Updated 7:51 a.m. ET Monday: A 25-year-old man who met Lindsay Lohan at New York City night club won't face any charges after an alleged incident early Sunday in which the actress told police he assaulted her in her Manhattan hotel room.
According to law enforcement officials, Lohan told police she got into an argument with a man she brought to her room after meeting him at 1 Oak in Chelsea.
The argument was allegedly over photos the man took of Lohan on his cell phone while they were in her 15th floor room at the W Hotel near Union Square with some of Lohan's friends.
Police have identified the man as Christian LaBella of California.
Lohan told detectives that at around 4:30 a.m. she saw photos of herself on LaBella's phone, confronted him about the them and took his phone. LaBella then threw her on the bed causing scratches on her hands, police sources said.
Lohan ran out of the room and down the stairs of the hotel, but at some point decided to head back upstairs to her room. When LaBella saw her again, Lohan told police he attacked her, choking her, throwing her to the ground and climbing on top of her.
A friend of Lohan's who was with her at the time was able to pull LaBella off her, and Lohan then pulled the fire alarm for help. LaBella took off down the stairs, but police arrived before he was able to leave the hotel and took him into custody.
Lohan refused medical attention and did not go to a hospital.
LaBella was initially charged Sunday afternoon with two counts of misdemeanor assault and two counts of harassment, but after further investigation police dropped the assault charge.
E! News confirmed late Sunday night that the harassment charges were also dropped against LaBella. The New York Police Department said investigators quickly determined that no crime was committed.
"It's both distressing and outrageous ... and there should be a consequence for that," Lohan's rep Steve Honig told E! News.
LaBella has since filed a harassment complaint against Lohan.
According to his YouTube page, LaBella ran for president of his business fraternity at the University of San Diego and was a child actor. In police paperwork, LaBella listed his employer as Illinois Congressman John Shimkus.
"While no one from Congressman Shimkus’ office has been contacted by Mr. LaBella following his arrest, he has been an employee in the Congressman’s Washington office," a spokesman for Rep. Shimkus said in a statement Sunday. "Obviously, the Congressman does not condone his actions. As this is a legal matter for Mr. LaBella, the Congressman nor his office will make further comment.”
The incident comes as yet more drama for the "Liz & Dick" star.
Earlier this month, she was arrested and charged with leaving the scene of an accident after allegedly clipping a pedestrian with a borrowed Porsche outside a Chelsea club in New York City.
And last Sunday she was rushed to a New York City emergency room for a respiratory problem. The actress suffered complications due to asthma.
Lohan also remains on probation for a 2011 case in which she pleaded no contest to taking a $2,500 necklace without permission from an L.A jewelry store. Lohan no longer has to report to a judge -- she completed a counseling and morgue cleanup duty program -- but she could face jail time if she is charged with another crime.
Justin Bieber's "Believe" tour is off to a rocky start. TMZ obtained a video of the 18-year-old singer getting ill while performing at the 18,000-seat Jobing Arena in Glendale, Ariz., on Saturday. The clip shows Bieber turning his back to the audience while singing "Out of Town Girl," then hunching over, puking and running to the side of the stage.
When he returned, Bieber powered through the rest of his set. "It's hard for me, you know, not feeling great and throwing up in front of a bunch of people," he said. "Will you love me even though I'm throwing up on stage?"
After the sold-out crowd shrieked, he responded, "OK. I wanted to give you my best show ever, so do you mind if I finish it?"
LOS ANGELES -- Family film "Hotel Transylvania" brought new life to movie box offices with a chart-topping $43 million in U.S. and Canadian ticket sales during the weekend, a record for a September opening.
The animated 3-D movie featuring the voices of Adam Sandler and Selena Gomez finished ahead of new science fiction film "Looper," which took in $21.2 million from Friday through Sunday.
The police drama "End of Watch," which was in a tie with "House at the End of the Street" for the top spot last week, landed in third place with $8 million, according to studio estimates.
The big turnout for the top films helped revive a box office that has struggled through several weeks of sluggish attendance.
In "Hotel Transylvania," Frankenstein, the Invisible Man and other monsters gather for a party at a high-end resort operated by Dracula. Their celebration is disrupted when a boy discovers the hotel and falls in love with Dracula's daughter but must deal with her overprotective father.
The film's domestic sales far exceeded distributor Sony Corp's prediction for $25 million-plus from the North American (U.S. and Canadian) market. The movie added $8.1 million from international markets, for a global debut of $51.1 million.
"It's absolutely an incredible result," said Rory Bruer, president of worldwide distribution for Sony Corp's Sony Pictures studio, adding that the studio had hopes for something in the $30 million range, which he noted "in this market would have been extraordinary."
The hefty take easily beat the September opening record of $35.65 million for "Sweet Home Alabama," which had stood for 10 years.
"Hotel Transylvania" cost $85 million to produce.
Sony also distributed second-place film "Looper," a time travel story about a man charged with killing an older version of himself. The movie starring Bruce Willis, Joseph Gordon-Levitt and Emily Blunt earned rave reviews from critics with a 93 percent positive rating on the Rotten Tomatoes website.
Sony had predicted ticket sales of up to $20 million domestically for "Looper." Endgame Entertainment paid for the film's production.
"To see it open as it did bodes well for how well this movie will play in the future," said Bruer.
The weekend's other new movie, "Won't Back Down," stars Viola Davis and Maggie Gyllenhaal as two determined mothers who try to transform their children's failing inner city school. The film started off with $2.7 million over the weekend, in 10th place.
Rounding out the top five, Clint Eastwood baseball film "Trouble with the Curve" scored $7.5 million to take the No. 4 slot, while horror flick "House at the End of the Street" earned $7.2 million during its second weekend in theaters.
New comedy "Pitch Perfect," about a girls' singing group, pulled in an impressive $5.2 million in a limited debut on 335 screens for the sixth spot. Distributor Universal Studios chose a smaller opening in hopes of generating buzz ahead of a wider release on Oct. 5.
This week, two long-awaited movies -- "Taken 2" and "Frankenweenie" -- hit the cinema. Plus, "Princess Bride" gets a 25th anniversary Blu-ray, and an all African-American cast stars in a remake of "Steel Magnolias."
TUESDAY: 'Princess Bride' "Inconceivable!" "You keep using that word. I do not think it means what you think it means." "Anybody want a peanut?" The wonderfully quotable "Princess Bride" turns 25 this month, and a 25th anniversary Blu-ray offers a fun batch of extras, including an all-new featurette called "True Love: The Princess Bride Phenomenon." Other goodies include interviews with the cast and crew, a video diary from star Cary Elwes and commentaries by director Rob Reiner and screenwriter William Goldman (who also wrote the novel upon which the film is based). Have fun storming the castle! (On sale Oct. 2.)
