UPDATE: Bachmann Wanted Demands & Receives Apology From NBC Over Lyin Ass Bitch Intro On Fallon

UPDATE 10 PM: Bachmann Wanted has gotten an apology from NBC within the song choice flap throughout her appearance around the network’s Late Evening With Jimmy Fallon on Monday once the show’s house band carried out the 1985 Fishbone song Lyin’ Ass Bitch while she was walking on stage. The apology is made inside a personal letter from NBC’s Vice president late evening Doug Vaughan. Based on Bachmann’s speaker Alice Stewart reported through the AP, Vaughan authored the incident was “not only unfortunate but additionally unacceptable.” She stated Vaughn offered his sincerest apologies and stated this guitar rock band have been “severely punished.” PREVIOUS 11 AM: The debate over Late Evening With Jimmy Fallon‘s selection of the 1985 Fishbone song Lyin’ Ass Bitch as intro music for guest Bachmann Wanted shows no signs and symptoms of subsiding. Conservative writers began the campaign on Tuesday morning, immediately after the show broadcast Monday evening. Last evening, Fallon apologized towards the presidential candidate over the telephone and via Twitter. Im honored that @michelebachmannwas on our show yesterday and Im so sorry concerning the intro mess,” Fallon authored on Twitter. “I really hope she returns.” Showing up on Fox News Funnel’s America’s Newsroom today, Bachmann stated that they accepts the comedian’s apology but was adamant the network that broadcast the broadcast, NBC, should apologize too. If that were Michelle Obama, whod emerge around the stage, and when that song have been performed for Michelle Obama, I've without doubt that NBC might have apologized to her and likely they'd have fired the drummer, or at best suspended him,” Bachmann stated. “None of this happened from NBC. Which is clearly a kind of prejudice for the Hollywood entertainment elite, nevertheless its also, I believe, sexism also. This wouldnt be tolerated if the was Michelle Obama it shouldnt be tolerated if it is a conservative lady either. To date, the only real disciplinary measure toward Questlove, the drummer recently Evening‘s house band The Roots apparently accountable for the song choice, arrived a kind of a tweet from Fallon yesterday, “?uestLove is grounded.” Bachmann on Tuesday received support from an unlikely ally, Democratic Congresswoman Nita Lowey. The option of song introducing Bachmann Wanted on Late Evening With Jimmy Fallon last evening was insulting and inappropriate,” she stated inside a statement. “I don't share Michele Bachmanns politics, but she warrants to become given respect. No female politician with no lady ought to be exposed to sexist and offensive innuendo like she was last evening. The Roots, Jimmy Fallon, and NBC should apologize.

REVIEW: Michelle Williams Achieves Near-Perfection in Less-Than-Perfect My Week with Marilyn

