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USTownhall RealStories presents: ANDY COHEN & GIULIANA RANCIC of the MISS USA Pageant
Written by Scott Katz   
Wednesday, 30 May 2012 12:11

NUP_136398_0099-resizeOn Sunday, June 3 at 9pm Eastern, the 2012 Miss USA Pageant airs live from Las Vegas on NBC.  Returning as hosts will be Andy Cohen, Executive Vice President, Original Programming and Development for the Bravo cable network, and Giuliana Rancic, co-anchor of E! News.  The Miss USA pageant brings hopefuls from all over the country to vie for the title.  The winner of Miss USA will go on to represent the United States in the Miss Universe pageant.  The Miss Universe Organization owns and operates both pageants as well as the Miss Teen USA pageant.  The organization is owned jointly by NBC Universal and Donald Trump.




USTH: Do you know who the judges are for this year's pageant?

ANDY COHEN: There are a few judges that we can announce now: the former Bachelorette Ali Fedotowsky – she's the host of NBC's First Look and also Joe Jonas is going to be judge and Rob Kardashian and Giuliana's co-host on E! Fashion Police George Kotsiopoulos.


USTH: Andy, what do you feel about the semi-controversy a few years ago with Carrie Prejean [during the 2009 Miss USA pageant where Perez Hilton asked her about her views on same-sex marriage]? If you were a judge on that panel how would you have approached that whole situation? What do you feel about the question and the answer and the fallout?

ANDY COHEN: I thought the question was great. The answer was not something that I agreed with personally and I probably would have scored her low at the time.
But you know again I've never been a judge and so I don't have the specific criteria in my head of everything that the judges are looking for.
But you know, I think that it's a well-rounded person who speaks well and intelligently and inclusively of everyone and would be a great representative of the organization.
So, yes, I thought the question was within bound. I thought that there were some great questions last year [as well, when I hosted] and it's my favorite part of the pageant.



(l-r) Andy Cohen and Giuliana Rancic host the2012 Miss USA

Pageant live from Las Vegas [Image credit: NBC]


USTH: Would you ever want to be a judge? Could you handle that pressure of having someone's dream in the palm of your hands?

ANDY COHEN: Giuliana already was a judge, right Giuliana?

GIULIANA RANCIC: Yes, I was. I was a judge about five years ago, and it was great. You know, I actually was in the Miss Maryland USA pageant a couple of times. I did not ever make it to the national level – so sad (laughs).
So, for me, I know how it feels to be on that stage and how nerve wrecking it is, so I took it very seriously.


USTH: Would either of you ever want to be a contestant on Celebrity Apprentice – Donald Trump's other show?
ANDY COHEN: I [have] too many balls in the air to even speculate at this moment. Bring me an offer, and we'll talk about it.

USTH: Okay, I like that. What about you, Giuliana?

GIULIANA RANCIC: You know, I actually met with them last season, but it was just not going to happen – it was a scheduling thing. But, I love the show. I've always been a fan of The Apprentice.
My husband [Bill Rancic] was the first Apprentice, so it's funny though because when I went to meet [the Celebrity Apprentice producers], my husband told me, "you realize if you do this show second place isn't good enough? You have to come in first place because I already won."
So, it was a lot of pressure. I don't know if I would do it, but it's such a great show, and it's a lot of fun to watch.


USTH: Listening to you both today, it is very apparent that you're both very goal oriented. Looking into the future, what are your unrealized goals? What is still on your wish lists of things you'd like to accomplish?

GIULIANA RANCIC: You know, one thing I would love to do is a talk show with my husband. I [mean] a daytime show, but more about relationships, not really a talk show or celebrity show interviewing celebrities.
So many people ask us about our marriage and our relationship and how we seem to have such a great relationship, and we really do.
So, I'd love to have couples come on who have issues and work them through their issues. My husband and I would love to do that.
I think that's definitely something in the future, not the near future but it's nice to dream about, and it's something that we can see ourselves doing somewhere in the future, but we have a long road ahead of us, so no rush.

ANDY COHEN: My goal is to get married. How's that?


ANDY COHEN: Fall in love and get married. Yes. I can do it in New York State now.

GIULIANA RANCIC: Andy, I feel like we might meet someone in Vegas who's going to fill those shoes. I don't know why.