FRIDAY: 'Taken 2' and 'Frankenweenie' In 2008's "Taken," Liam Neeson turned into a killing machine after his daughter was kidnapped. So how to reboot that scenario for "Taken 2"? This time around, it's his ex-wife who's taken by the same evil group from the first film. What are the odds? Also opening this week is the full-length version of "Frankenweenie," famous as the short film that got Tim Burton fired from Disney in the 1980s. Now that Burton's a big-name director, the studio gave him big money and resources to turn the idea into a big-screen, full-length 3-D release. The plot hasn't changed over the decade: Kid scientist Victor Frankenstein brings his dog Sparky back from the dead, and to no one's shock but his, that wasn't a great idea. (Both movies open Oct. 5.)
SUNDAY: 'Steel Magnolias'
The original "Steel Magnolias" came out way back in 1989, but if you've ever seen an armadillo groom's cake at a wedding, you know its influence still lingers. Now Lifetime has remade the classic Southern tearjerker with an all African-American cast. The new film features Condola Rashad (Phylicia and Ahmad's daughter) in the Julia Roberts' role of Shelby, with Queen Latifah in the Sally Field role as Shelby's mother. Also starring are Phylicia Rashad herself, Alfre Woodard and Jill Scott. (Oct. 7, 9 p.m., Lifetime.)
Anne Hathaway and Adam Shulman at a private estate in Big Sur, calif.
By Bruna Nessif, E! Online
Anne Hathaway's big day was Saturday. The "Dark Knight Rises" star wed fiance Adam Shulman in a private ceremony in the scenic redwood-studded coastal enclave of Big Sur, Calif., E! News has confirmed. As we previously reported, Hathaway was swathed in a gown specially designed by her friend Valentino Garavani.
The 29-year-old Oscar-nominated star found her Mr. Right, fellow actor Shulman, not long after discovering she had devoted years of her love life to Mr. Oh-So-Wrong. So in honor of their nuptials, let's take a look back at how the newlyweds' love affair began...
January 2009: The public first caught wind of this new couple when Hathaway was spotted with Shulman at the opening gala of the Palm Springs International Film Festival, where Hathaway picked up the Desert Palm Achievement Award for "Rachel Getting Married." PDA was kept to a minimum, but there was a quick lip-lock (many more to follow in the coming years).
May 2010: Anne and Adam stayed off the radar for a bit, that is, until Shulman was spotted jacking some mural art from a Manhattan construction site. Don't worry, he returned it (after paparazzi got pictures of him taking it).
August 2011: Seriously, though, where was Adam Shulman hiding? Apparently, he was a little camera shy. "He's in there hanging out with my friends," Hathaway told us during the One Day premiere in New York City. Hey, more spotlight for his leading lady.
Nov. 28, 2011: And all of a sudden -- bam! -- this duo is engaged! Well, maybe not exactly "all of a sudden," since it had been three years, but we were happily surprised, nonetheless. Hathaway's rep confirmed the engagement to E! News, but the actress kept proposal details under wraps. Shucks!
Nov. 30, 2011: The ring! Anne showed off the unique creation made especially for her by Shulman and Kwiat jewelers. "We were honored to have the opportunity to work with Adam. He had a strong vision for what he wanted to present to Anne and we worked with him to make a custom design," a rep for the company told E! News.
December 2011: Speculation as to when the big ceremony would go down started swirling and leaned toward October 2012. Her rep denied such claims, but it clearly wasn't too far off.
July 2012-September 2012: Remember how we said that these lovebirds kept their public displays of affection to a minimum in the beginning? Well, it seemed like all that changed once that diamond was on Anne's finger, because it became PDA all day, everyday, anywhere, any time. But it was super sweet.
Sept. 20, 2012: Most of the wedding plans have been kept hush-hush, except for one (pretty important) detail: the designer of Anne's wedding dress. And that just so happens to be Valentino Garavani. During the New York City Ballet's fall gala, the fashion icon told E! News he "did the dress" for Anne's nuptials. "She's a very good friend of mine," Valentino gushed. Like family? "Oh, yes. She's like my daughter!"
Sept. 29, 2012: The couple swap vows in Big Sur, Calif.
In the snap, that appears to have been taken years ago, a woman who bears a resemblance to Brooke Shields is sitting next to lead singer H.R. of seminal hardcore band Bad Brains and is smoking from a pipe.
Bad Brains' manager even went on to tell Gawker, "It's her. This would be from 1983. Hair length, and H.R. missing that tooth he knocked out hitting a huge stage divider pole at the Reggae Lounge. Brooke would have been around 18, maybe still a Ford model."
But, a rep for the former "Lipstick Jungle" star, denied that Shields is the woman in question puffing away, telling E! News, "That is definitely NOT her."
According to the Daily Mail, Shields told Nylon back in 2000 her mom turned her off to the idea of using drugs, saying, "I don't know if it's reverse psychology, but my mom would say, 'You wanna do drugs? Fine. Do them. Just do me a favor. Let me do 'em with you. I'll get you the best stuff. This way I know you're not going to die.' And the whole thing was so unappealing to me."
Jay-Z performs on stage at the newly built Barclays Center in the Brooklyn borough of New York on Friday, Sept. 28.
By Simon Vozick-Levinson, Rolling Stone
"I've been on many stages, been around the world, but nothing feels like tonight," Jay-Z told the crowd Friday night during his inaugural blow-out at Brooklyn's Barclays Center. He reeled off a few of the other noted houses he's rocked: the Grammys, Glastonbury, Coachella, Bonnaroo, the Apollo Theater. "Nothing feels like tonight, Brooklyn. I swear to God."
Jay's performance -- the first ever in the newly constructed venue, with seven more sold-out shows scheduled over the next week -- was a many-layered milestone. While he famously grew up in Brooklyn's Marcy Houses, this was his first major show of this size in his home borough. As partial owner of the NBA's rechristened Brooklyn Nets, he helped get this billion-dollar basketball arena built not far from his old neighborhood. His rise to this level of success and cultural power is an incredible American story, and he is justifiably proud.
He opened the show aptly with 1997's classic "Where I'm From." It's a staple of his live sets, a song he's performed hundreds of times if not more. Friday night -- center stage in jeans and a black puffy vest over a custom Nets jersey, gold chains hanging down his chest -- he attacked the verses with a new force, spitting out precise syllables: "I'm from where the hammers rung, news cameras never come. ..."
Jay stood alone under a spotlight on the narrow stage, backed by a huge sloping video screen and a tight live band built into perches above him. He paid tribute to a fallen mentor early on by building the Notorious B.I.G.'s "Kick in the Door" and "Juicy" into the set list. Later, shortly after an authoritative "99 Problems," he walked to a far corner of the stage and retrieved a glittering gold bottle, requesting respectful silence as he poured out a little bubbly for Biggie: "See, you can stunt like that when you own the whole place." He turned reflective, reminiscing aloud about his journey from the projects to this stage. "You don't mind if I take my time? I'm really overwhelmed a little bit."
