Pamela Anderson has been left upset by reports she's no longer a vegetarian after photos of her gobbling a veggie hot dog were misconstrued by the media.
The actress/model - a longtime meat-free star and Peta activist - was accused of eating a beef dog during a recent visit to her son Brandon's baseball game in Malibu, California.
But Anderson has been quick to point out she's never eat meat even if there was nothing else on the menu.
She tells PlanetGossip.eonline.com, "It's like Hotdoggate... Clearly, it's a veggie dog (in the pictures). They've been serving veggie dogs and veggie burgers at my kids' baseball games for years now."...
The actress/model - a longtime meat-free star and Peta activist - was accused of eating a beef dog during a recent visit to her son Brandon's baseball game in Malibu, California.
But Anderson has been quick to point out she's never eat meat even if there was nothing else on the menu.
She tells PlanetGossip.eonline.com, "It's like Hotdoggate... Clearly, it's a veggie dog (in the pictures). They've been serving veggie dogs and veggie burgers at my kids' baseball games for years now."...
- 4/27/2008
- WENN
Spike TV has acquired an appetite for competitive eating.
The male-targeted network has struck a deal with Major League Eating to telecast four competitive-eating events this year, starting with "MLE: St. Patrick's Day Chowdown" on March 17.
The inaugural St. Patrick's Day event will take place in Savannah, Ga., on the banks of the Savannah River during what is said to be one of the country's largest celebrations on that day. It will involve such foods as corned beef and cabbage and beef tongue in the preliminary rounds and green donuts in the final round, during which the top two eaters from the earlier rounds will face off. Spike will air same-day tape of the event from 7-8 p.m.
"Guys are hungry for new and exciting sports on television that satisfy their craving for gut-busting action," Spike TV general manager Kevin Kay said. "Spike TV is proud to be the new television home of competitive eating."
Such networks as ESPN, Discovery Channel and MTV have aired programming featuring competitive eaters or competitions like MLE's Nathan's Famous July 4th International Hot Dog Eating Championship, which ESPN has broadcast live from Coney Island in New York since 2004, but this marks Spike's first foray into the "sport" and the first multievent television deal for MLE.
The male-targeted network has struck a deal with Major League Eating to telecast four competitive-eating events this year, starting with "MLE: St. Patrick's Day Chowdown" on March 17.
The inaugural St. Patrick's Day event will take place in Savannah, Ga., on the banks of the Savannah River during what is said to be one of the country's largest celebrations on that day. It will involve such foods as corned beef and cabbage and beef tongue in the preliminary rounds and green donuts in the final round, during which the top two eaters from the earlier rounds will face off. Spike will air same-day tape of the event from 7-8 p.m.
"Guys are hungry for new and exciting sports on television that satisfy their craving for gut-busting action," Spike TV general manager Kevin Kay said. "Spike TV is proud to be the new television home of competitive eating."
Such networks as ESPN, Discovery Channel and MTV have aired programming featuring competitive eaters or competitions like MLE's Nathan's Famous July 4th International Hot Dog Eating Championship, which ESPN has broadcast live from Coney Island in New York since 2004, but this marks Spike's first foray into the "sport" and the first multievent television deal for MLE.
- 2/16/2007
- The Hollywood Reporter - Movie News
Given Vince Vaughn's recent success with landing punch lines, there was considerable hope that if anybody could inject a little zip into the stagnating romcom, he'd be the guy to pull it off.
And he still might -- one of these days.
In the meantime, there's "The Break-Up", a major disappointment of an anti-romantic comedy for which Vaughn shares producer and story credits in addition to sharing the screen with real-life squeeze Jennifer Aniston.
After a promisingly quirky start, "Break-Up" suffers a major breakdown from which it never recovers.
Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight. While they might initially be drawn in by the marketing department's promise of something a lot more entertaining, the end boxoffice result will likely be less than amicable.
