The TV program, which premiered in 2002, puts country singers (or bands) on the same stage with artists from other genres. Past pairings have included Rascal Flatts and the band Journey, Emmylou Harris and Mumford & Sons, and Carrie Underwood and Steven Tyler.
According to CMT, Lady Angebellum (which consists of Charles Kelley, Hillary Scott, and Dave Haywood) and Nicks will share “harmonies and stories” during the program. The episode combining Nicks with Lady Antebellum is scheduled to air Sept. 13.
RECOMMENDED: The 25 best country songs of all time (+video)
According to Rolling Stone, Nicks said she often has mixed feelings about others covering her song “Edge of Seventeen” but that she’ll be singing it with Lady Antebellum during the episode.
“I’m proud to share it with Lady Antebellum, because they’re good enough to do it,” the singer said.
During the show, Nicks’ other songs “Rhiannon,” “Landslide,” and “Stop Draggin’ My Heart Around” will be performed as well as Lady Antebellum’s tunes “Need You Now,” “Golden,” and “Love Don’t Live Here,” according to CMT.
The concert was filmed in Los Angeles.
Nicks, who is a member of the band Fleetwood Mac, was inducted into the Rock and Roll Hall of Fame in 1998 with the rest of the group and has released seven solo albums. She recently toured with other members of the band – Mick Fleetwood, Lindsey Buckingham, and John McVie – through North America and the group is embarking on a European and Australian part of the tour later this year.
Lady Antebellum won the Best Country Album Grammy Award for “Own the Night” in 2012 and took the “Record of the Year” and “Song of the Year” titles in 2011. The group will also be embarking on a tour this fall.
RECOMMENDED: The 25 best country songs of all time (+video)
Here at the Monitor, we're always looking for good stories.
A good story can explore new ideas, teach you something, or transport you to another place. Sometimes just a photo and a headline allows readers to walk in another person's shoes, understand a complex problem, and can even inspire action.
Now we want to see your stories! We know you have them.
Maybe it's the story of the first trip out in the new RV where you thought you could clear that covered bridge, but ended up leaving the air conditioner behind on the highway. Maybe it's the time your daughters played barber and both ended up with some wacky new hairdos. Or your son's first day of school, grandma's 90th birthday, your trip to the Grand Canyon, or the neighborhood block party.
We're seeking stories of friendship or family, heartwarming or disastrous, silly or quirky, uplifting or frustrating. Send us a photo that tells your story. Add a headline for your photo, but keep it short and to the point, a maximum of about 140 characters. After all, a picture is already worth a thousand words.
Enter below and log onto Facebook or Pinterest to post or pin a photo telling your story along with an engaging headline to accompany it, using the hashtag #CSMmyStory.
Our director of photography, along with other staff, will choose the best photo/story combination. The winner will receive a one-year Monitor print or digital subscription and a CSM Coffee Mug. Second place will receive a six-month Monitor print or digital subscription and a CSM flash drive, and third place will receive a 3-month Monitor print or digital subscription.
Disney has released the first teaser for their winter animated release, the musical-fantasy Frozen, finally kicking off wide promotion for the film in earnest. Don’t expect to learn too much about the movie’s story from the clip, though: the footage plays more like its own distinct short than anything else, focusing on antics between two side characters rather than plot.
Fortunately, Frozen happens to be based off of The Snow Queen, Hans Christian Andersen’s classic fairy tale, so audiences may already be familiar with it. Here’s the official synopsis:
In “Frozen,” fearless optimist Anna (voice of Kristen Bell ) teams up with rugged mountain man Kristoff (voice of Jonathan Groff ) and his loyal reindeer Sven in an epic journey, encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf in a race to find Anna’s sister Elsa (voice of Idina Menzel), whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom.