He channeled the night's emotions into a top-notch rendition of the hit parade he's road tested at festivals and arenas over the last few years, covering his career from 1996's "Reasonable Doubt" to 2009's "The Blueprint 3" in a little over an hour. He delivered the key lines in 2001's great "Heart of the City" with extra emphasis, punching the air as he rapped, "I told you in '96 that I came to take this [expletive], and I did."
Henny Ray Abrams / AP
Fans arrive for the first of eight Jay-Z shows at the new Barclays Center.
As the main set wound down, Jay-Z looked out at the crowd of 18,000 reverent fans, savoring the moment. "What an amazing feeling tonight," he said again. "This night was a dream." He thanked everyone sincerely while the chords of 2003's "Encore" rolled quietly on. Someone in the crowd passed a Brooklyn Dodgers jersey with Jackie Robinson's name on it up to the stage, and he held it up with pride: "Look how far we've come."
Jay told Rolling Stone a few days ago that there would be no guests at his Barclays Center shows. ("This is my one chance to be selfish!" he kidded.) He kept that promise until the encore, when he surprised the arena by bringing out Bed-Stuy legend Big Daddy Kane, who ripped through 1988's "Ain't No Half-Steppin'" and 1989's "Warm It Up, Kane," while busting out some old-school moves (complete with a full jumping split) with his original backup dancers Scoob and Scrap. "We have to understand our history," said Jay-Z appreciatively.
"OK, I'm still not ready to leave," he went on after Kane left, drawing deafening cheers. Jay ran through a couple of recent guest verses -- reveling in the double-time flow of G.O.O.D. Music's "Clique" and the luxurious style of Rick Ross' "3 Kings." "I got a million of these!" he crowed.
But the hour was growing late. Jay-Z sent us home with a heartfelt speech about the "genius-level talent" that he feels lies within everyone. "I ain't no different from anyone in this room, and now I'm standing on this stage, living proof," he said. And with that, it was finally time to say goodbye -- if only so he could rest up for all the other shows he has coming up. "There's no [expletive] curfew," he said with a grin. "But I've really got to go."
Actor Johnny Lewis, 28, who starred in the series "Sons of Anarchy."
By Brian Alexander, NBC News Contributor
Johnny Lewis, an actor in the popular “Sons of Anarchy” motorcycle-gang cable drama, died early Wednesday in Los Angeles, suspected of killing his 81-year-old former landlord, Catherine Davis, and possibly himself.
Police think the 28-year-old rising star, who played Kip 'Half-sack' Epps on the FX show, may have been under the influence of a drug few have heard of, a substance known informally as “Smiles.”
It’s part of a new wave of synthetic drugs finding their way onto America’s streets and into its clubs. With the chemical name 2,5-dimethoxy-4-iodophenethylamine, it is known by drug agents and chemists as 2C-I, part of a closely-related family of “2C” drugs.
While Smiles may seem obscure, it’s already done damage, and not just in drug-hip Hollywood.
When 18-year-old Adam Budge of East Grand Forks, Minn., gave a derivative of the Smiles drug to his buddy, 17-year-old Elijah Stai, of nearby Park Rapids this year, Stai wound up dead. The drug was supposed to be a cheap, harmless high. But within an hour of mixing the powder into some chocolate and eating it, Stai was convulsing, hallucinating, and eventually stopped breathing. Now Budge faces charges that could put him in prison for many years.
But what is Smiles?
Like all the 2C drugs, it’s a psychoactive, hallucinogenic chemical that alter the brain’s balance of dopamine and serotonin. Smiles is particularly powerful, binding to serotonin receptors in the brain at 20 times the rate of another drug used in schizophrenia research, according to an experiment performed by Purdue University chemists.
The effects of 2C-I, like those of LSD, can last up to eight hours. But because the effects can take time to appear, users may think they haven’t taken enough to get the desired high, and so take more, risking overdose.
The drug can be taken as small tablets, on pieces of blotter paper like LSD, or in powder form, often mixed with something else, like chocolate.
In June, as part of a Substances Control Act overhaul, Congress made 2C-I a schedule I drug -- highly restricted, like methamphetamine. But, explained Drug Enforcement Administration spokesperson Rusty Payne, trying to get government arms around these new drugs is “like playing whack-a-mole. There are just so many emerging chemicals.”
Labs, often located in Europe or Asia, can use legal, common chemicals to produce huge batches of the drugs. Once one formulation is discovered, and banned, all the chemists have to do is slightly alter the structure of the molecules to create another, potentially legal, substitute until that one is banned.
There is no known geographic hot spot for the 2C drugs, unlike, say, methamphetamine, which became known as a rural, small-town problem. The U.S. Drug Enforcement Administration believes that most, if not all, the 2C drugs are being imported to the country, not made domestically.
Often, Payne said, teens rationalize the use of the drugs because they think, or are told, that it’s legal and if it’s legal, it’s safe. Another problem is that users often think they’re taking something else.
“We are getting so many calls because people are dying abusing chemicals that nobody ever heard of,” Payne said. “They’re told it’s harmless. If you can just go buy it somewhere, or on the internet, then it must be safe, but nothing could be further from the truth.”
Users aren’t the only ones who are often in the dark. According to Payne, even the DEA’s own agents are behind the curve when it comes to designer synthetics.
“It’s tough for our agents to stay up to date,” he explained. “Chemicals that used to take years to synthesize now take months. And many chemicals are diverted” from legal uses to illicit ones.
Chemical and pharmacologic research appears in journals, is posted online, and becomes easily available to all. That is often a good thing, but it also allows rogue chemists to use the science to create new analogs of drugs like 2C-I.
The drug “Spice,” for example, which made headlines over the past two years as a marijuana substitute, began as a research project by a Clemson chemist named John W. Huffman. He was doing the research under the auspices of the National Institute for Drug Abuse.
“This synthetic stuff is the new frontier of drugs,” Payne said.
"Rock of Ages" actress Malin Akerman better brush up on her lullabies! The Swedish-Canadian beauty, 34, is pregnant, her rep confirms to Us Weekly exclusively. It's the first child for Akerman and her husband of five years, Roberto Zincone -- the drummer in her former alternative rock band The Petalstones.
Her pregnancy is sure to be a dream for the actress, who told Us in June 2011 that she and Zincone "absolutely" wanted children sooner rather than later. Akerman -- who also appeared in "Wanderlust" and "Watchmen" plus the TV show "Children's Hospital," among many other credits -- is confident her husband will make a great dad because of his easygoing demeanor.
The couple is also good at keeping the romance alive -- no matter where they are. "We've had some really great experiences. When I was shooting [2009's 'Couples Retreat'] in Bora Bora, he came out there and it was like a honeymoon that we never had," gushed the mom-to-be, who vows to never spend more than 2-3 weeks away from her man. "We get really lucky and we make it work."
The Red Cross is asking readers to "use your brains, (and) give blood." They're also offering a chance to win a trip to the set of "The Walking Dead," which returns to TV Oct. 14 at 9 p.m. on AMC.