Initially meeting at a baseball game, Chicago tour guide Gary Grobowski (Vaughn) manages to persuade art gallery employee Brooke Meyers (Aniston) to dump her male friend and go out with him basically by buying her a Hot Dog.
Flash forward to the couple living in what isn't exactly domestic bliss, with Brooke running around getting ready to host a dinner party for their families while Gary contentedly parks himself in front of the television.
With the cracks in their relationship finally reaching the breaking point, Brooke finally calls Gary for the jerk he is, but in her little schemes to make him realize the errors of his ways, Brooke only ends up matching him in the bad behavior department.
But what could have at best played out like a wilted "War of the Roses" ends up looking a lot more like Rob Reiner's misbegotten "The Story of Us".
It would have helped if director Peyton Reed ("Bring It On", "Down With Love") had been as concerned with giving his audience characters worth investing in as he was with all those stylish visual compositions, but the script, by first-time feature writers Jeremy Garelick and Jay Lavender, constantly leaves its actors in the lurch.
While Vaughn and Aniston do some solid emoting, the comedic element, such as it is, never feels organic to the rest of the film. Hints of what might have been can be found in colorful supporting turns from Vaughn's old "Swingers" pal Jon Favreau as his bartender buddy Johnny O; Judy Davis as Aniston's hysterically harsh gallery boss, Marilyn Dean; and especially Christopher Guest regular John Michael Higgins as Aniston's brother, Richard, who is obsessed with singing in his all-male a cappella group, the Tone Rangers.
But by the time the tacked-on ending to end all tacked-on endings arrives -- in which Vaughn's considerable, continuity-throwing weight loss is dealt with by Aniston noting, "You've lost weight" -- "The Break-Up" and its audience have long ago parted ways.
THE BREAK-UP
Universal
Universal Pictures presents a Wild West Picture Show production
Credits:
Director: Peyton Reed
Screenwriters: Jeremy Garelick, Jay Lavender
Story by: Vince Vaughn, Jeremy Garelick, Jay Lavender
Producers: Vince Vaughn, Scott Stuber
Executive producers: Peter Billingsley, Stuart Besser
Director of photography: Eric Edwards
Production designer: Andrew Laws
Editors: David Rosenbloom, Dan Lebental
Costume designer: Carol Oditz
Music: Jon Brion
Cast:
Gary Grobowski: Vince Vaughn
Brooke Meyers: Jennifer Aniston
Maddie: Joey Lauren Adams
Wendy Meyers: Ann-Margret
Riggleman: Jason Bateman
Marilyn Dean: Judy Davis
Dennis Grobowski: Vincent D'Onofrio
Johnny O: Jon Favreau
Lupus Grobowski: Cole Hauser
Richard Meyers: John Michael Higgins
Christopher: Justin Long
MPAA rating PG-13
Running time -- 105 minutes...
And he still might -- one of these days.
In the meantime, there's "The Break-Up", a major disappointment of an anti-romantic comedy for which Vaughn shares producer and story credits in addition to sharing the screen with real-life squeeze Jennifer Aniston.
After a promisingly quirky start, "Break-Up" suffers a major breakdown from which it never recovers.
Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight. While they might initially be drawn in by the marketing department's promise of something a lot more entertaining, the end boxoffice result will likely be less than amicable.
Initially meeting at a baseball game, Chicago tour guide Gary Grobowski (Vaughn) manages to persuade art gallery employee Brooke Meyers (Aniston) to dump her male friend and go out with him basically by buying her a Hot Dog.
Flash forward to the couple living in what isn't exactly domestic bliss, with Brooke running around getting ready to host a dinner party for their families while Gary contentedly parks himself in front of the television.
With the cracks in their relationship finally reaching the breaking point, Brooke finally calls Gary for the jerk he is, but in her little schemes to make him realize the errors of his ways, Brooke only ends up matching him in the bad behavior department.
But what could have at best played out like a wilted "War of the Roses" ends up looking a lot more like Rob Reiner's misbegotten "The Story of Us".
