Entertainment – Page 18 – Pop Culture Nerd

Rupert Penry-Jones Coming to America!

When I heard a couple years ago that Rupert Penry-Jones was leaving the superb British series MI-5 aka Spooks (Netflix it immediately if you’ve never seen it), I was crushed. I adored RPJ as the dashing yet troubled Adam Carter and wondered how they’d do without him. Admittedly, I wondered the same thing when Matthew Macfadyen abandoned ship and RPJ took over and did just fine, if not better. In an early interview not long after starting work on the series, RPJ had said he was grateful to be there and had no plans to go anywhere. So when I heard he was quitting, I thought, “Why?! Don’t be a David Caruso!”

Turns out he had a good reason. According to the Hollywood Reporter, RPJ is coming to America to work for Jerry Bruckheimer! Whoo! He’ll play a former cop leading a bunch of amateur detectives in an ABC pilot. Sounds like he’ll get to do some of the action stuff he was very good at on MI-5 and I’d imagine the pilot has a good chance of getting picked up since hit-machine Bruckheimer is behind it. (For an update on the show, click here.)

While RPJ was on MI-5, I always had to wait two frakkin’ long years after the episodes aired in England before the DVDs became available here. The thought of possibly being able to see him on the tube every week is quite exciting for me. And he’ll join my other favorite guys on TV right now, all of whom just happen to be from overseas: Hugh Laurie (House), Damian Lewis (Life), Simon Baker (The Mentalist), Kevin McKidd (Grey’s Anatomy), Jemaine Clement and Bret McKenzie (Flight of the Conchords).

Who’s your favorite foreigner on TV right now? Vote in the poll below!

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AMERICAN IDOL Season 8 — Top 13 Compete

I went into Michael Jackson-theme night with high hopes because whatever you may think of him as a person, the guy’s had tons of good catchy hit songs. But does that mean the contestants chose those good songs? No. Some of them chose such dreary, obscure ones that I was sure Barry Manilow wrote Scott MacIntyre’s selection, “Keep the Faith.” But I’m getting ahead of myself. Let’s break it down.