ANDY COHEN: Really? You do?

GIULIANA RANCIC: I have a really good feeling about it. Yes, I don't know why.

ANDY COHEN: I don't know. Vegas seems like a part-time lover place.

GIULIANA RANCIC: No, no. Not necessarily someone who lives there or someone we don't know someone who's kind of part of all this. I don't know I'm feeling good about Vegas. I'm getting good vibes.

ANDY COHEN: Okay, great!


Our thanks to Andy Cohen and Giuliana Rancic for taking the time to speak with us today.  The 2012 Miss USA Pageant airs Sunday, June 3 9pm Eastern live from Las Vegas on NBC.


USTownhall RealStories presents: DAVID GIUNTOLI & RUSSELL HORNSBY of GRIMM
Written by Scott Katz   
Thursday, 17 May 2012 12:41

NUP_136398_0072-resizeOne of the few bright spots on NBC's 2011-2012 primetime television schedule as far as genre televsion fans were concerned was Grimm, which stars David Giuntoli and Russell Hornsby as homicide detectives Nick Burkhardt and Hank Griffin who work for the Portland Police Department trying to solve murders with a decidedly supernatural bent to them.  NBC has announced that the series will return for a second season, and we talked with them recently as NBC gets set to broadcast the first season finale.  Also, the network has announced that the show will temporarily move to Tuesdays with reruns of Season 1, which will begin on May 29 following America's Got Talent.




USTH: The first season finale will be airing soon, so let's have you reflect on this past year and how it's been for each of you in terms of your personal career and how the show has been going for you and the fan reaction and the network support.

DAVID GIUNTOLI: Appreciate it, absolutely. From a standpoint of an actor, I've grown leaps and bounds. I've learned so much. You really get thrown into it, and you don't stop running until 22 episodes are done and 9 months has passed.
And I've been very fortunate to get to work alongside guys who are youthful veterans of the entertainment industry like Russell Hornsby and Silas Weir Mitchell. These guys have really been great and gracious and have taught me a lot just so I kind of lock it in every day.
And the fans have been unbelievable. I've had fans in the past, but genre TV fans are passionate fans. They're completely active. They watch the episode, and then next thing, they're writing fan-fiction or creating more scenarios and asking questions, and they really hold you accountable. And the whole experience has been wonderful.

RUSSELL HORNSBY: Well, for me this experience has been rather surreal. I guess I don't consider myself a veteran of television. This is like the first time I've been on a show that people actually watch [David laughs] and so, just sort of getting used to the hubbub and fanfare and being the first time recognized. It has been crazy.
And so I really thought that I had sort of made it five years ago, and I realized, "Oh, no, I didn't." The work schedule has been very intense like I've never experienced – just all the hours that we've had to put in, being on location, being in Portland and shooting outside in the rain and at night.
I've just learned to appreciate this whole experience and as an actor learning just new things about myself – as an actor and as a performer, all the stuff that I can handle. I never thought I could up to this point.
And again, the fans have been crazy. I mean in a good way. Genre fans are nuts about their shows that they've loved and they follow them. And they're very interactive and very smart.
So, I'm just really curious to see what the next season is going to bring as far as the show's concerned, but also from a fan perspective.


NUP_145984_0073-resize NUP_145984_0965-resize

(l-r) David Giuntoli (as Nick Burnhardt), Russell Hornsby (as Hank Griffin) on NBC's Grimm

[Image credit: NBC]


USTH: Okay, and speaking of next season, what would you like to see happen with each of your characters?

DAVID GIUNTOLI: I'm excited for Nick to become more of a badass, so to speak. Throughout the Season 1, he's [gone] from [being] a very passive observer of what was taking place to a real kind of go-getter where he tried to work the politics of what Wesen [pronounced "Vessin," the series' mythological creatures] were against him and who was for him and who was going after his loved ones, who was his friend. And I think that certain events will make him a little more aggressive.

RUSSELL HORNSBY: My hope is that Hank sort of finds out what's behind door number one. And, if that's the case, then just sort of seeing an opportunity for the relationship to develop, I think, between the three of them – Nick, Monroe and Hank, as they try to solve these crimes together. And I guess the drama that could possibly ensue between the three of them.
You know, I did a little joke today that there's a chance for a nice love triangle, you know. And, Monroe might settle for fighting for the affections of Miss Burkhardt. So it'll be fun.