There are some movies that have little or nothing to recommend them, except as a frame for a performance. My Week with Marilyn is that kind of movie. Based on writer and documentary filmmaker Colin Clark’s memoir of the time he spent with Marilyn Monroe while working as an assistant to Laurence Olivier on the set of The Prince and the Showgirl, My Week with Marilyn manages to be both slender and overworked, a picture that states over and over again, in the baldest terms, how emotionally fragile Monroe was. We know, we know already. My Week with Marilyn has a TV-biopic sheen, and you could dismiss it easily — except for the fact that Michelle Williams, as Marilyn, both anchors the movie and upends it. Miss it and you’ll miss one of the finest performances of this year. Eddie Redmayne plays young Colin, a tweedy aristocrat who distresses his family by announcing that he wants to work in cinema. Through perseverance, he actually manages to land a job: Olivier (played, superbly, by Kenneth Branagh — he has always been Laurence Olivier in his own mind, anyway) hires Colin as a go-fer on the movie he’s preparing, which will star a luscious actress who has been imported from the United States just for this purpose, her brand-new, gassy-looking, hard-on of a husband in tow. (That husband would be playwright Arthur Miller, and he’s played by a perceptively grumpy Dougray Scott.) As they wait for her arrival, Marilyn’s fellow actors buzz with curiosity and anticipation. It’s not just that they know who she is; it’s as if some cloud of heavenly perfume had already wafted in to announce her arrival in advance. “Such a lark!” exclaims Judi Dench’s Dame Sybil Thorndike (who comes off, by the way, as one hell of a class act). “I long to see her!” That longing is fulfilled when Williams’ Marilyn steps onto the scene: There’s something both delicate and robust about her, and she’s as radiant as the halo around a comet. One thing My Week with Marilyn does get right is that women were as enchanted by her as the men were, if perhaps in a different way. They may have been jealous of her — how could they not be? But Williams captures that effervescent something that Marilyn had, and in the movie’s vision, even Olivier’s insecure wife, Vivien Leigh (played by an altogether too-sharp Julia Ormond), can’t slip out of her effortless spell. My Week with Marilyn was directed by Simon Curtis, whose credits include a number of British made-for-TV movies and miniseries, among them the 1999 David Copperfield. It’s efficient and pleasant enough, but it’s also frustratingly superficial even as it tries to convey depth. Redmayne makes a believable, sympathetic innocent — you can see how Marilyn, far from home and recognizing she’s just married a man who looks down upon her, would be drawn to him as a playmate and companion and maybe, even, something more. When she and the guardian Olivier has hired to keep an eye on her (played by Philip Jackson) “kidnap” Colin for a day in the country, away from the cares and pressures of the movie set — the stress of which Monroe found nearly unbearable — she takes exquisite delight in kicking off her shoes and picking her way, daintily but eagerly, across the grass. When she and Colin come to a pond, she strips down for a swim and urges her shy, would-be paramour to do the same. As Williams plays Marilyn, there’s no shame or guile or prudishness to her. She’s as wild and free as a dove. But she’s also unreliable, deeply insecure, and controlled unduly by her acting coach, Paula Strasberg (a foreboding Zo Wanamaker). If Williams somehow channels and radiates that trademark Marilyn glow, she is also superb at playing the not-so-light, not-so-free Marilyn, and a scene in which she locks herself in her bedroom, woozy from sleeping pills, presages some of the horrors to come (horrors that My Week with Marilyn doesn’t, thankfully, have to portray). Williams has several lines of dialogue that explain Marilyn’s persistent romantic disappointments: All the men who were attracted to her desired the dream girl, only to be disappointed when they realized they were stuck with a mere woman. But Williams doesn’t even need that dialogue to convey Marilyn’s spun-glass fragility. Good hair and makeup, as well as smart costuming, account partly for the magic of Williams’ transformation here. Yet this performance transcends mere mimicry. In the movie’s most enchanting sequence, Marilyn finally finds her footing in the midst of Olivier’s intimidating style of direction: As the cameras roll, her Prince and the Showgirl character executes a dance that’s little more than a series of hops and jumps, but she’s so graceful, free and light, they seem like the most perfect choreography in the world. In that moment, this Marilyn is everything: Vulnerable and triumphant, tentative and persistent. That Williams can capture all of that, with a wink and a smile and a little laugh, is the chief marvel of this otherwise somewhat lusterless movie. Her Marilyn needs as much love as we can give her. But Williams also captures the sorry truth that it could never, ever be enough. Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

Musical Chairs Arrives Via Paladin

Susan Seidelman’s latest feature film Musical Chairs will probably be released by indie distributor Paladin. Beginners Leah Pipes and E.J. Bonilla play ambitious NY City ballroom ballroom dancers Mia and Armando. When Mia’s dream is shattered inside an accident and he or she lands in physical rehab all seems lost but Armando discovers an approaching mobility device ballroom dancing competition. He persuades Mia to register and organizes any sort of accident-training program to arrange her as well as the others inside the rehab facility to compete. Tony-champion Priscilla Lopez, Jaime Tirelli, Laverne Cox, Morgan Spector, Auti Angel, Jerome Preston Bates, Nelson R. Landrieu, and Angelic Zambrana also star. Produced by Jesse Carrus and Joey Dedio, Musical Chairs will screen The month of the month of january 28 at Lincoln subsequently subsequently Center because the focus for your annual Dance On Camera festival. Paladin plans a March theatrical release.Seidelman’s latest feature was Boynton Beach Club. She also directed Making Mr. Right, Smithereens, Cookie, Anxiously Seeking Susan, She Demon as well as the pilot for Cinemax’s Sex As Well As The City. Paladin’s recent releases include Tom Shadyac’s I am andTiffany Shlains documentaryConnected. Furthermore to Musical Chairs, Paladin will even release the completely new Zealand film Boy directed by and starring Taka Waititi in March.

