "audition." Guest judge Minnie Driver was overwhelmed by the cuteness of Anthony's performance, as were the other judges. Unfortunately, he was too young to go to Las Vegas. So Nigel Lythgoe sent him and his family to Disney World instead.

Buddy TV thought Anthony was both "funny and fresh," while Entertainment Weekly called Nigel the "coolest guy in the world" for giving Anthony that vacation. And Anthony promised to be back when he really turns 18, which should be just in time for Season 24 of the show.

Closing out the show was the return of Hampton Williams, better known as "Exorcist." His unique routine moved the judges to tears last time, and he was back to try and make it further this season. He brought along his 4-year-old daughter for support, and his wife was there to audition as well. After Nigel wanted to see his daughter -- who said she knows the "Exorcist" dance -- perform, it turned into an impromptu family performance. Even better, it earned them all tickets to the next round -- though the daughter's ticket was only honorary.

The auditions continue on "So You Think You Can Dance," Tuesdays at 8 p.m. ET on Fox.

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In this case, after Nick got turned, it's going to prove even more difficult. Nick was locked into a coffin by the captain's brother, Eric, and that can't end well.

TVOvermind had lots of questions after watching the finale. "Are they going to say that they killed the Grimm and look for a reward of some sort?" they wondered. "What type of revolution is Eric trying to start through his association with Baron Samedi?”

“Nick’s capture is a complete game changer because it affects everyone, and his potential trip back to Europe is exciting because it opens up the opportunity to learn more about the Royal Family," wrote TV Fanatic. "It’s an opportunity to learn all about the rich, but completely elusive, backstory Grimm has been building over the course of the series.”

Could the "Grimm" universe open up in Season 3? Can Nick's friends save him and cure him before it's too late? It's going to be a long summer for the show's fans.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

“Arkansas is home to me. I really have no desire to move away," he said. "But sometimes, when you have opportunities, you have to go out and seek them.”

Anna said that the couple would miss the family a lot. "It’s also going to be difficult not being so close to our built in babysitters," she joked -- but any parent of young children knows this was only partially a joke.

Jim Bob and Michelle were worried about the move because D.C. is "a very populated place. Deeply religious, Josh's parents urged their son to find a good church.

But just because they're leaving Arkansas, doesn't mean they're necessarily leaving the show. Surely the series is going to want to document the birth of the couple's third child, due this summer.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

“The thing is, that, we can afford to have more children. There’s really no point in me not doing it, and I love children," she explained. Kim said that she'd like to have a little girl -- which would be her third as she has two daughters from a prior relationship. "We’re gonna get a girl. I get everything I want," she said.

But why stop there. "Kroy wants a football team? He’s gonna get a f***ing football team," Kim declared. Why not go for a football team and its cheerleading squad all at once?

She doesn't want to get started right away, though, as she doesn't want three kids under three years old. She wants to plan her next pregnancy so that the baby will be born during the NFL off-season, allowing husband Kroy Biermann to be around more in the beginning.

She may also be wanting to wait until the ongoing legal battle with her parents is over. They're suing for grandparent visitation rights for her older daughters now.

New episodes of "Don't Be Tardy..." air every Tuesday at 10 p.m. ET on Bravo.

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And while there's actual challenges and competitions -- as well as a $100,000 cash prize at the end of it -- the real battle fans are likely tuning in for is the one between the women. “It’s not [the girls’] fault the game is so low-rent that if it were a housing unit, it would be a cardboard box on the street," said the New York Daily News. "Nor is it their fault that most viewers very likely enjoy the show not for the nominal competition segments, but for the trash-talking in between.”

It didn't disappoint in this first episode, either, with Natalie "I Run L.A." Nunn making the most noise. When she found out that her team had thrown the very first competition just so they could eliminate her, she decided to take her fate into her own hands and walk out before she could get voted out. "It’s like always attack Natalie! But I still went hard for my f***ing team!” she said. "I’m always the bad guy.”

She did have a back-up plan, though it wasn't explained and made zero sense. "I can fly to Africa and get that money in five seconds! I’m international, bitch!” How exactly would that work, Natalie?

Ultimately, she saved on air fare and returned to the game, where she was promptly nominated for elimination. Even though this should have been expected -- remember why they threw the challenge? -- Natalie nevertheless went crazy, punching and breaking a plasma screen TV. Even after all that, though, Natalie wasn't eliminated.

The competition -- and fighting -- continues on "Bad Girls All-Star Battle," Tuesdays at 9 p.m. ET on Oxygen.

Wetpaint thought the "touching rendition was an appropriate way to start off the live results show during such a painful time for America.” And "The Voice" kept urging those Red Cross donations throughout the various live performances on the show.

“As Oklahoma residents, Blake and Miranda had a special connection to the devastation and they chose to sing a song that was particularly meaningful to them both," Wetpaint said. "The couple co-wrote the tune in honor of Blake’s older brother who passed away when he was a teen.”

By the end of the hour, the Top 8 stood revealed as two more were eliminated. "The Voice" continues on Mondays at 8 p.m. ET and Tuesdays at 9 p.m. ET on NBC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

The country singer was named the Season 16 "DWTS" champion after weeks of competition, beating out Disney star Zendaya, Super Bowl champ Jacoby Jones and Olympic gymnast Aly Raisman.

"This is amazing," Kellie said, before Jacoby put the "DWTS" winner on his shoulders as she held the Mirror Ball trophy with her partner Derek Hough.

Shortly after the results were announced, Kellie, who initially didn't hear co-host Tom Bergeron name her the "DWTS" winner, spoke with ABC News. "This has been an unbelievable night. I'm kind of lost for words," the "American Idol" alumna said.

"I'm very proud," a very poised Zendaya, who was the runner-up, told "DWTS" co-host Brooke Burke Charvet. "I get to leave here with an amazing experience so I'm happy."

After he found out he wasn't the "DWTS" winner shortly before the show ended, Jacoby joked that he'll be "gracefully" catching the football on the field now, thanks to months of training with his partner Karina Smirnoff.

About 20 minutes into the "DWTS" finale, Aly was the first finalist to be eliminated. "This has been the best experience of my life," she said upon learning she was not the "DWTS" winner. Aly's partner Mark Ballas called the gold medal-winning gymnast "the best student [he's] ever had." Despite her fourth place position, Aly did join the female pros, Zendaya and Kellie for a reprise of their routine set to Beyonce's "Run the World (Girls)."

To determine who would be named the Season 16 "DWTS" winner, the remaining three finalists -- Jacoby, Kellie and Zendaya -- had to perform a routine they learned less than an hour prior to hitting the dance floor (a.k.a. an "instant dance").

Jacoby and Karina danced the salsa, earning praise and three perfect 10s from the judges. "You're like the Big Easy," head judge Len Goodman told him. "You always deliver ... For me, you're a breath of fresh air." Judge Carrie Ann Inaba added that Jacoby's samba was "the dance of a champion."

Kellie and Derek performed an energetic jive that also had the judges raving. "What a perfect ending to a wonderful journey," Carrie Ann said. "You're the bee's knees," Len added, before all three judges awarded Kellie and Derek with 10s as well.

Last up for the instant dance was Zendaya and her partner Val Chmerkovskiy with the jive, the final dance of Season 16. "You dance with such maturity. It's incredible," Len told her. Judge Bruno Tonioli called Zendaya "pitch perfect" and "unique" and unsurprisingly, she also received 30 points for her instant dance.

The audience's pick for the encore dance went to Kellie and Derek, who wowed the judges on Monday night's finale with their contemporary routine, even moving Carrie Ann to tears.

But before the "DWTS" winner was crowned, contestants from Season 16 returned to hit the "DWTS" dance floor and stage yet again. Many of the season's cast members participated in the opening number, set to one of many Pitbull songs of the evening. Later, Lisa Vanderpump danced alongside her partner Gleb Savchenko and Len Goodman, Andy Dick revived his Alice In Wonderland-inspired jazz number with his pro partner Sharna Burgess, and Season 16 contestant Wynonna Judd sang Foreigner's "I Want to Know What Love Is" while pros Peta Murgatroyd (Sean Lowe's partner) and Tony Dovolani (Wynonna's partner) danced. "That's what I do," the songstress said at the end of her performance.

Dorothy Hamill, who bowed out of the competition after an injury made it too dangerous for her to perform, also returned, ready to pick up where she left off. Unfortunately, her partner Tristan MacManus was injured and unable to perform in the finale so pro Henry Biyalikov stepped in to partner Dorothy. Mid-performance, the audience was pleasantly surprised to see "DWTS" Season 6 winner and fellow Olympic champion ice skater Kristi Yamaguchi join her for a side-by-side routine. "It's such an honor to join my idol out here on the dance floor of all things," the former "DWTS" winner said.

The "DWTS" finale also saw Psy stop by to perform his new hit "Gentleman" and Pitbull also took the stage to sing "Sube Las Manos Pa' Arriba." Shortly before the "DWTS" winner was announced, "American Idol" alum Jessica Sanchez performed her own take on Pitbull and Christina Aguilera's hit "Feel This Moment," while highlights from the season played behind her.

Do you think Kellie Pickler should have been the "DWTS" winner? Who did you vote for? Sound off in the comments.

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

Line producer Loucas George and production supervisor Don Bensko, along with their team on the ground in Nashville, did not have their contracts renewed for a second season, and were reportedly never notified by the studio. This prompted Bensko's wife Micaela to pen an impassioned open letter to the entertainment industry, noting the long hours, production delays and behind-the-scenes friction between executives in Los Angeles and those creating the show in Nashville:

You know you've made it in Hollywood, when a studio replaces your team, and doesn't even bother to call ...

Nashville was a town unrigged for the immediacy of needs by a television series. Lionsgate had never done a network series. It had a star who worried, and a creator who cared so much it broke his heart, a community that was filled with pride, a small cafe with bluebirds that became famous overnight, and in the midst of it all, a life on the crew was almost lost; It happened during a string of endless and exhausting shoot days. This is not new to production, but a string of delayed scripts and tripping storylines kept everyone on edge. Then one of our crew lost his footing while rigging for a huge arena shoot at The Bridgestone Arena. He fell twenty feet and could have died. So he could make a living ...

