By Blair Thill, Gavel Blogger -

Answer: A TV series everyone should know yet few college students recognize aside, perhaps, from the fact that it launched Bruce Willis’s career before uttering the words, “Yippee kay yay mother…” – well, you know the ending. Question: What is the one-time 80s hit, Moonlighting?

Any TV fan, whether 23 or 53, should take note of the impact Moonlighting has had on the TV landscape. You see, Cybil Shepard and Bruce Willis, the stars of the show, hated each other, nay, abhorred each other off screen. This utter disdain somehow translated into magnetic chemistry on screen, and so their characters, Maddie and David, embarked on their crime-fighting partnership filled with sarcastic quips and lustful glares. The tension kept viewers tuning in week after week. The the producers and writers decided to give fans their payoff by orchestrating the hook-up of Maddie and David. And that’s when viewers tunes out. The characters lost all their bite and spark. It became awkward instead of exciting.

Moonlighting was canceled later that season. That’s when the TV world took notice. The dilemma of the showmance had been presented and the question morphed from “will they or won’t they” into “should we or shouldn’t we?” And yet, what has since become one of the primary tools in any drama or sitcom’s toolbox? The couple that everyone roots for. The couple that makes you think, “Gee, if they can’t make it, who can?” In short, the couple you tune in for.

Think of how many popular shows have employed this buzz-building technique since the 80s. We had Diane and Sam on Cheers, Niles and Daphne on Frasier, Corey and Topanga on Boy Meets World, Amy and Ephram on Everwood.  Each show succeeded in their showmance to varying degrees. Diane and Sam got together, broke up, got together, and then broke up for good (or until the finale) when Shelly Long decided to leave the show, so perhaps that isn’t the best example. Niles and Daphne were considered supporting players, so perhaps they aren’t the best example. Things got awkward with Corey and Topanga when they decided to get engaged during high school graduation, then college just never felt the same. Amy and Ephram were perhaps the best example, though the thought that Madison’s pregnant babysitter was the most frequent distraction still feels wrong.

Then there are the granddaddies of them all that don’t even need show identification: Luke and Lorelai, Ross and Rachel. These two couple are, for the most part, sterling examples of how to keep the romance alive through multiple seasons. Luke pined after Lorelai for four seasons before they got together in the perfect first date. Was their breakup annoying? Of course. But the key to Gilmore Girls’s success was that there was a suitable alternative to Luke for Lorelai, and that was Christopher. There was always something attractive about the idea of Lorelai ending up with Rory’s dad, even though we always knew Luke was the one she belonged with. The reason why Ross and Rachel worked is much simpler: the ensemble cast of Friends took the pressure off of the couple to succeed, but that didn’t make the payoff of Rachel getting off the plane any less sweet.

What, may you ask, specifically prompted my lesson in the history of showmance? A situation arose about a month ago amongst fans of the much adored, little watched NBC action/comedyChuck. Fans were sent into a tizzy when they heard that both Chuck and Sarah would be kissing different people, and what’s more, Sarah would be dating her target, Shaw, played by Superman, er, Brandon Routh. Fans were outraged that Sarah and Chuck could possibly be with different people after just two and a half seasons and (hopefully) counting. But if Chuck-hards really want their show to succeed, should they have been rooting so fervently for the romance that serves as a main basis of the show? Chuck and Sarah are now together and while it certainly isn’t awkward, it still remains to be seen if that move will, indeed, bring in more viewers and save the show from its fate on the dreaded bubble.

To theorize Chuck’s fate, let’s look at other current shows that rely on the showmance. There’s Grey’s Anatomy, where Derek and Meredith are the only consistent couple in the series’ romantic revolving door. Shonda Rhimes swears they’re together for good, which would have been welcome if it weren’t for the boring story lines and general creative rut that accompanied their union.The Office is still going strong after Jim and Pam’s hook-up, but it’s really just working off of the Friends ensemble. The best model for Chuck is probably Bones, as the popular Fox show is likeMoonlighting II: This time we learned. Booth and Brennan have been doing the dance for roughly six seasons, and the creative team has figured out just the right amount of give and take to keep the romance between viewer and show alive.

But is it too late for Chuck, now that its main characters are actually together? Time will tell. While the show has never provided a suitable alternative to Sarah and can’t be considered a true ensemble a la our previously explored archetypes, it does have the element of charm on its side, which is no small asset.

But the moral of the story, friends, is that will-they-or-won’t-they couples are not toys to be played with. They are integral cogs in the wheels of television, and one wrong tweak could send the wheel flying and the car in a tailspin. Isn’t fictional love grand?