The teaser revolves entirely on the interactions between Olaf (Josh Gad) and Sven, and even though it doesn’t say anything about the film, it’s funny and charming enough on its own merits. What may be most striking here is how much this feels like something out of Pixar’s wheelhouse; last year, Disney’s Wreck-It Ralph pulled off the same feat, blurring the lines between the Mouse House and its subsidiary. Be that as it may, the animation and imagination on display here are both great, particularly Olaf’s attempts at rearranging his body to best Sven in a race across the ice.
It may also worth noting that Frozen boasts a smorgasbord of Broadway talent. In fact, Gad, Menzel, Groff, and Santino Fontana (starring here as Prince Hans) have each originated roles in plays ranging from The Book of Mormon (whose composer and co-creator, Robert Lopez, provided scoring for Frozen), to Wicked, to Rent. Those are some impressive credentials, and it’s going to be interesting to see how Bell keeps up with all of them.
Andrew Crump blogs at Screen Rant.
We have finally reached that moment where our endless discussion of TV can turn to how a series finale is both a blessing and a curse. On the one hand, being granted the luxury of an honest-to-goodness finale denotes some level of success – which, in the case of Breaking Bad, has amounted to three consecutive Best Actor Emmys for Bryan Cranston and two wins for his co-star Aaron Paul – and a insatiable desire from the audience to see how it all plays out. On the other hand, there is the whole “how the heck is this going to play out?” thing that series creator Vince Gilligan and his auteur theory-rejecting staff of writers have to work with their collective backs against, while attempting to serve the story, their desires and, most gracefully, the desires and impression of the audience.
Let’s be honest – completing any story is a difficult task, but Gilligan and his crew have maintained a narrative focus that would dictate the level of complexity required to pull off the strategic and artful dismount of one of the most culturally significant shows in the last 10 years. To its great credit – and likely much to the relief of the creative types orchestrating whatever will be the final moments of Walter White – Breaking Bad has had a laser beam-like trajectory, tracking the journey of a lifelong almost-was from meteoric rise all the way to his precipitous plunge into the hellish pit of his own making. In that sense, the series has only the ending of a single story – which began practically without ceremony over five years ago – to worry about.
And the beginning of that ending, ‘Blood Money,’ is a foretaste at what Walter’s endeavors have wrought. The episode begins similarly to last year’s ‘Live Free or Die,’ which saw a scrawny-looking, scruffy Walter handing out exorbitant tips to waitresses as a birthday boy named Mr. Lambert, all the while waiting for a car with a machine gun in the trunk that would make Pike Bishop tip his hat in quiet admiration. This time, however, Walter’s digging a bit deeper into the Albuquerque that has apparently been left behind, visiting the now-abandoned and condemned White household and other remnants of his past while the audience is left questioning the circumstances of his future.
These glimpses into what lies ahead are clearly all part of a meticulously calculated two-pronged storyline that effectively doubles the stakes of these final eight episodes. But more poignantly, this dark machine gun and ricin-filled future of the man called Heisenberg affords him (or anyone else, potentially) zero opportunity to enjoy the blood-soaked fruits of his wicked labors.
To that end, it has been almost a year since Breaking Bad was even on the air. When we last saw Walter in ‘Gliding Over All,’ the sounds of Tommy James and the Shondells’ airy and eerily appropriate ‘Crystal Blue Persuasion’ were still being filtered through our brains as a means to better comprehend the dual montages that saw Walter orchestrate a horrifically brilliant mass-shiving – one that was only slightly less formal and detailed than his amassing a pile of cash so large it begged the question: “How much is enough?” This, in turn, inspired Walt to hang up the pork-pie hat, pack away any thoughts of superlabs or deceitfully fogged houses and hand over five million dollars to Jesse, the student-cum-meth-lab-sous-chef he’d discarded faster than his own morality.
