Buzz Break: Is it Raining? I Hadn't Noticed


· Channing Tatum and Amanda Seyfried make out in the rain in this new still from Dear John -- mandatory, since it's based on a novel by "wet people making out" author Nicholas Sparks (The Notebook). Audrina, get excited!

· What does Kara DioGuardi think of the Adam Lambert cancellation kerfuffle? "We're living in a pretty bad economic time, so they have to do what they have to do to keep their advertisers," DioGuardi told E! "Networks are doing what they think their viewers want and don't want, so it's just budgetary."

· Meanwhile, Cynthia Nixon isn't happy that New York state scuttled gay marriage. "Wednesday's No vote on same sex marriage was supremely disappointing on a personal as well as a political level," the actress wrote on HuffPo. "Guess Christine and I can kiss that Waldorf Astoria wedding... Brooklyn Botanical Gardens wedding... Montauk Beach wedding -- you fill in the blank -- goodbye."

· Brangelina. Nude. (In sculpture.)

· Nine's Marion Cotillard interviewed Penelope Cruz by starting off with the question "Imagine that you meet some extraterrestrials. How would you describe humankind to them?" I asked Abigail Breslin that once. Didn't go so well.


  • The Cantankerist says:

    Just, um, tangentially: I did realise on last viewing that the lameness of Andie MacDowell's last "Four Weddings" scene (quoted in title above) is not *completely* Andie's, Hugh Grant's or Richard Curtis' script's fault. Largely, but not completely.
    One of the reasons it sounds so false is that there's ADR right through the scene, and it's appalling - looking at it closely, MacDowell's words don't even fit in her mouth at that moment, and I think subliminally that primes to reject the dialogue. It's also a good example of an actor delivering a joke line seriously (as it should be delivered) only to be carved up by scoring, editing and direction so that it looks like their character isn't in on it. The line should be there to deliberately break the schmaltzy goo, and instead it plays as if it's a genuine attempt to extend it.
    What's that? I'm thinking too much about a 15-year-old movie? True. But there's stuff on display in FWAAF that Curtis has not come remotely close to exploring again - genuine human moments amidst the plot's machinations. It's strange to remember that when the film came out it was the departures from formula that were refreshing, because Curtis has just lost himself in formula in the 15 years since. "Bollocks, Actually".