The studios will argue they must shoot long hours because of their budget, the deadlines, the people that call them at midnight. The reality is, nothing is important when the humanity in the process is lost. When the writers' hands are tied. And when the very people who broke their backs to create something special were never even told they were being replaced. Like my husband and Loucas George. Not a phone call or a thank you for all they had done. I am so tired of seeing the emotional toll the industry takes on so many in production and on the crew who work so hard all for a paycheck and a wrap party they are too exhausted to attend.

According to the letter, creator Callie Khouri did reach out to the Benskos after learning about the crew's treatment: "Upon hearing of the news, and how things were handled, she called Don. She made Don smile because she told him he mattered. She shared in the loss and that he will be missed. And she reminded me, a production wife, that there are good people in this industry who truly do wish that they could make it different."

In addition to the crew shake-up, Deadline also reported rumors of difficulties between production companies ABC Studios and Lionsgate, "and other behind-the-scenes issues, including star Britton being unhappy with the experience" during Season 1.

While the intention is reportedly to keep production of the series in Nashville despite the writer's room being based in Los Angeles, Deadline suggests that it largely depends on available tax incentives from the state of Tennessee.

Still, much of the show's current backstage maneuvering shouldn't be apparent in terms of what appears on screen in Season 2, and ABC is banking on the charisma of Britton and co-star Hayden Panettiere to help grow the show's modest ratings from its Season 1 average of 1.8 in the adults 18-49 demo.

Will you watch "Nashville" Season 2?

The Nielsen company estimated that 14.3 million people watched Candice Glover's victory over Kree Harrison in last week's final episode of the season. Both the CBS drama "NCIS" and comedy "The Big Bang Theory" had more viewers.

The viewership was a startling half of the 29.3 million people who watched in 2011, and also down from the 21.5 million who watched last year. The judge's feud between Nicki Minaj and Mariah Carey clearly turned viewers off. Original judge Randy Jackson has already announced he is leaving and more changes are expected soon.

Ten years ago, "American Idol" hit a high-water mark with 38.1 million people watching the show's season finale.

ABC couldn't quite topple CBS last week, but saw some encouraging numbers: The season finale of "Scandal" had the largest audience ever for that show, while the Billboard Music Awards on Sunday had the highest viewership for that show in 10 years, Nielsen said.

In an ominous sign for the summer, Fox's season premiere of "So You Think You Can Dance" reached only 5.1 million viewers last week.

CBS won the week in prime time, averaging 7.9 million viewers. ABC had 7.5 million, and won among the 18-to-49-year-old demographic craved by advertisers. Fox had 5.8 million, NBC had 5.5 million, Univision had 3.4 million, Telemundo had 1.6 million, the CW had 1.3 million and ION Television had 1.2 million.

TNT was the most popular cable network for the week, averaging 3.6 million viewers in prime time. USA had 2.5 million, Fox News Channel had 2.04 million, the Disney Channel had 2.03 million and TBS had 1.6 million.

NBC's "Nightly News" topped the evening newscasts with an average of 7.5 million viewers. ABC's "World News" was second with 6.7 million and the "CBS Evening News" had 5.8 million viewers.

For the week of May 13-19, the top 10 shows, their networks and viewerships: "NCIS," CBS, 18.79 million; "The Big Bang Theory," CBS, 15.48 million; "American Idol" (Thursday), Fox, 14.31 million; "NCIS: Los Angeles," CBS, 13.52 million; "Dancing With the Stars," ABC, 13.33 million; "American Idol" (Wednesday), Fox, 12.11 million; "Dancing With the Stars Results," ABC, 11.87 million; "The Big Bang Theory" (Thursday, 8:30 p.m.), CBS, 11.84 million; "The Voice" (Monday), NBC, 11.29 million; "Castle," ABC, 11.16 million.

___

ABC is owned by The Walt Disney Co. CBS is owned by CBS Corp. CW is a joint venture of Warner Bros. Entertainment and CBS Corp. Fox is a unit of News Corp. NBC and Telemundo are owned by Comcast Corp. ION Television is owned by ION Media Networks.

___

Online:

http://www.nielsen.com

This gem comes to us from the viral Tumblr, Reasons My Son Is Crying, started by Greg Pembroke to document his son's meltdowns with deadpan captions about why they occurred. Now that other parents are submitting their own photos and captions to Pembroke, Laura R. submitted the above with the simple/incredible explanation: "He met Bill Murray."

Click through the slideshow below to see more of the best submissions and check out some of Greg's original photos here.

"I don't put a time limit on anything," Hartsock told host Abby Huntsman. "I feel like if you know, you know. I don't think I'd need three years to wait to get married."

Watch the clip above to learn more, and to hear Hartsock describe her dream wedding. Then, click here to see the full segment on HuffPost Live. (The new season of "The Bachelorette" premieres Monday, May 27 on ABC.)

Below, TV couples who make us believe in love.

Keep in touch! Check out HuffPost Weddings on Facebook, Twitter and Pinterest.

The former co-stars reunited at a screening of "Behind the Candelabra," looking very dapper. Wesley tweeted his excitement and a photo.

On a romantic date with @ben_mckenzie appropriately seeing the new HBO Liberace film. twitter.com/paulwesley/sta…

— Paul Wesley (@paulwesley) May 21, 2013

On "The O.C.," McKenzie portrayed Ryan Atwood, a reformed bad boy who moved in with the wealthy Cohen family in Newport Beach. In the first season, Ryan got a job as a busboy at the Crab Shack nearby, where he met Donnie (Wesley). When Seth (Andy Cohen) decided bring Ryan's coworker to a Newport beach party, Donnie decided to bring something himself: a gun. Of course, resident bully Luke (Chris Carmack) wound up shot and in the hospital. Check out a clip below.

That one episode spawned quite the friendship for McKenzie and Wesley. Check them out at at the premiere of the 2004 film "The Last Run," directed and co-written by Jonathan Segal (pictured center), and co-starring Wesley, Amy Adams and Fred Savage.

And here are the actors at a 2011 L.A. Lakers game.

Donnie and Ryan forever.

MTV's half-hour special, titled "Hooked On Catfish: The Road to Season Two," will focus on what's to come in the hit reality series' second season, including an engaged couple who have never met and an Iraq vet and his "mystery love."

Season 2 will kick off with 16 all-new episodes and feature the return of Internet detectives Nev and Rel Schulman. The season promises to offer up "the most sordid stories online dating has to offer."

"Catfish" was officially renewed by MTV in December.

"'Catfish: The TV Show’ has truly captured the zeitgeist of the digital dating age,” said Dave Sirulnick, executive vice president of MTV multiplatform, said in a statement at the time. “The show has resonated with our audience by portraying the real life journeys of individuals trying to navigate the highs and lows of online dating -– an experience our viewers can relate to. We are thrilled to bring the show back for a second season, and look forward to the fascinating stories that only Nev and Max can uncover."

"Hooked On Catfish: The Road To Season 2" airs on Mon., June 17, at 12 a.m. ET and Season 2 of "Catfish" premieres on Tues., June 25 at 11 p.m. ET.

Now Sam Neill, who starred as Dr. Allen Grant in "Jurassic Park" and "Jurassic Park III," has reportedly told New Zealand's Dominion Post that he doesn't think he'll be asked to star in the dinosaur series' upcoming fourth entry and that -- brace yourselves -- he's told "it's a big reboot, a total re-jig."

Why Neill believes this to be true is unclear, as producer Frank Marshall reportedly said the sequel will not be a remake. Neill's remark seems to come as a one-off comment in a lengthy Dominion Post story centering on the actor. In it, Neill also confesses he has not seen the 3-D rerelease that hit theaters in early April.

Neill's remarks are the latest wrinkle in the influx of changes surrounding the increasingly mysterious "Jurassic Park 4," which received yet another delay earlier this month after having been slated to arrive June 13, 2014.

So what exactly has gone on with this movie as it hangs in development limbo? Let's see:

• The movie was first announced in 2002 by Steven Spielberg, who directed the original and would produce this one with "Jurassic Park 3" helmer Joe Johnston returning to the director's chair.
• The original script, completed the following year, readied the movie for an expected summer 2005 release. That date was pushed back to winter 2005 after the script received its first rewrite, and the movie has been steadily delayed ever since.
• Neill was reported to have come aboard the project in 2004 but has since distanced himself.
• By the time the movie was slated for a 2008 release, Johnston was reported to have backed out. But in 2009, the director spoke again about possibly being involved with the sequel, which he said could spawn an entire new trilogy.
• As development limbo intensified, rumors began circulating that movie might actually be a reboot, which Neill now speculates is the case.
• At the 2011 San Diego Comic-Con, Spielberg confirmed that preparations were underway for the fourth "Jurassic Park," with a new script being penned by Mark Protosevich ("I Am Legend").
• In January 2013, Universal announced that "Jurassic Park 4" would hit theaters June 13, 2014.
• In March, Colin Trevorrow ("Safety Not Guaranteed") took control of the director's chair with yet another rewritten script.
• In May, the movie was pushed back indefinitely because the new version of the script made the visual effects too ambitious to accomplish in time for a summer 2014 release.

French Montana
Photo: Getty Images

Madonna revealed in an exclusive interview with Extra that she and Kim K. met decades ago, when the reality star was just a child. The pop icon even bestowed a gift on her devoted fan:

"I met her years and years ago when she was a little girl, believe it or not. She told me she was a huge fan of mine, and it was during the time I was wearing all of the rubber bracelets on my arms. I took off all of the bracelets and gave them to her and then I completely forgot about it. She reminded me when I saw her the other night. Now she's a pregnant lady!"

Totes adorbs. We sure hope Kim was wearing those bracelets under her glove sleeves at the Met Gala when she and Madonna reunited. Bracelets or not, it seems Kim felt "touched for the very first time," as she captioned an Instagram alongside her heroine with the punny caption, "When we first MET."