By Blair Thill, Gavel Blogger -

This has been a dismal year in the film industry thus far for me, the chief reason being that I’ve only been inspired to see two films in theaters. Sure, I could have seen Shutter Island and experienced the mind-bending twist, but Lost tends to fulfill all my confusing island needs. I could have seen Leap Year or Valentine’s Day, since both are in my chick flick wheelhouse, but thought better when neither could muster even a “C+” grade from Entertainment Weekly. I’ll opt for the $1 Redbox rental. And so, when April rolled around and I was really jonesing for a theater fix, my friends and I made a game-time decision to see Hot Tub Time Machine.

Did Hot Tub Time Machine fail to meet my expectations? Of course not. What could you possibly expect from a movie titled Hot Tub Time Machine? It’s a head-scratching yet laughable title, much like the movie; head-scratching a result of Rob Cordry’s unlikeable oaf and laughing a result of Craig Robinson’s cheating wife subplot and Clark Duke’s general dismay of the 80s. And yet Hot Tub still managed to disappoint me for very different reasons.

ONE: the preponderance of homophobic jokes. I mean, aren’t we in the second decade of the 21st century for Pete’s sake? Is it really necessary to use the f-word, especially in a post-Isaiah Washington scandal world? I think not.

TWO: the degradation of women. At the risk of talking down from a feminist high-horse, I just wasn’t a fan of the one-dimensional female characters. Whereas Judd Apatow produced raunchy comedies showcase at least one realistic woman (i.e. Catherine Keener in 40 Year Old Virgin, Mila Kunis in Forgetting Sarah Marshall, Hot Tub was populated with only minor females, the majority of whom could be (and were) categorized as “bitches” and “sluts.” What great classifications for us!

This issue brought up an interesting question in my mind: why is it that male-skewed comedies rely so heartily on the sexual objectification of women? The fairer sex is either a bombshell ripe for the banging or a “dog” ripe for the taunting, stupidly vapid or alarmingly headstrong. Pondering this question led me to wonder something else: is this how guys feel when they watch rom-coms, only instead of sexual objectification they see their fellow men being emotionally objectified? Then again, are these particular questions really the questions I should be asking? Or should I be focusing on why there have to be two separate categories of comedy for each gender in the first place?

Enter my second theater experience this month: the Steve Carell and Tina Fey vehicle Date Night. The two comedic geniuses go head to head as a husband and wife being chased down by thugs after taking another couple’s reservation. Sure, there are screwball moments that were perhaps below the integrity of Carell and Fey, but there were also some gems. The biggest laughs in the theater came from the scene in which Fey’s suburban realtor and mother, Claire, and Carell’s tax attorney, Phil, pretend to be strippers to get to the crooked D.A. Thoughts of their robotic sex simulation still evoke a laugh. And the best part? Both male and female were being hilariously objectified in this scene at the expense of their dignity! Equal opportunity demeaning!

But seriously, as I sat watching Date Night, it struck me that the audience was filled with both men and women equally enjoying the on-screen antics. There were no unlucky-in-love women chasing after a men. There were no men using that dreaded f-word to make themselves feel more masculine. There were just two adults stuck in a jam with hilarious consequences. And the key word in that sentence was ADULTS. How often do we see those in movies anymore, at least box-office winning movies? Not very often. So while Fey and Carell were probably simply striding to make a funny movie, little did they know they actually achieved another goal by proving that adults can, miraculously enough, be funny.

By Blair Thill, Gavel Blogger -

The drama on the primetime version of Grey’s Anatomy has been rather abysmal for the past two seasons. What started as one of the most talked about shows on television has become a revolving door of ridiculous – from the romantic Rubik’s cube for mostly every character to the medical cases we honestly couldn’t care less about. Shonda Rhimes has recently released that Meredith and Derek are going to discuss the b-word by the end of the season – no, not the usual “brain hemorrhage” but “baby.” If this proves to be vaguely interesting, I vote for another Grey’s Anatomy spin off featuring a newly parenting Mer and Der moving back to his home in New York City. Shonda, I expect some sort of credit in creating this idea when you actually sell it to ABC.

So yes, drama isn’t coming easy these days on America’s former favorite primetime show. The drama off the set of Seattle Grace in the past few years, however, is a completely different story, though that too has finally come to a close. It all started with good old Isaiah Washington – remember him? Remember when he stupidly decided to use the f-word with regard to costar T.R. Knight … twice? The cast banded together around Knight after that incident, and Isaiah was promptly shuttled off the show. We all thought that’d be the end, right?

Wrong. It was just the beginning. The most outspoken of all the Grey’s castmates in Isaiahgate was, let’s all say it together now, Katherine Heigl. She formally derided Washington to anyone who would listen, and was heralded for her zero tolerance attitude. In this week’s Entertainment Weekly cover story, Heigl even admits that the support she garnered for those comments was both a blessing and a curse – a curse because it opened her own floodgates to think she could say whatever she wants, whenever she wants.