It would have helped if director Peyton Reed ("Bring It On", "Down With Love") had been as concerned with giving his audience characters worth investing in as he was with all those stylish visual compositions, but the script, by first-time feature writers Jeremy Garelick and Jay Lavender, constantly leaves its actors in the lurch.
While Vaughn and Aniston do some solid emoting, the comedic element, such as it is, never feels organic to the rest of the film. Hints of what might have been can be found in colorful supporting turns from Vaughn's old "Swingers" pal Jon Favreau as his bartender buddy Johnny O; Judy Davis as Aniston's hysterically harsh gallery boss, Marilyn Dean; and especially Christopher Guest regular John Michael Higgins as Aniston's brother, Richard, who is obsessed with singing in his all-male a cappella group, the Tone Rangers.
But by the time the tacked-on ending to end all tacked-on endings arrives -- in which Vaughn's considerable, continuity-throwing weight loss is dealt with by Aniston noting, "You've lost weight" -- "The Break-Up" and its audience have long ago parted ways.
THE BREAK-UP
Universal
Universal Pictures presents a Wild West Picture Show production
Credits:
Director: Peyton Reed
Screenwriters: Jeremy Garelick, Jay Lavender
Story by: Vince Vaughn, Jeremy Garelick, Jay Lavender
Producers: Vince Vaughn, Scott Stuber
Executive producers: Peter Billingsley, Stuart Besser
Director of photography: Eric Edwards
Production designer: Andrew Laws
Editors: David Rosenbloom, Dan Lebental
Costume designer: Carol Oditz
Music: Jon Brion
Cast:
Gary Grobowski: Vince Vaughn
Brooke Meyers: Jennifer Aniston
Maddie: Joey Lauren Adams
Wendy Meyers: Ann-Margret
Riggleman: Jason Bateman
Marilyn Dean: Judy Davis
Dennis Grobowski: Vincent D'Onofrio
Johnny O: Jon Favreau
Lupus Grobowski: Cole Hauser
Richard Meyers: John Michael Higgins
Christopher: Justin Long
MPAA rating PG-13
Running time -- 105 minutes...
- 5/26/2006
- The Hollywood Reporter - Movie News
Opens Friday, July 9
Yet another teen girl-targeted comedy -- albeit one that features neither Lindsay Lohan nor Hilary Duff -- Sleepover essentially sleepwalks its way through a strictly by-the-numbers premise.
Aside from a likable lead performance by former Spy Kid Alexa Vega, there isn't much to this MGM summer break item that's going after a demo already showing signs of being burned out on a glut of more of the same.
Vega is the nice but constantly overlooked Julie, who invites a group of her nice but equally unpopular girlfriends (Mika Boorem, Scout Taylor-Compton and Kallie Flynn Childress) over for an end-of-junior high sleepover at her place.
But they prove to have little use for their sleeping bags after they're challenged to an all-night scavenger hunt by the "popular girls" with the prize being a prime high school lunch table by the fountain. The losers get to sit with the nerds next to the Dumpster.
With her married mom (Jane Lynch) out clubbing (!) and her oblivious dad (Jeff Garlin) busy installing an under-the-sink water purifier, Julie is free to commence the nocturnal quest relatively unthwarted, and their adventure paves the way for more product placement than you can shake a Hot Dog on a stick at.
Joe Nussbaum, who attracted a great deal of attention several years ago with his short film, George Lucas in Love, exhibits little of that charm and inspiration while making his feature directorial debut here, working off of a nonsensical script by Elisa Bell that makes strained attempts at sounding witty and irreverent.
Even by conventional movie standards, the dialogue and situations fail to reflect a contemporary 15-year-old girl's reality, even one that's rooted in comedy. Speaking of reality, it's also just a bit troublesome that there isn't a single character of color to be found anywhere on the picture's Southern California landscape.
Production values are efficient if generic, with the overall look and sound of the film owing much to the bubblegum color scheme and grrrl power pop of MGM's Legally Blonde prototype.