Lil Rounds, aka Loud Rounds, started the night with “The Way You Make Me Feel.” I like the energy and the song but every note was sung exactly the same way—loudly. The way she made me feel was to turn down the volume. It’s too much of a good thing. The girl’s got pipes for sure but some moderation and variety would be nice.
Scott MacIntyre accompanied himself on piano while singing “Keep the Faith.” Which? Yeah, I didn’t know it, either. That’s because it was never released as a single and there’s good reason—it’s utterly forgettable. If you offered me a new Buick to hum it right now, I couldn’t. It’s awesome how well Scott can play piano and overcome his visual impairment but I realized tonight that every performance will probably be exactly the same because it’s not as if he could do an uptempo song and dance around. He could still have a career as an Elton John-type of artist but he’s not the kind of “package” performer the producers are looking for.
Danny Gokey. Ooh, I was scared when he did those slow runs at the start of “P.Y.T.” I thought, “Please, no, don’t put me to sleep.” But then he ripped the mike off the stand and funked it up! He sang the crap out of that song! The dance moves made him look like a spastic chicken but I didn’t mind because he looked like he was having buckets o’ fun.
Michael Sarver went next, showing his sensitive side with “You Are Not Alone.” Well, I can’t be alone in thinking the performance was completely vanilla, right? He’s got a solid voice and seems like a stand-up guy (reminded me of Josh Gracin from season 2) but has no star quality.
Jasmine Murray. That girl sure is pretty and her sisters are gorgeous, too, but her cover of “I’ll Be There” was safe and unspectacular. I was just thinking how she came off a little Stepford-ish when Simon said, “You’re a little robotic” and I freaked. Simon’s inside my head! Jasmine needs to show me more of her personality before I can get more excited about her.
Kris Allen. I like this kid with his guitar! Makes him so much more interesting to watch. “Remember the Time” is not the most riveting song but he made it more fun by John Mayering it up.
Allison Iraheta, doing another obscure song, “Give In to Me.” She’s got such a great, gravelly voice, though, that she managed to rock it out. That little girl’s a powerhouse! But she’s got to stop making those goofy, awkward faces while listening to the judges’ feedback. Put on a game face and own it, girl!
Anoop Desai, bravely taking on “Beat It.” I was excited when he announced this song choice but oops, what happened? The vocals weren’t great. That song needs a whole lotta ‘tude and Anoop didn’t quite bring it. I dig the makeover, though, and still want him around for next week.
Jorge Nunez sang “Never Can Say Good-bye” in a cheesy, ’70s-style arrangement. But his vocals are consistently passionate and if you close your eyes, he sounds just like Marc Anthony in places. My favorite comment of the night came when Jorge said he wasn’t going to sing “Bad” and Simon retorted, “You sort of did.” Ha!
Megan Joy Corkrey. She sang “Rockin’ Robin,” which is a really quirky choice but perfect for her persona. She’s so wacky and fun and retro and Duffy-ish with the funky dance moves and I love her. Not the best singer but my favorite entertainer. And her mom is stunning! No wonder Megan’s gorgeous.
The Hellmouth aka Adam Lambert tackling “Black or White” in a bombastic, seizure-inducing manner. He’s got an impressive falsetto but I can’t deal with his shrieky style. He’s never met a note he didn’t want to kill, and I don’t mean that in a cool, slangy way. Judges loved him. Even Simon betrayed me. Sadness.
Matt Giraud, playing the piano and singing “Human Nature.” It’s an underwhelming performance but the song is underwhelming. The guy is talented; I think it was just a matter of bad song choice here.
Alexis Grace. Her baby said, “Seacrest. Out” in the video package! Cutest. Thing. Ever. (The baby, not the catchphrase.) I thought Alexis shredded “Dirty Diana.” She was a little bit dirty and a lot hot mama as she slinked across that stage in her shorts jumper and high heels and confidently belted out the song. I was completely confused by why the judges thought she oversang it when they praised Adam Lambert for being over the top.

Random thought apropos of nothing: Did Paula have some kind of plastic surgery gone wrong? Her face looked different tonight, like a younger Joan Rivers on bronzer. Something was too sharp or too tight or something.

Anyway, I voted for Megan, Anoop, Danny and Alexis. I think bottom two will be Michael Sarver and Jasmine Murray.

Who’d you vote for? Who’s saying buh-bye tomorrow? Discuss!

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When Will TIME TRAVELER'S WIFE Travel to Movie Screens?

A source of mine sent me the following e-mail after attending a test/preview screening of The Time Traveler’s Wife. Please keep in mind this isn’t a formal review. The movie is still a work in progress and may differ greatly from the final cut.

Having said that, there’s a huge bunch of people rabidly anticipating this movie and I’m near the head of the line. I read Audrey Niffenegger’s magical book when it first came out in 2003 and promptly forced it onto any and all unsuspecting victims within reach. I made my sister stay up all night on a weeknight to finish the 525-page tome and she has a job.

At any rate, what my source reports is promising:

“It’s a testament to the quality of the story and Rachel McAdams’ luminous talent that this movie is as moving as it is, considering how wooden Eric Bana is as Henry. He’s really stiff, not quite a romantic hero. Someone like Colin Firth would’ve done a much better job. At least McAdams is well-cast. She carries this movie with her longing eyes and expressive face. This woman is a Movie Star. The actresses playing 10-year-old Alba and 6-year-old Clare are also very good.

Amazingly, the complex novel has been compressed into a well-paced movie that’s only about an hour and a half. The first scene introduces Henry’s time-traveling right away without much preamble, which is good, since it grabs you instantly, even if you haven’t read the book (I have). Obviously, details have been left out but the movie covers all the important themes—free will, destiny, true love, life and death, etc. The ending, at least in this version, is different from the book but keeps the spirit of what Henry was trying to tell Clare in the novel. It’s effective and satisfying and if it doesn’t make you cry or at least put a lump in your throat, you’re a heartless jerk.”

