Glee - The Music from the On My Way Episode
"On My Way" is the upcoming fourteenth episode and winter finale of the third season of the American musical television series Glee, and the 58th overall.
Written by Roberto Aguirre-Sacasa, the episode is set to air on Fox in the United States on February 21, 2012, and features New Direction competing against the Dalton Academy Warblers at the Regionals show choir competition
Listen to the music here:
Cough Syrup
Stronger
Glad You Came
Fly / I Believe I Can Fly
Stand
Here's To Us
Glad You Came Full Performance
The Lime TV News, The Latest TeleVision News On Shows And Stars
maandag 20 februari 2012
The A Team, Methods of Movement through to 'Got to Dance' final
The A Team, Methods of Movement through to 'Got to Dance' final
The A Team and Methods of Movement have both won a place in the Got to Dance live final.
The two dance troupes both progressed in the competition after triumphing in the public vote over fellow hopefuls Hippy Joe, The Future, Rikoshay and Lloyd and Rebecca.
After opening the semi-final, The A Team were praised by judges Ashley Banjo, Kimberly Wyatt and Adam Garcia as being "amazing" and "as close to perfection as you can possibly get", with Garcia adding: "The words 'jaw dropping' don't encapsulate what I saw. I didn't dare blink. You've got to be in the final."
Southend crew Methods of Movement also wowed the panel, with former Pussycat Doll Wyatt remarking: "I have goosebumps! So exciting and entertaining, you take risks and I have mad respect for that. You are entertainment and it's gold."
The A Team and Methods of Movement will join Prodijig, Tayluer & Elliott, Boadicea, Fear of the Unknown, Sweet Surprise and Antics in the series final, which will be shown live from London's Olympia on March 4.
The remaining semi-final will take place next Sunday (February 26) at 6pm on Sky1.
The A Team and Methods of Movement have both won a place in the Got to Dance live final.
The two dance troupes both progressed in the competition after triumphing in the public vote over fellow hopefuls Hippy Joe, The Future, Rikoshay and Lloyd and Rebecca.
After opening the semi-final, The A Team were praised by judges Ashley Banjo, Kimberly Wyatt and Adam Garcia as being "amazing" and "as close to perfection as you can possibly get", with Garcia adding: "The words 'jaw dropping' don't encapsulate what I saw. I didn't dare blink. You've got to be in the final."
Southend crew Methods of Movement also wowed the panel, with former Pussycat Doll Wyatt remarking: "I have goosebumps! So exciting and entertaining, you take risks and I have mad respect for that. You are entertainment and it's gold."
The A Team and Methods of Movement will join Prodijig, Tayluer & Elliott, Boadicea, Fear of the Unknown, Sweet Surprise and Antics in the series final, which will be shown live from London's Olympia on March 4.
The remaining semi-final will take place next Sunday (February 26) at 6pm on Sky1.
Idology: Who Are the New Season 11 Front-Runners? And Who Should've Stayed in Vegas?
Idology: Who Are the New Season 11 Front-Runners? And Who Should've Stayed in Vegas?
If American Idol‘s Season 11 Vegas Week was a slot machine, then the Idoloonie nation pulled the lever and came up with a trio of sevens during the show’s Las Vegas callbacks telecast last week. The jackpot? Producers treated us to more than 50 contestants singing — and a few of ‘em showed enough talent that it’s not inconceivable to think they might come close to “a moment like this” by the end of May.
On this week’s Idology, Season 6 standout Melinda Doolittle and I talk about the pros and cons of the season’s latest crop of buzz-worthy contestants. Is Jen Hirsh thisclose to flawlessness, or is she a potential Idol scream queen? Could Joshua Ledet be an R&B dream, or are Lusky Stank spores taking root in his vocal cords, ready to bloom in full-blown disease? And what to make of Deandre Brackensick and His Hypnotic Golden Mane?
Melinda and I also discuss the casual dismissal of Imani “fainting girl” Handy, the return of a chilling J.Lo code word, the unjust ouster of the mighty Candice Glover, and the handful of Top 42 contestants we feel should’ve been shipped directly to the Idol scrap heap — including the Season 11 equivalent of a fresh-scrubbed baby seal.