USTH: In the season finale, there is a new character introduced called "The Woman in Black,"  who will be played by Mary Elizabeth Mastrantonio.  I know you can't reveal any spoilers to the episode, but will the character continue on into next season or will she appear in just this one episode?

DAVID GIUNTOLI: I don't have a definitive answer to that, but I would imagine that yes, she would continue on to next season.


USTH: Our thanks to Nick Giuntoli and Russell Hornsby for speaking with us today.  The season finale to Grimm will air on Friday, May 18 at 9pm Eastern. 

Also, remember that beginning Tuesday, May 29, NBC will be airing reruns of the entire first season following America's Got Talent in an effort to attract a wider audience heading into Season 2.


Bronx Opera returns with HANSEL & GRETEL
Written by Scott Katz   
Wednesday, 16 May 2012 12:44

The Bronx Opera returns for its Spring performances with something of a departure from its norm.  To be sure, it adheres to its customary template of presenting a well-known opera in the Spring, yet by choosing Hansel and Gretel as its focus, the Bronx Opera makes an inspired decision to perform a piece that could serve to introduce the world of opera to the younger generation.

One of the best known and most beloved fairy tales, Hansel and Gretel was published by the Grimm Brothers in 1812 in a volume containing scores of other legendary short stories such as Snow White and Cinderella.  By 1893, Engelbert Humperdinck – no, not the Las Vegas schmaltz-meister, the original German composer – turned the beloved story into a full-blown three-act opera to largely rave reviews.  It is this version that the Bronx Opera adapts for its May session.

The Bronx Opera's rendition of Humperdink's Hansel and Gretel is brilliantly brought to life by the Bronx Opera's founder, Michael Spierman who draws lush, room-filling sound from his full orchestra of almost three dozen extremely talented musicians.  Spierman's son Benjamin serves as Stage Director and translated the opera so that it could be fully performed in English while maintaining the integrity and wit of the original.

As is usual for a Bronx Opera production, there are standout and noteworthy performances aplenty.  In the cast we saw, Allison Pohl was charming and charismatic as Gretel and Bronx Opera vet Hannah Rosenbaum makes a memorable impression in a brief but pivotal role as the Sandman.  It should be noted that this rendition of the opera continues the tradition of the original in that the role of Hansel is performed by a female – a so-called "pants" role – and Jennifer Caruana does a fine job as the mischievous Hansel.  On the technical side, the many projections used to suggest the forest, the witches flying across the sky, and the gingerbread house are clever, colorful, and inventive and were quite effective tools in the school of doing more with less.


IMG_0129-resize HG-sand-resize
Image credit: The Bronx Opera Company


If we have one critique of Hansel and Gretel, it is with the third act, which follows the intermission.  At this point, the children are awakened by the Dew Fairy and soon find themselves at the mercy of the evil Gingerbread Witch.  This is where the story should kick into high gear and the action should rise toward a satisfying climax, but in spite of the fact that the children are captured and Hansel is being fattened in preparation for his eventual fate as a tasty morsel, no sense of underlying tension is ever achieved.  Therefore, when the children find the courage and resourcefulness to outsmart the witch and push her into her own oven, the thrill of giddy catharsis that shoud be felt by the audience is somewhat diminished.

Much of the problem is with the underlying source material.  Humperdinck, in trying to lift Hansel and Gretel from its childhood folk tale origins to an opera worthy of serious consideration by adults may have succeeded all too well.  The composer's Wagnerian influences are apparent, but are structurally too rigid, serving to deflate much of the playfulness and imaginative spark inherent in the concept.  In the past, we've seen fantastic results where the Bronx Opera stayed extremely close to the source material they adapted and did not take too many liberties, but in this case with such kid-friendly material, why not?