Sleepover
MGM
Metro-Goldwyn-Mayer Pictures presents a Landscape Entertainment production in association with Weinstock Prods.
Credits:
Director: Joe Nussbaum
Producers: Charles Weinstock, Bob Cooper
Screenwriter: Elisa Bell
Executive producer: Jeremiah Samuels
Director of photography: James L. Carter
Production designer: Stephen McCabe
Editor: Craig P. Herring
Costume designer: Pamela Withers Chilton
Music supervisor: Elliot Lurie
Music: Deborah Lurie
Cast:
: Alexa Vega
Hannah: Mika Boorem
Gabby: Jane Lynch
Ren: Sam Huntington
Staci: Sara Paxton
Liz: Brie Larson
Farrah: Scout Taylor-Compton
Yancy: Kallie Flynn Childress
Steve: Sean Faris
Sherman: Steve Carell
Jay: Jeff Garlin
MPAA rating PG
Running time -- 90 minutes...
Yet another teen girl-targeted comedy -- albeit one that features neither Lindsay Lohan nor Hilary Duff -- Sleepover essentially sleepwalks its way through a strictly by-the-numbers premise.
Aside from a likable lead performance by former Spy Kid Alexa Vega, there isn't much to this MGM summer break item that's going after a demo already showing signs of being burned out on a glut of more of the same.
Vega is the nice but constantly overlooked Julie, who invites a group of her nice but equally unpopular girlfriends (Mika Boorem, Scout Taylor-Compton and Kallie Flynn Childress) over for an end-of-junior high sleepover at her place.
But they prove to have little use for their sleeping bags after they're challenged to an all-night scavenger hunt by the "popular girls" with the prize being a prime high school lunch table by the fountain. The losers get to sit with the nerds next to the Dumpster.
With her married mom (Jane Lynch) out clubbing (!) and her oblivious dad (Jeff Garlin) busy installing an under-the-sink water purifier, Julie is free to commence the nocturnal quest relatively unthwarted, and their adventure paves the way for more product placement than you can shake a Hot Dog on a stick at.
Joe Nussbaum, who attracted a great deal of attention several years ago with his short film, George Lucas in Love, exhibits little of that charm and inspiration while making his feature directorial debut here, working off of a nonsensical script by Elisa Bell that makes strained attempts at sounding witty and irreverent.
Even by conventional movie standards, the dialogue and situations fail to reflect a contemporary 15-year-old girl's reality, even one that's rooted in comedy. Speaking of reality, it's also just a bit troublesome that there isn't a single character of color to be found anywhere on the picture's Southern California landscape.
Production values are efficient if generic, with the overall look and sound of the film owing much to the bubblegum color scheme and grrrl power pop of MGM's Legally Blonde prototype.
Sleepover
MGM
Metro-Goldwyn-Mayer Pictures presents a Landscape Entertainment production in association with Weinstock Prods.
Credits:
Director: Joe Nussbaum
Producers: Charles Weinstock, Bob Cooper
Screenwriter: Elisa Bell
Executive producer: Jeremiah Samuels
Director of photography: James L. Carter
Production designer: Stephen McCabe
Editor: Craig P. Herring
Costume designer: Pamela Withers Chilton
Music supervisor: Elliot Lurie
Music: Deborah Lurie
Cast:
: Alexa Vega
Hannah: Mika Boorem
Gabby: Jane Lynch
Ren: Sam Huntington
Staci: Sara Paxton
Liz: Brie Larson
Farrah: Scout Taylor-Compton
Yancy: Kallie Flynn Childress
Steve: Sean Faris
Sherman: Steve Carell
Jay: Jeff Garlin
MPAA rating PG
Running time -- 90 minutes...
- 7/19/2004
- The Hollywood Reporter - Movie News
Everything's half-baked in this movie about a noble homeless man. Starring Ernie Hudson as the stoic lead with many friends and fellow vagabonds to keep track of, "Everything's Jake" bowed at the Santa Barbara (Calif.) International Film Festival and played like gangbusters with many in the audience.