Whoa! Who’s excited with me?! (UPDATE: Read my exclusive interview with the young actresses who play Alba here.)

IMDb still lists the release date as February 2010, but does this report help you any? Does it make the wait easier or do you wish you could travel to next February? Leave me a comment then bookmark this site ’cause I’ll keep you updated if I hear anything else, i.e. info about Niffenegger’s new novel or when the trailer comes out.

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CD Review: Kelly Clarkson’s ALL I EVER WANTED

One of my pet peeves is driving along next to someone who’s got their stereo cranked up so loud, I can feel the sound vibrations thumping through my chest wall, jacking my heart into a near-attack. I mean, does anyone need to listen to music that loudly? Well, yes, if it’s Kelly Clarkson’s new CD. Listening to All I Ever Wanted (dropping March 10), I just wanted to open the sunroof, turn the stereo up to 11 and go roaring down the freeway, pumping my fists in the air and hollering, “Hell, yeah, she’s back, baby!”

I’m not going to rehash all that business about her feud with Clive Davis over the direction of her last album, My December. All you need to know is that this one is chock full of catchy hard pop songs that you’d need a lobotomy to get out of your head, even after one listen. Kelly’s having fun here and it’s evident throughout, starting with that cover art, which sets the tone for the collection—it’s bright and bursting with color.

My favorite cuts: “I Do Not Hook Up,” the ridiculously catchy anthem for abstinence, co-written by Katy Perry and Kara DioGuardi, that manages to be both tough and sweet; the funky title track with the thumping beat, R & B feel and searing chorus; “Long Shot,” a staccato-rhythmed cut also co-written by Perry, and the be-boppy, ’60s girl-groupy “I Want You,” where Clarkson is all bouncy bubble gum and not the least bit moody or angsty. It’s a different sound for her but it’s fun and it works.

There are a couple of pretty ballads, too. “Cry” is reminiscent of “Breakaway” and “Already Gone” slightly echoes Sinead O’Connor’s “Nothing Compares 2 U.” Less talented singers sometimes bore me when they slow things down because they end up revealing the shallowness of their vocals. Clarkson has no such trouble. Slowed down, funked up, stretched out, whatever—her blazing voice can do pretty much whatever she wants it to.

Lyrics-wise, there’s nothing groundbreaking here. Most of the songs deal with relationships—pining for a guy or trying to get over a guy. But hey, Clarkson’s not going for songwriter of the year (she co-wrote some of the songs). What she proves with this album is that she can enjoy herself while still giving the public what it wants.

Nerd verdict: All you want in a Kelly Clarkson album

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AMERICAN IDOL Season 8's Top 13 Finalists!

Tonight’s wild card show went mercifully fast, with a lot of business wrapped up in an hour instead of stretched out to two. Eight wild card performers competed for the remaining three spots in the top 12 and after a commercial break, the judges, who obviously had their minds made up before the show, announced who should go through. They threw in a little twist by picking four people instead of three but I say “little” because there really wasn’t any chance they wouldn’t put Anoop through after all the superlatives they threw at his “My Prerogative” performance.

The other finalists selected tonight were Megan Corkrey (yay!), Matt Giraud and Jasmine Murray. Those are pretty good choices but I’m sad my girl Jesse Langseth didn’t make it. As usual, she was smoking hot (singing “Tell Me Something Good”), the performer with the most confidence and stage presence. Somebody needs to snap that girl up for a recording contract.

Which rejected wild card contestant did you think should’ve advanced to the next round? Vote below and see if others agree with you!

[polldaddy poll=1429873]

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Reviews of New Movie Trailers

These movies won’t be out for at least a couple of months but trailers are available so I thought I’d review them. Trailers are an art in their own right—they only have a few seconds to grab you by the throat and make you want to start saving up for that $12 ticket and $10 bucket of corn. Take a look by clicking on each title and let me know if they succeeded.

Public Enemies — July 1. The trailer just became available and it looks slick and sexy. Johnny Depp as John Dillinger is being chased by Christian Bale as Melvin Purvis but makes time to flirt with the slinky Marion Cotillard. Somewhere admidst all the gunfire Dr. Manhattan—er, Billy Crudup—shows up, too. Rating: Hot.