This has effectively moved the baseline of the final episodes away from the idea of empire building (and all the activities involved in such lofty and illegal endeavors), and pointed it directly toward the notion of consequence for all involved. Make no mistake, everyone is in line for a comeuppance: Hank for his inability to see what was right in front of him the entire time; Skyler for her shaky participation; Walt Jr. for demanding he be called Flynn; and, of course, Walt for, well, pretty much everything. That leaves Aaron Paul’s increasingly remorseful Jesse Pinkman once more in the position of being Breaking Bad‘s unlikely moral center, as demonstrated by his random pre-dawn distribution of greenbacks like some altruistic version of a paperboy.
But ‘Blood Money’ doesn’t just imply the stakes of the season will be high; it delivers on them in an excruciatingly tense confrontation between brothers-in-law that rapidly escalates from a punch being thrown to cancers being acknowledged to, finally, the issuing of a thinly veiled threat that strikes fear while pointing out the shortcomings of a particular investigator.
“If you don’t know who I am, then maybe your best course would be to tread lightly.” It would seem Breaking Bad has no intention of taking Walt’s advice, if the show’s writers plan to cap off critical, longed-for moments like this in such spectacular fashion.
Kevin Yeoman blogs at Screen Rant.
Percy Jackson: Sea of Monsters is the follow-up to 2010′s Percy Jackson & the Olympians: The Lightning Thief – both big screen adaptations of Rick Riordan’s five part Percy Jackson book series. After preventing a world-threatening civil war between Zeus and Poseidon, the celebrity status of Percy Jackson (Logan Lerman) has started to fade. New demigods have been upstaging the titular hero, most notably the daughter of Ares, Clarisse La Rue (Leven Rambin), causing Percy to question whether his earlier victory was nothing more than beginner’s luck.
That is until the magical barrier protecting Camp Half-Blood is breached and Percy is once again called upon to defend both human as well as demigod kind. Joined by his friends Grover Underwood (Brandon T. Jackson) and Annabeth Chase (Alexandra Daddario), along with half-brother Tyson (Douglas Smith), Percy sets out for the Sea of Monsters (aka the Bermuda Triangle) in search of The Golden Fleece – a magical piece of fabric capable of healing the barrier (as well as anyone or anything else on the verge of death). However, along the way, Percy and his fellow travelers come face to face with an old enemy who has a nefarious interest in the Fleece – as a means of enacting revenge on the ancient Olympians.
For the second installment, Thor Freudenthal (Diary of a Wimpy Kid) has taken over franchise directorial duties from Chris Columbus – and the result is a film that will easily satisfy pre-teen fans of the book series (or any of the twenty-something actors involved). However, Sea of Monsters isn’t nearly as well realized as the previous installment – meaning that older moviegoers who enjoyed The Lightning Thief may find that Freudenthal’s entry stumbles in its efforts to offer anything more than shallow, and kid-friendly, adventuring.
The first installment leaned heavily on the grand scale of the larger Percy Jackson storyline, where the titular hero has direct contact with mystical creatures and heavy-hitting Gods Zeus, Poseidon, and Hades – making it a guilty pleasure for fans of Greek mythology and fantasy adventure (read our Lightning Thief review), in addition to the target children/teen demographics. This round, the story is much more narrow, primarily focused on stale teenage character drama to fill in the gaps between CGI creature encounters. Unfortunately, even when the onscreen action ramps up, many of the skirmishes are brief and underwhelming – not to mention surprisingly short of interesting mythological creatures.
Younger filmgoers will still be able to appreciate the middle-of-the-road action adventure and respond to the banter between Sea of Monsters heroes and villains (as they should). Yet, Freudenthal falls short of the bar set by Columbus, failing to elevate the material in any meaningful (or particularly interesting) way, and as a result, limits the number of viewers who will find worthwhile payoff in his film.
Instead, viewers will get an often silly and brainless quest story, bouncing from one over-the-top set piece to the next – where the heroes are mostly flying by the seat of their pants and can rarely claim any authority over their successes. In place of careful world building and smart implementation of Greek lore, Sea of Monsters is mostly concerned with keeping its characters in motion (not to mention preparing the way for a third film) – rarely taking time to set up or pay off any of the numerous ideas that are haphazardly thrown into the mix. Familiar (and oftentimes clumsy) story mechanics, along with a few underwhelming twists, move the plot forward – while heavy-handed (albeit magical) tools help Percy (and the film’s writers) escape any dead ends.