The staging of this production was perhaps too well-mannered where a little cutting loose would have worked wonders.  The production design was fun and colorful, and we would have liked to have seen things taken even further.  Having the witch's entrance moved off-stage and directly into the audience where she could pop up unexpectedly, for example, might have provoked shrieks of laughter from the many children that were in attendance.  Or use the many video screens adorning the stage to have the witch's ugly mug projected in large size on four screens simultaneously as she sings her entrance number.  On a similar note, the witch's performance could have been made more broadly campy as her presence comprises the money shots of this oft-told tale and therefore needed to make much more of an impact than they do here.  Everything about the witch, from the costume to the entrance to the performance should have been bigger, grander, and just plain more fun. 


HG-Ginger-resize HG-witch-resize
Image credit: The Bronx Opera Company


While remaining faithful to the original, it might have been a canny idea for Spierman to have another story in the back of his mind that uses much the same template: lost child trying to get back home, but running afoul of an evil witch and singing songs along the way – The Wizard of Oz – to try to attain the same larger-than-life tone particularly in the witch's performance.

Humperdinck's opera ends up being a creation that is neither fish nor fowl – not weighty enough to engage a fully adult audience, yet not cartoonishly preposterous enough to have the kids leaping out of their seats in excitement.  Still, the Bronx Opera does a commendable job in bringing this flawed gem to the stage and it is a largely effective gateway to the world of opera for the little ones – a nice night out for the entire family.

There are still two more performances left to the Bronx Opera's Hansel and Gretel, and tickets should still be available for their Long Island shows at Hofstra University.  Please visit the Bronx Opera's website for more information and to keep up with future projects and their ongoing mission to make classical opera affordable and accessible to everyone.

To listen to our previous interviews with the Bronx Opera Company's Ben Spierman, click here.


2011-2012 TV Season Cancellations
Written by USTownhall staff   
Saturday, 12 May 2012 14:07

Now that the 2011-2012 television season will be coming to an end in a couple of weeks, we thought it would be a good time to summarize the announcements that the five broadcast networks have made regarding the fates of their television schedules.  Some shows are still undecided, but the fates of most of their lineups are now known:




• Charlie's Angels

• Cougar Town (but new episodes will air on TBS)  

• Desperate Housewives

• Extreme Makeover: Home Edition


• Man Up!

• Missing

• Pan Am

• The River

• Work It

• CSI: Miami

• A Gifted Man

• How to Be a Gentleman

• NYC 22

• Rob

• Unforgettable

• Alcatraz

• Allen Gregory

• Breaking In

• The Finder

• House

• I Hate My Teenage Daughter

• Napoleon Dynamite

• Terra Nova

• Are You There, Chelsea?

• Awake

• Bent

• Best Friends Forever

• Chuck

• The Firm

• Free Agents

• Harry's Law

• The Playboy Club

• Prime Suspect

• H8R

• One Tree Hill

• Remodled

• Ringer

• The Secret Circle


• The Bachelor

• The Bachelorette

• Body of Proof

• Castle

• Dancing with the Stars

• Don't Trust the B- in Apt. 23

• Grey's Anatomy

• Happy Endings

• Last Man Standing

• The Middle

• Modern Family

• Once Upon a Time

• Private Practice

• Revenge

• Scandal

• Shark Tank

• Suburgatory

• 2 Broke Girls

• The Amazing Race

• The Big Bang Theory

• Blue Bloods

• Criminal Minds



• The Good Wife

• Hawaii Five-O

• How I Met Your Mother

• The Mentalist

• Mike & Molly


• NCIS: Los Angeles

• Person of Interest

• Rules of Engagement

• Survivor

• Two and a Half Men

• Undercover Boss

• American Dad

• American Idol

• Bob's Burgers

• Bones

• The Cleveland Show

• The Family Guy

• Fringe

• Glee

• Kitchen Nightmares

• New Girl

• Raising Hope

• The Simpsons

• Touch

• The X Factor

• 30 Rock

• Betty White's Off Their Rockers (midseason)

• The Biggest Loser (midseason)

• Celebrity Apprentice (midseason)

• Community

• Fashion Star

• Grimm

• Law & Order: SVU

• The Office

• Parenthood

• Parks & Recreation

• Smash

• Up All Night

• The Voice

• Whitney

• 90210

• America's Next Top Model

• Gossip Girl

• Hart of Dixie

• Nikita

• Supernatural

• The Vampire Diaries



Written by Scott Katz   
Monday, 26 December 2011 00:00
ChuckJones-DreamNeverWas-resizeThroughout his life, Chuck Jones was a dreamer.  He was always able to tap into the child within himself as part of his creative process, and children and dreams are both ever-present themes and inspirations to Jones during his long career.  That much is evident to anyone who had ever met the man or even those of us who were only fortunate enough to be entertained by his deep catalog of animated cartoon classics.  In addition to creating the Roadrunner and Pepe Le Pew series, Jones is responsible for some of the most famous Warner Bros. cartoons in their canon: "What's Opera, Doc?," "One Froggy Evening," the Bugs Bunny/Daffy Duck/Elmer Fudd Hunting Trilogy, and literally scores more.  Of course, children and dreams are perfectly encapsulated in Jones' two Ralph Phillips cartoons.  But from a mind as active and creative as Jones' was, not all dreams could be realized.  In Chuck Jones: The Dream That Never Was, we are taken on a remarkable journey through a twenty-year period in Jones' life that was a mere footnote in most texts about the man – if it got a mention at all. 

Chuck Jones: The Dream That Never Was weighs in at about 280 pages, and there's not a wasted paragraph among them.  The book is neatly divided into six sections that chronicle the full story of Crawford in all its various iterations over two decades – but this project's ambitions don't stop there.

The book opens with a massive 43 page essay by Kurtis Findlay that not only outlines Chuck Jones' various attempts to get Crawford before the public – both successful and not – but also covers his entire career with a particular emphasis on his post-Warner Bros. accomplishments.  That makes this book especially valuable as this period is less well-documented than his salad days as one of the guiding forces behind Looney Tunes and Merrie Melodies.  Findlay's prose is at once thorough, enlightening, and entertaining, and he guides us expertly through the highlights of Jones' tenure at MGM and beyond.  Chuck Jones is justifiably one of the premier figures of the Golden Age of Animation, and his career at Warners has been discussed in great depth in any number of tomes, but his post-Warner career remains scarcely-mined territory so there are many stories just waiting to be told of this period.  Truthfully, Jones had such a long and prolific creative life that every day was likely a new adventure and each phase of Jones' career could without a doubt support a book of its own.  Even Jones' supposed misfires and failures are more interesting than the highlights of many other animators and warrant an in-depth study. 

Chuck Jones passed away in 2002, and while his immense body of work does speak for itself, it is always interesting and instructive to hear the stories behind the story – the story of the gestation process of a project and how it finally saw completion – or not.  That's what makes well-written text pieces like Findlay's such crucial reading.  Findlay doesn't give us a dry recitation of the facts; he successfully captures the essence of who Jones was as a person and as a creator.  Through the anecdotes chronicling his time as head of MGM animation and his later stint at ABC children's programming (where's that book?), we are shown a Chuck Jones who wants more than anything to push the boundaries of what is possible in the television animation format.  Jones never gives up this goal even in the face of continued ambivalence our outright apathy from the studio and network executives.

Upon being dismissed from Warner Bros. due to his moonlighting as writer of the screenplay for UPA's Gay Purr-ee, Jones was quickly snatched up by MGM where he created a series of Tom and Jerry shorts that played throughout the 60s. 

To his credit, Findlay doesn't try to whitewash the past; he gives full details about how much of Jones' post-Warner work was not unanimously well-received – both his Tom and Jerry series and the other projects he created for MGM.  For instance, although Jones won an Oscar for his classic short, "The Dot and The Line: A Romance in Lower Mathematics," the author of the book it was


Chuck Jones: The Dream That Never Was



MSRP: $49.99

ISBN: 978-1613770306

reprints full Sundays and dailies run

of Crawford 1978 newspaper strip

280 pp, Available now


based upon, Norton Juster, reportedly hated the result.  Juster had a similar reaction to Jones' feature-length treatment of one of his other books, The Phantom Tollbooth.  To one degree or another, Jones met with dissatisfaction from the authors of other works he interpreted while at MGM including Dr. Seuss on the adaptations of How the Grinch Stole Christmas and Horton Hears a Who, Frank Tashlin (the director whose animation unit Jones took over upon Tashlin's exit from Warner) on "The Bear That Wasn't,"  and the great Walt Kelly whose signature creation was brought to television by Jones in 1969's Pogo's Special Birthday Special.  Perhaps the heart of the problem was that Jones was adapting other people's material and in fleshing them out for the very different media of television and film, imprinted too much of his own voice and sensibilities on stories that were very personal to their authors.  This is in marked contrast to the Looney Tunes stars who were really committee characters and thus malleable enough to withstand the differing interpretations of multiple directors.