PHOTO:

Watch Kim grow up before our very eyes:

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You'll be hard to find the "I Knew You Were Trouble" singer out partying into the wee hours of the night. Instead, she likes making memes of her cat and watching "Law & Order." Oh, and she probably uses her great-grandmother as fashion inspiration -- not that there's anything wrong with that.

Taylor might be 23 going on 85, but she's still the most lovable, youngest grandma we know.

Here are 13 things Taylor and your grandma probably have in common:

1. They aren't afraid to dance like this -- even when everyone's watching.

2. They like the same board games and domesticated animals.

I shouldn't read into the fact that my family got me a new scrabble board (the one that swivels!) &cat treats for Christmas, right? Am I 85?

— Taylor Swift (@taylorswift13) December 26, 2012

3. They both like telling you about the good ol' days. Grandma talks about 1943, and Taylor talks about when she was 22.

4. They use funny faces to show you how they really feel about your boyfriend.

5. Both enjoy a good sing-a-long every now and then.

6. "Law & Order" is always on their much-watch lists (though grandma doesn't have a People's Choice Award for company).

Sitting here with my new People's Choice award and Chinese food take out, watching Law and Order. Thank you for a beautiful night:)

— Taylor Swift (@taylorswift13) January 10, 2013

7. Same pajamas? Yup.

8. You're pretty sure each had a bad girl phase.

9. Their love for Shirley MacLaine knows no bounds.

We dressed up full-time fancy and went out in celebration of Shirley MacLaine's birthday. @diannaagron @asha instagr.am/p/J1ZxlFjvOS/

— Taylor Swift (@taylorswift13) April 25, 2012

10. Grandma and Taylor are both pretty easy to surprise.

11. A "thumbs up" is their favorite seal of approval.

12. They take time to enjoy the simple things in life.

13. Grandma is always there for you. We're sure Taylor would be, too.

You'll be hard to find the "I Knew You Were Trouble" singer out partying into the wee hours of the night. Instead, she likes making memes of her cat and watching "Law & Order." Oh, and she probably uses her great-grandmother as fashion inspiration -- not that there's anything wrong with that.

Taylor might be 23 going on 85, but she's still the most lovable, youngest grandma we know.

Here are 13 things Taylor and your grandma probably have in common:

1. They aren't afraid to dance like this -- even when everyone's watching.

2. They like the same board games and domesticated animals.

I shouldn't read into the fact that my family got me a new scrabble board (the one that swivels!) &cat treats for Christmas, right? Am I 85?

— Taylor Swift (@taylorswift13) December 26, 2012

3. They both like telling you about the good ol' days. Grandma talks about 1943, and Taylor talks about when she was 22.

4. They use funny faces to show you how they really feel about your boyfriend.

5. Both enjoy a good sing-a-long every now and then.

6. "Law & Order" is always on their much-watch lists (though grandma doesn't have a People's Choice Award for company).

Sitting here with my new People's Choice award and Chinese food take out, watching Law and Order. Thank you for a beautiful night:)

— Taylor Swift (@taylorswift13) January 10, 2013

7. Same pajamas? Yup.

8. You're pretty sure each had a bad girl phase.

9. Their love for Shirley MacLaine knows no bounds.

We dressed up full-time fancy and went out in celebration of Shirley MacLaine's birthday. @diannaagron @asha instagr.am/p/J1ZxlFjvOS/

— Taylor Swift (@taylorswift13) April 25, 2012

10. Grandma and Taylor are both pretty easy to surprise.

11. A "thumbs up" is their favorite seal of approval.

12. They take time to enjoy the simple things in life.

13. Grandma is always there for you. We're sure Taylor would be, too.

During Microsoft's event announcing the Xbox One, the Redmond, Wash.-based software maker also revealed that Spielberg would be involved in the production of a live-action television series based on the world of "Halo," the Xbox's long-running first-person shooter franchise.

Bonnie Ross, studio head at "Halo" developer 343 Industries, spoke on stage about how the Xbox One's unique multimedia interactivity meshes well with Spielberg's style of storytelling. It was then that Spielberg -- who was also in the introductory video for the event -- echoed Ross' sentiment on the video board.

"For me, the Halo universe is an amazing opportunity to be at that intersection where technology and myth-making meet to create something really groundbreaking," Spielberg said, speaking to the crowd from the screen. Spielberg, who will serve as an executive producer on the project, has an extensive list of producing credits for television that include "The Pacific" and "Animaniacs."

"Until now the TV viewing experience has been a one-way street for the viewer," said Nancy Tellem, Microsoft's entertainment and digital media president. "Now, that's about to change. TV on the Xbox will immerse you, enable you to virtually jump into the action." Microsoft's hiring of Tellem, a former CBS executive, last fall was seen as move toward creating original content.

Spielberg will have his hands full adapting "Halo," a massively successful franchise that has sold over 50 million copies worldwide with a fanbase eager to see the story come alive on the screen. “The possibilities for storylines in the Halo universe are as deep and wide as any other space-faring franchise out there," "Halo" gamer Paul Sposato told Forbes. "While we already have an encyclopedic storehouse of info on Halo, it’s still a big universe in there."

There's still no word on when the show will premiere or how people will be able to watch it apart from through Microsoft's Xbox Live.

But for Drew Barrymore, one of those mementos is a multi-million dollar mansion. And she's kissing the keepsake goodbye by listing the property for $7.5 million.

Barrymore bought the 1937 home, located in Montecito, Calif., in 2010. In addition to being her home-away-from home when she needed a break from Los Angeles or New York, it served as the wedding venue for her marriage to art consultant Will Kopelman in June 2012.

The grand event, which planner Yifat Oren described to People Magazine as just a "backyard wedding," showcased the two-acre property's lush grounds, gardens and citrus and avocado groves. Guests included Reese Witherspoon, Cameron Diaz and Busy Philipps and the theme was "vintage romantic."

Her two-story home has six bedrooms and 7.5 bathrooms, a separate guest house and lots of parking. Of note in the listing photos are traces of Barrymore's "quirky nature," notes real estate blog Zillow. The kitchen features a bright yellow table and a brightly colored vintage fridge, while the living room has a set of funky red couches.

Photos courtesy of Realtor.com.

Perry bought two properties -- neither was listed for sale at the time -- that include two houses on three adjoining lots that tip the acreage scales at about four. For LA, that's a lot of land. Oil heiress Aileen Getty was the seller. The smaller of the homes was once owned by Springsteen drummer/Conan O'Brien band leader Max Weinberg, who bought it from Jake and Maggie's Gyllenhaal's now-divorced parents. It's LA musical chairs!

Perry purchased the properties last month in a blind trust, with her manager Bernie Gudvi as the trustee. He has been the trustee on at least one other property she owns.

As for what the mistress of song intends to do with all her new space is anyone's guess. We're too busy trying to make sense of today's news blaming her for for breaking up Kristen Stewart and Robert Pattinson.

Photos courtesy of Realtor.com.

Scroll through our list and let us know who's missing!

Click through our slideshow to see the worst television neighbors.

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The French actress managed to transform her shoulder-length bob into a massive bouffant for the premiere of her new movie "Blood Ties." Cotillard's gravity-defying updo balanced out her pleated Dior mullet gown perfectly, but we're still perplexed.

After checking out a rear view of the star's hair, we're almost convinced that her stylist Robert Vetica pulled off the '60s look without hair extensions or a single Bumpit. Check out the photos below and tell us what you think.

BEFORE & AFTER:

BACK VIEW:

See more looks from the 2013 Cannes Film Festival:

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The new footage offers glimpses of new scenes from "Dexter's" upcoming final season and one major component of Season 8 will be Deb's struggle to come to terms with La Guerta's murder in last season's finale. "Dexter never meant to back her into choosing her brother over La Guerta," Michael C. Hall (Dexter Morgan) says in the video above. "I think she's going to be questioning whether she killed the right person probably for the remainder of her days," James Remar (Harry Morgan) adds.

"Deborah is hitting a low point, searching for her bottom," Jennifer Carpenter (Deborah Morgan) says in the video. The trailer showed Deb strung out on drugs, sleeping with a man who appears to be her dealer, getting arrested for a DUI and showing up at the police station, slurring that she "want[s] to make an official statement."

"I don't think Dexter spends a lot of time thinking about La Guerta's murder. He's confused by Deborah's reaction to it and her inability to move past it," Carpenter continues.

The new season starts six months after last season left off, the video reveals. "We find Dexter, on the one hand, telling himself that things are good, but there are a lot of problems, and the subterranean stuff is starting to bubble up," Hall says, as a scene of Dexter yelling at Harrison plays. Later, he chokes a guy sitting in his car in broad daylight.

"Anything goes this season. There's no safe zone. Anyone can die, and anything can happen," Aimee Garcia (Jamie Batista) says, as footage plays of Dexter, with a bloody hand, searching for a missing Harrison.

When it comes to the series' end-game, the cast keeps it vague. "What's gonna happen with Deb and Dexter? Is anyone else in the department going to find out about Dexter's secret? Could it be Quinn? Batista? Maybe all of us, or maybe none of us," C.S. Lee (Vince Masuka) teases.

Michael C. Hall closes the video by waxing philosophical about the ending. "This season is about what Dexter is going to leave behind. I have no idea how fans will react, hopefully they'll be leaning forward, and compelled by the story, but I imagine there will be a spectrum of experience," he teases.

"Dexter" Season 8 premieres Sunday, June 30 at 9 p.m. ET on Showtime.

Daft Punk's Random Access Memories album cover
Photo: Columbia

Will Smith
Photo: Stephen Lovekin/ Getty Images

Will Smith
Photo: Stephen Lovekin/ Getty Images

Having watched Arnie's political rise and fall from afar, he always seemed an odd chimera. Lines he'd delivered as the Terminator retrofitted to an ideology he'd borrowed from somebody else. A kind of populist piss-take exploiting name recognition among cinema-going-yet-politically-comatose voters.

But I've just read a paper that made Arnie slightly more intelligible to me. Entitled "The Ancestral Logic of Politics" the paper published last week in Psychological Science explored the link between male upper-body strength and assertion of economic self-interest.

The link between what and what?

