EMMYS: With The Amounts And Full Results

Emmys Live-Blog Backstage Within The Emmys Emmy Analysis: Broadcast TV’s Large Honours Comeback Red-colored-colored Carpet Arrivals WINS BY NETWORK (several includes Creative Arts Emmys) Cinemax … 19 PBS … 14 CBS … 11 Fox … 9 ABC … 8 NBC … 6 Comedy Central … 4 Discovery Funnel … 4 History … 4 ReelzChannel … 4 AMC … 3 Cartoon Network … 3 DirecTV … 2 Disney Funnel … 2 Showtime … 2 WINS BY PROGRAM (several includes Creative Arts Emmys) Boardwalk Empire … 8 Downton Abbey … 6 Mildred Pierce … 5 Modern Family … 5 Most dangerous Catch … 4 Gettysburg … 4 Saturday Evening Live … 4 The Kennedys … 4 Freedom Riders … 3 And That Means You Think You'll Be Able To Dance … 3 64th Annual Tony Honours … 2 The The American Idol Show Show … 2 American Masters … 2 Phineas and Ferb … 2 Firebreather … 2 Friday Evening Lights … 2 Futurama … 2 Wager on Thrones … 2 Glee … 2 Mad Males … 2 The Borgias … 2 The Daily Show With Jon Stewart … 2 Check out a whole report on individuals who win.

EMMYS: Charlie Sheen And Ashton Kutcher, Male Hooking up Backstage And Also On Twitter

Despite fears that Charlie Sheen wouldn’t be on his best behavior through the Emmys tonight, the actorplayed it straight while showing the Outstanding Lead Actor in the Comedy Series award. Minutes later, , his two and a half Males alternative, joked onstage that he's “not Charlie Sheen.” Evidence of that switched on Sheen’s Twitter feed like a photograph of those two stars backstage. Sheen tweeted, “Seriously… @aplusk great speaking for you personally! We’ll be watching! Make us proud!!” Later via Twitter, Kutcher wanted Sheen well on his new gig and looked for his help with his DNA Foundation’s efforts to avoid human trafficking.