If you ask us, Good Charlotte singer (and husband to Nicole Richie) Madden got the best -- er, worst -- zombie treatment. His heavily tattooed arm was turned into a dripping, decaying limb that wouldn't be one bit out of place among AMC's Walkers. Sad to say, Peter Jackson just doesn't look that different from his normal appearance.
Muse are unhappy with the way American right-wingers, particularly Glenn Beck, have embraced their music, The Guardian reports. In an upcoming interview with the Observer on Sunday, singer Matt Bellamy singles out Beck's affinity for the band's 2009 album "The Resistance," and criticizes the conservative radio host for using the single "Uprising" in rightwing conspiracy-theorist videos on YouTube.
"In the U.S. the conspiracy theory subculture has been hijacked by the right to try to take down people like Obama and put forward rightwing libertarianism," said Bellamy, who describes himself as "a left-leaning libertarian -- more in the realm of Noam Chomsky." He continued, "'Uprising' was requested by so many politicians in America for use in their rallies and we turned them down on a regular basis."
Bellamy maintained his lyrical content is more about personal healing than espousing political sentiments. "When I dabble in watching the news and reading about current events I tend to get a future negative view and that's something I've dealt with through music," he said. "It's quite possible I'm slightly paranoid. But I'd say making music is an expression of feelings of helplessness and lack of control that I think a lot of people can relate to."
This was the last episode of auditions! Things kicked off with following the health of 13-year-old Trevor Moran, who had collapsed at the end of Wednesday night's episode right before his audition. It turned out that Trevor was suffering from dehydration, and although they skipped over him and continued with other contestants, Trevor got back on his feet and went out on stage to show the judges what he had to offer.
The young boy that was bursting with life sang the (what Simon Cowell mentioned may not be age appropriate) song "Sexy and I Know It" by LMFAO. There was so much personality during that audition that none of the judges could possibly give him a no. "You were so much fun to watch," Demi Lovato told him.
Owen Stuart, 16, was so lovesick about his girlfriend back in New York that we almost didn't think he'd make it through his audition. But the cutie -- who dedicated his performance of "Airplanes" by B.o.B to his girl Tory -- impressed the judges with the fact that he could rap and sing.
Well, almost all of the judges. Britney Spears' said Owen didn't "wow" her, but Simon said, "I really, really like you." Stuart earned three yeses, moving him forward to boot camp.
One of the most inspirational acts came from 40-year-old Freddy Combs, who used to weigh 920 pounds and has worked his way down to 540 pounds. Taken to the stage in a wheelchair by his wife, Combs belted a beautiful rendition of Bette Midler's "Wind Beneath My Wings."
L.A. Reid gave the disclosure that his remarks would not be based off of sympathy for what Combs has gone through, but purely based on his audition. And all Reid had to say was that Freddy's voice was "heavenly." The other judges agreed and Simon made a deal with him to help get Freddy singing that song standing up. "I'll back you, if you back yourself, " he said, and gave him his fourth yes.
Sixteen-year-old Lauren Jauregui's mature voice was quickly noticed by the panel when she performed Alicia Keys' "If I Ain't Got You." Once she was finished, Jauregui got an immediate thumbs-up from Cowell, who told her, "And that, Lauren, is how you do it." Yep, you guessed it -- she easily got four yeses.
And then there was Jordyn Foley. This 12-year-old pranced onstage in pigtails, high socks, a skirt, vest, tie--basically a modern-day version of Spears' "Hit Me Baby One More Time" outfit. Foley was full of energy, but unfortunately sang Cowell's least favorite song, "Tomorrow" by Annie. In all honesty, Foley's voice wasn't up to par with the others who had passed through, but her stage presence was undeniable, and she even gave everyone a motivational quote in between her song! Simon gave her a no, but the other three gave her a yes!
Abby Lee Miller and Alana "Honey Boo Boo" Thompson.
By Ree Hines, TODAY contributor
"Dance Moms" instructor Abby Lee Miller is known for her tough-talking ways when it comes to dealing with young dancers on her Lifetime show, but she also has harsh words for another kid. When asked about TLC's rising reality star Alana "Honey Boo Boo" Thompson, Miller didn't hold back.
"She needs to get in shape," Miller said of the 7-year-old during an interview with TMZ. "She needs to be at a dance studio; she need to be training; she needs to work on her turnout -- the whole nine yards."
Michael Richards, left, and Jerry Seinfeld chat about working together on "Seinfeld" in the last installment of the web series "Comedians in Cars Getting Coffee."
By Courtney Hazlett, TODAY
Jerry Seinfeld's web series "Comedians in Cars Getting Coffee" has been a reliably hilarious glimpse into the world of Seinfeld and his famous comedian-type friends. But the recent installment, starring former "Seinfeld" co-star Michael Richards takes a decidedly more serious turn.
If you recall, Richards was caught on tape at an L.A. comedy club responding to hecklers in the audience with a shockingly racist tirade, calling the hecklers the "n-word" and referencing a time when blacks were often victims of civil rights abuses. The fallout was immediate -- the public turned against him and he apologized, but Richards tells Seinfeld the wounds are still very present.
"I think I worked selfishly, and not selflessly," Richards said of his time on "Seinfeld." "It's not about me, it's about them (the audience). That's the lesson I learned seven years ago when I blew it in the comedy club and lost my temper because somebody interrupted my act and said some things that hurt me and I lashed out in anger. I should have been working selflessly at that time."
Richards then clarified that the rumor that he'd done several comedy sets since is not true. "No. I busted up after that event. It broke me down. It was a selfish response, I took it too personally. I should have said (to the hecklers), 'You're absolutely right, I'm not funny, I'm going to go home' ... Inside it still kicks me around a bit."
"That's up to you," Seinfeld replied to Richards, who he's stood behind throughout the incident. "It's up to you to say 'I've been carrying this bag long enough, I'm going to put it down.'"
At this point it's interesting to note that unlike any of the previous episodes of "Comedians in Cars Getting Coffee," this one begins with a caveat: "Certain events in this episode seem set up. They were not." Whether that applies to a strange mix-up at the beginning of the show when Richards and Seinfeld think they're knocking on boxing great Sugar Ray Leonard's door (it's actually the home of actor/comedian Jay Mohr) or Richards' candid remarks, or both -- who knows? But, one thing is certain: the incident in the club has forever impacted Richards. Where the rest of the "Seinfeld" cast has moved on, he's still struggling with that one awful night.
The Internet has helped promote artists who work with such varied mediums as hole-punch dots, breakfast foods, and pennies. The latest unexpected art tool? Those oft-tangled earphone cords that come with your iPods.
Courtesy of Etcetera
One of the portraits created with earphone cords.
A project devised by Amsterdam-based marketing agency Etcetera and CGI post-production studio Souverein consists of a series of portraits created out of the twisty cords of earbuds. It was created for a promotional campaign surrounding T-Mobile’s “Life for Sharing” collaboration with Deezer music, and is meant to highlight a new streaming add-on for mobile phones that allows users to create playlists and share them with their friends.
To embody the musical camaraderie, the promotion crew decided to bring their friends to life with cords.
“We made portraits of people who created a playlist with earphones, which symbolizes someone’s personal taste of music,” Stan van Zon, creative director of Etcetera told NBCNews.com. “We started with photos of random people. Then we had a sketcher take a look at it, and emphasize the true characteristics with just a couple of strokes. We simplified these sketches to make the complete drawing with just two single strokes.”
Courtesy of Etcetera
The company is working on a project where anyone can create an image using the cords.
From there, the design was given to Sovereign, a company who specializes in image manipulation, CGI/3D, Photography and Fine Art printing.
“They prepared the job by modeling all kinds of earphones, just to see what works best,” van Zon explained. “Black lines, black earplugs, not too much design-y stuff, and an off-white background.”
While the project began for advertising purposes, the flair of the idea has already inspired new editions. The original models were based on the faces of colleagues and friends, but Etcetera is working on a project that will enable music lovers to create their own portraits with earphones in conjunction with their personal playlists. Their plan is to have the computer produce an earphone image based on someone’s Facebook profile or another photo available online. That portrait will then become a kind of album cover for the person’s playlist.
These renditions will likely prove a simpler task to construct than their prototypes.
“When the means to make an expression are so limited, really everything needs to be exactly right,” commented van Zon. “Of course, this also depends on the specific characteristics of a person. With a nose twice as big as usual, it’ll make the job somewhat easier.”
Viola Davis and Maggie Gyllenhaal in "'Won't Back Down."
By David Rooney, The Hollywood Reporter
The jury is still out on a solution to the national education system crisis, but the verdict is delivered with a heavy hand and a stacked deck in the formulaic "Won’t Back Down." Simplifying complex school-reform hurdles into tidy inspirational clichés while demonizing both teachers’ unions and bureaucracy-entrenched education boards, the movie addresses timely issues but eschews shading in favor of blunt black and white. It’s old-school Lifetime fodder dressed up in Hollywood trappings.
In the broadest terms, Daniel Barnz’s film, co-written with Brin Hill, is a dramatized counterpart to Davis Guggenheim’s 2010 documentary "Waiting for Superman,” which pointed to charter schools as the only way out of the public-education quagmire. That film was partly financed by Walden Media, the backers of this Fox release, suggesting that the problem of underperforming inner-city classrooms is a pet cause for the company.
In Barnz and Hill’s by-the-numbers screenplay -- which trumpets that vaguest of catch-all legitimization banners, “Inspired by actual events” -- the catalyst for much-needed change at Adams Elementary School in Pittsburgh is crusading Everymom Jamie Fitzpatrick (Maggie Gyllenhaal). Her dyslexic daughter Malia (Emily Alyn Lind) is stuck in a class with a teacher (Nancy Bach) who is a monster of job-secure complacency, and a principal (Bill Nunn) too mired in unionized paralysis to help.
A single mother working two jobs and unable to afford tuition at better alternatives, Jamie bones up on the “fail-safe” maneuver, the film’s equivalent of the parent trigger law. That controversial legislation -- on the books in some form in a handful of states and under consideration in many others -- allows concerned parents and teachers to intervene in floundering public schools. In the film’s example, it primarily means getting past restrictive union controls and a do-nothing education board.
The absurd idea that the parents of an entire student body are too apathetic to worry about their kids’ education until Jamie comes along like some rocker-chick Erin Brockovich is just one of the film’s condescendingly movie-ish conceits. Played with grating one-note pluckiness by Gyllenhaal, Jamie overcompensates for her lack of a college education by self-consciously sprinkling her conversations with words like “trepidatious.” Yet, darned if this scrappy dynamo doesn’t get the whole community galvanized.
Even more objectionable is the depiction of the burned-out staff at Adams. They mill around in the break room bitching about teachers like Malia’s, saying, “The only thing the district does well is protect its mistakes.” But the general lack of motivation is palpable, and even Nona Alberts (Viola Davis), a committed educator like her mother before her, has lost faith in her profession.
The only exception at Adams appears to be Teach For America do-gooder and soulful hunk Michael Perry (Oscar Isaac), who leads his class in line-dancing numbers, accompanying them on ukulele as they sing about “Goin’ to College.” Naturally, this makes Jamie swoon.
A perfunctory romance blooms, but Michael vacillates in his support for Jamie’s cause. Preferring to focus his commitment on his class only, he is reluctant to stray from union-sanctioned guidelines. Jamie’s sole consistent ally is Nona, who risks alienating the entire teaching staff, including her feisty pal Breena (Rosie Perez). While she’s worn down by the challenges of a broken system, not to mention the end of her marriage and the learning difficulties of her own son (Dante Brown), Nona reluctantly gets with the empowerment program.
However, this is another one of those movies where a tenacious white person leads the charge to save inner-city kids, achieving a miracle transformation through sheer force of will. While Nona is the insider with the education experience, she’s second fiddle throughout the fight, getting much of her dignity not from the script but from Davis, who could do this role in her sleep.
In order to provide a gossamer-thin semblance of balance, Barnz and Hill plant one jaded idealist apiece in the teachers’ union and the education board. That essentially leaves Holly Hunter and Marianne Jean-Baptiste playing variations on the same role, both of them primed for redemption as they rediscover their buried convictions. Elsewhere, the opposition is reduced -- most notably by Ned Eisenberg’s belligerently uncompromising union chief -- to a force of obstinate blindness as to what’s good for the kids, and for the majority of disillusioned teachers.
Given the disingenuous way in which this lumbering movie pushes obvious buttons and manipulates the audience’s emotional investment while conveniently skimming the issues, it’s a mystery how some of these names got roped in.
Following her breakout work in "The Help," this is a particularly unhappy use of Davis’ considerable talents. Hunter also is too smart an actor to be stuck playing the transparent construct of a compromised Norma Rae. Lance Reddick (The Wire) is given an entirely thankless role as Nona’s businesslike departing husband, while Ving Rhames is on hand literally to deliver a speech as principal of the exemplary Rosa Parks Elementary School during a lottery draw for new students.
That scene is one of many such preachy interludes in a dumbed-down agenda film that veers shamelessly between didacticism and soap.
REVIEW: "Looper" is a clever, entertaining science fiction thriller that neatly blurs the line between suicide and murder. An existential conundrum wrapped in a narrowly conceived yarn about victims sent back in time to be bumped off by assassins called loopers, Rian Johnson's third and most ambitious feature keeps the action popping while sustaining interest in the long arc of a story about a man assigned to kill the 30 years-older version of himself.
A lively, high-profile choice to open this year's Toronto International Film Festival, this Sony release co-starring Bruce Willis and Joseph Gordon-Levitt in the same role should chalk up sizable returns in the wake of its Sept. 28 theatrical bow.
Probably the shakiest aspect of Johnson's original screenplay is what it asks the viewer to buy about the future: A mere 62 years from now, in 2074, time travel has become possible, but such a momentous breakthrough is limited to serving as a body-disposal system. Under the prevailing authority, time jumping is strictly outlawed because of its potential for messing with history. A large criminal mob, run by an overlord called The Rainmaker, defiantly uses it but only as a vehicle for assassination, with “loopers” -- disreputable gunmen living in 2044 -- laying in wait for people to execute so no bodies or other evidence can be found in the future.
Bruce Willis and Joseph Gordon-Levitt chat about playing a younger and older version of the same character in "Looper."
But the premise is established in nifty fashion; the doomed, hooded with hands bound behind them, suddenly materialize in an empty field, and the looper immediately blows him away with his blunderbuss. One such executioner is Joe (Gordon-Levitt), a retro-looking hipster who drives a very old red Miata and wears ties, “a 20th century affectation” that offends his crankily genial boss, Abe (Jeff Daniels). If he can get out of this racket, he says he'd like to go to France, which earns him further scorn from the older man; “I'm from the future, you should go to China,” he scolds.
Backed by a cynically confessional voice-over track from Joe that is not as self-consciously hardboiled as the commentary Gordon-Levitt read for Johnson in "Brick" seven years ago, Looper mostly is set in a seedy metropolis that doesn't look all that different from sketchy neighborhoods in some big cities today; there are derelicts, bombed-out buildings, ruined cars and enough other signs of urban ills to suggest that, in Johnson's view, things will just gradually decline over the next three decades.
Joe hangs out in clubs, sees a sexy woman (Piper Perabo) who works in one of them and tries to help a friend and fellow looper, Seth (Paul Dano), who's imminently endangered by a new development that's come down from on high: They're “closing all the loops,” meaning they're sending the “future selves” of all the loopers back to be killed.
Almost immediately, Joe is in the same jam. When, a half-hour into the film, he goes to the field to do his next job, the guy who pops up to be shot is not hooded. Joe's hesitation allows the older man to escape, and it's clear who he is: It's Joe as his older self. And, for his failure to kill him, young Joe is in a pile of trouble with Abe and his “gats,” first-class hired guns.
When the two Joes finally sit down -- across from each other in a diner in the middle of nowhere -- there's no doubt they're working at cross purposes: Young Joe is determined to kill his older self, while old Joe is dead set on tracking down and taking out The Rainmaker, who would be a little kid in 2044, so his late wife won't die at his hands after all.
The biggest problem facing the makers of "Looper" is how to make the audience believe that the trim, long-faced Gordon-Levitt could somehow change so much in 30 years that he would look like the thicker-built and shorter-nosed Willis. The solution lay in altering the younger actor's appearance, imperceptibly at first, but gradually to morph his dark eyes into Willis' gray-green and to reshape his nose and eyebrows, either with makeup or digitally or perhaps both. At first, the effect is a bit odd, and you can't quite put your finger on what's off; then it feels downright weird to be looking at a version of Gordon-Levitt who is no longer the actor you've known for a few years now.
This is especially noticeable during the film's second half, much of which takes place at young Joe's place of refuge, the isolated home of feisty young farmer and single mom Sara (Emily Blunt), who has an unusually gifted son, Cid (Pierce Gagnon). Even as the temperature is kept at a low simmer, the film's pace deliberately is slowed here to develop some intimacy between these two isolated people and give some screen time to the kid, who pretty obviously will provide the reason for old Joe to eventually head for the farm. The eventual ending is great, the resolution to the tricky time maneuvering very impressively worked out.
Shot mostly in Louisiana, with a bit done in Shanghai, the film looks tightly made on a budget but sacrifices nothing for that; the world depicted looks dirty, dangerous and ramshackle, with a few high-tech touches here and there.
Their physical disparity notwithstanding, Gordon-Levitt and Willis both come across strongly, while Blunt effectively reveals Sara's tough and vulnerable sides. Daniels is particularly amusing as the garrulous old enforcer holding down the future's outpost in the past.
Dracula (Adam Sandler) and Johnnystein (Andy Samberg) in "Hotel Transylvania."
By Michael Rechtshaffen , The Hollywood Reporter
REVIEW: The second feature in as many months to contain animated zombies (and Tim Burton’s "Frankenweenie" lurking just around the corner), "Hotel Transylvania" checks in as an anemic example of pure concept over precious little content.
Despite the proven talents of first-time feature director Genndy Tartakovsky ("Dexter’s Laboratory"), writers Peter Baynham ("Arthur Christmas") and SNL vet Robert Smigel, and a voice cast headed by Adam Sandler and Andy Samberg, the collaboration falls flat virtually from the get-go, serving up half-hearted sight gags that have a habit of landing with an ominous thud.
Being given a public airing at the Toronto International Film Festival ahead of its official Sept. 28 opening, the film could initially benefit from a monster marketing push from Sony, but it’s unlikely the “No Vacancy” sign will be lit for long.
Assuming an unsteady Transylvanian accent which, like his bat wings, tends to flit in and out of the picture, Sandler’s overprotective daddy Dracula is having trouble shielding his daughter Mavis (Selena Gomez) from outside elements on the eve of her 118th birthday.
Determined to shut himself off from those elements after the death of his wife a century or so earlier at the hands of an angry mob, Dracula had constructed a refuge of an exclusive resort where he and his monstrous ilk could feel free to be themselves.
But when a party crasher turns up in the form of Jonathan (Samberg), a slacker human backpacker who catches Mavis’ eye, the Count finds it increasingly difficult to keep her under his wing.
While director Tartakovsky’s retro pop sensibilities served Cartoon Network well with the likes of "Dexter’s Laboratory," "The Powerpuff Girls" and "Samurai Jack," and "Hotel Transylvania" has an undeniable visually zippy style, the ghost of a script by Baynham and Smigel provides him with very little of substance.
For the most part there’s just a lot of dashing about the hotel’s cavernous hallways as the assembled voice cast (also including Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade and Cee Lo Green) attempts to lend some personality to the underdeveloped characters.
Ironically, the scattered enterprise exhibits signs of life when the characters leave the confines of the hotel, but that hint of something more arrives too late in the game.
And while those 3-D glasses really bring nothing to the party, Mark Mothersbaugh’s lively score adds a ghoulish cool to the otherwise uninspired proceedings.
California Gov. Jerry Brown signed into law Thursday a measure that is expected to protect children working in the entertainment industry by barring registered sex offenders from representing minors in the business.
The bill, AB 1660, requires any person who works unsupervised with child artists to submit his or her name and a fee to the Labor Commissioner; doing so will permit background checks and screening of that person. Until the bill was signed, only studio teachers and agents were required to have background checks and undergo fingerprinting.
The bill was filed after news broke that Jason James Murphy, a prominent casting director who'd placed kids in films such as "Super 8" was a registered sex offender who was convicted of kidnapping and molesting an 8-year-old boy 15 years earlier. Murphy wasn't the only example of why minors in the business needed greater protection; in June, manager Martin Weiss pleaded no contest to two felony counts of child molestation.
The bill had support from two high-profile former child actors: Todd Bridges and Corey Feldman, both of whom were molested by men with Hollywood connections. The actors spoke openly about the need for more legislation. "We are not doing enough to protect the children, period," said Bridges, who appeared on "Diff'rent Strokes" from 1978-86.
Feldman, who as a young actor appeared in films such as "The Goonies," "Stand By Me" and "The Lost Boys," said in April, "(the bill) should have been implemented years ago."
Many science fiction fans would argue that "Star Trek: The Next Generation" is the best series in the "Star Trek" franchise created by Gene Roddenberry. Looking back at the show on its 25th Anniversary, it's easy to see why. Debuting on September 28, 1987, over 20 years after the original "Star Trek" series, the show lasted seven seasons and was nominated for, and won, multiple awards. The success of this spin off led to the creation of 3 other series in the franchise: "Deep Space Nine," "Voyager," and "Enterprise," as well as multiple feature films.
This is an episode with all the classic elements of "Star Trek": temporal rifts, space battles, and a major moral dilemma. After encountering the rift, the Enterprise enters an alternate timeline where they are at war with the Klingon empire and there is no Worf or Deanna on the ship. Instead we see the return of Tasha Yar (who was killed in season one) and the appearance of the Enterprise C, which barely escaped destruction at the hands of the Romulans by leaving the past using the rift.
In order to set the timeline straight, the original Enterprise needs to send the crew of the Enterprise C back to the past to face certain death. All those lives must be sacrificed in order to set things right, a decision that is difficult for the present crew. This episode also gives another one of the most memorable lines in the series said by Captain Picard. One that is especially appropriate for this anniversary: “Let’s make sure history never forgets the name Enterprise.”
This episode is a perfect example of what's so great about "The Next Generation." There’s no need for an action-packed space battle to keep this episode interesting, as the Enterprise crew faces a more intriguing battle with android crew member Data at the very center of it. When the beloved android refuses to submit to a Star Fleet researcher’s risky procedure, he finds himself dragged into a legal battle fighting for his very existence: Is he a machine, just Federation property that can be taken apart at any moment, or a sentient being with the same rights as any other living being under Federation law?
Tackling these types of moral dilemmas is what makes "Star Trek" such an unforgettable series. Captain Picard’s stirring speech at the end is moving, powerful, and shows off actor Patrick Stewart’s classical background to the fullest. How can anyone question Data’s right to choose as a person after watching Picard’s amazing argument in the clip above?
Sent on a covert mission to a Cardassian border planet, Picard, Worf, and Crusher walk into a trap that results in the capture of the captain. A prisoner of the Cardassians, the episode takes a dark turn as Picard is tortured at the hands of his captors. A lot of TV shows have tried to address the issue of torture in the past, some succeeding and some failing, but this two-parter does an excellent job portraying a powerful story focusing on Picard’s struggle to resist torture at the hands of the Cardassians.
This is a strong story that goes back and forth between Picard's agony and his crew's fight to rescue him. It’s a great performance by the cast and guest stars Ronny Cox (who plays Captain Jellico, the one in charge of the Enterprise in Picard’s absence) and David Warner (who plays Picard's Cardassian torturer.) You can never forget Picard’s final proclamation that “There are four lights!”
Talk about an irresistible pick! While not the strongest of episodes in some ways, it’s the perfect example of the type of sci-fi fun that can be had on a show like "Star Trek." It’s an episode that takes us for a ride in our favorite android’s dreams, or rather nightmares, as Data's unconscious tries to warn him about an alien presence on the ship.
Between seeing Deanna as a talking cake, Crusher drinking Riker’s brain through a straw, and visits from Sigmund Freud, it provides us with laughs only a "Star Trek" episode can offer. Like many of the episodes featuring Data, it has just enough heart to make you smile too. The scene where Data asks Worf to take care of his cat Spot and then gives him cat-sitting advice is priceless because it’s not only funny, but sweet to see how much Data cares for his pet.
In this episode the Enterprise discovers an alien probe that knocks Picard unconscious with some kind of beam. When he wakes up he’s on a primitive planet and everyone thinks he’s an iron weaver named Kamin, a married man who likes to try playing the flute! Picard ends up living a lifetime, growing old with a wife, children and grandchildren only to wake up back on the Enterprise and discover he’s been knocked out for about 25 minutes.
It’s an amazing episode showcasing the acting of Stewart, and even won the 1993 Hugo Award for best dramatic presentation. That final scene with Picard clutching and playing the flute, clearly thinking of the family he had that no longer exists, is truly moving and unforgettable.
"The Best of Both Worlds" (Season 3/4, two-parter)
This episode has everything you could want from a confrontation between the Enterprise and their ultimate nemesis, the Borg. From major space battles to the transformation of Picard into Locutus to Riker's struggle to deal with taking on the mantle of Captain, it's an amazing cliffhanger episode with a more than satisfying conclusion. It’s definitely why this episode can be considered THE best of the series.
Nothing gives you more chills than hearing Picard of all people say “Resistance is futile.”
... must sadly come to an end, even "Star Trek: The Next Generation." As the series finale, this episode had a tough job trying to please fans who were saying goodbye. While no finale was going to please everyone, the intriguing story line in this episode does a good job combining all our favorite elements of "The Next Generation." With time travel, touching crew moments, action, a complex problem, and of course a return to show's premiere plot with a visit from Q, it is certainly a classic episode.
Picard ends up jumping through time, to the past and the future, allowing us to re-visit familiar faces from the Enterprise’s early days and go 25 years into the future to glimpse what might become of our beloved characters. Of course in the end Picard’s efforts save the whole of humanity (as it should be) and the series closes on a friendly poker game played by the main characters, allowing us to see them happy and together one last time. This episode also won a Hugo Award for best dramatic presentation in 1995, and it's easy to see why.
And since there's not enough space to cover all the greats, honorable mentions go to these classic episodes: "Darmok," "The First Duty," and "Cause and Effect."
"The Beverly Hillbillies" was one of the first shows that took place inside a home with a physical address, rather than in a studio. This enormous 21,523-square-foot estate hosted the series throughout its nine-year run. The 10-bed, 12-bath home was built in 1933.
By Erika Riggs, Zillow
From its magical debut in 1950s households to today's 3-D, Internet-connected and thin-screened versions, television has firmly planted itself into American culture and daily life. We all have favorite shows — the ones we currently DVR and the ones that went off the air nearly 50 years ago.
As fall gets under way and new programs are added to the evening lineup, we're paying homage to television shows — old and new — with a real estate tour. While many shows, especially in the early days, were never shot outside the studio set, a goodly handful of them took place in real homes that still look exactly as they did on the small screen.
"Batman" 380 S San Rafael Ave., Pasadena, Calif.
Holy mansion, Batman! The 1960s TV series featured a property in Pasadena as Wayne Manor. The 1928 home has 10 bedrooms, six bathrooms and measures 16,599 square feet — not including the Batcave, of course.
"The Beverly Hillbillies" 750 Bel Air Road, Los Angeles, Calif.
See photo at top.
"Happy Days" 565 N. Cahuenga Blvd., Los Angeles, Calif.
Although "Happy Days" took place in Milwaukee, like most TV shows, it was actually filmed in Los Angeles. The white-columned house that played home for the Cunninghams was built in 1923 and has six bedrooms, two baths and measures 3,904 square feet.
"The Brady Bunch" 11222 Dilling St., North Hollywood, Calif.
The midcentury home that hosted the blended Brady clan looks unchanged from its days on the small screen. Built in 1959, the North Hollywood home would be rather small for the Brady family of eight, which is why interior scenes of the show were shot on a studio set.
"Dallas" 3700 Hogge Drive, Allen, Texas
The sprawling Southfork Ranch just outside Plano was the home for J.R. Ewing and his squabbling family during the original run of TV's "Dallas" (the show was recently rebooted by TNT). The home is currently an event center with a special area dedicated to the show, complete with "Dallas" memorabilia, although many of the show's interior scenes were shot on a studio set.
"The Golden Girls" 245 N. Saltair Ave., Los Angeles Calif.
"The Golden Girls" characters were living in retiree-friendly Miami on the show, but the home used for the exterior was in Los Angeles. The classic 1955 home has four bedrooms and measures 2,901 square feet.
"Beverly Hills 90210" 1675 E. Altadena Drive, Altadena, Calif.
The "90210" house is not actually located in the fabled ZIP code but 23 miles northeast in the town of Altadena. The four-bed, four-bath house played the home of twins Brandon and Brenda Walsh, and unlike many other TV homes had scenes that were filmed in the interior of the house, rather than on a studio set.
"Charmed" 1329 Carroll Ave., Los Angeles, Calif.
Peaked roofs, gingerbread trim and other Victorian details made this Los Angeles-area home perfect for three beautiful witches in the TV show "Charmed." The five-bedroom, one-bath home was built in 1903.
"The O.C." 6205 Ocean Breeze, Malibu, Calif.
Newport Beach of "The O.C." isn't a far cry from Malibu where the TV mansion was located. The stately 6,376-square-foot house was home base for the Cohen family and Ryan Atwood, the troubled teen they took in.
"Grey's Anatomy" 303 W. Comstock St., Seattle, Wash.
While there's no such thing as Seattle Grace Hospital, the house from the hit medical series is real and located in Seattle's Queen Anne neighborhood. The turn-of-the-century charmer has four bedrooms, 2.5 baths and a view of the Space Needle.
"Mad Men" 675 Arden Road, Pasadena, Calif.
The Los Angeles area is a decent fit for 1960s New York City on AMC's drama "Mad Men." The first home of Betty and Don Draper, fictionally set in Ossining, N.Y., is actually located in Pasadena on a quiet tree-lined street. The traditional four-bedroom, three-bath home measures 2,654 square feet.
If you're the kid who got pulled up on stage by Carrie Underwood for your first-ever kiss, and you have the guts to request that it be "lip-to-lip," well, the next day of school is going to be interesting.
"It was crazy," Chase Kurnick, the12-year-old recipient of that now-famous first kiss, said of the frenzy that surrounded him as he tried to get to class. "It took me like five minutes to get to one class down the hallway. They were just fist-bumping me, high-fiving me -- everyone's like 'I'm so jealous.'"
Kurnick joined TODAY's Willie Geist and Savannah Guthrie Friday to talk about his once-in-a-lifetime encounter, which began when he attended Underwood's Saturday night show in Louisville, Ky. and held up a sign asking her to be his first kiss. (He also brought the sign to TODAY.) Underwood agreed, and ushered him onstage. Kurnick's parents, sitting in seats nearby at the show (and standing to the side during Chase's interview), were stunned.
"My thought was, 'Well, of course (it's happening),'" said dad John. "Chase was determined, but we were shocked that it actually happened."
And he wasn't going to put up with a friendly little smooch: "I wasn't just going to go up there and get just a little kiss on the cheek. If I'm going to get it, I'm gonna get it right," he said.
For those wondering, yes, Chase (who wore a T-shirt with the hashtag #liptolip on it) has brushed his teeth -- but not washed his lips. And he has his sights set on another star, if she's willing to pucker up:
As Jon Stewart has mentioned a time or 20, the United Nations does nothing so well as disrupt traffic patterns in New York, thus making his daily commute longer and less predictable. It’s only fair that the international discussion forum also provide some material for "The Daily Show," and that’s what he was hoping for when Iran and its nuclear ambition took the stage Thursday.
Stewart, and the rest of the world, was expecting fireworks. After all, it’s been in the news for weeks, and who knows what those wacky world leaders will do when the cameras are on and the translators are hard at work. First came the threatening words of President Obama:
"Here it comes people! President Obama’s gonna be like 'It’s 0800. Bombing starts in an hour'," Stewart said.
Alas, for Stewart, that was not the case. "America wants to solve this through diplomacy. It’s time to heed the words of Gandhi. Intolerance is itself a form of violence, an obstacle to the growth of a true democratic spirit," President Obama said.
Not exactly "my way of the highway" there. But not to worry. We could surely expect more from Iranian President Mahmoud Ahmadinejad.
"I do not believe that Muslims, Christians, Jews, Hindus, Buddhists and others have any problems among themselves or have any problems against each other. They get along together comfortably," Ahmadinejad said.
OK. Everyone loves peaceful words, but that’s a bit of a stretch. Unless, as Stewart said, “If by comfortably, you mean ‘with near-constant bloodshed.’” But no worries … Ahmadinejad was about to attack the host nation with all of the material in his arsenal.
"Are we to believe that those who would spend hundreds of millions of dollars on election campaigns have the interest of others in their hearts?" the Iranian President asked.
There you go. Forget about nuclear weapons. Ahmadinejad is all about campaign finance reform.
But there was one leader who wanted to talk Iranian nukes: Israeli Prime Minister Benjamin Netanyahu. His speech came with its own prop, a cartoon-style drawing of a bomb with a red line conveniently added.
"What’s with the Wile E. Coyote Nuclear Bomb?" Stewart asked. "You’re going to pretend you don’t know what a nuclear bomb looks like? You’re Israel. Run downstairs and look in the basement."
It’s not over yet Steven Colbert stuck to domestic issues. After he was finished promoting his upcoming book, he had Republican Presidential nominee Mitt Romney’s back in expressing his lack of concern about the poll numbers. After all, there’s still 40 days until Election Day.
"A lot can happen in 40 days. Obama could make a gaffe. Mitt could win the debates. God could send a flood that destroys all mankind," Colbert noted.
And he liked that most polls have Romney doing better among engaged voters. "He’s much closer among the extremely interested. … and he’s up two points if you count only voters who are psychotically engaged."
So there you go. Between the hyper-engaged and the prospect of divine intervention, Colbert things Romney has nothing to worry about.