Exactly.

The short story is that men with big biceps and who are relatively poor tend to be strongly in favour of social welfare, wealth redistribution and other economic programs associated with the political left. More so at least than equally poor but puny men. Whereas the exact opposite is true for wealthy men: the bigger the biceps the more right-leaning the inclination to economic redistribution.

Rational self-interest

In order to understand this finding we need to consider why people take on the political views they do. While people's politics are shaped by many factors, self-interest is thought to be particularly strong. That's not to say voters care only about themselves. But rather that an element of self-interest shaped their views.

With this in mind it isn't hard to see why policies of social welfare and economic redistribution tend to win more support from the poor - they have much more to gain. Likewise, the twin obsessions of plutocrats - slashing spending and cutting taxes - really mean cutting expenditure on welfare and eliminating taxes that redistribute resources to those less fortunate or well-endowed.

If political views are forged out of rational self-interest, then attitudes to redistribution should follow a neat left-right divide, everything else being equal. But they seldom do.

The new paper, by Michael Bang Petersen, Daniel Sznycer, Aaron Sell, Leda Cosmides and John Tooby adds an interesting twist that might explain why the left-right distinction gets so very blurry.

They argue that for most of humanity's evolutionary past, the biggest, strongest men were best able to assert themselves in negotiations, wrangling outcomes in their interest. Studies of negotiation and conflict in animals show that better fighters consistently gain a disproportionate share of any resource - without having to fight for it. Most negotiations are an 'Asymmetric War of Attrition' in which violence need not be deployed but only implied. The possibility of violence alone leads others to concede more than their share.

That's where the expression "the lion's share" comes from. Lions contribute little or nothing to most hunts, leaving the hard and dangerous work of killing prey to the lionesses. The lion then moves in and takes as much as he likes - and there is very little any lioness or cub can do about it.

People astutely judge the fighting abilities of other men - mostly by paying attention to upper body strength. And bicep size provides a most conspicuous, reliable cue of upper body strength.

Psychologists have repeatedly shown that men with greater upper body strength feel more entitled to having things go their way. And they become aggressive more easily. The same does not seem to apply - at least not to the same extent - among women.

The link between male upper body strength, fighting ability and dominance is nowhere near as strong today as it has been throughout our evolutionary past. And democratic processes ensure that strong men can no longer wrest political outcomes in their own interest. Or at least they can't do so by brute strength alone.

Petersen and colleagues argue that we retain many of the psychological mechanisms whereby strong men assert themselves, and weaker men are more likely to concede. And that shows up in the conviction with which stronger and weaker men hold political views that are in their rational self-interest.

But the result does not apply among women.

Interestingly they repeated the same study in three countries: The USA, Argentina and Denmark. The pattern held in all three, although it was weakest in Denmark. I wonder if the lower income inequality in Denmark, and the social benefits of Danish social welfare programs have eroded the link between physical strength and convictions about redistribution?

Am I a robot?

This paper embodies the kind of evolutionary psychology that routinely gets people's backs up. We often believe our convictions are reasoned, rational and reasonable. To be told that deeper motivations of which we are not even aware might sway our ideologies and beliefs can be awfully confronting.

The authors are not claiming that attitudes to economic redistribution are settled, hard-and-fast by some combination of socioeconomic status and bicep size. The value of this paper is in showing how our evolved biology and our contemporary politics can interlink in interesting ways, creating nuanced individual differences.

Readers of this column will be familiar with my obsessive interest in the links between biology and ideology. Particularly in the sphere of sex and reproduction, where insecurity over paternity, conflict between spouses and divergent attitudes regarding the regulation of fertility all generate deep political currents.

Readers will also know how I despise the idea that biological effects are "hard-wired" (a particularly dull computing metaphor for human behaviour) or immutable. The beauty of evolution, for me, is in the subtle play between biology and environment. Which is why I'm delighted that this simple (though logistically demanding) study has revealed yet another way in which evolved biology adds nuance to our understanding of political behaviour.

I am already thinking about how to measure the importance of the bicep-redistribution link relative to other influences on political attitudes. And about how to dissect the basis for the link?

Does going to gym reshape a man's political outlook? Or do men more interested in asserting their self-interest politically tend also toward bicep-building exercise regimes?

And does one measure the bicep on the right or the left?

Arnie, the Republican

Arnold Schwarzenegger's politics should never have surprised me. He may have played the fictional underdog Conan the Barbarian, but his speech at the 2008 Republican convention revealed that Arnie, since he first picked up a dumbbell in Graz, has been about the muscular, assertive kind of masculinity so beloved of Republicans and the right in general:

I finally arrived here in 1968. What a special day it was. I remember I arrived here with empty pockets but full of dreams, full of determination, full of desire. The presidential campaign was in full swing. I remember watching the Nixon-Humphrey presidential race on TV. A friend of mine who spoke German and English translated for me. I heard Humphrey saying things that sounded like socialism, which I had just left. But then I heard Nixon speak. He was talking about free enterprise, getting the government off your back, lowering the taxes and strengthening the military. Listening to Nixon speak sounded more like a breath of fresh air. I said to my friend, I said, "What party is he?" My friend said, "He's a Republican." I said, "Then I am a Republican." And I have been a Republican ever since.

Rob Brooks does not work for, consult to, own shares in or receive funding from any company or organisation that would benefit from this article, and has no relevant affiliations.

This article was originally published at The Conversation.

Read the original article.

Well, I have an idea: Now that Season 12 is over, let's judge Idol's judges, Keith Urban, Nicki Minaj, Randy Jackson and Mariah Carey, for all they're worth -- and, hell, Seacrest too. Frankly, they all deserve it.

Dim the lights, Kieran. Let's do this.

WATCH:

You can find previous Weeklings! episodes here.

Nothing in my experience as a writer has been as bewildering and as ultimately devastating as the feeling of total wordlessness, the punch-in-the-stomach reality that absolutely nothing can be said. And, in blunt reality, nothing can be said to dull or undo loss. If it is not already clear, I was hit very hard by the death of Ray Manzarek, as if it were a friend or a family member that was gone, not just a talented and beloved musician. But as the initial shock disappears (and indeed, it is still disappearing), I would like to briefly eulogize a man whom I can say, with ultimate assurance, changed my life.

Years before I could sing every note of "Light My Fire," including the solos, years before I let a skeevy record store owner flirt with me so he would give me a deal on The Doors' "Absolutely Live," The Doors were an early cornerstone of my journey into vintage music, the beginning of my breaking free into music that my parents, at the time, had very little interest in. I fell headlong into the trance of The Doors, the slithering rhythms and unearthly tones that made them so gorgeous, so hypnotic, that they still were opening the minds of generations neither born nor conceived of during the short period in which the band was active.

From the very beginning of my loving the Doors, I was a Ray Manzarek fan. I would watch Live at the Hollywood Bowl with my eye on the side of the stage, not just to see a great player at work, but also to see someone completely moved and carried away by the music that moved me too. Watching Ray perform, both back in the day and when I finally got to see him play on June 4, 2011, was watching a master musician and an unabashed music lover.

I was privileged enough to catch Ray when he appeared to open a very strange venue in Thousand Oaks, California -- a large building, newly empty after the collapse of Borders book stores that year, that had been converted to house art and live music until its lease expired at the end of the summer, and a company selling medical supplies was set to move in. Visitors were treated to tiny, intimate shows with some fabulous people, and proceeds were to go to charity. Fifteen-years-old, I was going to the show with a good friend, Aaron, and his younger sister, Dana, then aged 15 and 12 respectively.

We decided to arrive as early as possible, several hours before the show was set to begin. So early, in fact, that as we were soon to discover, not even Ray had arrived yet. But as we walked through the parking lot, we saw him, some distance away, walking with someone else. He was tall, seemingly relaxed, and with an expression not unlike he wore in 1967. And despite my shy friends' protests, I decided that the opportunity was too good to pass up. They dragged behind me apprehensively as I faked confidence, and explained that we just had to take this golden opportunity to meet the man we'd so long admired.

And that we did. Ray seemed appreciative that three young fans were crazy enough to chase him down in a SoCal parking lot. He spoke with his usual wry wit, but a clear and touching affection, even ruffling Dana's hair. We parted ways after we'd spoken for less than a minute, a relatively unexceptional fan encounter during which we'd been treated with utter respect -- respect which I can only hope we returned to him.

Later that night, Ray did a Q&A with the audience assembled to hear him play. When I stood to ask my question, he smiled with recognition.

"Hey, it's that girl! I love that girl!"

Now, in 2013, I bid farewell to Ray Manzarek along with legions of other adoring fans. One of my childhood heroes has passed away, and I am face to face with the crushing reality that there are many others still to go, sooner or later. And while I am not so deluded as to think that Ray remembered me past that evening, or perhaps the next day, I would like to think that somehow, I stayed "that girl" to him. "That girl" who was unashamed of my undying love and respect for the music he made, and even at age 15, wanted to share it with him.

I am thankful to Ray Manzarek for the great music he left us, thankful for the fact that he was ever here to do what he did so well, and thankful for the small but indisputable thing he did for three young fans who wanted nothing more than to shake his hand.

I am thankful to Ray Manzarek for playing and listening.

WATCH:

The comedy, which is directed by David and "Superbad" director Greg Motolla, also stars Jon Hamm, Eva Mendes, Amy Ryan, Danny McBride, Kate Hudson and Michael Keaton.

According to EW, "David stars as Nathan, a hipster marketing exec who sells all his shares at a start-up over a fight with his boss (Jon Hamm, left), only to miss out on billions when the company’s new product—an electric car—becomes a smashing success." Much like "Curb," the project relied heavily on comedic improvisation.

"Clear History" premieres in August on HBO.

Helms, who will speak at Knox College's commencement ceremony June 8, sent Kimmel a photo from his own graduation day -- and man, does he look dorky.

In the photo, likely taken in the mid-'90s (Helms is 39 years old), the actor is seen with his two parents. Though many boys grow up to look like their fathers, young Helms was a spitting image of his mother at the time, by his own admission.