Wrong again. After rightfully winning an Emmy for her stunning work as a grieving almost-widow, Heigl’s outspoken ways started getting her into trouble. In keeping with the motif, Emmygate struck the following year when Heigl refused to submit her Season 4 work for an Emmy, saying the material she was given wasn’t worthy enough for any level of accolade. Then there was the comment she made to David Letterman about the horrible 17-hour work days on the show that made her career… Man, she has been a busy woman.

But the complaints should finally come to a close now that it has been confirmed Heigl will not be returning to Grey’s Anatomy even for one more second. After roughly three seasons of fighting her way out of a contract, Katie is a free woman. I feel a bit cheated that we don’t get to bid Izzie Stevens a proper good-bye, as her character has provided some of the most gripping storylines of all six seasons. But man, did this conflict need to end. Will you join me in a resounding chorus of “Hallelujah?”

I will be very interested to see what happens to Heigl now that she’s gotten ridden of the old ball and chain (not you, Josh Kelley). Her film career in relatively new, but also on its way to being successful as long as she sticks to the likes of 27 Dresses and Knocked Up rom-coms instead of the aptly titled The Ugly Truth. Given her efforts to branch out in future projects, most notably with the adaptation of Janet Evanovich’s One for the Money, I’d say there’s a good chance she can become an even more bankable actress. With the caveat that this EW interview is the last time she says anything about Grey’s Anatomy. Move on, Katherine Heigl. Leave the diva comments to the likes of Mariah Carey and Kate Gosselin.

By Blair Thill, Gavel Blogger -

Whenever American Idol season roles around, I find myself anxiously awaiting new interpretations of classic tunes, new and old. David Cook was the first contestant to truly revolutionize this contestant mentality, giving us lite-rock versions of pop confections such as Mariah’s “Always Be My Baby” and MJ’s “Billie Jean.” Season 9 has provided a few instant memories, my favorite being Didi Benami’s take on the Fleetwood Mac gem “Rhiannon,” but that performance is easily toppled with the horrible nightmares that were Todrick’s Hall’s “Since U Been Gone” and Jon Park’s painful “Gravity.”

It’s those last failed attempts that have caused me to look to consult my iPod for some comfort and find the best covers ever recorded. I have compiled a list of the five best covers of all time, and five newer ones I particularly enjoy.

5 Best Covers of All Time

All Along the Watchower – Jimi Hendrix, originally Bob Dylan – It’s hard to top Bob Dylan, who is one of the greatest songwriters and musicians of the twentieth century. Dylan started his career as a songwriter, giving his legendary material to folk artists like Joan Baez and Peter, Paul, and Mary, only to later eclipse their popularity. Not the case with this transcendent Jimi Hendrix guitar aria. The dips and bends of Jimi’s Fender Strat add a trippy feel to Dylan’s original acoustic guitar and harmonica work, and the changes equal classic rock, psychedelic paradise.

Respect – Aretha Franklin, originally Otis Redding – Otis Redding is a soul star in his own rite, crooning such classics as “Sittin on the Dock of the Bay” and “Try a Little Tenderness,” but who in America remembers that he was the originator of the would-be female power anthem of “Respect?” No one, because once Aretha owned the song, it was hers forever, and we realized that what we wanted, baby she had it.

Twist and Shout - The Beatles, originally The Isley Brothers – The Isley Brothers were obsessed with shouting, first with the toga party ditty “Shout” that put them on the map. But “Twist and Shout” barely made a dent in the music industry until it was recorded by The Beatles. John Hughes was an obvious fan of the cover, using it in his iconic parade scene in the 80s classic Ferris Bueller’s Day Off.

Nothing Compares 2 U – Sinead O’Connor, originally Prince – Prince isn’t exactly known for his ballads. It’s no wonder, then, that his recording of this ode to loss got lost in the mix of his experimental days with The Family funk band. Luckily for all of us women out there who have needed the perfect song to deal with a broken heart, Sinead O’Connor transformed the song into a the three-hankie weeper in 1990 with a decidedly softer, more emotional feel.

Mad World – Gary Jules, originally Tears for Fears – I am a sucker for 80s music. I love the synthesizers and perfectly syncopated drum machines. But even I have to admit the tune “Mad World” is better suited for Gary Jules’ simplistic vibe than the 80s cheese of Tears for Fears. Jules’ voice cuts right through your soul and makes you ponder what a very strange world we live in.

5 of the New and Improved

Somewhere Over the Rainbow – Israel Kamakawiwo’ole, originally Judy Garland – Many people have tried to emulate or improve upon Judy Garland’s seminal Wizard of Oz classic, and very, very few have succeeded. Sometimes the key to a successful cover is to completely switch up the melody, and this unknown Hawaiian singer did just that to beautiful perfection. The ukelele and soaring falsetto make this cover, in a word, stunning.