The cast is serviceable – though the main trio is each provided with significantly less of an arc this time. Percy is understandably offered the meatiest storyline but he spends the majority of the film in self-doubt and longing for his Olympian father (previously portrayed by Kevin McKidd), who is nowhere to be found this time. Lerman makes the most of what he’s given but the actor, who has turned out strong portrayals in the past (The Perks of Being a Wallflower), is poorly utilized and some of his more introspective scenes border on melodrama instead of engaging insight.
Annabeth (Daddario) and Grover (Jackson) are also trimmed down to shallow sidekick caricatures – after enjoying two of the more engaging arcs in the original film. In Sea of Monsters, Annabeth is relegated to butt-kicking love interest duty as well as saddled with a cringeworthy storyline about prejudice and grudge holding. Sadly, Grover fares even worse: he’s merely a cog in the machine with no actual development – made essential with a throwaway line explaining that only a satyr can locate the Fleece.
Newcomers Tyson (Smith) and Clarisse (Leven Rambin) help to freshen up the cast but neither character provides anything but one-note counterpoints to the returning heroes. Similarly, while fan-favorite Nathan Fillion makes a brief appearance as Hermes (replacing actor Dylan Neal) – the only Greek god willing to be involved this round. Sadly, his part is riddled with so many goofy nods to the audience that any attempt at adding something meaningful is lost in between all of the campy one liners.
Percy Jackson: Sea of Monsters is playing in 3D as well as 2D theaters but the film doesn’t do anything particularly unique with the format. While there are a few moments where the 3D shines, many of the film’s visual effects and monsters are pretty rough – meaning that even when the 3D looks good, it’s hard to be fully immersed in the onscreen action. For that reason, selective 3D filmgoers are safe skipping the added cost; though, diehard fans of the series, along with anyone who doesn’t mind premium ticket costs, might find a few memorable 3D moments to justify their upgrade.
Freudenthal’s Sea of Monsters is a step down for the Percy Jackson franchise in nearly every single way imaginable. The scale is smaller, the characters are less interesting, and the film makes poor use of its rich book and Greek mythology source materials. Young movie (and book series) fans will likely find enjoyment in watching their favorite heroes and actors back on the big screen for another Percy Jackson adventure but the movie provides next to nothing for anyone outside of that core demographic. As mentioned, the film spends a significant amount of time planting seeds for the next entry in the series, but it’s hard to imagine that many moviegoers will be as anxious for part three, The Titan’s Curse, after sitting through this Sea of Monsters.
Ben Kendrick blogs at Screen Rant.
Is actress Katherine Heigl headed back to TV?
According to sources, Heigl is bringing a possible drama program around to networks to gauge interest. The show would star and be produced by the “Grey’s Anatomy” actress and the pilot would be written by Alexi Hawley, who served as a writer and producer on the ABC show “Castle” and wrote and served as supervising producer for the ABC show “Body of Proof.”
The show's content is currently unknown, but USA Today writer Gary Levin wondered if the program might be a procedural, considering Hawley’s background.
RECOMMENDED: The 20 best TV sitcoms of all time – readers' choice
If a network snagged the show, it would most likely be a contender for the 2014-2015 TV season.
Heigl is still best known for her breakout role as Dr. Izzie Stevens on the long-running ABC drama “Grey’s Anatomy,” on which she starred from 2005 to 2010. Before then, she starred on the 1999 TV show “Roswell.”
During and after her time on “Grey’s,” the actress starred in the Judd Apatow comedy “Knocked Up” and the romantic comedies “27 Dresses” and “The Ugly Truth.” Most recently she appeared in the film “The Big Wedding,” which was released this past April, with Robert De Niro and Diane Keaton, among others.
RECOMMENDED: The 20 best TV sitcoms of all time – readers' choice
At 71 years old, Harrison Ford is staying relevant as an actor – by working on a combination of more artistically-satisfying films (see: 42) and commercially-friendly titles (see: Anchorman: The Legend Continues). The fan-favorite actor has even used his longtime public image as a curmudgeon to his advantage, during his two Hall H appearances at the International Comic-Con (see: the Q&A segment of the Ender’s Game panel in 2013).
Ford is all-but-confirmed to reprise one of his iconic roles in 2015 with Star Wars: Episode VII, where he is expected to return as the 70-something year old version of the (not scruffy) hotshot Han Solo. The actor has admitted that he’s still open to picking up his fedora and whip to reprise his other iconic role, should Indiana Jones 5 ever come to fruition – before that happens, though, it appears as though Ford will participate in a different movie (as an age-appropriate action hero): The Expendables 3.
It’s been almost exactly a year since we first heard that Ford was being targeted to appear in Expendables 3. Of course, it’s possible that Sylvester Stallone has been pushing to get the actor to join the Expendables franchise cast for a much longer period of time than that; either way, it appears that Sly has finally won Ford over (or worn him down, whatever works):
WILLIS OUT... HARRISON FORD IN !!!! GREAT NEWS !!!!! Been waiting years for this!!!!
Stallone quickly followed that Twitter announcement with another Tweet comment, saying that “GREEDY AND LAZY …… A SURE FORMULA FOR CAREER FAILURE.” To be fair, we can’t be 100% certain that Sly was referring to Willis – though, if we’re being honest, chances are good that he was, considering just how close together he posted the comments. Not to mention, Willis hasn’t exactly been impressive of late, be it with his off-screen behavior or his most recent movie performances (see: A Good Day to Die Hard, G.I. Joe: Retaliation, Red 2).
Anyway, moving on…
Ford recently made the following comments about reprising as Dr. Henry Jones (Jr.) in Indiana Jones 5 (via The Telegraph):
“We’ve seen the character develop and grow over a period of time and it’s perfectly appropriate and okay for him to come back again with a great movie around him where he doesn’t necessarily have to kick as much ass. To me, what was interesting about the character was that he prevailed, that he had courage, that he had wit, that he had intelligence, that he was frightened and that he still managed to survive. That I can do.”
Despite the mixed general reception – and harsher reactions from hardcore fans – to Indiana Jones the Kingdom of the Crystal Skull, Ford’s solid performance as an older, yet also wiser, more experienced, and even appropriately world-weary Indy Jones, is usually acknowledged to be one of the film’s strengths. It’s not so much Ford’s ability to play the character that has been questioned – rather, it’s whether or not George Lucas can devise a more focused story – in terms of narrative, interesting characters and themes – than the one that was realized on the screen with Crystal Skull.
Having said that: now that George Lucas claims he is done with blockbuster filmmaking – in combination with Disney having acquired some of the Indiana Jones rights back when it purchased Lucasfilm – is it possible that Lucas would be more willing to allow someone else to chronicle the continuing adventures of Ford’s globe-trotting archaeologist (similar to how Lucas is simply consulting on the next era in the Star Wars universe)?
Crystal Skull concludes on a note that – while not as satisfying for many a fan of the Indy character (no pun) as the ride-off into the sunset from Indiana Jones and the Last Crusade – doesn’t necessarily demand another installment, but it does leave the door open for a fifth movie (one without Shia LaBeouf as Indy’s son, no less). Nonetheless, the situation is more complicated now, as Paramount still owns some of the rights to the Indiana Jones franchise – meaning, Lucasfilm cannot plow full speed ahead ahead with new movies (even if the studio wanted to).
Sandy Schaefer blogs at Screen Rant.
Comedian Colbert announced that the group Daft Punk would not be performing on his show “The Colbert Report” on Tuesday night because they would be performing on the MTV Video Music Awards on Aug. 25, according to Deadline.
The “Colbert” performance, which would have been part of the host’s series of band appearances known as “Colbchella,” was apparently canceled because MTV said they had the rights to any appearances by Daft Punk in the time before the VMAs.
The late-night host may have given away what would have been an unexpected entrance by Daft Punk during the awards.
“Apparently, Daft Punk are going to make a surprise appearance on the MTV Video Music Awards,” Colbert said during the show. “Don’t tell anyone, because fun fact: No one told me until two o'clock yesterday.”
“Blurred Lines” artist Robin Thicke performed his hit single on the “Report” instead.
Representatives for Daft Punk told UPI they didn’t give MTV exclusive rights to their performances in the time leading up to the VMAs.
Colbert joked about what he considered the absurdity of a group not being allowed to perform for such a stretch of time before the awards ceremony.
“If Daft Punk were on my show, people wouldn’t tune in to see them on the VMAs almost a month from now – that’s not how music works,” Colbert said. “You love a band, you see them once, then never want to see them again. That’s why after the Beatles went on ‘Ed Sullivan,’ they dropped off the face of the earth.”
The “Report” audience received a consolation prize of Colbert dancing to “Get Lucky” along with stars including late-night host Jimmy Fallon, “House” actor Hugh Laurie, actor Jeff Bridges, and "Breaking Bad" star Bryan Cranston, among others.
Fans may have gotten a surprise when they clicked on the new video for band Mumford & Sons’ song “Hopeless Wanderer.”
“Here’s the new video for ‘Hopeless Wanderer,’ featuring Mumf… oh wait,” the video on the band’s site read.
The video for “Wanderer” has actors Jason Bateman, Will Forte, Jason Sudeikis, and Ed Helms instead of the usual quartet of members that makes up the folk band. The comedians engage in goofy antics such as playing their instruments in a boat, getting very close to the camera, and Sudeikis kissing Forte. They also break many of their instruments near the end of the video.
The video only shows the actors’ hands on instruments or hides their faces until about a minute into the song, when it’s revealed that the actors are taking on the band’s parts.
Bateman tweeted out the video, writing “Rock and roll history...,” while Helms also tweeted a link to the video and wrote, “Proud to be a fake member of @MumfordAndSons I think we showed a lot of fake artistic integrity in new video.”
Sudeikis stars in the comedy “We Are the Millers,” which is hitting theaters Aug. 7, while Bateman’s Fox series “Arrested Development,” which originally ran from 2003 to 2006, recently aired a new season on Netflix. Helms’ NBC sitcom “The Office” wrapped its final season this past spring and he’s also appearing in “Millers” with Sudeikis and appeared in the new episodes of “Development.” Forte, who starred on “Saturday Night Live” with Sudeikis, recently appeared in "Grown Ups 2" and is voicing a character in the upcoming animated film “Cloudy with a Chance of Meatballs 2.”
Sagal portrays Gemma Teller Morrow on "Sons" who is the wife of Clay Morrow (Ron Perlman), a former leader of the Sons of Anarchy motorcycle group, and the mother of Jax Teller, the current president of the group.
At Comic-Con, Sagal said it’s enjoyable to portray the sides of Gemma that are often in conflict on the show. (Gemma has a tumultuous relationship with her husband Clay and her husband and son can be rivals.)
“As an actor, it makes it interesting," she said, according to UPI. "That's part of the journey of being an actor, that you're exploring the human condition in whatever form that’s going on. There are a few things in the season that I'm like, 'Really?! Okay.’”
Sagal has played the character of Gemma since the beginning of “Sons,” which debuted in 2008. The show has been nominated for an Emmy for its theme music and Sagal won a Golden Globe for Best Actress in a Drama in 2011 for her work on the show.
Sagal starred on the 1987 sitcom “Married with Children” and the 2002 show “Eight Simple Rules.” She voices the character of Leela on the animated show “Futurama,” which will finish what is presumably its final season this September.