"What I love about that is that my mom and I are identical," said Helms, pointing at the photograph. "We're wearing the same glasses and the exact same hairdo."

"Did you grow the goatee so your dad knew which one to sleep with?" joked Kimmel. "Somehow you look younger now than you did when you were in college. How did that happen?"

See the amazing photo here:

h/t Buzzfeed

Looks like Demi Moore is way past her breakup from her much younger ex-husband, as she was seen all smiles last weekend at a friend's home in Malibu, Calif.

Moore, 50, put her famously fit physique on display in a tiny red bikini with black and white piping, slouchy black trousers and the signature celebrity shades.

It looks like the yoga classes the actress has been taking with daughter Rumer have been paying off, since she looked every bit as sexy and as slender as she did decades ago.

And Demi seems to have moved on in more ways than one: She was recently photographed with an Australian hunk by the name of Will Hanigan, 30 (despite some outlets that are quick to report the hot romance has fizzled).

Be that as it may, halfway across the world Kutcher and his lady love Mila Kunis are still going strong. The two were seen holding hands in London over the weekend, and rumor has it that the 35-year-old hunk has already met his 29-year-old girlfriend's parents.

PHOTO:

The Kennedy Center for the Performing Arts said Burnett will receive the Mark Twain Prize for American Humor on Oct. 20 in Washington. A gala performance featuring top names in comedy will be taped and broadcast nationally Oct. 30 on PBS.

The 80-year-old Burnett said she can't believe she is receiving the prize from the Kennedy Center.

"It's almost impossible to be funnier than the people in Washington," she said in a statement.

Burnett had her breakout on Broadway in "Once Upon a Mattress," performing at night in 1959 while also appearing in the mornings on TV's "The Garry Moore Show." She is best known for her own long-running variety show, "The Carol Burnett Show." It ran from 1967 to 1978, averaging 30 million viewers a week on CBS. Her guest stars included Lucille Ball, Jimmy Stewart, Ronald Reagan and Betty White.

Burnett was born in San Antonio in 1933. She soon moved to Hollywood with her mother and grandmother and was raised in a small studio apartment. She received an anonymous donation to attend college at UCLA, where she studied journalism and took an acting class.

Burnett moved to New York City, where she staged musical revues and performed in nightclubs. She was spotted by talent bookers and soon performed her rendition of "I Made a Fool of Myself Over John Foster Dulles" on television.

Kennedy Center Chairman David Rubenstein called Burnett a "unique and beloved entertainer."

"From her television program and appearances, as well as her performances on Broadway and in film, Carol Burnett has entertained generations of fans with her vibrant wit and hilarious characters," he said in announcing the prize.

The Mark Twain Prize honors people who have an impact on society in the tradition of Samuel Clemens, better known as Twain, as a social commentator and satirist. Previous honorees include Bill Cosby, Steve Martin, Tina Fey and Ellen DeGeneres, who won last year.

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Kennedy Center: http://www.kennedy-center.org

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Follow Brett Zongker online at https://twitter.com/DCArtBeat

The Kennedy Center for the Performing Arts said Burnett will receive the Mark Twain Prize for American Humor on Oct. 20 in Washington. A gala performance featuring top names in comedy will be taped and broadcast nationally Oct. 30 on PBS.

The 80-year-old Burnett said she can't believe she is receiving the prize from the Kennedy Center.

"It's almost impossible to be funnier than the people in Washington," she said in a statement.

Burnett had her breakout on Broadway in "Once Upon a Mattress," performing at night in 1959 while also appearing in the mornings on TV's "The Garry Moore Show." She is best known for her own long-running variety show, "The Carol Burnett Show." It ran from 1967 to 1978, averaging 30 million viewers a week on CBS. Her guest stars included Lucille Ball, Jimmy Stewart, Ronald Reagan and Betty White.

Burnett was born in San Antonio in 1933. She soon moved to Hollywood with her mother and grandmother and was raised in a small studio apartment. She received an anonymous donation to attend college at UCLA, where she studied journalism and took an acting class.

Burnett moved to New York City, where she staged musical revues and performed in nightclubs. She was spotted by talent bookers and soon performed her rendition of "I Made a Fool of Myself Over John Foster Dulles" on television.

Kennedy Center Chairman David Rubenstein called Burnett a "unique and beloved entertainer."

"From her television program and appearances, as well as her performances on Broadway and in film, Carol Burnett has entertained generations of fans with her vibrant wit and hilarious characters," he said in announcing the prize.

The Mark Twain Prize honors people who have an impact on society in the tradition of Samuel Clemens, better known as Twain, as a social commentator and satirist. Previous honorees include Bill Cosby, Steve Martin, Tina Fey and Ellen DeGeneres, who won last year.

___

Kennedy Center: http://www.kennedy-center.org

___

Follow Brett Zongker online at https://twitter.com/DCArtBeat

Carrie Underwood
Photo: Getty Images

By Julianne Escobedo Shepherd

The most influential DJ at this weekend's Electric Daisy Carnival in New York opened the festival's mainstage early on the first day: It was the French producer Cedric Gervais, whose 2012 hit "Molly" has inspired a catch phrase emblazoned on thousands of t-shirts across the parking lot of Citi Field, the home stadium for the Mets. "Have you seen Molly?" the song goes. "She makes me want to dance." Much more than a cheeky request for MDMA via a garment purchasable from the Shore Store, it embodied the zeitgeist – not just that of the largest electronic dance music festival in America, but of the party generation. Rave culture has taken over this generation full bore, and the kids are so invested that thousands of young women hot-glued their bras with rhinestones, glowsticks and silk daisies, clearly prepping for this experience for weeks. Rare was the beefed-up bro not emblazoned in some kind of neon, making eyes at said bras while working on their Melbourne shuffle. This was Spring Breakers, Queens edition.

In Pics: Electric Daisy Carnival 2012 Flashback

It goes without saying that dance music festivals Stateside are finally catching up to their European counterparts – this year, each leg of the two-day Electric Daisy Carnival New York attracted 50,000 people, paltry compared to the sold-out 325,000 who will descend on Vegas when the main festival hits in late June. Even so, the vastness of the experience was impressive and, at times, overwhelming, blanketed across four stages, a clutch of carnival rides, dazzling fireworks displays, and technicolor light installations, including the fest's signature LED daisy the size of a tract house. (The Citi Field parking lot is huge!)

Miami Burning: Surviving the World’s Wildest Party

The two massive main stages were situated adjacent to each other with a ferris wheel and a Zipper ride wedged between. The first night, anyone (everyone) attempting to see simultaneous sets by house heavyweight Eric Prydz versus Swedish House Mafia mastermind Steve Angello got smooshed into a giant, disorienting rave pit. If any of those t-shirt kids ever found Molly, they surely lost the rest of their friends in the crush. But if they stood at the right spot at the bow of the ferris wheel, they could hear both stages at the same time, the speakers sending .wavs across the asphalt (which is, apparently, a great sound conductor). It was a perfect confluence of thump, where it almost didn't matter if their sets were indistinguishable – most were lost in the ecstasy of the moment.

Electric Daisy Carnival Adds Chicago Dates

Still, several of the main-draw headliners proved their mettle. British producer Calvin Harris showed why he is such a force in the pop world, blending a crowd-pleasing set that included Basement Jaxx's "Where's Your Head At," Justice's "We Are Your Friends," and his own "Flashback" – three songs released in the 2000s, practically relics at this point, yet the young-20-something-skewing crowd sang along gamely. (He didn't make anyone wait for the megahit he made for Rihanna, "We Found Love," dropping it about a quarter-way through to a stadium's worth of squeals.) Harris' harder counterpart in the pop world, ubiquitous Dutch producer Afrojack, crescendoed-and-dropped his crowd to submission before toning it down to a little piano set. "This is the best fucking EDM scene on the whole fucking planet!" he effused, keys twinkling. At a farther-flung stage beneath a tent, the British house icon Carl Cox played an understated set with a deft hand, hewing to gradual vibe creation rather than the power of the drop – music for dancers with attention spans.

Electric Daisy Carnival Coming to London

But it took performers on the smaller stages to show how diverse America's new ravers are, while making a good argument against using the term "EDM" – electronic dance music – as a corporate catch-all. Los Angeles dubstep god 12th Planet made a case for "trap rave" as a vessel to get dance kids to listen to rap music, blending hits like Ace Hood's "Bugatti" into tasteful dubstep bass and post-Lex Luger triple-time beats. Seth Troxler, the Michigan-born house DJ, played a sophisticated set of minimal techno with a serious mid-range groove, while the DC duo Nadastrom blended their signature moombahton set with nods to dembow and even bhangra, up to and including a tweaky bass version of Elvis Crespo's "Suavemente." And when DJ Fresh played dead prez's "Hip-Hop" over a corpo techno track, was it a referendum? Nope, it was just a segue into a trap song, exemplifying the jumble of music that occurs at Electric Daisy Carnival. His set, especially, was all over the map, but he tied it together at the end with a surprise guest – rapper Dominique Young Unique, performing a live version of their track "Earthquake."

Rolling Stone List: The 25 DJs that Rule the Earth

Several performers weren't DJs at all, but bands, and had to use their creativity to fit in at a festival where rock music is an anomaly. Australian duo Empire of the Sun channeled Bowie with gold sequins and glowing neon guitars, while Italian producer Bloody Beatroots blurred the lines between rave and metal, in the tradition of Atari Teenage Riot and, well, Skrillex before him. The birdlike young British singer La Roux, wearing a white trenchcoat and looking like she was born to play Tilda Swinton in a Funny or Die skit, surprisingly opened with her two biggest hits to date – "Into the Kill" and "Fascination" – before debuting three songs from her forthcoming album. "Kiss and Not Tell" was a pared-down, simple synth track with a big pop hook, while "Sexytheque" had a touch of '80s-influenced new wave.

Raves and dance music have to battle bad reps as drug havens now as they did in the 1990s, and "Where's Molly?" merchandise isn't helping. But lest this weekend's EDC seem like one orgiastic cuddle puddle, consider this: Smack in the middle of 12th Planet's set, the New York sun gleaming on all the neon, a young man not older than 19, eating a strawberry fruit popsicle and wearing a t-shirt bearing the logo, "MUSIC makes me high." The kid, grinning, screams, "I can't believe this is happening right now!" The party culture may define the zeitgeist, but it's always the music that matters most.