Poker Face – Chris Daughtry and Lady Gaga tie – “Poker Face” was EVERYWHERE a year ago. Every bar, every party, every pre-game. How could one possibly improve upon that kind of saturation? Well, Chris Daughtry decided to strip down the techno vibe and opt for a simple acoustic guitar. Lady Gaga herself stuck with a piano and major melisma. They’re both so fantastic, it would be torture to choose. And this is my blog, so I didn’t.

Crazy - Ray LaMontagne, originally Gnarls Barkley – Gnarls Barkley’s claim to fame is this song and this song only – well, aside from the Star Wars getups they performed the song in at the MTV Movie Rewards. Ray LaMontagne isn’t all that well-known for his blue-eyed soul on songs like “Trouble.” Put these two moderately famous entities together, and you have one banging cover that includes nothing but Ray’s guitar and voice.

Message in a Bottle – John Mayer, originally The Police – In case you haven’t noticed, my favorite covers are usually the stripped down versions of popular rock and pop songs. So despite the fact that I’ve previously told my readers I hate liking John Mayer’s music, I couldn’t leave out his cover of The Police classic in which he trades in Andy Summers frantic riff for a lonely, haunting acoustic guitar.

Umbrella – Mandy Moore, originally Rihanna – In keeping with the theme of this list, I am probably committing blasphemy in many minds by including Mandy Moore’s coverage of the Rihanna mega hit, but I can’t help it. I love the slowed down piano and Moore’s aching crooning. Perhaps not a chart-topper, but fabulous in its own rite.

By Blair Thill, Gavel Blogger – (Photo courtesy of fanpop.com)

This week in pop culture, as always, there were hits and misses. What was strange, however, was the idea that many of the same players or circumstances showed up in both categories. It was as if people saw how Sandra Bullock could possibly win a Razzie and Oscar in the same year and thought, “Wow. I should do that in one week!” Here are the specific examples to illustrate my abstract point:

Robert Pattinson’s Publicity Tour

I have no clue what to expect from RPatz’s new movie, Remember Me, other than the knowledge that he and costar Emilie DeRavin may or may not have dated because of their intense chemistry and that the Twilight hunk may or may not be half-naked at some point during the film. Why is this? Oh yeah, it’s because Pattinson has done nothing but giggle like a little school girl during his talk show interviews.

“What’s it like to be an international sex symbol, Robert?” Giggles. “What was it like to try and break out of your role as a sexy vampire?” Chuckles. “Why are you unable to answer any questions without laughing?” Chortles. This was the case for almost every single interview, and none worse than Rob’s visit to The Daily Show. Watch the show on Hulu (before Viacom removes Jon Stewart’s work from the World Wide Web, that is) and try to prove me wrong. I’ll save you the trouble, you can’t.

HOWEVER, Pattinson showed the world, for once, that he doesn’t take himself too seriously with a stellar turn on Late Night with Jimmy Fallon. Jimmy has an inane yet hilarious bit that involves him being Robert Pattinson (complete with crazy hair piece), sitting in a tree, and complaining about fame. The real life Edward Cullen joined in on the fun by getting up in a tree with his impersonator. The result? An instant classic Late Night moment:

(http://www.hulu.com/watch/131346/late-night-with-jimmy-fallon-robert-pattinson-is-double-bothered)

Parenthood Casting

If you’ve read this blog before, it shouldn’t come as a shock to anyone that I was majorly excited about the debut of Parenthood Tuesday night on NBC, and the resulting return of Lauren Graham to primetime. Let me tell you, she did not disappoint. Graham brought the same wit and charm to the NBC skein as she did to Gilmore Girls, only this time she’s adding a layer of complex emotions relating to her character’s general penchant for screwing up. Just as Death Cab for Cutie originally purported, I will follow Graham into the dark. (Photo courtesy of zap2it.com)

Luckily enough, I’ll also get to watch the brilliant Peter Krause in the dark of Parenthood. The Six Feet Under alum was woefully miscast in the ABC dud Dirty Sexy Money after his star-making turn in the HBO series, so it is a relief seeing him stretch his acting chops around the role of a father dealing with a son that isn’t just eccentric, but probably suffering from Asperger’s Syndrome. He and Monica Potter will tug your heart strings as they try to wrap their brain around the impossibilities of their son’s condition.

HOWEVER, why, oh why, did the casting team of Parenthood decide it was a great idea to round out the Braverman siblings with … wait for it … Dax Shepard. Dax Shepard. Really? The guy who got his start in Ashton Kutcher’s Punk’d? The guy who played Amy Poehler’s hick husband in Baby Mama? I’m not sure how it happened, but I’m fairly confident it shouldn’t have.