CAA Signs Trouble With The Curve Director Robert Lorenz

EXCLUSIVE: CAA has signed Robert Lorenz, the longtime producing partner of Clint Eastwood at Malpaso Productions, who is making his feature directorial debut with Trouble With The Curve, the Warner Bros road trip movie that will star Eastwood and possibly Amy Adams. Eastwood plays a veteran baseball scout who heads off on a mission to scout a potential standout prospect. Lorenz was formerly repped by WME, but has been without an agent for awhile. Lorenz steps up to directing after being a producer and often second unit director on such Eastwood-directed films as Mystic River, Million Dollar Baby, Grand Torino, Invictus and the recently release J. Edgar. He’s also producing A Star is Born, which has Beyonce attached to star and Eastwood to direct. Lorenz has twice been nominated for Best Picture Oscars on Mystic River and Flags Of Our Fathers and Letters From Iowa Jima.

Cari Ross Resigns From ID PR To Go To Solo

EXCLUSIVE: After 8 years, Cari Ross is departing ID andis prone to still represent her longtime clients who include Salma Hayek, Jennifer Connelly, Julianna Margulies, Cynthia Nixon, Dylan McDermott and Kyra Sedgwick. Ross can also be doing philathropic work. Here’s what ID-PR Boss Kelly Rose rose bush told Deadline: “All people at ID wish Cari Ross the most effective, and fully support her as she starts this new endeavor after which chapter in their existence.” Below is Cari Ross’ email for the staff fromthis evening: “After much contemplation throughout the past few several days, I have made a decision to go away ID. When you are all aware, I have loved this career for 16 years, and consists of come time will be able to have existence changes. I have loved working wonderful you together with wish everyone much happiness. My last day will probably be Friday. I'm going to be outdoors tomorrow at conferences, and may maintain focus on Thursday and Friday. I anticipate saying goodbye to everyone. Delivering my love. Xo Cari “

Reporter Lives Broadway Fantasy in 'Mary Poppins'