Coinciding with the iconic image's 40th birthday this year, FOAM Gallery in Amsterdam is showing a selection of photographs that revel in the beauty of when David Bowie met British fashion photographer Brian Duffy. Simply titled, "Bowie by Duffy: Photographs '72 - '80," the exhibit provides behind-the-scenes looks at a collaboration with the king of glam.

David Bowie, Aladdin Sane, 1973 © Brian Duffy

Duffy began his foray into photography at British Vogue before going on to define the Swinging Sixties through his images of celebrities, cultural luminaries and fashion icons, including John Lennon, Jean Shrimpton and William S. Burroughs.

This exhibition follows Duffy and Bowie's relationship in the pivotal years when Bowie was creating and discarding personas with ease; we see Ziggy Stardust, Thin White Duke, and of course, Aladdin Sane, which Duffy later explained was inspired by the blue and red flash on a nearby National Panasonic rice cooker.

"Bowie by Duffy" features the game-changing album art itself along with photos, contact sheets, Polaroids and Duffy's personal items. Expect to see plenty of pompadours, high cheek bones and flawless face paint.

The exhibition runs from June 21 until October 6 at Foam Gallery in Amsterdam.

If you're stuck in the states, get a glimpse of the glittering images in the slideshow below and let us know your thoughts.

"Kiss Land," the song, went live on YouTube last Thursday, May 16 and as of writing this has already got over 868,000 views for the lysergic 7:41-long number.

Produced by Silky Johnson, the song continues down the smooth, dark and more-than-a-little-bit dirty path the man known on legal documents as Abel Tesfaye made famous on his triple shot of 2011 mixtapes "House Of Balloons," "Thursday" and "Echoes Of Silence."

"Kiss Land," the album, doesn't have a release date yet. The only official upcoming appearances for The Weeknd are a series of U.K. shows scheduled for November. That said, we'd put the odds at even that he makes a dramatic appearance at this.

"Nobody would make it," Soderbergh told The New York Post earlier this year. "We went to everybody in town. They all said it was too gay. And this is after 'Brokeback Mountain,' by the way, which is not as funny as this movie. I was stunned. It made no sense to any of us."

Indeed. What's more perplexing is that Soderbergh's last hurrah could have been an Oscar film. That was the thinking, at least, when it was first announced. "A lot of people think I'm nuts making a movie about Liberace. I don't! I've got a great script, it's a great story, and they're great characters," producer Jerry Weintraub told Movieline back in 2011. "That's what I make movies about. It's going to win an Academy Award [for Michael Douglas]."

"It's an uncanny impersonation and, quite astonishingly, the first nonfictional character the actor has portrayed onscreen," Variety critic Peter Debruge wrote of Douglas' work after the Cannes debut. "But this is no mere caricature: Douglas brings real dimension to the role, exploring the difference between the pianist’s on- and offstage personas, grappling with the effects of age on an entertainer and trying to reconcile Liberace’s pattern of attraction to young men with what the pic paints as genuinely paternal feelings."

Oscar blogger Sasha Stone wrote that "Behind the Candelabra" is Soderbergh's "best film in years," and that "were this movie released in theaters there would be Oscar nominations all around. Douglas might have even won his second."

For more about "Behind the Candelabra," check out Indiewire's CriticWire blog. Soderbergh's film airs on HBO on May 26 at 9 p.m. EST.

Having completed her video shoot for her single "Pour It Up," Rihanna posed for a pic channeling Marilyn Monroe in a risque white swimsuit and a blond wig reminiscent of the iconic actress. Her friend Melissa Forde posted this sizzling photo of the star behind the scenes, adding, "#isthisratchetenough?? #PouritupVideoshoot @badgalriri."

Celebrities from Oklahoma-native Carrie Underwood to comedian Zach Galifianakis have expressed sympathy and support. "Growing up in tornado alley, you always know what could happen…it doesn't change how devastating it is when something does happen," Underwood wrote on her Twitter page. "I'm thinking about and praying for my beautiful home state and the people in it tonight."

Meanwhile, Zach Galifianakis told reporters on the red carpet for "The Hangover Part 3" that he felt silly promoting his movie in the wake of tragedy. "You just have them in your thoughts. Just like with any disasters, you feel silly doing a red carpet thing," he said.

And on Monday's live episode of "The Voice," brothers and contestants Colton and Zach Swon (Swon Brothers) took a break from trying to impress Blake Shelton to send well wishes to their home state. "Stuff going on like that lets you know what's really important," Zach told host Carson Daly, adding that their family was safe.

The deadly tornado ripped through the town of Moore, outside of Oklahoma City, Monday afternoon, causing destruction to two elementary schools and a local hospital. The latest death toll has been revised to 24 people, according to the AP, while at least 180 adults and 60 children remain injured.

For more celebrity reactions, click through the Twitter slideshow below:

A new champion will be crowned Tuesday.

Football pro Jacoby Jones, Olympian Alexandra Raisman, singer Kellie Pickler and 16-year-old Disney Channel star Zendaya each did three dances on Monday's episode of the ABC competition.

Zendaya was perfect in the judges' eyes, earning the maximum score for each routine.

"You've only just scratched the surface of your talent," head judge Len Goodman said.

Pickler was a close second, collecting perfect 10s for her quickstep and freestyle dances, but finishing behind Zendaya in the cha-cha relay, which saw all four finalists perform to the same song.

Pickler's freestyle brought judge Carrie Ann Inaba to tears.

"You just bared your soul on the dance floor and it was one of the most beautiful things I have ever seen," Inaba said.

Raisman finished third after wowing the judges with a freestyle routine that incorporated gymnastics and stunts on vertical bars. Jones landed in last place, falling short on his action-packed freestyle that Inaba said distracted from his dancing.

Viewers were given until 11 a.m. EDT Tuesday to cast votes on Facebook. The show's hosts, Tom Bergeron and Brooke Burke-Charvet, said ABC's online voting system was down Monday night.

Each contestant will perform one last dance during Tuesday's season finale to add points to their totals. Judges' scores combined with viewer votes will determine the new champion.

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Online:

http://beta.abc.go.com/shows/dancing-with-the-stars

___

AP Entertainment Writer Sandy Cohen is on Twitter: . http://www.twitter.com/APSandy

A new champion will be crowned Tuesday.

Football pro Jacoby Jones, Olympian Alexandra Raisman, singer Kellie Pickler and 16-year-old Disney Channel star Zendaya each did three dances on Monday's episode of the ABC competition.

Zendaya was perfect in the judges' eyes, earning the maximum score for each routine.

"You've only just scratched the surface of your talent," head judge Len Goodman said.

Pickler was a close second, collecting perfect 10s for her quickstep and freestyle dances, but finishing behind Zendaya in the cha-cha relay, which saw all four finalists perform to the same song.

Pickler's freestyle brought judge Carrie Ann Inaba to tears.

"You just bared your soul on the dance floor and it was one of the most beautiful things I have ever seen," Inaba said.

Raisman finished third after wowing the judges with a freestyle routine that incorporated gymnastics and stunts on vertical bars. Jones landed in last place, falling short on his action-packed freestyle that Inaba said distracted from his dancing.

Viewers were given until 11 a.m. EDT Tuesday to cast votes on Facebook. The show's hosts, Tom Bergeron and Brooke Burke-Charvet, said ABC's online voting system was down Monday night.

Each contestant will perform one last dance during Tuesday's season finale to add points to their totals. Judges' scores combined with viewer votes will determine the new champion.

___

Online:

http://beta.abc.go.com/shows/dancing-with-the-stars

___

AP Entertainment Writer Sandy Cohen is on Twitter: . http://www.twitter.com/APSandy

It happened all right. After years of clamoring from fans and rumors firing them up while the cast hung on for a green light, "Arrested Development" has risen from the dead with 15 half-hours premiering en masse on Netflix on Sunday at 3:01 a.m. EDT.

"Arrested Development" is the cock-eyed comedy blessed with a king's ransom of talent and the twisted vision of its mastermind, Matt Hurwitz, that aired on Fox for three seasons as a cult favorite, then was canceled for low ratings – and maybe because it befuddled everyone who wasn't hooked on its lunacy. (Those original three seasons are available for streaming on Netflix, too.)

"I think the show scored some `cool points' for dying before its time," says Cera. "But there are still a lot more places for it to go."

Yes, "Arrested Development" died young with a beautiful, if funny-to-look-at, corpse. But its fans weren't ready to bury it. And said so.

"Clearly a lot of people DIDN'T like the show," Jason Bateman allows, "so I guess all we were hearing from were those who do – and that happens to be a brand of people who are not afraid of speaking their minds."

Now reanimated by public outcry, "Arrested" is going new places.

"Mitch and the cast didn't want to do something not as good as the old series," says Bateman (who plays Michael Bluth, the fractious family's would-be mediating presence). "We didn't want to do something lateral or just a retread."

"I think it's new at every opportunity," says Cera (who plays Michael Bluth's straight-arrow son), "while retaining the show's original heart."

The new Netflix season takes the form of what you might call an anthology as it updates viewers, character by character with each episode, on the Bluth family – that once-wealthy, now-broke and at-each-other's-throats clan squabbling in Newport Beach, Calif.

A wicked homage to the scandals of Enron and Tyco and a loopy foreshadowing of the 2008 Wall Street meltdown, "Arrested" premiered in 2003 as a sendup of high-end vanities, greed and corruption as displayed within the Bluth family circle.

Besides de Rossi, Cera and Bateman, the cast of "Arrested" Redux brings back Will Arnett, Alia Shawkat, Tony Hale, David Cross, Jeffrey Tambor and Jessica Walter, who reconvened in a strategic yet catch-as-catch-can fashion.

"There was no reality where we could get everybody for a full 7- or 8-month period," explains Hurwitz. "That gave birth to the form we came up with for the new series."