REVIEW: Ryan Gosling Is the Goslingest in Superb, '70s-Inflected Drive

Some actors are chameleons, shifting drastically from one color to another depending on the role. Ryan Gosling may not be one of them: There will always be a little Ryan Gosling, even just a mischievous glimmer, in any character the actor plays. But then, that’s part of what makes a movie star a movie star: It’s impossible to separate Cary Grant from his Cary Grantness, or to think of Bette Davis without seeing an enormous pair of eyes framed by mascara fringe. Though Gosling is still young, he’s at his Goslingest in Nicolas Winding Refn’s Drive, playing a Hollywood stunt driver who moonlights as a wheelman. Drive is a vibrant and meticulous piece of filmmaking, an homage to existential driving movies of the ’70s like Richard C. Sarafian’s Vanishing Point and Walter Hill’s The Driver. Refn — the Danish-born director who may be best known for his Pusher trilogy — understands the heart of his hero, a maestro who coaxes music from the gas pedal. The action sequences serve the conception of the character, not the other way around, an important distinction to be made in a time where there’s an undistinguished action movie being released almost every week. (The screenplay is by Hossein Amini, from James Sallis’s novel.) Drive has a pulse, a soul and a style — three elements that don’t always come together in contemporary entertainment — and they’re all channeled though the conduit known as Gosling. We know Gosling’s character only as Driver, a laconic man of action whose very name doubles as a job description. By day, he’s a movie stunt driver and car mechanic. By night he acts as a chauffeur for bandits and baddies, and his preternatural sense of calm behind the wheel — a toothpick perches delicately between his lips — is a little like Fred Astaire’s dancing: He makes it look like it’s nothing. Driver involves himself in his employers’ activities only tangentially and only for the amount of time it takes him to shuffle them from here to there. After that, they’re on their own — in the movie’s taut and exquisite opening sequence, he ends a tense chase by slipping off on foot into the night, an everyman being absorbed into an anonymous crowd as if he were a minnow rejoining his school. When he’s not driving, Driver has a crush on a neighbor in his apartment building, Irene (Carey Mulligan), a for-now single mom with a young son. Just as their romance starts to heat up — and after Driver has bonded with her kid, beginning with a captivating, exceedingly dry exchange that begins, “Wanna toothpick?” — Irene’s husband, Standard Guzman (Oscar Isaac) is sprung from jail. He may be free, but he’s not out of trouble. And when Standard’s thuggish pals threaten his family, Driver takes a job just to help him out, not realizing that the real danger at hand involves Albert Brooks’ two-bit crime boss and his overgrown, velour-sweatsuit-wearing sidekick, played by Ron Perlman. If you’re thinking Driver is the quintessential laid-back selfless hero, cool as cool can be in the Steve McQueen mode, the kind of guy you’ve seen hundreds of times in good movies and in bad ones — you’re right. In fact, if you’ve watched any movies made in the past 40 years, you’ll see and hear lots of familiar elements in Drive: The slightly grainy, low-lit look of ’70s cheapies (the DP is Newton Thomas Siegel); the new-wave neon-pink script used in the credit sequences; the at-first jarring but later sublimely perfect ’80s-style synth score. Refn doesn’t pretend to have invented any of this stuff. His movie is 90 percent unapologetic referencing, and he knows how to recombine familiar elements in a way that feels fresh and exciting. Refn has a knack for both violence and romance: The love scenes between Mulligan and Gosling are casual and sweetly unassuming. There’s lots of brutality in Drive, and while it isn’t always discreet, it’s not assaultive, either. (Refn isn’t a slavish Tarantino imitator, but it’s clear they share certain tastes in terms of references and tone.) And Gosling isn’t lost amid the movie’s violence, which sometimes happens to actors unaccustomed to playing action roles. Instead, the picture’s brutality seems to be a quivering compass arrow for him — he follows it to find the heart of his character, walking the line between being minimalist and mannered. Gosling’s Driver is all about sharp reflexes and meaningful eye contact, and he has a jazz musician’s ear for language — he knows everything sounds cooler when it’s just a hair behind the beat. Even the movie’s simple costuming is pure genius: Driver’s signature garment is a silver baseball jacket with an abstract scorpion stenciled on the back. Its very contrivance is part of its brilliance. Flashier than, say, McQueen’s (or Dean’s) Baracuta, it’s a garment that hisses “Look at me!” only to turn around and whisper, “Now you see me, now you don’t.” Drive could have been the best drive-in feature of 1975. As it is, it’s likely to be the best action movie of 2011. Refn hasn’t invented a new language; it’s just that he uses the vocabulary so well — he’s got the right tools and the right touch. The movie’s newness is, paradoxically, intertwined with an appreciation for the past. Drive is a picture retooled from vintage parts, proof that you can build them like they used to. [Portions of this review appeared earlier, in a different form, during Movieline’s coverage of the 2011 Cannes Film Festival.]

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Netflix Shares Tumble on Modified Customer Growth

Shares of Netflix were falling apart by a lot more than 15 % in midday buying and selling after the organization acknowledged that it is questionable cost hike of 60 % on a single of their most widely used plans might cost it a million customers.our editor suggests CBS, Netflix Sign Two-Year Content Agreement ICMs Chris Silbermann on New Network Chiefs, Netflixs Impact and also the Quite Interesting Pilot Season STORY: Netflix Responds: Starz Submissions Are 'Down to 8Percent of Domestic Netfilx Customers' Viewing' The organization on Thursday cut its customer estimations for that finish from the third quarter to 24 million within the U.S., although it had forecast two several weeks ago it might finish the quarter with 25 million subs. STORY: Netfilx Stock Drops 8% After Starz Renewal Talks Finish Shares from the formerly highflying stock were off around $33 on Thursday and also have sunk 40 % since Netflix introduced its cost hike in mid This summer. The stock is all about in the cost it began the entire year at, but nonetheless up nearly 300 percent previously 2 yrs. STORY: Netflix Cost Increases Work Thursday Netflix has mostly been a Wall Street darling, with lots of experts even bullish within the cost hike. Lately, though, bears happen to be more vocal within their opinion the stock was headed for any fall, especially because the cost of obtaining content for streaming has risen roughly ten-fold previously 3 years approximately. While problematic for Netflix, the dramatic increase in the worthiness privileges to stream Television shows and films on the internet is really a boon to content designers. On Thursday, for instance, forecasters at Trefis stated Time Warner shares should rise to $38.90 because Netflix and it is rivals need its content. Shares of TW were up 2 percent Thursday to $30.47 in midday buying and selling. Related Subjects Netflix

Matt Damon Gets His Jerry Maguire Moment in First Trailer for 'We Bought a Zoo'

As you may have heard, Scarlett Johansson is having a rough Wednesday. Thankfully, better days are on the horizon -- at least professionally. Judging from the newly release trailer for 'We Bought a Zoo,' Johansson and co-star Matt Damon could have a big, fat holiday hit on their hands come December. Directed by Cameron Crowe -- who hasn't helmed a fiction film since 'Elizabethtown' bottomed out his career in 2005 -- 'We Bought a Zoo' is based on Benjamin Mee's memoir, which recounts his attempts to rebuild following the death of his wife. (With 'Zoo' and 'The Descendants,' the holiday season is chock-a-block with forlorn fathers.) For Mee, that included purchasing a run-down zoo in the English countryside and moving their with his young children; for Movie Mee (Damon), that means buying a zoo in the California countryside and giving his kids an "authentic American experience." It sounds contrived -- and reviews of Mee's memoir were mixed -- but the trailer hums along on the charm of Damon, Johansson, Thomas Haden Church and the Sigur Ros song 'Hoppípolla' (which you might remember from the trailer for 'Children of Men'; Sigur Ros frontman Jónsi is scoring 'Zoo'). If you're still not convinced of the potential for 'Zoo,' note that the trailer also features a 'Jerry Maguire'-like moment when Damon quits his job, 'Almost Famous' star Patrick Fugit and adorable zoo animals. Welcome back, populist savior Cameron Crowe! Head over to Apple to watch the trailer in HD. 'We Bought a Zoo' is in theaters on Dec. 23. Photo: Neal Preston/Twentieth Century Fox

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Pimstein towards the new the new sony TV publish

The brand new the new sony Pictures Television has attracted on former Univision professional Veronica Pimstein as senior V . p . of creative, Latin America/U.S. Hispanic production. She'll oversee production inside the lately created role. Pimstein was professional producer of dramatic production for Univision Telefutura, where her credits include "La marca del deseo" (2008), "Amas p casa desesperadas (2008)," "Asi es la vida" (2007-08) and "Por amor" (2006-07). She also was producer and editor for your U.S. Hispanic versions of "India" (2010) and "Vecinos" (2009). Pimstein began becoming an connect producer for Mexico's Televisa on children's series "Carrusel," which increased being Mexico's top-rated telenovela. In this role, Pimstein assisted with creating numerous telenovelas and primetime dramas, becoming connect producer for "Simplemente Maria," connect producer and sole adapter for "La pcara sonadora" (1992-93) and professional producer of "Marimar" (1994-98). Contact the number newsroom at news@variety.com

Exclusive Alien Blu-Ray Clip

Discover concerning the AT-AT with Dennis MurenYou may have observed the certain quantity of films have hit Blu-ray today - Alien: The Whole Saga, more specifically. Well, to offer you a little taste from the products they contain this is a clip of VFX guru (technically, Effects Director Of Photography) Dennis Muren speaking us through how the look of the legendary AT-AT came to exist. The AT-AT, since you will all remember, might be the All-Terrain Armoured Transport that carried out an important role inside the fight of Hoth within the Wild Bunch and inspired a legion of awesome T-t t shirts. Alien: The Whole Saga is going on Blu-ray today in many its shiny hi-def glory. Pressure Will probably be around always!