If American Idol‘s Season 11 Vegas Week was a slot machine, then the Idoloonie nation pulled the lever and came up with a trio of sevens during the show’s Las Vegas callbacks telecast last week. The jackpot? Producers treated us to more than 50 contestants singing — and a few of ‘em showed enough talent that it’s not inconceivable to think they might come close to “a moment like this” by the end of May.
On this week’s Idology, Season 6 standout Melinda Doolittle and I talk about the pros and cons of the season’s latest crop of buzz-worthy contestants. Is Jen Hirsh thisclose to flawlessness, or is she a potential Idol scream queen? Could Joshua Ledet be an R&B dream, or are Lusky Stank spores taking root in his vocal cords, ready to bloom in full-blown disease? And what to make of Deandre Brackensick and His Hypnotic Golden Mane?
Melinda and I also discuss the casual dismissal of Imani “fainting girl” Handy, the return of a chilling J.Lo code word, the unjust ouster of the mighty Candice Glover, and the handful of Top 42 contestants we feel should’ve been shipped directly to the Idol scrap heap — including the Season 11 equivalent of a fresh-scrubbed baby seal.
Writers Guild Awards: Breaking Bad, Homeland and Modern Family Win Big
Writers Guild Awards: Breaking Bad, Homeland and Modern Family Win Big
AMC’s Breaking Bad, Showtime’s Homeland and ABC’s Modern Family each came away with two wins at this year’s Writers Guild Awards, which were handed out on Sunday night.
Breaking Bad won for Best Drama Series — besting Boardwalk Empire, Game of Thrones, The Good Wife and Homeland — as well as for the individual drama episode, “Box Cutter” (aka the season opener).
Homeland was honored in the New Series categories — winning over Game of Thrones, The Killing, Episodes and New Girl — and tied Breaking Bad in the episodic contest (with “The Good Soldier,” in which Brody beats the polygraph after hooking up with Carrie).
Modern Family won for Best Comedy (beating 30 Rock, Curb Your Enthusiasm, Louie and Parks and Recreation), and in the episodic comedy race (with the installment in which Phil and Claire are “Caught in the Act” by their kids).
Other TV winners include HBO’s Cinema Verite and Too Big To Fail (in the longform original and adapted categories), The Simpsons, The Colbert Report and General Hospital (over All My Children and The Young and the Restless)
AMC’s Breaking Bad, Showtime’s Homeland and ABC’s Modern Family each came away with two wins at this year’s Writers Guild Awards, which were handed out on Sunday night.
Breaking Bad won for Best Drama Series — besting Boardwalk Empire, Game of Thrones, The Good Wife and Homeland — as well as for the individual drama episode, “Box Cutter” (aka the season opener).
Homeland was honored in the New Series categories — winning over Game of Thrones, The Killing, Episodes and New Girl — and tied Breaking Bad in the episodic contest (with “The Good Soldier,” in which Brody beats the polygraph after hooking up with Carrie).
Modern Family won for Best Comedy (beating 30 Rock, Curb Your Enthusiasm, Louie and Parks and Recreation), and in the episodic comedy race (with the installment in which Phil and Claire are “Caught in the Act” by their kids).
Other TV winners include HBO’s Cinema Verite and Too Big To Fail (in the longform original and adapted categories), The Simpsons, The Colbert Report and General Hospital (over All My Children and The Young and the Restless)
'The Runaways' Co-Star Joins CBS' Ryan Phillippe Cop Drama
'The Runaways' Co-Star Joins CBS' Ryan Phillippe Cop Drama
Stella Maeve will play his young, rebellious sister in the pilot from Nicholas Wootton and Greg Berlanti.
The Runaways co-star Stella Maeve has joined CBS' Ryan Phillippe cop drama.
In the project, Phillippe will play Detective Clark, the cop at the center of the story, who rises quickly through the ranks from officer to detective to police commissioner in the project, previously known as Golden Boy.