The 15 episodes dwell on individual characters during the six-year span from when the series was canceled in 2006 up through 2012. That structure was supposed to make it simple to book each actor for an isolated shooting schedule.

Then Hurwitz took his creativity another step. Since all the episodes are happening simultaneously, he couldn't resist including crossover appearances from other actors in each episode. He wanted characters and story lines from different episodes to intersect. But his ambition made it all the trickier getting all the actors he needed in place for any given episode.

"In a quarter of the scenes, someone is green-screened in," says Hurwitz, who goes on to concede that what began as a solution to a problem of logistics inspired him to create new problems for himself. For instance: "If two characters are having a conversation in one of those characters' episodes and that character's life changes, then in the other character's episode you show the other side of the conversation and the result of it on THAT character."

The overall effect is a sort of hypertext array for the 15 episodes.

"Matt made it a choose-your-own-adventure season, in that you can watch any episode out of order and it makes sense but, depending on which order you watch them, the series kind of tells a different story," says de Rossi (who plays spoiled materialist sister Lindsay).

Not that "Arrested Development" has ever chosen the simple or obvious path. From the start, it was dense, convoluted and layered, packed with sight gags, self-referential jokes, flashbacks, hand-held cinematography with run-on sequences (promoting improvisation to enhance Hurwitz's scripts) and, of course, its droll, documentarylike narration by Ron Howard, one of the show's executive producers.

On Fox, the show won six Emmys and a Peabody as well as critics' love while always fighting for its life in the ratings. But Hurwitz is philosophical about the obstacles his show has faced. They seem to have given him license to obliterate boundaries that otherwise would have hemmed him in.

"All of the limitations," he says brightly, "are great creative opportunities."

That applied to the new episodes' shooting pace, which Arnett describes as "run-and-gun and crazy."

"But it really worked to our advantage. It was `OK, get over here, here we go,' and we were right back into it," says Arnett (who plays Lindsay's older brother, Gob, a preening, mediocre stage magician). "After working together on the series before, all of us just kind of knew what we're doing. There's an implicit trust there. I know that sounds corny, but it's true."

This is a mutual admiration society: The cast heaps praise on Hurwitz, who volleys it back at his actors. And they all join in celebrating "Arrested" viewers, but for whom the show would be long dead and forgotten.

"There are way, way more fans of `The Big Bang Theory,'" notes David Cross (who plays Tobius Funke, a quack-psychiatrist-turned-actor-wannabe). "But they're not as passionate as `Arrested Development' fans – because there's more to be passionate about."

"In either a conscious or unconscious way, our audience thinks – and rightly so – it's THEIR show," says Jeffrey Tambor (who plays jailbird-patriarch George Bluth Sr.).

"A lot of people have told me over the years that they would build friendships around the show," Ron Howard adds. "They would judge first dates on whether that person likes `Arrested Development' or not. It was a means of evaluation."

Does that mean there might be children walking around today whose parents were united by "Arrested Development"?

"I think that's fair to assume," Howard says with a laugh.

___

Online:

http://www.netflix.com

___

EDITOR'S NOTE – Frazier Moore is a national television columnist for The Associated Press. He can be reached at fmoore(at)ap.org and at . http://www.twitter.com/tvfrazier

But unlike Bieber, Cody Simpson, Mahone, and too many other young singers to count, Sheeran didn't take the YouTube route to fame. The British singer did it the "old-fashioned way" -- performing his own, original music in real-life venues.

In 2009, Sheeran played 312 gigs, inspired by James Morrison's record of 200 gigs in a year. The next year, he bought a ticket to L.A. and was lucky enough to be discovered by Jamie Foxx playing the open-mic circuit. After he self-recorded two EPs, the Internet buzz around him finally mobilized, and in 2012, Britain fell in love with the singer-songwriter.

This year, America caught up. Sheeran performed a duet of his song "A Team" with Elton John at the 2013 Grammy's and the track was up for "Song Of The Year." Also worth noting is his not-so-small social media army of teenage followers, many of whom he shares with his boy band friends, One Direction.

But when I chatted with Sheeran in NYC earlier this month, he insisted that his personal life has been left mostly untouched by rabid fans and celebrity gossip. This could mean that he is the Adele to Justin Bieber's Taylor Swift, having successfully captured a media narrative which presents him as a step above his peers in maturity and talent. Or maybe he is just still too new to American audiences.

Either way, if it is true that fame has left him pure-of-heart, it's a big feat. After all, this past weekend he performed at the Billboard Music Awards and was seated in the front row next to Selena Gomez, despite tweeting that he didn't fit in at the event. Perhaps that's the key to Sheeran's likeability: he may be sitting at the "cool kids' table," but he still doesn't seem to realize how popular he really is.

Here's what the singer had to say about his new album, his next tattoo and what you do after your dreams come true.

You've said in a few interviews that you've really prepared yourself for this moment. What about fame has really surprised you?
Sheeran: Nothing, it's everything that people said it would be. Everything. The good parts and the bad parts.

What'd they say it would be?
They said your friends would not just [decrease by] half -- [they would] halve, halve, halve, and then halve again. You'd [also] live out every single dream you have for yourself in a matter of months and have to make new dreams for yourself, which has happened.

Do you have new dreams?
Oh, every single new dream I make for myself is achieved within a month anyway, so I keep having to make new dreams.

What's it this month?
I guess playing a stadium, and I'm doing that Saturday.

Cool. Where?
Detroit. That might be my next tattoo. I might get, "D."

You're described as a "new artist," kind of like fun., even though you've been around forever. Does that bother you?
No, I think I am a new artist to the music industry as a whole. It doesn't bother me, I might even be considered a new artist on the second album.

A lot of your peers -- Taylor Swift and One Direction of course come to mind -- are scrutinized in the tabloids for their personal lives. Is that something you're conscious of?
I genuinely, genuinely don't think anyone gives a s*** about my personal life. People only really started giving a s*** when they thought I was dating Taylor.

HuffPost Teen readers probably beg to differ.
I don't do anything interesting, and all the controversial stuff that One Direction might get written about [because of], I write about in my songs anyway. I think people kind of expect it from me, so they're not too shocked. If I write a song called, "Drunk," and then I'm seen walking out of a club drunk, people aren't going to be like "Oh my God!" They're going be like, "Oh yeah, that's what [he's] expected to do, I guess." But if you sing about going "crazy, crazy, crazy" and then fall out of a club...

Did you have a particular audience in mind when you were writing this new album?
No. I think the moment you start trying to please a fan base is when you start going downhill. I'm going to always, always write about what I want even if it doesn't necessarily cater to most of them.

Yeah, at HuffPost Teen we work with a lot of smart teenage girls and it bothers me when people treat them like their presence in a fan base is like this black mark you have to overcome.
There are just certain things you shouldn't feel worried about. Like, I remember putting "Drunk" on the album and people being like, "you have a young base therefore if you do a song called, 'Drunk,' their parents might be annoyed." I was drinking at 13. Like, that's kind of normal.

Your last album seemed to focus on one specific girl, and there was a lot about love. Any new themes in this new album that fans can look forward to?
Well, it's not about that specific girl. It's not about that girl anymore, no more about her. So that's positive.

She seemed cool, though. You said so many wonderful things about her.
Yeah, yeah she's cool. I've written more songs about more things.

That's specific. Anything else about it that you can tell us?
I was looking for it to be done in December and I went through it yesterday. It's pretty much done. Which is quite exciting.

How long did it take you?
A couple of weeks.

To write the whole album?
Yeah.

Really?
I mean there are some songs I've had for a while, but to finish it, yes.

Are you going to be doing any rapping?
I am actually, I am. Not, like, gangsta rapping.

No? That's disappointing.
I'm not doing all of that.

A popular quote [wrongfully] attributed to you is, "I can't tell you the key to success but the key to failure is to try and please everyone."
I said once in an interview, "there's a very good Bill Cosby quote which is..." and [fans] just cut out the Bill Cosby part.

What does that quote mean to you?
It just means do your own thing and don't try and please people for the sake of it. Do it because you enjoy it. There is no key to success.

A HuffPost Live viewer grilled Hartsock why there wasn't a gay or lesbian "Bachelor" or "Bachelorette" yet. Check out the clip above to see what Hartsock had to say.

Of course, ten years ago Bravo had their own form of a gay "Bachelor" series, with America's first gay reality competition show, "Boy Meets Boy." The show, which had various men in a Palm Springs palace fighting for Bachelor James's heart, though some were secretly straight.

"Boy Meets Boy" was not renewed after the first season due to poor ratings and backlash from the gay community concerning the manipulative series.

Season 9 of "The Bachelorette" begins this upcoming Monday, May 27.

"Voting on ABC.com is temporarily down," the show tweeted Monday on its official site. "But you can vote by texting, calling and on Facebook."

At least Monroe was nice enough to give Nora a pretty little dress for her torture. Now normally, he's shown being paranoid and impulsive and generally making terrible decisions -- that still somehow work in his favor -- but in this case, Monroe's torture regimen proved very effective.

Poor Nora tried to hold out and not betray Miles and the Georgian alliance, but after 21 days of torture, she'd had all she could take. She broke, and spilled the beans. It was a powerful scene, well acted and well written. Even better, the character of Nora stayed true through those sequence and in the aftermath, when one of Monroe's men helped her escape and get back to Miles.

It's notable because so many of the other characters on "Revolution" betray their characters so often. It's that tired case of the plot taking precedence over the way the characters have developed. Thus, you have Aaron inexplicably supporting Rachel's suicide mission this week, despite how hard he fought to keep her alive and stay by her side so recently. Rachel's character has been the most crushed, though we're probably supposed to believe the loss of her son is what broke her.

And she is broken. At this point, she's not even a compelling character as much as she's just tragic. While she's been driven by the mission to get the power back on -- though she was ready to die just a few weeks ago and entrust Aaron with that -- she became completely blinded by her personal desire for revenge. That said, I can't fault her plan to go in and blow up Monroe, thus causing a commotion that Aaron can use to infiltrate the base and get into The Tower.