Spring Rom-com Trailers

Summertime is blockbuster season, autumn is the time for Oscar contenders, and spring is … a dumping ground for bad romantic comedies. Good romantic comedies are hard to come by these days, but this spring seems to have brought an inordinate amount of duds. Leap Year with Amy Adams? Epic critical and box office failure. Valentine’s Day? Marketing genius brought a sizable holiday profit, but critics blasted the 840 big-named celebrities who signed on to the project to receive a big pay-day for 10 minutes of work.

The next projected bomb, at least by Blair standards, judging solely on the trailer? The Bounty Hunter, starring Jennifer Aniston and Gerard Butler. Why does Jennifer continue to do these movies? Did The Break Up teach her nothing? Did the success of Marley and Me teach her nothing? And don’t even get me started on Butler’s chosen follow-up to the disaster that was The Ugly Truth. His film choices seem to scream that he’s the good-looking actor version of Geico’s Caveman commercials.

HOWEVER, a possible sleeper rom-com hit could come out of J Lo’s return to film in The Back-up Plan, co-starring TV poison but all-around Australian cutie Alex O’Loughlin. If J Lo’s above average turn on SNL taught us anything, it’s that she’s itching for a comeback. Could this be the movie? Decide for yourself, but I know I laughed at least once during this trailer:

By Blair Thill, Gavel Blogger – (Photo courtesy of deceiver.com)

If pop culture were made of ice cream, here are the three flavors I’d be ordering this week:

Favorite Song I Want to Hate: Heartbreak Warfare by John Mayer

Last week John Mayer made waves in a Playboy interview in which he called Jessica Simpson “sexual napalm,” using the dreaded n-word, and comparing his genitalia to God knows what. John Mayer’s place in pop culture was already precarious, being a known Casanova and tabloid fixture. I don’t want to like him. But when he releases albums like Continuum that are practically flawless from top to bottom, it’s tough to remember why I’m supposed to dislike him.

Mayer’s new single, “Heartbreak Warfare,” hearkens back to the genius of Continuum with sonic guitar riffs and its warrior of love theme, far preferable to his first Battle Studies single, “Who Says,” whose mission was to constantly remind us of his womanizing ways. On VH1’s Storytellers, Johnny told us that this single was his lame attempt to match the wall of sound that is U2’s classic, “Bad.” It’s tough to match the partnership of Bono and The Edge (though you can definitely hear the similarities), but I think Mayer’s shortcomings gave him an original song that fit into his catalogue quite nicely.

Favorite Guest Star Casting: Bristol Palin on Secret Life of the American Teenager

There have been many awesome guest stars announced as of late: Carrie Underwood on How I Met Your Mother, J. Lo on HIMYM, Neil Patrick Harris on Glee, yadda yadda yadda. But this one takes the cake. It’s like Bristol went to Jon Stewart, Joel McHale, and David Letterman and said, “I want to try my hand at acting. What show do you think I should guest star on?” I mean seriously, does she know that the only thing the public knows about her is that she’s a teen mother? Does she have a publicist? Or does she simply buy in to the “any publicity is good publicity” school of thought?

Palin is going to play fellow teen mother (what a stretch!) in Amy’s teen mother support group. I can’t wait to see what McHale will have to say about the cameo on The Soup the subsequent Friday.

Favorite Olympic Stud: Seth Wescott

Some people like to watch the Olympics for the feats of sheer athleticism and startling displays of heroics. I enjoy those things thoroughly, but not as much as I enjoy scoping out the eye candy, and boy do the Vancouver Winter Olympics have a lot of that. From the goofy bro that is Shaun White to the smooth confidence of Apolo Anton Ohno, there’s a lot to indulge in. But my personal fav is a bit under the radar: double gold medalist and snowboard cross champ Seth Wescott. He may not be the best looking fellow on the American team, but what he lacks in overt attractiveness he makes up for in laid-back charm. And a killer smile. In the words of Vera Farmiga in Up in the Air, “A nice smily might just do it.”

By Blair Thill, Gavel Blogger – (Photo courtesy of americanidol.com)

When I came to college freshman year, I thought it was part of my mission to become “cultured.” I didn’t exactly know what this would entail – probably something along the lines of discussing the works of Nietzche in a coffee shop – but I did know what it wouldn’t include, and that was watching American Idol. The Ryan Seacrest-hosted series represented culture for the masses, something many people look down upon. I assumed no one in college would watch something that intellectuals scoffed at. I was partially right. I didn’t meet anyone that owned up to their love of the singing competition.