Maeve will play Agnes, Clark's younger sister who's described as being punky and awful skinny. After being raised by Clark for years, she's ready to break free from his smothering, judgmental supervision but doesn't always make the best choices.
Chi McBride and Kevin Alejandro co-star in the untitled project. Nicholas Wootton is penning the pilot and will executive produce alongside Berlanti and Richard Shepard, who will direct the Warner Bros. TV drama.
In addition to playing Runaways drummer Sandy West in the 2010 feature about the 1970s punk rock band, Maeve has guest starred in a number of series including Grey's Anatomy, Gossip Girl, Bones and House. She filmed the Fox pilot Lovelives for Chris Sheridan and Peter Chernin last development season.
Maeve is repped by Principato-Young Entertainment, Abrams Artists and Ginsburg Daniels.
Stella Maeve will play his young, rebellious sister in the pilot from Nicholas Wootton and Greg Berlanti.
The Runaways co-star Stella Maeve has joined CBS' Ryan Phillippe cop drama.
In the project, Phillippe will play Detective Clark, the cop at the center of the story, who rises quickly through the ranks from officer to detective to police commissioner in the project, previously known as Golden Boy.
Maeve will play Agnes, Clark's younger sister who's described as being punky and awful skinny. After being raised by Clark for years, she's ready to break free from his smothering, judgmental supervision but doesn't always make the best choices.
Chi McBride and Kevin Alejandro co-star in the untitled project. Nicholas Wootton is penning the pilot and will executive produce alongside Berlanti and Richard Shepard, who will direct the Warner Bros. TV drama.
In addition to playing Runaways drummer Sandy West in the 2010 feature about the 1970s punk rock band, Maeve has guest starred in a number of series including Grey's Anatomy, Gossip Girl, Bones and House. She filmed the Fox pilot Lovelives for Chris Sheridan and Peter Chernin last development season.
Maeve is repped by Principato-Young Entertainment, Abrams Artists and Ginsburg Daniels.
All Hail 'The Simpsons' No Matter What Season
All Hail 'The Simpsons' No Matter What Season
So the 500th episode wasn't better than the 50th? Who cares? This icon transcends seasons.
It was telling that at the end of the The Simpsons 500th episode, the writers put in a title card thanking viewers and saying they should go outside for some fresh air before logging on to the internet to say the episode sucked. For years now, one of the interweb’s most enduring memes – more so than the Hitler reworkings – is complaining about how The Simpsons isn’t as funny as it used to be.
In fact, what’s most interesting these days about fans who continue to watch and then bitch, is asking them what season the laughs eroded. Eighth? 10th? Sixth? Everybody has an opinion.
And yes – this just in – The Simpsons isn’t as funny as it once was. I think when you make 500 episodes and turn your writing staff over as often as The Simpsons did, not to mention running out of or repeating ideas, then yes, a general creative slide might be anticipated. But every time there’s a landmark – and 500 episodes is a whopper of one – a little perspective is handy.
So what if The Simpsons isn’t as minute-to-minute brilliant as it once was? This show was Hall of Fame first ballot generations ago. It didn’t have to prove anything more. What’s impressive beyond the fact it still gets surprisingly good ratings for a show you can find pretty much anywhere in reruns while most die-hards have all the DVD boxed sets piled up on their shelves, is that it keeps getting up and going to work and we keep watching. (Or, in the case of a lot of former fans, not watching –though that automatically excludes them from complaining. You have to watch to participate.) But that notion – clocking in and getting it done – is admirable.
I like to think of The Simpsons as a great sports hero that keeps playing because it/he/she still loves the game and still understands that it/he/she can still get it done sometimes. Hey, we wouldn’t have had that lovely couch montage without this episode. And there were some laughs to be had in The Outlands portion. And the secret town meeting was mostly good, plus the references to how their voices changed. The rest, well, whatever. I got a few laughs and that’s all I ever look for in The Simpsons these days. I just like knowing it’s still there. It still runs out on to the field. It doesn’t have the spring (see what I did there?) in the legs quite like it used to. It’s not going to dazzle at the same spectacular rate. But even after 500 episodes, it still has a little something left. And, come on, it’s not like Fox has found any other animated series that work and there’s probably a clause that people with Family Guy pedigree can only get so many time slots. So it’s not like The Simpsons is keeping Archer, let’s say, on the bench. Just because The Simpsons is on every Sunday doesn’t take away a slot from The Life & Times of Tim and doesn’t cut into anything Adult Swim is doing.