Findlay weaves a fascinating tapestry delineating how Jones began developing the character and world of Crawford in 1967 for a proposed television animated series, and how he worked on it with his wife through various refinements until it was ready to pitch to MGM in 1969.  However, nothing came of it as Jones' busy schedule coupled with the closing of MGM's animation unit after the completion of The Phantom Tollbooth scuttled any plans to bring Crawford to television.

However, in 1977, another opportunity arose to bring Crawford to life albeit not on television, but in the pages of the daily newspaper comic strips.  In 1977, Robert Reed (no, not the Brady Bunch dad) of the Tribune Company approached Jones with the idea of creating his own comic strip for his group of newspapers that would feature a set of kids to compete with Peanuts, the hugely successful strip that was part of the United Features Syndicate stable.  To that end, Jones dusted off his Crawford proposal and reworked it and the characters for the daily newspaper strip format.  The strip premiered in January 1978 in the New York  Daily News and a handful of smaller papers.  It is unknown why the Chuck Jones name did not have enough star power to get his strip picked up by more papers, but our own analysis of the results show a lack of cohesion and continuity in the seven months the strip was in existence.  Jones had a lot of ideas, but failed to take the time to create distinctive and convincing characters to execute those ideas.  Jones' trademark witticisms and wordplay are in full effect, make no mistake.  But with few exceptions, the dialogue could be exchanged between characters with little to no effect on the outcome.  The biggest obstacle to the public's being able to embrace the strip is that the titular character is actually the least interesting in the bunch.  In the first few weeks of the strip, Crawford serves merely as straight man to his buddy Morgan, who initiates much of the action.  On the whole, the Crawford cast is less interesting than their Peanuts counterparts: Crawford, Morgan, and Libby never engage, provoke, or touch us the way Charlie Brown, Linus, and Lucy do.

Also, during the course of the strip's life, its stars Crawford and Morgan undergo radical shifts in character traits and even physical appearance.  The gang seems to age several years overnight again proving that the concept needed more thought and development time before seeing print.

Still, as a collected work, this book is a marvelous achievement by all involved.  The Library of American Comics – spearheaded by Dean Mullaney and Bruce Canwell – already have such a deep catalog of hit books to be proud of that, from an editorial perspective, it must be a daunting task to keep coming up with projects to top themselves.  We're glad to report that with Chuck Jones: The Dream That Never Was, they really have upped the ante on what has come before. 



Image from Chuck Jones: The Dream That Never Was

[Image credit: The Library of American Comics]


This book is a must-have for any fan of comic strips, animation, or Chuck Jones himself.  Chuck's strips, storyboards, and sketches – and there are heaping gobs of it published here to drool over – occupy the lion's share of the book.  That signature angular style Jones developed in the 1950s is here on display in all its charm.  Chuck Jones, the artist, ranks up there with the best cartoonists that the newspaper or animation media ever produced.  He had a mastery of body language – including the iconic sideways glance to the audience – which few artists could match and it was always effectively employed to convey character, mood, and subtext.  With the precision of a surgeon, Jones always knew how big or small he needed the action to go in order to get the reaction from the audience that he wanted.

The Library of American Comics is no stranger to accolades for their works, which have won Eisner Awards in the Best Archival Collection category three times already.  While the recent Flash Gordon and Jungle Jim volume 1 (reviewed elsewhere on this site) is the more obvious Eisner-bait for this year's awards, we think Chuck Jones: The Dream That Never Was is the more deserving and hope it at least gets a nomination.  Chuck Jones is the kind of book that needs to see print because it gives full detail and context to a period in the artist's life that had heretofore been a footnote at best.  Just when you thought you knew all you could about Jones, this book comes along and provides an exciting opportunity for discovery that adds a thrilling undercurrent to each turn of the page and makes the reading experience that much more rewarding.  Yes, the stories on the page are fun, whimsical, and charming, but the story behind the story is the bigger prize and one that will make The Dream That Never Was a go-to reference for both animation and Chuck Jones aficionados now and for decades into the future.



Page 7 of 11



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cast of The Apprentice 10


Sherri Shepherd

Vanessa Minnillo

All My Children creator AGNES NIXON

Bronx Opera's BEN SPIERMAN

cast of Big Brother 12 BOBBY FLAY & STEVE ELLS of America's Next Great Restaurant Cast of the play Bridgeboy
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part 1: Guiding Light

part 2: Days of Our Lives

soapcentral.com founder DAN KROLL DAN PARENT of Archie Comics DAVID LYONS of The Cape DEBBIE GIBSON & TIFFANY Author DEDE EMERSON of A Different Kind of Streetwalker
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BOB DOWLING of the 3D Entertainment Summit Indie filmmaker ELIANA UJUETA of Beneath the Rock comic book artist JAMAL IGLE Genesis Repertory's JAY MICHAELS, MARY MiCARI, & actors Oscar-winning actor JEREMY IRONS

Animation historian JERRY BECK

1st interview

2nd interview

singer-songwriter JOSH GROBAN

web series producer KAI SOREMEKUN of Chick

1st interview

2nd interview

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Oscar-winning actress KATHY BATES of Harry's Law Television producer KENNETH JOHNSON of V, Bionic Woman, Incredible Hulk KYLE BORNHEIMER & HAYES MacARTHUR of Perfect Couples

Terrence Howard, René Balcer

Dick Wolf, Alfred Molina, Alana de la Garza

publisher DAN HERMAN of Hermes Press COUNTESS LuANN de LESSEPS of The Real Housewives of New York City author MAX ALLAN COLLINS of Road to Perdition WWE Champion Mike "The MIz" Mizanin
MillCreeklogo-thumb nick-lachey-thumb niki-taylor-thumb paul-reiser-thumb ricky-gervais-thumb rosie-odonnell-thumb steve-niles-thumb the-event-cast-logo-thumb

JEFF HAYNE of Mill Creek Entertainment

1st interview

2nd interview

singer-actor NICK LACHEY supermodel NIKI TAYLOR talks The Celebrity Apprentice actor PAUL REISER of The Paul Reiser Show actor-producer RICKY GERVAIS of The Office actress-television host ROSIE O'DONNELL comic book writer STEVE NILES

Ian Anthony Dale, Nick Wauters

Jason Ritter, Sarah Roemer, Blair Underwood, Željko Ivanek

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THORE SCHÖLERMANN & JO WEIL of Verbotene Liebe Peabody & Emmy award winning journalist TOM BROKAW Emmy award winning actor TOM PELPHREY of Guiding Light actors from The Apothecary Theatre Company TORI SPELLING & DEAN McDERMOTT of sTORIbook Weddings





Reviews & Previews:

Summer 2011 Movie Preview

Fall 2010 Television season

Fra Diavolo

Die Drei Pintos

Romeo and Juliet in Brooklyn

MPI Home Video

Timless Media Group

Boris Karloff's Thriller

Hunter: The Complete Series

Polly and Her Pals

Icons: The DC Comics and Wildstorm Art of Jim Lee

Adrianne Palicki as Wonder Woman

Ryan Reynolds as Green Lantern

Spider-Man musical delayed again


Dead Space: Aftermath






New York Comic Con

Apprentice 10 kickoff

Farewell to Guiding Light

Farewell to As the World Turns

The Broadway Directory


Award Show winners:

Academy Awards

Emmy Awards

Grammy Awards

Tony Awards

American Music Awards

Golden Globe Awards

Screen Actors Guild Awards

American Country Awards



Television blogs:

American Idol 10

American Idol 9

American Idol 8

Big Brother 12

Big Brother 11

ABC Cancels Both All My Children and One Life to Live

Guiding Light: A Look Back


Editorials & Issues:

Scam Alert: Have You Received This E-Mail Job Offer?

Meet the 112th Congress

Brooklyn politicians Kevin Peter Carroll vs. Ralph Perfetto

Before Rosa Parks There Was Lizzie Jennings

Understanding New York State Government

USTownhall RoundTable podcast: The Worlds of Entertainment and Current Events