But then Gilmore Girls, my more prominent Tuesday night love, went on hiatus … and I was subsequently sucked back into my role as an “Idoloonie” (term coined by EW’s Michael Slezak) as soon as I heard Chris Daughtry. And the funny thing was, as soon as I started watching again, casual fans, die-hards, and AI virgins alike started coming out of the woodwork to watch with me. Because there’s a reason between 20 and 30 million Americans watch this reality show every week, and it’s not the reality part. It’s the fantasy of being plucked from obscurity and shot to fame in a few short months.

Anyway, all of my preceding words are necessary to the understanding of my Idol worship and the reason behind dedicating this blog post to the analysis of our newly minted Top 24. In order to do that, I’ve decided to rip a page out of our high school yearbooks and use superlatives to highlight the Season 9 crop of talent.

Most Likely to Succeed: Andrew Garcia

Why the AI producers decided to cap Hollywood week with a cliffhanger that tried to convince us that Andrew Garcia might not get into the Top 24 is beyond me. Let’s be honest: during week one of the Hollywood auditions, Andrew Garcia wasn’t just in the Top 24, he was easily in the Top 2. As soon as the consummately cool father lent his criminally smooth vocals to departed judge Paula’s smash “Straight Up,” changing it from an 80s confection into an acoustic jam, Idol chatter could talk of no one else. His group was one of the few successes of group day, and his sincere cover of Adele’s “Chasing Pavements” was robbed of more screen time. If Garcia can keep bringing the heat with his own unique take of popular songs, I just don’t see what’s stopping him from going into the Final Five.

Best Blonde: Didi Benami

This was a tough category, Didi, so give yourself a pat on the back. It’s hard to remember if any of the Top 12 girls AREN’T blonde, so it’s a great sign that you stood out – so much so that the producers decided to let us know you went through on the first day of semifinal announcements! And you deserved it. I wasn’t sure about you during your first audition because you seemed like one of those girls who cried at the drop of a hat. I hate those girls. But when you channeled that nervous energy into the Kara DioGuardi penned “Terrified,” not only did you demonstrate your potential as a singer/songwriter, you also showed that Kara can actually write music that belongs in the 21st century (unlike poor Kris Allen’s stale “No Boundaries”). That’s no small feat.

Most Likely to Crash in the Semis: Haeley Vaughn

Vaughn seemed like a great idea at first with the judges intimating, “She could be the Black Taylor Swift!” I agreed with them at first. But then I heard Haeley butcher Gwen Stefani’s “Sweet Escape” (which I already hated) and Jason Mraz’s “I’m Yours” (which I love). I hope Haeley can pull it together since this season is lacking in both African-American singers and country enthusiasts, but I just don’t see it happening.

Most Likely to be Seduced by Kara: Casey James

It all started when Casey auditioned in Denver and Kara practically forced him to take his shirt off before she let him through to Hollywood. Was it embarrassing? Yes. Did he deserve to go to Hollywood no matter what? Absolutely. Casey came alive in Hollywood. He got the chance to show us what he really does: down home blues. His cover of the standard “I Don’t Need No Doctor” showed a grittiness not usually seen on the Idol stage. It also brought out a side of Kara only previously reserved for Season 8’s Matt Giraud … only worse. Kara has commented on his hottness, whether she likes his hair up or down, the color of his eyes, basically anything objectifying. It all culminated in a hug upon his invitation to the Top 24 – a hug which Kara enjoyed way too much.

By Blair Thill, Gavel Blogger -

I hate being a cliche, I really do, but I’d be lying through my slightly disproportioned front teeth if I said I watch the Super Bowl for the football. I am the woman who tunes in to watch the commercials. I am the entertainment junkie, music enthusiast that gets inordinately excited by the halftime show. Do I know who Peyton Manning is? Sure, he’s one of the best quarterbacks in the league, nay football history. I also know that he partakes in some seriously hilarious Sony commercials with Justin Timberlake and Master Card spots with How I Met Your Mother’s Allyson Hannigan. The latter is what I’m most concerned with. I am a female pop culture consumer almost always, and football fan almost never.

Why would tonight, the night of Super Bowl XLIV, be any different then? Well, it wasn’t … at first. I watched Carrie Underwood’s vocals soar on the National Anthem, proud to be an American Idol fan (even if I didn’t actually vote for her during Season 4. Sorry Carrie!). I settled into the couch and watched the Saints and Colts take their places on the field, searching for likes of Boston College favorite Jamie Silva on the Colts kick-off team, praising Hatian native and Saint Vilma for doing his country proud, and otherwise biding my time before the first round of commercials.

The time had finally come. I sat on the edge of my seat, expecting some big laughs. Well, it’s three and half hours into the Super Bowl and I’m still on the edge of my seat … waiting for the big laugh. Honestly, the commercials just aren’t doing it for me this year. So much so, I can barely remember any I’ve actually seen.