It was a little convenient that all roads suddenly converged on The Tower this week. Aaron and Rachel have been on the road to this place for weeks, suffering hardships and nearly dying, but suddenly, Monroe and Miles are heading there in no time. It's a good illustration of how much technology can change how things work in this world. Monroe just found out about The Tower, and yet, he got there before Rachel and Aaron. These are the kinds of subtle things that "Revolution" does right to flesh out this world and make it believable.

After Sanborn helped Nora escape from Monroe (by pretending to kill her), he agreed to take Miles -- and the usual Scooby gang -- to The Tower as well. If they hadn't had to stop to siphon fuel in the Plains Nation, they'd probably have gotten there by now as well. But the writers needed to waste time revealing that there was a mole. At this point in the story, with the war all but lost, it doesn't even matter that there was a mole all this time. Had they revealed it while the war was still going on in the plot, maybe we would have had reason to care more. Instead, it just looked like they wanted to distract the good guys for a while, and this seemed like a fun way to kill some time.

I found the whole whodunnit sequence irritating. Was there no better way to reveal that Jim Hudson was the mole, giving up information because Monroe had his wife? It was a ridiculous game of "Revolution Clue," with everyone a suspect once the bodies started dropping. I'm sure it was intentional, considering the episode is named "Clue," but this is a show that has relied too heavily on trite and predictable plot turns in the past, so taking a full plot from a movie is a bit hard to take. It also doesn't seem like the kind of show to do an homage to a cult comedy film -- and besides, "Psych" just did it and their take was much better.

By the way, when the pilot and Other-Random-Dude agreed to go along with the main cast members on this journey, did you all assume they were wearing "Star Trek" red shirts underneath their regular clothes like I did? Yeah, that move was telegraphed a little too obviously, too. And, of course, they both died right away. I will give the writers some credit in that they were doing a pretty good job of making Sanborn look guilty until Jim was revealed. But the whole plot was so trite and stupid, it was hard to forgive the fact that it existed at all.

It was made even worse when Jim planted the knife in Jason's pocket. It was time for Cliche-town as Jason proclaimed his innocence and then felt crushed that Charlie wouldn't support him (but they'd been kissing!). And then, it was Jason who saved the day. I get that "Revolution" isn't trying to be groundbreaking drama, but it's been most compelling when it was unpredictable. This is an interesting premise that's been established. Keep us on our toes, and we'll be more invested.

I'm glad that the "Revolution" writers and creators have seen a lot of action and mystery movies, but they don't need to borrow so heavily from them. We like it when the ideas are innovative and unexpected. If we can see the "shocking" twists coming five scenes in advance, they lose most of their punch. Then we miss your big reveals because we're too busy rolling our eyes.

I was genuinely interested in the developments with Randall Flynn this week, because they made virtually no sense. Was he so unnerved by Monroe finding out about The Tower that he lost all of that bravado and nerve he'd shown in every previous appearance? He was so quickly reduced to a whining coward begging for his life that I felt it was a disservice to what had been a compelling character to that point. I can only hope he's playing Monroe in some way. Flynn has often felt like he's the smartest man in the room -- and let's face it, Monroe comes across as someone who's kind of dumb -- so I want to believe he has a plan. If he doesn't, then he's just another character who's personality was altered to fit the needs of the story, and that's a shame.

Rachel had a plan, and her plan is how the episode ended. She walked into Monroe's tent with a live grenade, pulling the pin and activating it as we went to black. Previews reveal an explosion, but the only people who ever die on this show anymore are red shirts. Everyone seems to get into The Tower, so the big question now is will the power get turned back on? And what the hell came up that elevator? And how will everyone manage to come out of this alive?

Tune in to "Revolution" on Mondays at 10 p.m. ET on NBC.

During a visit to the Bad Robot production studios last year, Abrams showed a group of journalists the "Star Trek Into Darkness" scene where Cumberbatch and Chris Pine's Captain Kirk fly through space in super suits. The sequence happens more than an hour into the film, after the true origin of Cumberbatch's villainous John Harrison is unveiled. (No spoilers here, but check IMDb or this HuffPost piece from Monday.)

"[Producer] Bryan Burk was the one who first proposed that we use the space jump sequence as a way of getting folks excited for the movie," co-writer Damon Lindelof told Slashfilm. "The challenge was obvious [because] this is AFTER the reveal. Therefore, J.J. and post production supervisor Ben Rosenblatt executed a 'Harrison Cut' to preserve the secret. I'd rather not get into the details of how this was accomplished, suffice to say it wasn't easy. It was, however, worth it."

Or was it? By keeping the "Star Trek Into Darkness" villain on the down low, Abrams and his team may have hurt the film's bottom line. (Imagine if Warner Bros. decided to market "The Dark Knight" without Heath Ledger's Joker front and center.) It's possible that audiences didn't connect with "Star Trek Into Darkness" in a way more in line with the film's expectations because they weren't actually excited about someone named John Harrison fighting with Kirk and the U.S.S. Enterprise crew.

"We just wanted to make sure that when the audience went to see the movie, that they were having the same subjective experience that Kirk and Spock and the crew were, so that when Kirk and Spock and the crew hear [Harrison's real] name for the first time, that's when the audience is -- you know, the savvy audience, the fanboys and -girls -- getting confirmation of something that they really intensely suspect, but weren't sure of until it happens," Lindelof told Grantland about the logic behind keeping the villain a secret.

That's fair, but it's also somewhat misguided: For instance, 2009's "Star Trek" didn't put Kirk in official charge of the U.S.S. Enterprise until the end, but the audience knew that was going to happen long before Kirk did. (It was "Star Trek," after all.) All of which is to say, keeping surprises from the audience is often great (hello, "Iron Man 3"), except when the surprise isn't that surprising.

For more on Abrams' mystery box, head to Slashfilm.

[via Slashfilm]

Jessica Walter -- matriarch Lucille Bluth on the former Fox, now Netflix series -- has been making TV appearances since the 1960s. She won an Emmy for "Amy Prentiss" in 1975 and in 1977, Walter guest starred in a "Wonder Woman" episode, "The Return of Wonder Woman."

Jason Bateman (Michael Bluth) started acting at a young age and appeared on "Silver Spoons," "Little House on the Prairie" and "Valerie"/"The Hogan Family."

Alia Shawkat and Mae Whitman met as co-stars in Fox Family's 2001-2002 series "State of Grace" before they were Maeby Funke and Ann Veal.

Click through the gallery below to see the "Arrested Development" cast in their early roles.

"Arrested Development" returns with new episodes on Netflix on Sunday, May 26.

The actress "proactively" checked herself into a mental health facility on April 29 for a 30-day program, but she's now back at home, according to her husband, Michael Douglas.

"She comes home tomorrow," Douglas told People magazine on Monday while at the Cannes Film Festival, where he was promoting his HBO film, "Behind the Candelabra." "She's doing a really good job of getting balanced. I'm proud of her."

Douglas seemed thrilled to be getting his wife back after her time in treatment, telling "Extra":

"She’s got herself worked out with her meds and she's raring to go!”

The 43-year-old actress previously sought treatment for bipolar disorder in April 2011, and has been rather open about living with the illness.

"It’s not easy. I’m not the kind of person who likes to shout out my personal issues from the rooftops, but with my bipolar becoming public, I hope fellow sufferers will know it’s completely controllable," Zeta-Jones told InStyle magazine in its December 2012 issue. "I hope I can help remove any stigma attached to it, and that those who don’t have it under control will seek help with all that is available to treat it."

When the event's host, Kathy Griffin, was asked about her thoughts on the lesbian community while walking the red carpet, she mentioned that even though they are "tough to make laugh," she "freaking loves [her] lesbians" and is even still holding out for a lesbian president.

"You know I've been saying President Orman for quite awhile. I love my Barack Obama, but I'm saying President Suze Orman would be a very good move," said Griffin, who added that a lesbian in the White House would "be a dream."

An Evening With Women is an annual fundraiser that raises money for the L.A. Gay and Lesbian Center, which provides shelter, food, clothing, and medication for gay homeless youth in the Los Angeles area. Last year's event, which included performances by Courtney Love, Aimee Mann, and Linda Perry, brought in over $450,000. This year Ozzy Osbourne (who reunited with his wife, Sharon at the event), Natasha Bedingfield, and Sia performed, while Griffin hosted.

Wearing a high-slit gown, Dawson unintentionally flashed the cameras, exposing her nude underwear.

Dawson attended the "Jimmy P.: Psychotherapy of a Plains Indian" premiere, as did Longoria, last Saturday night. But when the 34-year-old "Trance" actress attempted to walk up the steps in a gorgeous, floor-length, sequined white gown, her seriously high slit blew right open and exposed her delicates to the world.

But Dawson, always the professional, didn't make a scene and simply covered her nether region with her hand, making an "Oopsie!" face to match.

Way to handle a wardrobe malfunction, girl!

PHOTOS:

Tori Spelling flaunted her incredibly toned body while celebrating her 40th birthday in Cabo San Lucas over the weekend. The actress headed south of the border with her husband Dean McDermott and their four kids, Liam, 6; Stella, 4; Hattie, 19 months; and Finn, 9 months.

Spelling recently revealed that she dropped 45 pounds since giving birth to Finn in August 2012. She showed off her weight loss in a bikini for Us Weekly in April.

"I am in awe of it," she said of her post-baby body. "I think, 'Wow, I made four human beings.' I feel like I can do anything at this point. I praise my body every day. I am so grateful for it."

"I feel like I took off the weight safely, and I'm totally happy here," she added. "I think my stomach went back pretty well!"

Check out Tori's bikini body below:

The 28-year-old singer was spotted soaking up the sun on Saturday, as she let all her worries float away while she enjoyed the lazy river at the Atlantis Resort in the Bahamas.

Perry was reportedly on vacation to celebrate a friend's birthday, and judging by some of her tweets (and the fact that she spent the day lounging in an inflatable tube) it sounds like she had a great time:

...And just an FYI, I made grilled cheese's in my juicy couture for all the kids when they came from the gay clerb tonight! #momshome

— Katy Perry (@katyperry) May 18, 2013