Reporter Lives Broadway Fantasy in 'Mary Poppins' By Alicia Quarles November 14, 2011 Photo by AP Photo/John Carucci Alicia Quarles NY (AP) For weeks, I dreamed of my Broadway debut in " Mary Poppins."There was the excitement of costume fittings, the hard work of rehearsals and the anticipation of being on stage at a premier New York theater. I woke up each morning, counting down the days I could hardly wait for the moment.It was over in a blink.My time in the spotlight as a chimney sweeper in the Disney musical ended just as quickly as it had begun.For its fifth anniversary, "Mary Poppins" invited me to be a chimney sweep for a day to experience the inner workings of the production at the New Amsterdam Theatre.I knew it would be fun, but what I thought would be an easy task was anything but. When you're watching a show, you can sit back and, you hope, see an inspiring, entertaining performance. But for this "actress," preparing to be on stage was sheer exhaustion.Not surprising, said Anthony Lyn, the show's associate director. He told me that being worn out was not at all unexpected for a newcomer. "It is like going to the gym. When you first start, it is hard, but the more you train, the easier it gets," he said, noting his professional cast has trained for years for the theater.Well, clearly I was a novice. I found myself sweating as if I had run miles after rehearsing for the "Step in Time" scene. ("Never need a reason, Never need a rhyme/Kick your knees up, step in time.") The chimney sweeps the professional actors, that is tap dance with their long brooms and skitter across the London rooftop set with ease and energy.Preparation began two weeks before when I was fitted for my costume by a team dedicated to making sure every detail is perfection on every piece of clothing. After all, Mary Poppins is "practically perfect in every way." To my delight, I learned that besides wearing black denim, a newsboy hat, short wig and dark makeup for my chimney sweeper outfit, I would also get fitted Edwardian style lace gloves, buttoned up shirt, hat, boots, specially made wig, the works to dress as Mary for fun. I was also taught to apply my own sweeper makeup so that on the night of the performance, I could quickly make the transformation.Finally, the morning of the show, I learned and rehearsed the choreography for the two scenes I was in and for the curtain call. Geoffrey Goldberg, an associate choreographer, was encouraging as he showed me how to jump onto the set and dance across the roof, hop over the rail and dance off of the stage. For "Step in Time," he taught me the choreography for interlocking my arms with another actor, dancing in a circle, running to dance on a desk and then shuffling up the stairs in the house. Once I got the hang of it, the moves seemed to come naturally.I arrived 30 minutes before the start of the show on a rainy Friday night. I was actually able to watch the first act in the audience since my scenes were not until Act 2. Actress Kelly Jacobs was my chaperone during rehearsals and the performance, literally holding my hand, pulling me along at times. She shared her story about touring (she spent two years on the road with "Mary Poppins" as dance captain and appeared in "Mame" at the Kennedy Center in Washington, D.C., and in "Camelot" at Tokyo Disney) and talked about her husband, Adam, who is currently starring as Simba in "The Lion King."Backstage, there was a sense of organized chaos as most of the actors, with the exception of the principals, did their own makeup; they had only arrived about a half an hour before the start of the show. In between scenes, the atmosphere was festive, with chimney sweepers laughing and offering support.As the start of the "Step in Time" loomed, I felt well-prepared, thanks to my two guides: Goldberg and Jacobs. And right before going on stage for my "big" performance, I kept replaying Goldberg's advice over and over in my head: "Just smile and enjoy it." So that's what I did. I put a big smile on, grabbed my fellow chimney sweeper's hand and went on stage for my Broadway debut.I made sure I was in sync with the other actors as I balanced along the roof set and hopped over the rail to dance. To my surprise, as I looked out at the audience, I could not make out faces. I only saw blackness and a sea of streaming lights. After twirling, running up the steps of the house, kicking my feet and skipping, I felt like an old pro. There is a rush of adrenaline, a total high that takes over your body after completely giving yourself over to a character, to the audience. Now I understand why actresses and actors sacrifice their sleep, life and sometimes even sanity, for the craft.I may have been nervous before I stepped out on that stage, but there truly was one feeling that superseded all others: a sense of camaraderie. It didn't matter how nervous, anxious or confused I felt, one of the actors was right there with me, pushing me to go on and encouraging me to enjoy the experience. That night, I learned this sense of community is what makes Broadway and "Mary Poppins" so special.Once the show ended, I went on stage for curtain call and to bow with the rest of the cast. While I did admittedly mess up my steps, I didn't care! I was a Broadway star, baby. But as I exited the stage on my personal high, I was abruptly stopped by a stagehand."Why are they not letting me move? Do I need to go back out?" I wondered.Then, as a sea of actors parted the hallway and the elevator opened up, Steffanie Leigh, the current Mary Poppins, stepped out to take her bow, and this reporter was quickly brought back to reality.No, I am not a singer, dancer, or actress. But for one night, I was able to share in the beauty and magic of the Great White Way.Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. Reporter Lives Broadway Fantasy in 'Mary Poppins' By Alicia Quarles November 14, 2011 Alicia Quarles PHOTO CREDIT AP Photo/John Carucci NY (AP) For weeks, I dreamed of my Broadway debut in "Mary Poppins."There was the excitement of costume fittings, the hard work of rehearsals and the anticipation of being on stage at a premier NY theater. I woke up each morning, counting down the days I could hardly wait for the moment.It was over in a blink.My time in the spotlight as a chimney sweeper in the Disney musical ended just as quickly as it had begun.For its fifth anniversary, "Mary Poppins" invited me to be a chimney sweep for a day to experience the inner workings of the production at the New Amsterdam Theatre.I knew it would be fun, but what I thought would be an easy task was anything but. When you're watching a show, you can sit back and, you hope, see an inspiring, entertaining performance. But for this "actress," preparing to be on stage was sheer exhaustion.Not surprising, said Anthony Lyn, the show's associate director. He told me that being worn out was not at all unexpected for a newcomer. "It is like going to the gym. When you first start, it is hard, but the more you train, the easier it gets," he said, noting his professional cast has trained for years for the theater.Well, clearly I was a novice. I found myself sweating as if I had run miles after rehearsing for the "Step in Time" scene. ("Never need a reason, Never need a rhyme/Kick your knees up, step in time.") The chimney sweeps the professional actors, that is tap dance with their long brooms and skitter across the London rooftop set with ease and energy.Preparation began two weeks before when I was fitted for my costume by a team dedicated to making sure every detail is perfection on every piece of clothing. After all, Mary Poppins is "practically perfect in every way." To my delight, I learned that besides wearing black denim, a newsboy hat, short wig and dark makeup for my chimney sweeper outfit, I would also get fitted Edwardian style lace gloves, buttoned up shirt, hat, boots, specially made wig, the works to dress as Mary for fun. I was also taught to apply my own sweeper makeup so that on the night of the performance, I could quickly make the transformation.Finally, the morning of the show, I learned and rehearsed the choreography for the two scenes I was in and for the curtain call. Geoffrey Goldberg, an associate choreographer, was encouraging as he showed me how to jump onto the set and dance across the roof, hop over the rail and dance off of the stage. For "Step in Time," he taught me the choreography for interlocking my arms with another actor, dancing in a circle, running to dance on a desk and then shuffling up the stairs in the house. Once I got the hang of it, the moves seemed to come naturally.I arrived 30 minutes before the start of the show on a rainy Friday night. I was actually able to watch the first act in the audience since my scenes were not until Act 2. Actress Kelly Jacobs was my chaperone during rehearsals and the performance, literally holding my hand, pulling me along at times. She shared her story about touring (she spent two years on the road with "Mary Poppins" as dance captain and appeared in "Mame" at the Kennedy Center in Washington, D.C., and in "Camelot" at Tokyo Disney) and talked about her husband, Adam, who is currently starring as Simba in "The Lion King."Backstage, there was a sense of organized chaos as most of the actors, with the exception of the principals, did their own makeup; they had only arrived about a half an hour before the start of the show. In between scenes, the atmosphere was festive, with chimney sweepers laughing and offering support.As the start of the "Step in Time" loomed, I felt well-prepared, thanks to my two guides: Goldberg and Jacobs. And right before going on stage for my "big" performance, I kept replaying Goldberg's advice over and over in my head: "Just smile and enjoy it." So that's what I did. I put a big smile on, grabbed my fellow chimney sweeper's hand and went on stage for my Broadway debut.I made sure I was in sync with the other actors as I balanced along the roof set and hopped over the rail to dance. To my surprise, as I looked out at the audience, I could not make out faces. I only saw blackness and a sea of streaming lights. After twirling, running up the steps of the house, kicking my feet and skipping, I felt like an old pro. There is a rush of adrenaline, a total high that takes over your body after completely giving yourself over to a character, to the audience. Now I understand why actresses and actors sacrifice their sleep, life and sometimes even sanity, for the craft.I may have been nervous before I stepped out on that stage, but there truly was one feeling that superseded all others: a sense of camaraderie. It didn't matter how nervous, anxious or confused I felt, one of the actors was right there with me, pushing me to go on and encouraging me to enjoy the experience. That night, I learned this sense of community is what makes Broadway and "Mary Poppins" so special.Once the show ended, I went on stage for curtain call and to bow with the rest of the cast. While I did admittedly mess up my steps, I didn't care! I was a Broadway star, baby. But as I exited the stage on my personal high, I was abruptly stopped by a stagehand."Why are they not letting me move? Do I need to go back out?" I wondered.Then, as a sea of actors parted the hallway and the elevator opened up, Steffanie Leigh, the current Mary Poppins, stepped out to take her bow, and this reporter was quickly brought back to reality.No, I am not a singer, dancer, or actress. But for one night, I was able to share in the beauty and magic of the Great White Way.Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