Super Bowl spots have been sold for $3 million this year. I don’t care who you are, that’s a lot of money. That’s a new high for ad rates, and with great ad rates comes great expectation. I was expecting epic Budweiser commercials that act as a cultural touchstone for new phrases, like the “Whassup” of last decade. What about a special music campaign from Pepsi, a la Britney or the late great Michael Jackson? I hoped that GoDaddy.com would abandon their naked female motif and perhaps their Super Bowl aspirations altogether.

Absolutely none of the things I just mentioned happened tonight.

I laughed a few times. Doritos had a few prime spots, the most noteworthy of which was the man who faked his own death so he could be holed up in a coffin with his chips and his TV. Bud Light was working at a depreciated value but still showed up with their house made of Bud Light cans and their dudes crashing a women’s book club to get their beer on, which spawned the best lines of the night:

Female: “Are you into Little Women?”

Dude: “I’m not really that picky.”

The best ad had to be the Betty White Snickers spot, though. Seeing Betty White getting taken out by a fellow footballer was, in a word, priceless.

The aforementioned commercials were the best of what I saw, but does that mean they’ll be remembered for years to come, or even around tomorrow’s metaphorical watercooler? Doubtful. Creativity, I’m afraid, was in short supply this year in the ad industry. This absence thereof forced me to do something unspeakable: actually watch the football game. Perhaps Mad Men creator Matthew Weiner would have had better luck handling the campaigns and saved me from this fate, as Don Draper’s ideas are far more imaginative than Denny’s screaming chickens.

The one bright spot of the evening came during the Bridgestone Halftime Show. I will not lead you on. I am a giant Who fan. “Baba O’Riley” is my favorite song. They rank amongst the best concerts I’ve ever seen. I was bound to love this halftime show. But The Who surpassed even my expectations. A lot of people were joking about the choice catering to the London Retirement Home demographic, but Roger Daltry and Pete Townsend proved that they can rock hard with the best of them.

Roger’s voice was a bit shaky at first, but evened out by the Tommy operatic “See Me Feel Me,” and his patented scream at the end of the medley, “Won’t Get Fooled Again.” Pete was in tip top shape tonight, shredding his guitar from the non-synth intro of “O’Riley” through “Who Are You” and the sonic boom of “Fooled Again.” I was a kid in a mod candy store, high on classic rock. For any youngsters out there who had no idea the CSI theme songs weren’t written expressly for CSI, I hope you learned something tonight at the School of Rock lesson as taught by Professors Daltry and Townsend.

But that’s just one female pop culture lovers’ take on sports’ greatest night. Congrats to the New Orleans Saints! I can’t imagine a more deserving city.

By Blair Thill, Gavel Blogger -

There’s something everyone should know about me, the entertainment blogger: I am, and forever will be, a fervent fan of Gilmore Girls. In my mind, there has never been a show that has blended genuine emotion and true wit like Amy Sherman-Palladino’s brainchild. I was a blubbering mess during the series finale – from the moment Rory and Lorelai pulled up to the tented town party to the last cups of coffee Luke poured for them at his diner. I lived and died with each questionable life choice made by Lorelai, and simply died laughing with every perfectly placed pop culture reference. I will passionately defend my opinion on who Rory should have ended up with at the end of the series (Jess, of course. Dean was over and done with, and Logan? Can you say douche?). I think Paris Gellar is one of the funniest secondary characters I’ve ever watched. In short, Gilmore Girls has a special place in my heart.

That being said, you can imagine my consternation upon hearing that The CW’s new skein, Life Unexpected, was being routinely compared to the show I devoted seven years of my life to. Every advertisement made sure to remind me that Life Unexpected is “Juno meets Gilmore Girls!” I dare you to find one ad for the show that doesn’t contain that phrase. But I wondered what, exactly, that phrase could mean. Does the show contain a constant barrage of pop culture references, phrases like “honest to blog,” hamburger phones, and monkey lamps? Do the teenage girls make poor choices that lead to pregnancies that only enhance their wit and snark? I vowed that despite my fears, I had to investigate the credibility of this comparison.

Before we go any further, let’s do a quick run down of the story of the LU pilot. We find our female ingenue in Lux, an almost 16-year-old girl who’s been kicked around the Portland foster care system her entire life. On her 16th birthday, Lux wants nothing more than to become emancipated so she can legally take care of herself and rent her own apartment. This brings her to the door of her birth father, bar owner and eternal slacker Nathan Basil, a.k.a Baze. Lux needs both her birth parents to sign her emancipation form to make everything kosher. Baze helps her track down Cate, birth mom turned popular radio DJ. Let unresolved mommy and daddy issues, unresolved feelings resulting from a one night high school stand, and awkward family reunions commence!