Ghosts of Girlfriends Past — May 1. Why do people continue to give Matthew McConaughey leading roles? When was the last time he made a good movie and/or showed any kind of acting chops? Failure to Launch? Ha! Fool’s Gold? Please. Here, he plays a womanizing jerk who’s about to ruin his brother’s wedding until ghosts of girlfriends past pay him a visit to teach him about true love. Oy. The beautiful and talented Jennifer Garner is too good for him. I’d be watching the movie, yelling, “No, Jen, move along! He’s an idiot!” so what would be the point? Incidentally, many years ago, Disney almost made this movie with Garner’s hubby, Ben Affleck (Garner wasn’t attached), but then pulled the plug on it. New Line probably should’ve let Ghosts stay dead. Rating: Sucks Dirt.

Funny People — July 31. The Apatow Dumpling Gang is all here—wife Leslie Mann, kids Iris and Maude, Seth Rogen, Jonah Hill—in Judd’s third feature as director. Add Adam Sandler as a stand-up comic who learns he might be dying. Unfortunately, I feel as if I’ve seen the whole movie from the trailer and wasn’t that amused by it. Apatow said he wanted to make a serious film “that is twice as funny as my other movies.” I think he succeeded with the serious, but the funny remains to be seen. Rating: Okay. (UPDATE: Here’s a pseudo-review by a source of mine who attended a screening.)

Angels & Demons — May 15. Tom Hanks is back as Robert Langdon with only slightly better hair. I thought The Da Vinci Code was unwatchable but this trailer looks kinda tight. Rome is one of my favorite cities so seeing it used as a backdrop increased my interest a little (didn’t read Dan Brown’s book; don’t plan to). Ewan McGregor, Stellan Skarsgard and Armin Mueller-Stahl also pop up, looking very intense and/or evil. Rating: Good.

Inglorious Basterds — Aug. 21. I thought this trailer was hilarious and am not sure whether Tarantino intended it that way. But watching Brad Pitt say, “I want my scalps!” in his Southern accent and then Hitler throwing a fit, yelling, “Nein, nein, nein, nein, nein, nein!” made me laugh. I’m not sold on what seems to be an ultra-violent movie (I ran screaming from the room during the ear-cutting scene in Reservoir Dogs) but the trailer was amusing. Rating: Good.

The Taking of Pelham 123 — June 12. John Travolta’s baddie and Denzel Washington’s good guy go head to head in matching goatees, with Travolta taking hostages on a subway for ransom. Looks like lots of action, which is expected in a Tony Scott movie, but it all looked generic. Nothing stood out as awe-inspiring like, say, last year’s Wanted trailer, which showcased craaazy, mind-blowing stunts with Angelina Jolie in a red sports car and a guy who jumped out a window at the camera, his face a mask of broken glass pieces. Rating: Okay.

So, you excited about any of these? What are you saving up your loose couch change for?

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AMERICAN IDOL Season 8 — Group 3 Finalists & Wild Card Contestants Revealed!

Here’s what you want to know: Scott MacIntyre, Jorge Nunez and Lil Rounds were voted into the top 12 by the public. After that was settled, the judges picked 8 previously rejected contestants for the Wild Card round, which takes place tomorrow.

All my faves were given another chance—yay! I’m talking about Anoop, Megan Corkrey and Jesse Langseth. I was so psyched even the selection of Tatiana was only a minor damper (though my mouth did drop open and my chicken almost fell out). Gross, I know, but so’s having that girl forced upon us again.

I’m keeping this short so I can go do my finger-stretching exercises to prepare for some furious dialin’ action tomorrow night. ‘Noop, Meg and Jess have got to advance to the next round. They’re the most unique from this bunch so c’mon, America, don’t let them down again! If you vote Tatiana through, I will hunt you down!

