People Magazine has exclusive photos of Carrie Underwood’s wedding in its newest issue, including a picture of Underwood on its cover in her Monique Lhuillier Chantilly lace and silk organza gown.
Underwood told People that the dress was so large, she had to change into a more manageable cocktail dress for the reception.
Also dressed up for the occasion — Underwood’s chihuahua, Ace, who wore a pink tuxedo.
The latest issue of People is on newsstands Friday.
USA Network has kept its tongue firmly planted in its cheek the past decade with a slew of crime shows that don’t take themselves too seriously. The trend started with “Monk” in 2002 and has continued with other gut-busters including “Burn Notice” and “Psych,” which sees its fourth season coming to DVD this month.
All these shows attempt to strike a balance — thrilling detective procedure one minute, snarky or self-deprecating humor the next. “Psych” has trouble staying out of the muddled middle though; most of the time, the procedure’s not so fascinating, and the jokes aren’t so witty.
James Roday stars as Shawn Spencer, a smart-aleck hired by the Santa Barbara Police Department as a psychic detective. One little thing — Shawn’s no psychic. Trained by his cop father (Corbin Bernsen) as a kid to be extra-observant, Shawn is able to notice things that most people can’t, creating an aura of extrasensory knowledge.
Aided by sidekick Gus (Dule Hill), Shawn gets under the skin of most of the police department’s real detectives, but they can’t argue with his results, which bring down an art thief, mobsters and all kinds of crazed killers in Season 4.
Too bad it’s all starting to feel like a rote exercise at this point. Perhaps the lion’s share of the show’s dullness lies in its conceit, a bright idea that worked well early in the show’s run but has seriously lost its luster. There’s just not that much excitement to be found in someone paying really close attention.
Roday and Hill wring some humor out of their odd couple faux-conflicts, but it’s hard not to feel more annoyed than charmed by Roday’s devil-may-care shtick. The few episodes of Season 4 that really hit their stride are bolstered more by clever capers than snappy gags.
It doesn’t take psychic abilities to tell that “Psych” mostly reinforces notions of basic cable inferiority.
DVD features: Deleted scenes, gag reel and way more video and audio commentaries than anyone could need.
From Friday’s Weekend Look section of The Oklahoman
Fashion designer Tom Ford shows striking visual panache with his directorial debut, “A Single Man,” an impeccably designed film that displays real emotional substance alongside its carefully groomed exteriors.
Based on the 1964 novel by Christopher Isherwood, “A Single Man” tells the story of George Falconer (Colin Firth), a British professor at a Los Angeles college still reeling from the death of his partner, Jim (Matthew Goode), eight months previous. A late-night phone call informed him of Jim’s car accident, and the subsequent shunning by the family of the man he loved leaves George in an isolated daze.
The film takes place over the course of a single day as George goes through the necessary rituals — dressing, teaching his class, going to the bank — while remembering the past in a series of flashbacks and preparing for the future by buying bullets for that gun he keeps in his desk drawer.
Still, George keeps getting pulled back to the surface by the people he encounters throughout the day — his alcoholic and garishly made-up friend Charley (Julianne Moore), a charming James Dean look-alike in a parking lot (Jon Kortajarena) and a fresh-faced and cautiously flirtatious student (Nicholas Hoult).
There are moments where the costuming, art direction and set design — all precisely exquisite representations of Southern California in the early ’60s — threaten to overwhelm the film with excess. But even though Ford is clearly exhilarated by these aspects, perhaps even more than the story, Firth’s hollow-eyed and moving performance keeps it anchored.
The artifice that threatens most to derail the film is an obvious photographic embellishment that floods the desaturated images with color when George’s mood improves, but “A Single Man” maintains its tone of elegant soberness nonetheless.
DVD features: A commentary track with Ford, a making-of featurette.
From Friday’s Weekend Look section of The Oklahoman
Can it be a coincidence that the network formerly known as the Sci-Fi Channel changed its moniker to the inane Syfy the same day “Warehouse 13″ premiered? I think not.
“Warehouse 13,” which rivals its channel’s name for inanity, steals its premise from the final shot of “Raiders of the Lost Ark” and adds cheese to the proceedings. You’d feel bad for the actors forced to deliver some of this dialogue if they actually possessed a fraction of the charm the show ascribes to them. The second season premiered this week on Syfy.
Secret Service agents Pete Lattimer (Eddie McClintock) and Myka Bering (Joanne Kelly) are working in Washington, D.C., protecting the president one minute but transferred to a storage facility in South Dakota the next. It looks like a demotion, but warehouse curator Artie Nielsen (Saul Rubinek) explains that their skills are desperately needed for the top-secret assignment.
The warehouse is filled with thousands of “artifacts” — potentially dangerous objects that possess mysterious or supernatural qualities — and Pete and Myka are charged with collecting more from all around the world.
The series promises a kind of wacky “X-Files” knockoff, but it seems creators Jane EspensonD. Brent Mote underestimated just how grating the show’s Mulder and Scully-lite pairing would be. Pete is the loose cannon with good intentions; Myka’s the straight arrow who’s really not so uptight. But McClintock and Kelly only seem capable of highlighting their characters’ irritating attributes, with their supposed charisma conspicuously absent. Only veteran character actor Rubinek doesn’t flounder.
It doesn’t help that the artifacts, which range from a comb with mind-altering properties to a chair with mind-altering properties to a quill pen with mind-altering properties, seem like the product of lethargic imaginations. In a world where anything is possible, shouldn’t there be more exciting mysteries than an evil hair accessory?
Broken Arrow native Kristin Chenoweth was nominated for her third Primetime Emmy Award Thursday morning for her guest starring role on “Glee.” She played former glee club member April Rhodes in two episodes on the FOX show, which led all comedy series with 19 nominations.
Chenoweth will be going head-to-head in the guest actress in a comedy category with “Glee” regular Jane Lynch, who guest starred on the CBS sitcom “Two and a Half Men,” as well as “Saturday Night Live” guest hosts Betty White and Tiny Fey. Christine Baranski, Kathryn Joosten and Elaine Stritch were also nominated for the award.
Chenoweth was previously nominated for an Emmy in 2008 and 2009 for her supporting actress role on ABC’s “Pushing Daisies.” She won the award in 2009.
The 62nd Primetime Emmy Award will air Aug. 29 on NBC.
“Glee” led in nominations for comedy series with 19, “Mad Men” led in nominations for drama series with 17 and HBO’s World War II miniseries “The Pacific” led all nominees with 24 nods as the nominations for the 62nd Primetime Emmy Awards were announced Thursday morning.
“Glee” received nominations for best comedy series, while Matthew Morrison and Lea Michele received lead actor nods and Chris Colfer and Jane Lynch picked up supporting nominations.
“Mad Men,” looking to win its third best drama series honor in a row, also saw nominations for Jon Hamm and January Jones in lead actor categories and John Slattery, Christina Hendricks and Elisabeth Moss in supporting categories.
“The Pacific” was nominated for best miniseries, with the rest of its nominations coming in technical categories.
Getting tired wondering when (if) the “Arrested Development” movie will come to fruition? Even ff they have to turn it into a 3-D action extravaganza to get this thing made, I’ll still be there on opening day.
2008′s hauntingly beautiful “Let the Right One In” was a sparse masterwork from Swedish director Tomas Alfredson. Well, the inevitable American remake is on its way, now known as “Let Me In,” and as the trailer makes abundantly clear, it’s directed by the same guy who made “Cloverfield.”
Alfredson made a vampire film that was striking more for its emotional vulnerability than its gory thrills; here’s betting that Matt Reeves won’t have the same deft touch.
“Let Me In” opens in October.
After years of classic movie scenes being recreated with Legos (The “Monty Python and the Holy Grail” number below immediately springs to mind), Lego itself will get its chance on the silver screen.
Reuters reports that the Warner Bros. project has found a pair of directors in Phil Lord and Chris Miller, who directed last year’s animation hit “Cloudy With a Chance of Meatballs.”
Lord and Miller convinced Warner and Lego to get on board with a presentation that incorporates animation and live action in the same film. The Lego movie is set to enter production after Lord and Miller finish up with their current project, an adaptation of TV show “21 Jump Street.”
Overwrought much? It’s not like the world needed another reason to take Facebook way too seriously.
“The Social Network,” directed by David Fincher, written by Aaron Sorkin and starring Jesse Eisenberg, opens in theaters Oct. 1. Can its pedigree overcome the fact that it’s a movie about Facebook?