Kim Kardashian Hasn't Received Dying Risks around the Group of 'The Marriage Counselor'

On Friday, reviews appeared declaring that to safeguard Kim Kardashian was beefed on the group of Tyler Perry's new film The Wedding Counselor following the reality star received dying and kidnapping risks.our editor recommendsKim Kardashian's Husband Kris Humphries Employs Divorce LawyerKim Kardashian Quickie Marriage Mocked on CMAs (Video)Kim Kardashian and Kris Humphries' Divorce Rules 'Kourtney and Kim Take NY' (Video)Kim Kardashian Lands Role in Tyler Perrys 'Marriage Counselor' But, a repetition for Kardashian informs The Hollywood Reporter that "there's no truth to her getting dying and kidnapping risks." PHOTOS: Inside Kardashian Corporation. Kardashian, who began filming her part for that movie November. 9 in Atlanta, GA, has already established a tough couple of days. The Maintaining using the Kardashians and Kourtney & Kim Take NY star declared divorce from husband of 72 days Kris Humphries March. 31. Quickly the authenticity from the union and Kardashian's motives for getting married to the National basketball association star were asked.Humphries hired their own divorce attorney November. 11. PHOTOS: 19 of Hollywood's All-Time Least Partnerships And, the backlash hasn't stopped there. Perry's loyal group of followers happen to be writing directly into his web site to express their displeasure using the casting, which sees Kardashian playing Ava, the closest friend from the film's protagonist (performed by Friday Evening Lights actress Jurnee Smollett). STORY: 10 Signs Kim Kardashian's Marriage Was One Large Hoax All Along "Personally, I'm sick to dying of her being glorified for simply making love on camera," authored one. Adding, "She doesn't require the money and she or he certainly doesn't need anymore attention. And, although I still give you support, I won't be adding one cent to anything with K. Kardashian inside it.Inch Furthermore 'blacktresses' were upset using the casting, Carol Robinson Peete kidded your day Kardashian began filming, saying, "We are able to always rely on Tyler Perry to provide a 'blacktress' employment,Inch she joked. "So, all around the globe 'blacktresses' are upset." AUDIO: Kim Kardashian's Ex-Publicist Thinks She Staged Her Wedding But, apparently no negativity has affected the burgeoning actress' on-set attitude. A studio source tellsTHR"Kim continues to be only low-key and agreeable around the set," adding they haven't heard anything about risks towards the actress' safety. Related Subjects Kim Kardashian Tyler Perry Maintaining Using the Kardashians Kourtney & Kim Take NY

John Grazer Changing Brett Ratner as Oscar Producer (Exclusive)

Getty Images John Grazer has recognized the Academy's urgent request he part of to exchange Brett Ratner as producer from the 84th Oscars.our editor recommendsEddie Murphy States John Grazer Saved 'Tower Heist' (Video)Eddie Murphy's 6 Greatest Problems Before Bailing around the OscarsBrett Ratner's Oscar Exit Sparks Passionate Responses Round the WebBrett Ratner, Allan Carr and also the Home That Unites the Disgraced Oscar ProducersEddie Murphy Out As Oscar Host: What Hollywood Is SayingBrett Ratner's 10 Offensive Quotes That Led to Oscar Trouble Because The Hollywood Reporterfirst reported, Academy leader Tom Sherak moved rapidly to reboot the venerable honours show, which in fact had lost among its producers in addition to host Eddie Murphy, who introduced Wednesday he was pulling out in the show within the wake of Ratner's departure the day before. PHOTOS: Oscar Show Moments Grazer, a producer from the approaching J. Edgar, was towards the top of their email list of producers whom Sherak contacted in the future aboard and co-make the show together with the formerly introduced Don Mischer. Grazer's first order of economic is going to be naming a brand new host. It will likely be the very first time Grazer, who won the very best picture award in 2001 for any Beautiful Mind, has created the telecast, scheduled for February. 26. PHOTOS: Hollywood's Memorable Mea Culpas "John Grazer is really a famous filmmaker who in the last two-and-a-half decades has created an assorted and extranordinary body of labor,Inch Sherak stated. "he'll certainly bring his tremendous talent, creativeness and associations towards the Academy awards." Mischer added, "I'm thrilled to welcome John Grazer as my partner." "It's very satisfying to participate a reveal that honors excellence within the medium to which i've devoted a lot of my career," stated Grazer. "Don is really a legend, and i'm excited to utilize him." PHOTOS: Hollywood's Greatest Blunders The Academy's new Boss Beginning Hudson added, "I too am delighted that John will join Don in creating the Oscars and i'm searching toward our producers delivering the film event of the season.Inch Additionally to his Mind best picture win, Grazer continues to be nominated within the writing category for Splash and received best picture nominations in 1995 and 2008 for Apollo 13 and Frost/Nixon. John Grazer Academy awards Don Mischer Academy awards 2012 Tom Sherak