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AMERICAN IDOL Season 8 — Group 3 of Semi-Finalists

During the first half of this show, everyone was so boring I felt like we didn’t need this group at all. There was enough rejected talent from the first two groups (Anoop, Jesse, Megan, for starters) to stock the top 12. It wasn’t until Felicia Barton came out to sing Alicia Keys’s “No One” (she was 8th) that the show kinda got started for me. But let’s start at the beginning.

Von Smith, the loudest kid in town, went first. He sang “You’re All I Need to Get By” by Marvin Gaye and Tammi Terrell and was surprisingly, thankfully restrained (I can cancel my appointment for the ear doctor tomorrow). He’s got a good voice and is awfully cute—I kept thinking Donny Osmond circa 1976—but he’s just not special enough for me to root for.
Taylor Vaifanua covered Alicia Keys’s “If I Ain’t Got You” and made a huge stinkin’ mess of it. It was too low for her in the beginning and then too high when she got to the chorus. Oddly, she was passionless throughout her performance but then cried rivers after she was done. If she’d put that much emotion into the song, maybe it would’ve been better.
Alex Wagner-Trugman. I actually like this kid’s “dorkiness” but oof, that performance was all wrong. He sang Elton John’s “I Guess That’s Why They Call It the Blues” while dancing and kicking over the mike stand, which didn’t fit the song’s content at all. His voice isn’t bad but I don’t think he had any idea what he was singing about. Simon said it best when he said, “You’re like a little hamster trying to be a tiger.”
Arianna Afsar didn’t like getting this far just for being “cute as a button” so she attempted ABBA’s “The Winner Takes It All.” Ooh, no—bad song choice. Afsar doesn’t have enough life experience for this song, though her voice is powerful and has lots of range. The slow, dreary arrangement did her no favors and the poor girl looked like she was going to cry during the judges’ comments. I thought I was gonna cry if tonight’s show didn’t get much better.
Ju’Not Joyner turned Plain White T’s “Hey There Delilah” into a smoof, R&B slow jam. It was nice but not electrifying enough to make me start dialing. He was entertaining when he admitted he’d gotten a cortisone shot right in his butt and that it hurt.
Kristen McNamara spunked up Tracy Chapman’s “Give Me One Reason” by making it more uptempo. I like her big, booming voice and sassy personality but not her Stepford-wife look.
While listening to Nathaniel Marshall butchering Meatloaf’s “I Will Do Anything for Love,” I thought, “I would do anything if you’d just stop the torture.” His voice just doesn’t have enough heft to carry off this big song. He was nowhere near Meatloaf territory, more like a ham sandwich. The entire performance with the gawky dancing was so disastrous it would’ve scored a 10 on the Richter scale if it were an earthquake. Consider this a flood warning ’cause he’s gonna let loose the waterworks when he gets kicked off tomorrow.
Felicia Barton, who got brought back after Joanna Pacitti’s disqualification, sang Alicia Keys’ “No One” and made me wonder what the dickens the judges were thinking when they sent her home originally. This girl was hot! Her voice cracked a little and she went off-key on a few notes but whoo, she’s got pipes! Paula said, “Isn’t it funny how the universe works?” I thought, “No, it’s funny how YOU work, dismissing her in the first place.” Sheesh.
Scott MacIntyre covered “Mandolin Rain” by Bruce Hornsby and the Range. Sorry—I think the judges are being overly nice to him because he’s legally blind, which is rather patronizing. He seems like a nice guy but his voice is bland and utterly forgettable. No way I’d recognize it if I heard it on the radio (like I would Kelly’s or Carrie’s or Clay’s) but the judges raved about how he moved mountains (what?!) and his passion and how much he wanted this. Doesn’t everyone?
Kendall Beard sang Martina McBride’s “This One’s for the Girls.” Well, at least she knew her audience. I think she’ll advance because she’s very pretty, dressed well and little girls probably love her the way they love Barbie dolls and princesses. There’s nothing wrong with that—I’m just a little old for it. She sounded decent enough but came across processed like a beauty pageant contestant.
When Jorge Nunez said he selected Elton John’s “Don’t Let the Sun Go Down on Me,” I groaned. Why do so many contestants pick this tedious song? I thought Jorge’s passionate voice deserved something spicier. But wait—he blew it up! He injected some fire and emotion into it and was easily the best male vocal of the night. By the way, what’s with the fuss about his accent? I love it and hope he speaks and sings however he does naturally. Also, Drama Queen Nate can take lessons from Jorge on how to cry endearingly on camera instead of making us want to slap him.
Lil Rounds. I’ll admit—she looked great and sang great, but I wasn’t blown away by her rendition of Mary J. Blige’s “Be Without You.” She was technically on point but her interpretation didn’t give me goosebumps or evoke any kind of emotion in me. Remember when Fantasia sang “Summertime”? Or even when Jason Castro sang “Hallelujah” last year? Lil never makes me feel like that. It was clever how she worked in the line “Call this show if you can’t be without me” and the judges have been force-feeding her to us so she’ll probably make the top 12.

In the end, best for me were Felicia, Jorge and, technically, Lil. I wish there were room for Kristen, too.

Who did you vote for? Where you as bored by this show as I was? Post in the comments!

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No Limits on the Horizon for U2

So, U2’s dropping a new album Tuesday (download it from Amazon for only $3.99!) and I’m excited, having been a fan since 1980. But when it came to doing a review, I knew the best person for the job would be my contributing writer, Debbie DeNice, the resident U2 expert. I’m telling you—she’s got a Master’s degree in Bonology and has traveled the world to see them live (from the pit, baby). She turned in the following review plus exclusive photos she took herself. Enjoy!

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Uno. Dos. Tres. Cinco. Cinco? Yes, cinco. That’s how many years have passed since U2’s last studio album, How to Dismantle an Atomic Bomb. This Tuesday, U2 will release No Line on the Horizon and Club Vertigo, with the boys who play rock and roll and the girls with crimson nails, has been left behind. We’ve walked out in sexy boots because the future needs a big kiss—along with some love and community.

Most certainly this album is a departure for U2. Listening to it for the first time I thought, “This doesn’t sound like U2.” My second thought was, “This doesn’t sound like anyone other than U2, either.”

They began work on NLOTH with Rick Rubin, a producer known for his “stripped-down” sound, creating naked vocals and bare instrumentation. For whatever reason, their teaming with Rubin ended (two songs completed with Rubin, the cover of the Skids’ “The Saints Are Coming” with Green Day and “Window in the Skies,” were released on U2’s 18 Singles compilation album in 2006) and they reunited with Brian Eno, Daniel Lanois and Steve Lillywhite. Out went the back-to-basics rock ‘n’ roll of Atomic Bomb and in came the experimental, sonically textured NLOTH. And it works. It rocks.

The standout tracks for me: “Magnificent,” “Moment of Surrender,” and “White as Snow.” Each of these songs begins pared down, stripped bare with only an instrument or a vocal. A sonic focal point on the water that slowly amplifies by layering tones, vocals, and instruments, sending rippling sound waves out onto the horizon.

The range of sounds and the texture of tones that NLOTH brings are unexpected and welcomed—‘70s rock, folk music flavor, and a touch of otherworldliness. The sound of a droning organ and a fat, fuzzy, or distorted guitar prove that when it comes to rock musicians, the Edge is in rarefied air. Bono is in brilliant voice and writing some beautiful lyrics that touch on themes of love, war, transcendence and being Bono. While Bono and the Edge get most of the attention, the rhythm section consisting of Adam Clayton and Larry Mullen, Jr. kick ass. Funky bass grooves and staccato drumming add to the richness of this aural pleasure that is NLOTH.

This is a transitional album for U2, in the same vein as The Unforgettable Fire and Zooropa. As such, it may take awhile to be fully appreciated but U2 is back. Back with big sounds, big ideas and a big voice, though some may argue—a big mouth. As I heard Bono say recently, “U2 are not going anywhere anytime soon.”

Tour information goes up on their website (U2.com) next Monday, March 9th. Rumor has it they may have some recession-priced tickets so check them out this summer in a city near you. I, for one, can’t wait to meet them in the sound!

Rating: Brilliant

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AMERICAN IDOL Season 8 — Finalists from Group 2

Let’s get right to the point. The 3 who made the top 12 from this bunch were Allison Iraheta, Kris Allen and Adam Lambert. Save for the choice of Iraheta, who has an incredibly powerful voice and kinda looks like early Kelly Clarkson, I’m hugely disappointed by the results. I thought we’d get 2 girls and 1 guy since the girls were so much better last night. But no, we got 2 guys—1 white bread, 1 cheesy. Together, they couldn’t even make a sandwich because there’s no meat in their performances.

Iraheta was the first one to claim one of those coveted stools after Ryan asked her, Jesse Langseth and Matt Breitzke to come center stage and then the latter two were sent packing. I was hoping against hope that red-hot Jesse would get in but I’m absolutely okay with Iraheta. Iraheta’s got a great voice; she just comes across so unformed and awkward whereas Langseth seems to be the more ready-for-prime-time performer. I hope she comes back for the wild card round.

Next up were Kris Allen, Megan Corkrey, Matt Giraud (looking more like Justin Timberlake every day) and Jeanine Vailes, in short shorts again. That girl ain’t stupid; she knows what her best assets are. But this is American Idol, not Miss America, and her shapely gams couldn’t save her from being eliminated. She’s going home and should stay there. Matt is also gone, but we might see him again, hopefully in front of a piano.

At this point, Kris Allen and Megan Corkrey were left standing together and told that one of them was a finalist. I was thinking, “Oh, no contest. Megan’s got this in the bag.” When Ryan announced it was Kris, I thought he was on crack or maybe April Fool’s came early. To me, this was the night’s most shocking result. Kris seems like a perfectly nice kid but he’s so vanilla and nowhere near as dynamic and compelling as Megan on stage. She’s definitely coming back; I’d put money on that. They need someone unique like her in the finals so that we don’t have a bunch of cookie-cutter contestants.

At this point, there were still about 30 minutes of show left so you knew they weren’t going to reveal the third finalist any time soon. Instead, we got a performance from season 7’s top-five finalist, Brooke White, who looked gorgeous (she was my fave last year). She sang her brand new single, “Hold Up My Heart,” (available on iTunes) which had a nice, ’70s feel to it. It’s not the best song ever but the chorus was pretty catchy. I love her raspy vocals and how she still plays the piano with one bare foot to work the pedals.

OK, back to judgment time. Mishavonna Henson, Jasmine Murray, Kai Kalama, Nick/Norman and Adam Lambert were brought down. There wasn’t one ounce of surprise when Henson, Murray and Kalama were told America just didn’t give them enough love. Which left Nick/Norman and Lambert still standing. This was so gross; I wanted them both gone. But again, after no suspense whatsoever, Lambert was declared the victor and we had to experience his hideous rendition of “Satisfaction” all over again. I might need therapy after being repeatedly subjected to such heavy trauma.

Next week, group 3 will perform: Nathaniel Marshall, Kendall Beard, Taylor Vaifanua, Kristen McNamara, Von Smith, Alex Wagner-Trugman, Felicia Barton, Lil Rounds, Arianna Afsar, Scott MacIntyre, Ju’Not Joyner, and Jorge Nunez. Are you excited about any of these people? I’m not.

Did you agree with the results tonight or were you disgusted like I was? Post me some comments!

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AMERICAN IDOL — Group 2 of Semi-Finalists

The girls were way better than the guys tonight and it burns me that the rules force us to accept at least one guy from this group into the top 12. There are three girls (Allison Iraheta, Megan Corkrey, Jesse Langseth) who should easily move on, but nooo, one of those shiny stools tomorrow night will be occupied by either a boring or ridiculously cheesy guy (Adam Lambert, I’m talking to you). Let’s break it down.

Jasmine Murray. She’s beautiful and can sing but her rendition of “Love Song” was a mess. The arrangement was too slow; it’s supposed to be a bouncy pop song. She over-‘tuded it up with the distracting, jerky choreography. Wasn’t one of my favorite females tonight.
Matt Giraud. Oh my goodness, I so wanted him to be the top male vote getter tonight but his perf of “Viva La Vida” was sooo bad. He kept gasping for breath and couldn’t hit any of the high notes. I love the song and really like this guy so this was a bummer. Now we’re probably stuck with cheesy Lambert.
Jeanine Vailes. What is going on tonight? Everyone’s bombing so far! We’ve never seen this girl and I was willing to give her a chance but after her atrocious take on Maroon 5’s “This Love” (a song I already dislike), I’m thinking it’s a good thing we haven’t heard her sing before and hopefully we won’t again. She admitted she might have overcompensated to get America to like her but I’m afraid she won’t get a second chance to atone for this.
Norman Gentle. I’m too tired to say much else about this guy. Please end the torture, America, and send him home.
Allison Iraheta. Anyone who has attempted to sing Heart’s “Alone” in recent years on A.I., I immediately compare, usually unfavorably, to Carrie Underwood’s searing version of it as a contestant four seasons ago. Iraheta’s performance wasn’t as good as that but she made me sit up and listen. She’s 16 and she can blow like that? Wow! It was a little shouty at times but she was way better than I expected.
Kris Allen. Who? I’ve already forgotten. He was definitely not memorable. For the record, he sang Michael Jackson’s “Man in the Mirror” but nothing about it stood out for me.
Megan Corkrey. I love this girl—she’s so quirky and sweet and charming and gorgeous. She stood there with an armful of tattoos and yet came off like Little Miss Sunshine in her white babydoll dress. She sang Corinne Bailey Rae’s “Put Your Records On,” which showcased her unique, funky voice. It was good to see her sing again after she was practically invisible during Hollywood week.
Matt Breitzke. I’m sorry, did you say something? I fell asleep during this performance of Tonic’s “If You Could Only See.” Everything about it was bland and half-baked and soporific. Too bad ’cause I liked when he sang “Ain’t No Sunshine” in his original audition. I think it ends here for him.
Jesse Langseth. I love me some Jesse! I just think this girl is so cool. She’s got grit and spunk and her voice is smoky and bluesy. She was captivating to watch with her slinky, sultry hip-swaying, and yet still came across like a pretty and accessible tomboy. When Simon said he didn’t think her performance of “Bette Davis Eyes” would incite people to jump on the phone and vote, I said, “That’s exactly what I’m doing!”
Kai Kalama. He sang “What Becomes of the Broken-Hearted” better than I expected but I just can’t find anything exciting about him. Not strong enough for the top 12 in my book.
Mishavonna Henson. Her singing of “Drops of Jupiter” wasn’t a Train wreck—she’s got a nice, strong voice—but there’s a little something too robotic and stiff about her. No personality comes through when she sings. I think she’s going home but she’s young enough to try for the third time next year if she wants.
Adam Lambert. When he first came out to start the Stones’ “Satisfaction,” I recoiled with such horror I almost fell off the couch. I was mortified by his opening, trying to seduce the camera with his eyes (I hate when contestants follow the camera around with their eyes!), and his fake snarling. This guy is such a poser. He thinks he’s a rock star but he looks and sounds like a girl. He thinks he’s singing rock and roll but he was doing a rock musical. When he tried to growl out parts of the song, I just laughed. Then the full-throttle, mouth-wide-open final note struck fear in me once again. It was like looking into the Hellmouth and hoping you don’t get sucked in.

I ended up voting for Megan Corkrey and Jesse Langseth but no guys. Judges’ pet Lambert will probably get the top male spot but at least I’ll be able to say I didn’t help put him there.

What did you think of tonight’s show? Did you like or hate Lambert’s performance?

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Video of Hugh Jackman Rehearsing for Oscars!

Check this out. Someone took footage of Hugh Jackman rehearsing for the Oscars in New York and Hollywood. Entertainment journalist Nikki Finke confirmed its authenticity. Hugh narrates it, shows off his ripped arms (those guns are huge!) and makes fun of David Letterman’s Oscar-hosting stint. It’s like watching a clip from Fame.

Can’t wait for the big show!

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