So it’s kind of pointless to bitch about The Simpsons not being as funny as before. Not to mention it’s annoying. Like, off-the-charts annoying.
What we’re all witnessing is a television series like no other, one that has redefined the culture several times over and owned the zeitgeist longer than anything else of its kind. In short, The Simpsons is an institution, a television show that is well beyond description of its merits and successes anymore. Right now it just exists, and when it finally doesn’t, the same interwebs ablaze with “that really sucked” will be flip-flopping to bleating about how much they miss it. Even further out, there will be a generation that, with some distance, will view The Simpsons as a whole, a remarkably brilliant pop culture creation, and they won’t spend as much time nitpicking the late season quality decline.
I just don’t find any point or joy in bashing on quality degradation when it comes to The Simpsons. I take what they give me, just like I did in Season 1, episode 1. In Season 8, episode 1, and so on. After a while, having made enough points about why the show got away from what made it great, moved in directions that didn’t do justice to the early years, etc. etc., I just found the rant to be of little use. I began to take what they offered and felt good about the laughs I got. Some weeks, more than others. But what has kept me going just as it has for some many others, is the characters. For a long time now it hasn’t been about the main ones. I like the fringe characters and when I see them, I still laugh, sometimes before they say anything. And if they say anything funny, even better. A bonus.
The Simpsons is now, and has been for decades, a pop culture institution, an animated legend. That it has gone on for 500 episodes – and more coming – can only be seen as a gift. I can find funnier shows elsewhere, but when I want The Simpsons, not only can I pull the DVDs off the shelves and laugh, but I can watch the 500th episode and get a couple more as well. Why would anyone want that to end?
So the 500th episode wasn't better than the 50th? Who cares? This icon transcends seasons.
It was telling that at the end of the The Simpsons 500th episode, the writers put in a title card thanking viewers and saying they should go outside for some fresh air before logging on to the internet to say the episode sucked. For years now, one of the interweb’s most enduring memes – more so than the Hitler reworkings – is complaining about how The Simpsons isn’t as funny as it used to be.
In fact, what’s most interesting these days about fans who continue to watch and then bitch, is asking them what season the laughs eroded. Eighth? 10th? Sixth? Everybody has an opinion.
And yes – this just in – The Simpsons isn’t as funny as it once was. I think when you make 500 episodes and turn your writing staff over as often as The Simpsons did, not to mention running out of or repeating ideas, then yes, a general creative slide might be anticipated. But every time there’s a landmark – and 500 episodes is a whopper of one – a little perspective is handy.
So what if The Simpsons isn’t as minute-to-minute brilliant as it once was? This show was Hall of Fame first ballot generations ago. It didn’t have to prove anything more. What’s impressive beyond the fact it still gets surprisingly good ratings for a show you can find pretty much anywhere in reruns while most die-hards have all the DVD boxed sets piled up on their shelves, is that it keeps getting up and going to work and we keep watching. (Or, in the case of a lot of former fans, not watching –though that automatically excludes them from complaining. You have to watch to participate.) But that notion – clocking in and getting it done – is admirable.
I like to think of The Simpsons as a great sports hero that keeps playing because it/he/she still loves the game and still understands that it/he/she can still get it done sometimes. Hey, we wouldn’t have had that lovely couch montage without this episode. And there were some laughs to be had in The Outlands portion. And the secret town meeting was mostly good, plus the references to how their voices changed. The rest, well, whatever. I got a few laughs and that’s all I ever look for in The Simpsons these days. I just like knowing it’s still there. It still runs out on to the field. It doesn’t have the spring (see what I did there?) in the legs quite like it used to. It’s not going to dazzle at the same spectacular rate. But even after 500 episodes, it still has a little something left. And, come on, it’s not like Fox has found any other animated series that work and there’s probably a clause that people with Family Guy pedigree can only get so many time slots. So it’s not like The Simpsons is keeping Archer, let’s say, on the bench. Just because The Simpsons is on every Sunday doesn’t take away a slot from The Life & Times of Tim and doesn’t cut into anything Adult Swim is doing.
So it’s kind of pointless to bitch about The Simpsons not being as funny as before. Not to mention it’s annoying. Like, off-the-charts annoying.
What we’re all witnessing is a television series like no other, one that has redefined the culture several times over and owned the zeitgeist longer than anything else of its kind. In short, The Simpsons is an institution, a television show that is well beyond description of its merits and successes anymore. Right now it just exists, and when it finally doesn’t, the same interwebs ablaze with “that really sucked” will be flip-flopping to bleating about how much they miss it. Even further out, there will be a generation that, with some distance, will view The Simpsons as a whole, a remarkably brilliant pop culture creation, and they won’t spend as much time nitpicking the late season quality decline.
I just don’t find any point or joy in bashing on quality degradation when it comes to The Simpsons. I take what they give me, just like I did in Season 1, episode 1. In Season 8, episode 1, and so on. After a while, having made enough points about why the show got away from what made it great, moved in directions that didn’t do justice to the early years, etc. etc., I just found the rant to be of little use. I began to take what they offered and felt good about the laughs I got. Some weeks, more than others. But what has kept me going just as it has for some many others, is the characters. For a long time now it hasn’t been about the main ones. I like the fringe characters and when I see them, I still laugh, sometimes before they say anything. And if they say anything funny, even better. A bonus.
The Simpsons is now, and has been for decades, a pop culture institution, an animated legend. That it has gone on for 500 episodes – and more coming – can only be seen as a gift. I can find funnier shows elsewhere, but when I want The Simpsons, not only can I pull the DVDs off the shelves and laugh, but I can watch the 500th episode and get a couple more as well. Why would anyone want that to end?
'Apprentice' winner Stella English suing Lord Sugar
'Apprentice' winner Stella English suing Lord Sugar
Former Apprentice winner Stella English is reportedly suing Lord Sugar for constructive dismissal.
English, who won the BBC One show in 2010, has filed papers with an employment tribunal claiming she was forced to quit her job when her £100,000-a-year contract wasn't renewed.
The pair's relationship is now "extremely bitter" and English has been warned she's "playing with fire" by taking legal action, sources have told the Daily Mail.
English was given a job at Viglen when she won the show, but later claimed she was performing a junior role and reporting to a manager on a fraction of her salary.
"The cameras have stopped rolling, welcome to the real world, there is no job," she was apparently told.
She was later handed a job at YouView, but left two months before her contract ended after being told it wouldn't be renewed.
"Lord Sugar had tried to help Stella. When she was unhappy in one job he moved her. But it was Stella who left just two months before the contract ended, she was desperate to go," the source added.
Both parties declined to comment on the situation yesterday (February 17).
The Apprentice 2009 winner Yasmina Siadatan, currently on maternity leave, is the only successful candidate still working for Lord Sugar.
Former Apprentice winner Stella English is reportedly suing Lord Sugar for constructive dismissal.
English, who won the BBC One show in 2010, has filed papers with an employment tribunal claiming she was forced to quit her job when her £100,000-a-year contract wasn't renewed.
The pair's relationship is now "extremely bitter" and English has been warned she's "playing with fire" by taking legal action, sources have told the Daily Mail.
English was given a job at Viglen when she won the show, but later claimed she was performing a junior role and reporting to a manager on a fraction of her salary.
"The cameras have stopped rolling, welcome to the real world, there is no job," she was apparently told.
She was later handed a job at YouView, but left two months before her contract ended after being told it wouldn't be renewed.
"Lord Sugar had tried to help Stella. When she was unhappy in one job he moved her. But it was Stella who left just two months before the contract ended, she was desperate to go," the source added.
Both parties declined to comment on the situation yesterday (February 17).
The Apprentice 2009 winner Yasmina Siadatan, currently on maternity leave, is the only successful candidate still working for Lord Sugar.
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