Turns out Life Unexpected is beyond delightful, albeit not the result of a Juno and Gilmore love child. The only comparisons I could draw between the new CW series and those two venerable predecessors is the teen pregnancy aspect. But Cate is no Lorelai Gilmore – sure, she screws up her personal relationships, including an on-off-on engagement to radio cohost Ryan, but she doesn’t have one iota of the humor Amy Sherman Palladino or Diablo Cody infused into their characters.

What LU should be touting themselves as is a return to the glory days of The WB. Because it does have one more similarity to Gilmore, and that’s heart. The tone of the family drama hearkens back to the days when Everwood inhabited Monday nights and Gilmore graced Tuesdays at 8 p.m. In fact, if I were to retool the ads for this show, I’d say LU is as if an orphaned Rory Gilmore lived on the streets for 16 years and went to find her parents in Everwood, Colorado.

Lux will be forced to reconcile her penchant for independence with her desire to know what a real family feels like. The ingenue behind the ingenue, Britt Robertson brings a doe eyed twinkle necessary to the success of the role. I cannot wait to explore the well that I suspect is her untapped talent. I predict that big things are going to happen for this young actress, as she has the potential and star quality to surpass anything Alexis Bledel has been doing lately.

Shiri Applebee is admittedly just all right for me, but I’m also a big fan of the actor who plays Baze, Kristoffer Polaha. What I find so annoying in movie slackers such as Seth Rogen is that no girl would actually go for them because they have no redeeming qualities. No job, no charm, nothing. Baze is a girl’s dream slacker, successful in his bar ownership with an endless supply of witticisms. I mean, hey, he may have picked Lux up for school in a cab in the second episode, but at least he didn’t drink and drive.

The charm of the second episode was tenfold from the pilot, which means every Monday The CW will be offering a refreshing retreat from its usual schedule of angst ridden teen debauchery. Life Unexpected is going to go places, and I’m already declaring it my new favorite show of 2010 … at least until Lauren Graham swings back into TV in March in the new NBC dramedy Parenthood.

If pop culture were made of ice cream, here are the three flavors I’d be ordering this week:

Favorite casting of a 90s has-been: Freddie Prinze, Jr. in 24

As far as I knew, Freddie Prinze, Jr. and Sarah Michelle Gellar had decided to retire on their Scooby Doo royalties and raise their new daughter, Charlotte, in relative obscurity. That was before I caught wind of Freddie’s return to relevance as CTU operative Cole Ortiz on 24. Sure, the Jack Bauer brand isn’t as illustrious as it once was, but it’s still more of a cultural force than Freddie’s other option: I Still Know What You Did 10 Summers Ago. As Ortiz, Prinze can bring the same boy scout morals he exuded so well in the 90s to a grown-up, ass-kicking, counterterrorism agent. He’s the best coworker Jack’s had since Chase, Kim’s dearly departed CTU boyfriend. Here’s hoping Freddie doesn’t suffer the same gloomy fate and actually lives to see the light of Day 9.

Favorite spouse shout-out: Sandra Bullock at the SAG Awards

If you had told me a year ago that Sandra Bullock would be a 2010 Academy Award nominee, I would have laughed in your face. In fact, I believe Sandra herself would have laughed at the notion. It’s not that she lacks talent, but the 43-year-old actress said it best herself when interviewed about Blind Side Oscar Buzz: “Actors who do what I do don’t get Oscars.” How wrong we all were, Sandra. Because a Critic’s Choice, Golden Globe, and SAG Award later, you might just be the Oscar front-runner.

If she does win, I hope she follows the awards season trend of the awesome spouse shout-out. She surely adopted the trend Saturday night at the SAG Awards when thanking her husband, Monster Garage mogul Jesse James. The video has been taken off Youtube (curses to the Screen Actors Guild), so this is, verbatim, what the fabulously grounded Sandy said:

“And to my husband, Jesse, who works so hard all day, and you get dressed up in monkey suits, and you sit at a table with people you don’t know. [laughter] And I leave you there and then you come back with, like, Morgan Freeman’s email. I don’t know how you do it. [laughter] I love you so much, and you’re really hot. And… [laughter] I want you so much.”

Favorite Hope for Haiti performance: Justin Timberlake and Matt Morris “Hallelujah”

In the midst of tragedy, celebrities can show you what they’re really made of. Obviously the Hope for Haiti telethon had nothing to do with the stars that inhabited our screens, but that’s just it. It’s always refreshing to see our favorite celebrities lend their fame to something bigger than themselves – something that helps people in a tangible way.

There were a lot of inspiring musical performances in the George Clooney-organized event, but my favorite came from my #1 celebrity love Justin Timberlake. “Hallelujah” is an oft covered song, but JT and his new protege, Matt Morris, brought something soulful and new to the table for Haiti’s benefit. Buy the song on iTunes to donate to the Haiti relief fund. Here’s a tantalizing preview: