FRIDAY, 4th

GET HIM TO THE GREEK: See Russell Brand essentially playing himself and Diddy (that is his name now, right?) back on the big screen. In theatres nationwide beginning today.

SATURDAY, 5th

TOY STORY: Don’t be surprised when half the theatre for Toy Story 3 is filled with adults and teens. We’ve been waiting ages for this! (7pm/ABC Family)

Drop Dead Diva Giveaway: Party Like a Diva

Have your ladies’ nights been feeling a little repetitive and too traditional lately? Then let Poptimal help you out!

To celebrate the return of Drop Dead Diva on June 6, Poptimal has partnered with Lifetime to give away the ultimate prize pack that will help you Host a Party Like a Diva! The party kit contains multiple items in black, white, and pink hues. Mariah Carey – the ultimate diva – would most certainly approve (though we unfortunately could not add her as a prize).

Drop Dead Diva follows a beautiful-but-vapid model wannabe, Deb, who finds herself relegated to the body of a plus-size attorney, Jane (Brooke Elliott), following their deaths.  While the placement was accidental, it just might be divine intervention if it can help self-centered Deb learn to use her brain, rather than her looks to get by in life – with a little help from her loyal assistant Teri Lee (Margaret Cho).

Season one of this charming show will be widely release on DVD beginning Tuesday, June 1^st, but is available for giveaway here as part of our “How to Host a Party like a Diva” prize pack! What else can you find in this party kit? How about:

• Martini glasses (2)
• Acrylic Martini Shaker
• Pomegranate Rim Sugar
• Pomegranate drink mix (2)
• The Little Pink Book of Entertaining
• Platter
• Set of 4 Wine Charms
• Season 1 DVD of Drop Dead Diva

Here’s How To Win (No Purchase Necessary)
1. Post your comments about at least one (1) of our front page articles

2. Email your name, email address and name of the post you commented on to contests@poptimal.com. Put “Drop Dead Diva” in the subject line.

3.  Wait. We’ll be taking entries until Saturday, June 5th.

It’s that easy!

***Make sure that you supply a valid email address.

Guidelines
-Open to U.S. Residents only
-Entrants must be at least 18 yrs of age

Drop Dead Diva is coming back to Lifetime with all new episodes. Don’t miss Paula Abdul guest-starring in the Season 2 premiere – airing Sunday, June 6 at 9/8c on Lifetime.

The Real Housewives of New York Review: I’m on a Boat Part 2

Last week’s episode was crazy hilarious.

I have never actually laughed out loud during a Real Housewives moment, but this one had me laughing like an idiot. Simply put, Kelly, while a maniac, makes for great TV. She is seriously unhinged and the combination of her insanity and Ramona’s intoxication was priceless.

But first, let’s talk about prices. This trip was insane. Ramona rented out a yacht for her vow renewal blackout girl party, and if that wasn’t enough, she also rented out this sick mansion on a cliff for the women. It was crazy and huge and I’m sure she spent more on the accommodations for that trip than most people make in a year. After all the drama on the yacht, all future meals had seating arrangements, which is just awkward when you have a group of five. But even the seating chart didn’t calm the storm that is Kelly’s existence.

Rewind to Kelly being mentally unstable. After calling Bethenny a hoebag and claiming she is a cook rather than a chef, Kelly called Jill and cried that she thinks Beth is “creepy” and is probably going to kill her in the middle of the night. WTF. She seriously had a hissy fit temper tantrum in her huge ass bedroom. This was all brought on in the house because Bethenny gave little gifts to all the girls in the form of monogrammed beach bags that were stuffed with beachy stuff. Kelly got creepy because they were filled with Bethenny Skinny Girl products, but whatever. Whoever cries over free stuff definitely has some screws loose.

In a totally random move, Kelly decided she was a photographer and took Alex, Sonja, and Ramona to some beach to take glamour shots. It was weird enough, but then got super weird when she was trying to direct Alex and kept claiming she looked like a devil. I’m all for creative expression, but Kelly’s was just annoying and bitchy and something tells me those photos were crapos.

In what I couldn’t tell was a passive aggressive or nice move, Bethenny made dinner for the ladies. Kelly was freaking out early on. She was being rude on the phone during cocktail hour. She doesn’t like martinis. There was a hiccup over the seating arrangements. Things got crazy quickly.

Bethenny prepared (cheffed, if you will) a lovely meal for the gals. Presentation, taste, etc etc was glorious. Of course Kelly gets her panties in a bunch and soon enough was insulting Bethenny about coming on vacation when her father just died and accused her of trying to kill her and smearing her name in the media. WTF. Kelly kept attacking Bethenny for being creepy and Alex for being a demon and kept demanding that everyone zip it. She even told Ramona that she needed to zip it when she tried to have a reconciliation moment with Bethenny. Aside from being mental, Kelly is also a bitch because she is telling the woman who is paying for her five star existence right now to be quiet. Creepy.

Things just got weirder from here. Before I really thought that Sonja had no purpose other than claiming the Samantha role when the women ended up in groups of four, but she really did prevent any of the women from stabbing each other or jumping off a cliff. Once Kelly really got mental and was talking about jelly beans and lollipops, Sonja told the other girls to stop picking on Kelly because they were all sane, and Kelly legit has mental problems. Then again, she was saying all of this in front of Kelly’s face, but for better or worse, she was the voice of reason. Touche, Sonja.

Back on the Good Island, Jill and LuAnn had dinner, and Jill announced that she planned on surprising Ramona in St. John. You would think she wouldn’t follow through with this ridiculously selfish plan given the many red flags and psychotic phone calls from Kelly, but previews prove that Jill will rain on Ramona’s parade in a week’s time. Creeper.

Season 3, Episodes 12: Sun, Sand, and Psychosis (originally aired May 20, 2010)

For more on The Real Housewives of New York, click here.

Thursdays at 10/9c on Bravo

Photographs courtesy of Bravo and Mitchell Haaseth.

Sex and the City 2 Review: Too Little Sex, Not Enough City

Is Sex and the City 2 glitzy and glamorous? Of course. If there’s one thing director and writer Michael Patrick King, Sarah Jessica Parker and costume designer Patricia Field know well it’s how to do things in style. Is it carefree, fun and funny? Well, that’s highly debatable. Sure, it was nice to look at the pretty people, in the pretty dresses, wearing pretty shoes and in pretty places, but the characters I’d grown to love and connect with, the situations they put themselves in, even the things they said felt contrived. I half imagine King pointing the barrel of a gun at SPJ, Kim Cattrall, Kristin Davis and Cynthia Nixon, forcing them to act scene after scene out in what amounted to a two and a half hour letdown.

I was frustrated after the last Sex and the City film, especially given the “twist” ending, but I won’t elaborate so as not to spoil anyone who’s still attempting a back-to-back viewing. Overall, the film became extremely depressing, something I wasn’t prepared for. Given that I thought Sex and the City: The Movie was supposed to be a one-time thing (how naïve of me), I wasn’t content with the overly dramatic wrap-up of the storylines for ladies who have definitely carved out a well-defined little niche in pop culture land. But I was wrong, so in a way, I felt that this was an opportunity to right a wrong in my eyes.

FALSE. People complained about the end of the Battlestar Galactica journey. I was satisfied. People are still debating the Lost finale. I was utterly and wholly satisfied. Yes, I was. But King didn’t seem to care much about correcting any past failures. In fact, I think the girl spiraled into sad, ridiculous caricatures of themselves, and that’s the greatest disappointment.

On the grounds of business and pleasure (what else with Samantha), she’s invited by a sheik to his palatial hotel in Abu Dhabi free of charge. And a fabulous lady doesn’t go anywhere without her fabulous friends, so Carrie, Charlotte and Miranda get to tag along. Along the way, the girls tackle marital issues, motherhood struggles, menopause and career problems. They somehow manage to spend a lot of time skirting and punning around the culture, restrictions and history of women in Arab society. All that, and they still manage to say a whole lot of nothing. All of these things could have made for rich story-telling if stretched over a few episodes and developed, but as a movie, these storylines never found their footing.

The gluttony, showiness and whininess of our characters just made them look like spoiled brats who have worked to achieve everything they’ve ever wanted and are still not happy. Maybe this is true to life, but if so, it still doesn’t make our characters very endearing. Then, there’s the acting. At times, when the characters are in crisis, I felt their pain and saw their emotion, and other times I could just cringe at how over the top they approached fights, and especially jokes, were approached. Clue: I know a joke when I hear it, and more emphasis does not make it funnier. Plus, I missed my boys. Aiden (John Corbett) did look fine, but besides Mr. Big (Chris Noth), very little time was spent with Harry (Evan Handler) or Steve (David Eigenberg). You blinked, and they were gone. Yet, there was still time to watch Liza Minnelli perform “Single Ladies (Put A Ring On It)” in its entirety.

This leads me to my last point. Because the action was moved overseas, there was very little city. And because our characters were separated from their lovers and in a sexually conservative country, there was also very little sex. Sex AND NYC had become two important characters in the show, so it was painful to see them discarded. And they took most of their magic with them too.

Now, did I laugh? Of course. The best part about Sex and the City is you can see a piece of yourself in different characters at different times. This, and some great writing and acting during the series run, is the reason so many women feel connected to the show. And the studio will count success by the number of dollars it pulls in, which will be a lot. So while SATC2 will never be a failure, I’m saddened that it sort of failed me.

Photo by Craig Blankenhorn – © MMIX New Line Productions, Inc.

American Idol Review: Guess Who DeWinner Is?

At last, readers, the time has come to bid American Idol adieu as Season Nine came to a close this week not with a redemptive bang, but with an unsurprising whimper. It will be interesting to see how Season 10 fares next year with both an unmistakably lower following (courtesy of this disappointing season) and an as-yet-unnamed replacement judge. While Tuesday’s performance show rightfully focused on final two contestants Crystal Bowersox and Lee DeWyze, Wednesday’s two-hour finale took every opportunity to say goodbye to our favorite dryly droll denizen, the dearly departing Simon Cowell, in as many obnoxiously unfunny ways as possible, rather than allowing the event to showcase the entire point of this monstrous ordeal: to reveal the next American Idol. By the very end, Seacrest finally remembered to announce who actually won the darn thing, the results sadly confirming my sneaking suspicions and paving the road to middling fame and fortune for our likable, but wholly undeserving, winner.

Tuesday night’s performance episode gets right down to the nitty gritty, but only after a blippy retread of preliminary hopefuls’ faces are flashed before our eyes. The images halt upon Lee and Crystal’s respective Idol mug shots, taken when they were both unknowns vying for Golden Tickets to Hollywood. What does it take to be an Idol? Is it just luck? Or is it something else? These burning questions scroll across the screen as we witness months-old audition footage of Lee and Crystal, then just two hopefuls in a crowd of thousands, informing us that one of them could be the next American Idol. A medley of season highlights, admittedly well-edited to look as though this season provided far more musicianship and excitement than it actually did, is shown next to help Seacrest needlessly drive the point home for the last time this year: “This is their final chance. And this is American Idol!” And so it goes.

I assure Seacrest through the pixels of my television screen that I am, indeed, “ready to get this party started” as he reminds us that Lee and Crystal both originally auditioned in Chicago and are both, in fact, 24 years old – not a particularly impressive coincidence, given both the age parameters and geographic limitations of the auditions. Randy’s lack of social tact reaches epic proportions as he continues to boo Simon during his last introduction on the show, and Seacrest tells us to “get on your feet!” as Lee and Crystal make their grand entrances through the aisles of the Nokia theater. Lee is arguably more graceful than Crystal, who drops her mic, but far more smug, wearing his I’ve-got-this-in-the-bag smirk like a brand new tuxedo. I pointedly groan at him the same way I answer Seacrest’s rhetorical questions: as though he can actually hear me. Realizing my descent into madness, I become confident Idol and I are wisely parting ways after Wednesday night’s results. “This is a lot of people!” exclaims Crystal to the cheering crowd of 7,000. “This is amazing! Hello everybody!” shouts Lee, adorably enough to forgive his rather pompous entrance.

Seacrest says the finalists will be singing three songs each: one of their own choosing from the preceding semifinal rounds, one chosen for them by Idol czar Simon Fuller, and one that will end up being their debut single if crowned the winner. As for the runner-up, I assume their third song will fade into immediate obscurity. Heck, the winner’s single might, too. Anyone remember Taylor Hicks’ victory tune? How about Ruben Studdard’s? Me neither. Crystal won the unseen “coin toss” that gave her the choice of performing first or second. Wisely, she “chose” second, but I’m not putting it past the producers to guiltily hand her this spot to make up for the shameless spectacle of predilection they provided Lee with last week.

For his first song, Lee’s chosen “The Boxer,” a moment that definitely solidified his standing as a real contender in this competition, but if it had been up to me I would have chosen “Treat Her Like a Lady.” His resounding performance of the latter tune perked up my ears far more than his sleepier rendition of the former, although I’m definitely on board with most things Simon and/or Garfunkel. To Lee’s credit, tonight’s version of “The Boxer” sounds more polished than his initial effort and I’m stamping a modestly tentative approval. However, considering this is the finale, for crying out loud, I must admit I invoke little to no Adam Lambert-esque star power or Kelly Clarkson-worthy vocal prowess from Lee and realize I’ve lowered my standards throughout the course of this season without realizing it. It’s okay, but not the performance of an Idol. It’s just not.

Randy, reliably unable to form his own series of opinions, regurgitates the same go-to comments fit for any final contestant in Lee’s position. “Great way to start it off,” he begins, before devolving into an even more redundantly nonsensical state, saying tonight is “gonna come down to the duel to the finish.” Well, yeah. Ellen tells Lee, “I couldn’t be prouder if I birthed ya myself,” a statement only made endearing because it’s coming from Ellen, while Kara instructs Lee to “punch harder.” I take that as a nicer way of saying “suck less,” but Kara continues her non-critique by telling Lee she enjoyed the performance as a whole because “The Boxer” is “a meaningful song that tells [his] story.” Whatever. Simon’s way of telling Lee to suck less is by saying the performance was akin to “a kiss on the cheek” when he, in fact, wanted “a kiss on the lips.” “Yeah! YEAH!” echoes a wistful Randy, surely wishing he possessed the ability to form analogous comparisons of his own. B

Crystal and her dad wax nostalgic about her discovery of a guitar in the house while snooping for Christmas presents, and how life as she knew it hasn’t been the same since. Dad succinctly states, as objectively as a dad can, that Crystal was “born” to be a musician, and was “gifted with the voice and talent to do it.” Unlike most dads who make statements like these about their kids, this dad seems to be right. While I was hoping for Crystal’s choice to be “People Get Ready,” in my opinion her most crowning achievement to date, I’m more than okay with her ultimate decision, Janis Joplin’s “Me and Bobby McGee.” She rocked it the first time around, thus I have no doubt she can rock it again. Indeed, Crystal’s “Bobby” takes Lee’s “Boxer” to school, and round one is coming up Bowersox. To me, she sounds like someone far more likely to garner actual paying attendees at an actual concert venue than Lee, who would surely captivate the adoring crowd at any frat party or Sweet Sixteen, but nowhere else I can think of. The performance shines a light on everything I’ve loved about Crystal throughout the season, and the judges think so, too.

“I hope you make a record like this,” Randy tells Crystal, while Ellen marvels at Crystal’s ability to be “so compelling on stage” with just her voice and guitar. “I loved it then, I love it tonight,” raves Kara, adding “you’ve got fire in your belly tonight,” as a testament to Crystal’s obvious desire to win. Simon says “Bobby” reminded him of the “time when we absolutely fell in love with [her],” calling the performance “terrific.” I couldn’t have said it better myself. A

 Before I get too comfortable with Crystal’s early domination of the evening, I’m startled by Simon Fuller’s rather shrewd song choice for Lee’s sophomore effort: R.E.M.’s classic anthem of angst, “Everybody Hurts.” Well played, Fuller, well played. I can hear the choir and timpani drums already, not to mention the soft sniffle of swooning teens nationwide. Sigh. To my delight, however, Lee starts off unabashedly off-key and far more eager than the song mandates – he does know it isn’t supposed to be uplifting, right? However, Lee does find a somewhat suitable groove midway through and the clever arrangement avoids the repetitive, maudlin nature of the original. His extended notes are actually quite pleasant and the choice as a whole is both interesting and unpredictable.

Randy tells Lee he could “feel [his] passion” during that performance despite starting off, yes, “kinda pitchy.” Ellen actually says she doesn’t “really care about” Lee’s pitch problems (she’s clearly not the only one), but wishes he wouldn’t have “pulled back” just when he was starting to really get into the emotional climax of the song. After commending him for being “emotionally accessible,” Kara tells Lee the performance “wasn’t a perfect vocal, but I love that about you.” Um, I don’t. Why would you “love” someone’s inability to sing properly on a singing competition? Simon chalks up Lee’s lack of dominance thus far tonight to a simple case of nerves, but praises the “brilliant” song choice – something Lee had nothing to do with. “I want a 10 out of 10,” Simon warns Lee about his upcoming final performance, “because I know you’re capable of it.” So far, Idol’s de facto Golden Boy has yet to meet expectations tonight, but I sense the voters, like Kara, actually love that about him. Again, I don’t. B-

Fuller’s song for Crystal surprises me just as much as his interesting choice for Lee. Alannah Myles’ “Black Velvet” doesn’t have the kind of folky basis Crystal usually gravitates toward, but its smoky, blues-driven essence could carve an unexpected new direction for her. Alas, instead she’s off to a shaky start as she carefully tries to saunter down the staircase during the first few bars but can’t make it more than a couple of steps without looking down at the ground to secure her footing. Crystal is clearly not the slinky, cabaret type and I fear this arrangement could be throwing her off as she misses a note here and there, trying to overcompensate with a few too many throaty wails. However, in true Crystal fashion, she wraps things up nicely by nailing the last measure so accurately I forget about her preceding rough go of it. The judges do, too.

Randy shouts about how Crystal has been “in it to win it … since day one,” adding such glistening non-sequiturs as, “That was hot! HOT!” and, “Now we’re talkin’!” Ellen teases Crystal about being plucked from her element, noting how her black satin dress indicates costume changes “like a Cher concert,” but calls the performance “FAN-tastic” nonetheless, and even adds a standing O for good measure. “You want it, you can tell,” Kara tells Crystal, adding that tonight is the night of all nights to “kill yourself on that stage.” Simon says he’s grown nearly “allergic” to “Black Velvet” given the horrendous covers he’s heard via preliminary auditions over the years, but says Crystal’s version surprised him because she “absolutely nailed it … I’m very impressed.” Apparently my short-term memory is more intact than the judges, because I can’t say I’m particularly blown away in the least. A for effort, but B for overall execution.

I gear up for the upcoming cavalcade of cheese that has become the defining characteristic of Idol singles. Such gloriously corny tunes as Kelly Clarkson’s “A Moment Like This” have become a staple presence in every Idol’s budding career. So, when I realize Lee’s intended single is a cover of U2’s 2000 Grammy-winning hit “Beautiful Day,” I realize the Idol songwriting team of yore has clearly, and perhaps wisely, jumped ship. However, while I wholeheartedly adore “Beautiful Day” and the majority of U2’s repertoire, I can’t help but wonder who thought this song would be in Lee’s, ahem, wheelhouse (thanks, Randy). His gravelly baritone simply can’t match Bono’s earnest tenor, and the performance proves exactly that. For a tune intended to induce a genuinely inspiring response from listeners, I reap zero energy from Lee’s version, despite the strategically placed symphony of harmonious strings and, yes, choir. This is a song intended to fill an arena, and it isn’t even filling my living room. Lee’s clearly singing his heart out, though, evident in his near-fainting spell at the end of the song from lack of breath.

Randy begins his critique with a chuckle-ridden “Dude!” and proceeds to gently poke fun at Lee for awkwardly walking around the stage sans guitar (neither Lee nor Crystal has mastered this yet), but somehow finds the performance successful, given his approval of Lee’s “strong rock voice” and “Good on you, baby! Good on you!” final exclamation. What?! Sometimes I wonder if Randy goes out of his way to make as little sense as possible on air for sake of his doofy Idol image, then goes home to finish his thesis on nuclear fusion to ensure himself the last laugh. Or not. Kara, on the other hand, is well aware this isn’t Lee’s best performance, saying he “got swallowed up a bit,” but the fact he possesses the “most commercial voice this season” will render this moot. I sadly concur. Simon bypasses the chance to say anything negative about Lee, since that would contradict everything he’s clearly arranged the whole season, and instead uses his penultimate judging opportunity to sing Lee’s praises as a “great guy” and to “genuinely wish the best” for him. Barf. C+

Crystal’s hopeful single, Patty Griffin’s “Up to the Mountain,” is an assuredly ambitious choice, if not as outwardly showy as “Beautiful Day.” Kelly Clarkson blew audiences away when she performed this song on the 2007 Idol Gives Back charity drive, and Crystal is apparently the only Idol contestant since deemed worthy of such a powerful song. With lyrics inspired by Martin Luther King, Jr.’s “I’ve Been to the Mountaintop” speech, a careful approach is needed to avoid a heavy-handed, melodramatic thud to a song whose content can speak for itself. Luckily, save for a wisely subtle set of backup singers, Crystal’s voice and her guitar are the only instruments used as she quietly takes a seat and tells a beautiful story via the impeccable structure of the song. Her emotions are visible but in control, her voice is pristine, and it’s quite simply the best performance of the entire season, bar none. I can’t see how there’s any way the same person who astutely picked this song for Crystal could be the same who thought “Beautiful Day” would be a good choice for Lee, but as of now it doesn’t matter. Crystal has officially wiped the floor with Lee tonight in terms of performance success, and I can only hope voters will give the right contestant their due.

Randy begins his critique with a somber, declarative “Yo,” before telling Crystal her performance was “one of the greatest” and “incredible.” Ellen tells Crystal, “If you release an album, I’m going to buy it. If you go on tour, I’m going on tour. If you make a salad, I’m going to eat it,” after pronouncing her “in a league of [her] own.” Kara congratulates Crystal for being “emotionally invested” in the song and says this performance alone caused her to “really blossom.” Simon uses his truly last judging opportunity to assure Crystal her single was “the best performance and song of the night … outstanding.” Well put. A+

With Crystal’s obvious domination on Tuesday night and her phone lines being consistently busy (I still got a vote or two in), I begin to gather hope for her rightful victory, but valid predictors such as DialIdol and, well, teenage girls in general, favor Lee early on. The two-hour finale event tenuously masks itself as being “about Crystal and Lee,” according to Seacrest, but is actually about Simon Cowell and his imminent exit from Idol. Tasteless montage after tasteless montage is devoted to Simon and his trademark curt snootiness, although clips of early auditions circa Season One – before Cowellism became a known shtick – are rather funny as one jilted contestant tells us, “[Simon] can shove his crumpets up his %$&*!” Dane Cook shows up for a painful Simon sing-a-long reminiscent of Adam Sandler’s heyday on SNL (except not funny), but as a group of legendary Idol rejects take the stage, one in particular mercifully grabs the mic from Cook (repeatedly declaring it his “Kanye moment”) and the producers are forced to go to commercial. Hee. Even Ricky Gervais stumbles through a series of digs at his limey pal, but Paula Abdul’s highly anticipated appearance reliably brings the kooky, as watching her make a badly-delivered joke about an alleged lovechild with Simon as the reason for her departure from Idol (seriously) takes the cake as the most unwatchable Simon send-off of the night.

As for the litany of celebrity performers, I find it interesting that contestants are consistently chided throughout the competition for not seeming “current” enough or not making an older song more “contemporary” for today’s listeners, while artists whose careers peaked well before today’s listeners were even born make up the majority of the guest list. The Top 12 return on stage for performances with none other than the two remaining Bee Gees, Michael McDonald, Chicago, Hall & Oates, and Alice Cooper – no disrespect to any of these talented musicians, but when was the last time any of them had a hit song? Granted, the fantastic Christina Aguilera (who thankfully shunned her tendency to over-sing tonight) and Alanis Morissette (who sounded great paired with Crystal) help add some modern credibility to a puzzlingly retro night. Medical anomaly Bret Michaels appears on stage to sing “Every Rose Has Its Thorn” with a stoked Casey, Kris Allen aw-shucks his way through his newest song, and Janet Jackson closes the show by vocally channeling her late brother – she seriously sounds just like him – before Seacrest finally tells the stagehands to dim the lights. Crystal looks calm and collected, and Lee looks nauseous. Clearly, both had a good idea of the outcome prior to the announcement, as Lee’s predictable victory sends him over the edge with admittedly adorable glee, and Crystal seems completely unsurprised and content.

While it’s hard for me to accept the fact that the clearly more talented contestant of the two didn’t win, I have no doubt Crystal may fare better in the long run by not being forced to follow the machinations of the Idol-verse as closely as Lee. Besides, is anyone going to buy that craptastic version of “Beautiful Day?” Anyone? “Up to the Mountain” is already on my iPod, and I’m content knowing I’ve done my part propelling the right artist forward. Best of luck, Lee, but we’ll be seeing Crystal at the Grammys in due time, I suspect. As for my future with Idol, it remains unseen – without Simon and without a credible title-holder, X Factor is looking more and more promising. Until next season, readers!

For another review of the finale of American Idol, read Insia Lewis’s take here.

Season 9, Episodes 42 & 43: Top 2 Performance and Finale: Winner Revealed (originally aired May 25 & 26, 2010)

For more on American Idol, click here.

Photographs courtesy of Fox Broadcasting Company and IMDbPro.

American Idol Review: Winner Winner, Chicken Dinner!

Glee Review: Glee Goes Gaga

“What’s up with this Gaga dude? He just, like, dresses weird, right? Like Bowie?” asks Puck.

“Lady Gaga is a woman! She’s only the biggest pop act to come along in decades. She’s boundary-pushing, the most theatrical performer of our generation, and she changes her look faster than Brit changes sexual partners,” quips Kurt. This week, elaborate costumes and unbelievable shoes rule McKinley High as the girls and Kurt tackle Lady Gaga and the guys perform KISS.

Tina is scolded for her goth look by Principal Figgins who fears vampires (Yes, he thinks they are real) and the effect of Twilight mania on the students. She must change her style of dress or she will be suspended. As glee club is discussing Tina’s predicament, Rachel bursts in and announces that Vocal Adrenaline is going to perform Lady Gaga. Will decides to use this as inspiration for their weekly assignment—find a Lady Gaga song to perform and a new look for Tina.

The girls and Kurt dress up in outrageous costumes and perform “Bad Romance.” Two football players give Tina and Kurt a hard time for their Gaga outfits and threaten to beat them up unless they stop wearing them.

Meanwhile, Finn learns that he and his mom are moving in with Burt and Kurt. Finn is uncomfortable with this and that he will share a bedroom with Kurt. Finn and the rest of the guys do not want to perform Lady Gaga, instead they perform “Shout It Out Loud” by KISS.

Later, Kurt has redecorated their bedroom in a Moroccan theme causing Finn to freak out calling things “faggy.” Burt overhears and is furious! Burt tells Finn he thought he was different and although he may lose Finn’s mom, he kicks Finn out.

Kurt, still in his Gaga costume, has been cornered by the two football players again. Finn shows up to defend Kurt, wearing a bright red dress. The rest of the glee club also appears to help defend both of them—Finn announces, “we are all freaks together and we shouldn’t have to hide it.”

In a hysterical scene, Tina, dressed as a vampire, confronts Principal Figgins fibbing that her father is the king of the vampires and issues the warning—“let me wear my lady demon clothes or my dad will attack.”

Rachel continues to spy on Vocal Adrenaline. Shelby is not impressed with her team’s performance and decides to show them what “theatricality” is all about—she performs “Funny Girl.” While listening to Shelby, a light bulb goes off for Rachel and she makes her way down to the stage. When the song ends, Rachel announces, “I’m Rachel Berry. I’m your daughter.” The two talk but Shelby has some second thoughts and leaves.

Later, Rachel goes back to see Shelby and asks for help with her Lady Gaga costume. Rachel says, “My dads can’t sew. I really need a mom right now.” By the way, her costume was pretty poor and had beanie babies stapled all over it. After some help from Shelby, she has an awesome dress that is much more Lady Gaga-esque.

A concerned Will meets with Shelby who explains that, “my reconnection with Rachel isn’t a plot for regionals.” Will says that Rachel has all of Shelby’s good qualities but he is concerned Shelby isn’t as committed to the relationship as Rachel is. Shelby sums up her dilemma by admitting that she always wanted a daughter and can’t have more children but since Rachel is an adult, she feels that Rachel doesn’t need her anymore.

Rachel and Shelby get together one more time when Shelby confesses, “It is too late for us…I am your mother not your mom. Let’s just be grateful for one another from afar for awhile.” Shelby then gives Rachel a cup with gold stars on it (how identical are they!). Rachel asks Shelby to sing with her. They perform “Poker Face.” Sigh, this whole rekindling of the relationship has bothered me. I understand that Idina Menzel was most likely only signed to a few episodes but I felt like the show dismissed their relationship way too quickly!! I’m disappointed by this approach.

Puck has an idea for a baby name—Jack Daniels. Quinn’s response: You want to name our daughter Jack Daniels? She’s a girl. Puck agrees to adjust the name to “Jackie Daniels.” Quinn reminds him that she is giving up the baby. Later on, in front of the glee club, Puck had a revelation and explains to Quinn he wants to be a good father and then performs “Beth.” Afterwards, in a heartfelt scene, he tells Quinn, “I know you are giving her up but before you do, I think you should name her Beth. If you’ll let me I’d really like to be there when she’s born. I’d really like to meet her.” Quinn tearfully agrees. I wouldn’t be surprised if Quinn begins to have second thoughts about giving up the baby.

Overall, an okay episode but not one of my favorites. It, not surprisingly, had great performances and covered tough issues, kudos to them! Gleeks, I can’t believe it but there are only two episodes of season one left!

For another take on this week’s episode, check out Proud to be Different by Stephanie Jaar.

Season 1, Episode 20: Theatricality (originally aired May 25, 2010)

For more on Glee, click here.

Tuesdays at 9pm on Fox

Photographs courtesy of Fox and IMDbPro

Dancing With the Stars Review: From Pussycat Doll to Belle of the (Mirror) Ball

This is the moment we’ve been waiting for.  It all comes down to the season finale, where one victorious celebrity will take home the coveted Mirror Ball trophy.  Nicole, Evan, and Erin have consistently outperformed their competition throughout the season, and their hard work has paid off.  Each couple must perform an unprecedented four dances to near perfection if they want to be the last ones dancing.  One of their dances will be a “redemption dance,” a performance that the judges thought should have been good but left them disappointed.

REDEMPTION DANCE

Erin & Maks

We start off with Erin and Maks.  They will be performing a redemption Samba.  The first time Erin did the Samba her hips were stiff, so Bruno works on improving them during rehearsal.  I thought their Samba looked amateurish and I was bored by it.  There also was a cheesy bit at the end where they each kissed Len on the cheek.  I don’t think this cut the mustard.  Len said that just because this is the Finals doesn’t mean that they still aren’t looking for excellence.  He thought it was full of energy and he enjoyed it.  Bruno said it was fun.  Carrie Ann saw the improvement and said it was fantastic.  Carrie Ann: 10 Len: 10 Bruno: 9 What are Carrie Ann and Len smoking?  Even Bruno took a point off, and he loves everyone!

Evan & Anna

Len will be assisting Evan and Anna with their redemption dance, the Viennese Waltz.  Their first attempt earlier in the competition lacked chemistry, so Len works with them on that aspect during rehearsal.  He shows Evan how to focus on his partner during the performance.  Their Waltz is graceful, though I didn’t notice any particular chemistry between the two.  It was a good performance but I’m still bored.  Maybe the excitement won’t start until the freestyle portion.  They receive a standing ovation, so apparently I’ve missed something.  Bruno said there was fluidity and lyricism, and he saw the romantic connection.  Carrie Ann said he has improved greatly; it was beautiful and emotional.  Len thought it had grace and elegance, but noted that Evan lost form once.  Carrie Ann: 10 Len: 9 Bruno: 9

Nicole & Derek

The judges selected the Rumba for Nicole’s redemption dance, because she was extremely nervous the first time around and gave a subpar performance.  Carrie Ann encourages her to let herself go during rehearsal.  Their Rumba was smoldering and romantic.  She’s nothing short of amazing, putting her flexibility and length to good use.  I don’t detect any nerves this time around, and I think the Mirror Ball is hers to lose.  Carrie Ann said that it was mesmerizing but there was a lift at the end, before the music ended.  Len loved the subtlety of the choreography but said that she should have settled more into her hips.  Bruno said, “Eroticism, sensuality, romance – seamlessly woven into something of extreme beauty.”  Carrie Ann: 9 Len: 9 Bruno: 10

FREESTYLE ROUND

Erin & Maks

Erin and Maks will be attempting a contemporary lyrical freestyle, and so he brought in another choreographer familiar with that style to help them during rehearsal.  This is a departure from past freestyles, and it looks more like something you’d see on So You Think You Can Dance.  I enjoyed it, but I think it was too tame and emotional to take them to the final two.   They performed using a bed as a prop, and it definitely made it seem like they were a true couple.  There were some difficult lifts, but usually the viewers favor more upbeat, energetic freestyle dances.  Len said freestyle is about risk and reward, and they pulled it off, in part.  He liked it but he didn’t love it.  Bruno said it was a huge risk and some of the steps she pulled off were incredible.  Carrie Ann thought it was the perfect choice and a great risk.  There was one stumble but other than that it was good.  Carrie Ann: 9 Len: 8 Bruno: 9

Evan & Anna

Evan and Anna are having creative differences while coming up with good freestyle choreography.  Evan doesn’t want to do anything “cheeky,” and slams Anna’s ideas.  She gets teary-eyed listening to his criticism and I feel bad for her.  Things improve when Anna brings in a fresh pair of eyes in the form of choreographer Bobby Newberry, who helps them mesh their styles and resolve their differences.  Their freestyle has the energetic, happy feeling that pleases a crowd.  They perform to “Footloose,” and Evan’s personality really shone through.  Bruno said he was demented and he lost some precision and slickness, but he “went for it.”  Carrie Ann said it was odd, and that when they danced side by side they were not in unison.  Len said they took the path of least resistance.  It wasn’t what they wanted to do and it wasn’t what he wanted to see.  Carrie Ann: 8 Len: 8 Bruno: 8

Nicole & Derek

Nicole is almost like a toy for Derek to play with.  I’m sure that the sky is the limit and that she’ll be able to execute whatever dance his mind can conceive.  They want to pull out all the stops, making it “high octane” from start to finish.  Derek is pushing himself to the limit, doing lifts he’s never done before.  Nicole says that she didn’t make it this far to lose, and she wants to get everyone out of their seats.  Their dance matches Evan’s energy, but Nicole’s technique is superior.  Unlike Evan, when she and Derek dance side by side, they are in sync.  Perhaps their dance was just a wee bit too ambitious though, because there was a noticeable stumble at the end, during their final lift.  If you listen closely, a hush fell over the crowd.  Carrie Ann said it was the dance they had been waiting for.  It was amazing, but she noticed the stumble.  Len said it was fantastic.  Bruno said it was dazzling creativity and technically superb.  She slipped at the end, but it’s because she is attempting what has never been done.  9s across the board.

RESULTS SHOW

Our couples performed two dances on Monday night and must perform another two before the winner is announced.  In the first round tonight they will perform their favorite dances from earlier in the season.  After each couple completes their dances they will be ranked, and the couple in third place will be eliminated.  Then the final two couples will perform “knockout” dances.  Judges’ scores will be combined with votes, and we’ll have a winner.  We’ll also be “treated” to performances from past contestants like Kate Gosselin.  Oh joy.

FAVORITE DANCE

Nicole & Derek

After a puzzling opening number featuring a few past contestants, we get down to business.  Nicole and Derek are still riding high.  I’m glad to see that she didn’t let Monday night’s stumble dampen her enthusiasm.  She chooses the Argentine Tango as her favorite, a dance for which I believe they received perfect scores the first time around.  Their Tango is just as good the second time.  It is precise and technically sound, with all the requisite emotion.  Nicole is solidifying her place on top.  Len said it had intensity and passion.  It was clean and precise.  Bruno was happy to see that the magic continues; amazing.  Carrie Ann thought each move was a beautiful masterpiece.

Evan & Anna

Anna was upset with their disappointing freestyle, but she has to pull it together for their favorite dance selection.  They also decide on the Argentine Tango, because it was a breakthrough performance for them.  I really enjoyed this routine the first time they performed it, and it was almost as good the second time.  This is going to be a tough one for the judges, because they can’t give the same score they gave for the original performance.  Bruno said he kept it slick and stylish.  Carrie Ann said this was his true redemption dance.  Len said this has been the most fantastic season with the highest standard of dancing.

Erin & Maks

They are tied for the top spot despite a risky freestyle.  Like Evan and Nicole, Erin chooses the Argentine Tango.  She is sooo annoying during rehearsal, and with the pressure on she’s wound up even more than usual.  I thought they made a wise selection, but they didn’t execute as cleanly as they did the first time.  I don’t know if Erin was nervous or what, but her footwork looked choppy.  She completed the lift successfully, and that was the highlight of the dance.  Carrie Ann said she was amazing and she was in another zone.  Len said judging these three Tangos is the hardest job they’ve ever had.  Bruno said she has shown the most growth of the remaining three celebrities.

The judges’ scores will be added to their previous scores.  The top couple will receive 30 points, the second couple 28, and the last ranked couple will get 26 points.  The rankings are: 1) Nicole; 2) Evan; and 3) Erin.

Before we find out who will advance, we are treated to a performance featuring some ousted contestants.  Buzz, Shannon and Aiden remind us why they aren’t still dancing.  Shannon actually wasn’t that bad – she was just less popular than an astronaut.

After combining judges’ scores with viewer votes, it is revealed that Erin is in third place and therefore ending her journey on Dancing With the Stars.  Her swan song is what would have been her second dance, and she tries to take it all in stride.  I know that for a fierce competitor like Erin, defeat is a tough pill to swallow.

Not only will there be a victorious celebrity at the end of the night, the judges will also decide a college champion between Purdue and Utah Valley University.  Once again I think UVU gives an outstanding performance.  The judges thought both teams improved, but UVU is named winner, receiving a miniature version of the Mirror Ball.  How precious!

Next we suffer through an awkward moment with Kate and Tony, as Tom and Brooke engage in banal chatter before their performance.  She was the worst competitor this season, but she was a lightning rod for gossip so I guess that’s why the show’s producers want her to return.  She actually asked Tony to make the choreography more difficult, which was baffling to me.  Keep it simple, Honey.  What a miserable individual.  Kate is always good for a laugh, and tonight is no exception.  Thank you, DWTS.

KNOCKOUT DANCE

Nicole & Derek

They choose the Jive as their knockout dance, which was the first dance for which they received a perfect score.  Before they get down to business, they recount the special feelings they have for one another and Derek says this is the most meaningful season.  Their Jive is frenetic and each step is perfect.  If this girl doesn’t win it’s a travesty.  Len said there were 4 Beatles, 12 days of Christmas, but there can only be 1 winner and it should be Nicole.  Bruno said it was the crowning glory of an amazing season.  Carrie Ann said she comes to work every day looking forward to what they will do next.  Carrie Ann: 10 Len: 10 Bruno: 10

Evan & Anna

Anna says that she doesn’t think she’ll ever have a partner like Evan, and she knew right away that she would be able to accomplish more with him than anyone she’s worked with in the past.  Their Quickstep had a joyous quality and was very good, but I don’t think it was as good as Nicole’s Jive.  Bruno said Evan has always been a good dancer, but his performance level has increased.  Carrie Ann said Nicole may be winning in terms of score, but Evan has won the hearts of everyone and he is a true champion.  Len said he’s been a joy to watch and he’s done a fantastic job.  Carrie Ann: 10 Len: 9 Bruno: 9

*Drum roll, Please* And now… the anti-climactic moment we’ve been all been waiting for…the winner is….NICOLE!  Shocking, right?  It was fitting that the final results show would come down to the two best competitors all season, but in the end the best woman won.  Season 10 was lauded as the best season ever, and I have to agree that it was pretty entertaining.  Nicole was an outstanding dancer, and I thought the overall level of competition was great.  See you next season!

Season 10, Week 10: Round 9 Performances and Final Results (originally aired May 24 and 25, 2010)

For more on Dancing with the Stars, click here.

Mondays and Tuesdays at 8/7c on ABC.

Photographs courtesy of ABC, Adam Larkey

The Good Wife Review: Oh What A Twisted Ride

The Good Wife season finale ends with a promise of a tumultuous season to come. The series started out with tons of drama and action and has now settled in to a more understated charm. And while I suppose that not every episode can be an angst ridden underdog love affair, here’s to hoping another one comes along soon. And if the first season’s cliffhanger ending is any indication, it will.

Don’t get me wrong, the freshman season of this show has been more than satisfying and the show’s season finale sets up even more riddles to unfurl.

This week on The Good Wife, Kalinda’s romantic entanglements are more entangling, Mother Fluoric faces off against Pastor Isaiah, and Peter makes a run for State’s Attorney.

The client this week is Jack Arkens, an undercover police officer and member of a crooked drug taskforce in the habit of storing guns and drugs. In order to get immunity for his actions with the taskforce gone wrong, Jack, along with the lawyers of Lockhart and Gardner, are in talks with the FBI to turn the rest of the officers in. Unfortunately this deal doesn’t last long because before Jack can testify he is killed in a sting operation. The timing of this death seems suspicious and fingers point to the fellow members of the taskforce who have very good reasons to want Jack quiet.

On the taskforce and under investigation is Tony, Kalinda’s friend and maybe lover. Right after the meeting at Lockhart and Gardiner, a distraught Kalinda meets up with Tony for drinks. Soon after this, she is making out with him in the back seat of his car. So when it comes down to someone possibly tipping off the cops, Kalinda is suspect number one. This is pointed out to Kalinda by the female FBI agent in a scene simmering with sexual tension. Kallinda’s sexuality has been ambiguous throughout the season and this scene tips the scale in favor of her being, at least, bisexual. Our last view shows the two stepping into each other, before the scene changes.

On the campaign front, Peter decides NOT to run for State’s Attorney. While Eli initially thinks that this is Alicia’s doing, it becomes clear that it is Reverend Isaiah’s. A determined Eli visits Peter’s mother Jackie to encourage her to direct Peter to run. Jackie, never a fan of Isaiah, has a strong and determined reaction. She tells Eli that she will handle the Reverend. There’s a predatory gleam in her eyes, like a cougar protecting her cub. It’s animalistic, and dangerous.

Back to the case, Jack’s widow wants to sue the city for wrongful death. Carey returns to face-off against Alicia in the role of the defense. The city decides to settle just as Kalinda and Alicia find out that Jack’s widow tipped off the drug dealer who then killed her husband. Even after learning their client was the guilty party, Will and Diane favor with their client in this case. Both Kalinda and Alicia are disturbed, but Will points out that the job is only wrong “when it fails our client.”

In the final scenes, Peter announces in front of the gathered press that he will indeed make a run for State’s Attorney. Alicia watches from the sidelines, standing next to Eli Gold. Her phone goes off; it’s Will. He wants to make his intentions clear, but before he can go off into all that lovey-dovey stuff Alicia asks him what’s the plan. Romance is all and good but when it comes to disrupting her marriage and her home, that’s not enough. She needs a plan. He doesn’t have one. Alicia hangs up and Eli escorts her back into the press room. He comments, ‘You’re going to make my life hard, aren’t you.’ Up on stage, Peter is finished his announcement and calls for Alicia, but at that moment so does Will on the telephone. Caught between the two Alicia stops, she’s thinking. The phone rings again, Peter gives her a questioning look, and the end credits roll.

Season 1, Episode 23: Running (originally aired May 25, 2010)

For more on The Good Wife, click here.

Tuesday at 10/9c on CBS

Photos courtesy of CBS and David M. Russell.

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