Prospects are bleak for a big theatrical happening around the debut film of director Matthew Miele, who co-wrote and co-produced the low-budget indie with Christopher Fetchko. It's up-front and always apparent mission to bring cheer to general audiences will earn the approval of some critics and audiences, but it's likely to find its biggest success on cable.
Jake (Hudson) lives on the streets of New York by choice. In the opening, he calls the entire city his home, and with the help of the first of several montages to popular music, the viewer is meant to be swept along in the grubby romanticism of the concept. "Everyone stares, but nobody cares" is the discouraging reality Jake has to deal with, but with a support network and comfortably residing at the "bottom of it all," he's arguably the Happiest Miserable.
He's even more psyched when a down-and-out former professor, Cameron (Graeme Malcolm), reluctantly becomes his friend and teaches Jake a better way to play the bongos. In between trips to the library, where he fends off the grouchy, fey assistant (Stephen Furst) and chats up the pushover-for-a-bookworm librarian (Debbie Allen), Jake plays for money on the subway and sidewalks.
With a stash of cash kept safe by one of his many intimates who have jobs and homes -- including security guards, priests, taxi drivers -- Jake makes the rounds, reads the classics, plays chess, dines on garbage and scams a little money from dog walkers by picking up fresh poop and then demanding a fee to dispose of it.
To summarize the further adventures of Jake, once he's shown "Tarzan" Cameron -- who sleeps in a tree in the park -- the ropes and they've dreamed about having a "homeless parade," even getting a ridiculously restrictive permit, things get complicated. A major plot twist sends the film off on an unconvincing tangent that seriously disrupts the lead's idyllic life and overtaxes the filmmakers' abilities to make us see why this is so horrible.
By treading boldly into a milieu that resists glamorizing -- peopling it with Hollywood actors working out simplistic conflicts, hoping that excessively literal and chatty voice-overs will numb the viewer into accepting the watered-down version of life on the streets, and using famous tunes by Bob Dylan and others -- Miele and Fetchko run roughshod over the material and leave credibility behind in the first few moments.
Singer Lou Rawls has a couple of scenes as a concerned Hot Dog vender. Lou Myers (NBC's "A Different world") plays one of Jake's best but expendable friends. Willis Burks II as the lead's chess partner fares better. Robin Givens shows up near the end as a conscienceless publisher. Doug E. Doug, Joyce Randolph and Phyllis Diller all make brief and forgettable appearances.
EVERYTHING'S JAKE
Blackjack Entertainment
A Christopher Fetchko production in association
with Boz Prods., Mirador Pictures, mad.house inc.
Director:Matthew Miele
Screenwriters-producers:Matthew Miele, Christopher Fetchko
Executive producer:Bo Zenga
Director of photography:Anthony Jannelli
Production designer:John Henry
Editor:Noelle Webb
Costume designer:Martha Gretsch
Casting:Judy Keller
Color/stereo
Cast:
Jake:Ernie Hudson
Cameron:Graeme Malcolm
Librarian:Debbie Allen
Abe:Lou Myers
Publisher:Robin Givens
Colonel:Willis Burks II
Assistant librarian:Stephen Furst
Running time -- 91 minutes
No MPAA rating...
Prospects are bleak for a big theatrical happening around the debut film of director Matthew Miele, who co-wrote and co-produced the low-budget indie with Christopher Fetchko. It's up-front and always apparent mission to bring cheer to general audiences will earn the approval of some critics and audiences, but it's likely to find its biggest success on cable.
Jake (Hudson) lives on the streets of New York by choice. In the opening, he calls the entire city his home, and with the help of the first of several montages to popular music, the viewer is meant to be swept along in the grubby romanticism of the concept. "Everyone stares, but nobody cares" is the discouraging reality Jake has to deal with, but with a support network and comfortably residing at the "bottom of it all," he's arguably the Happiest Miserable.
He's even more psyched when a down-and-out former professor, Cameron (Graeme Malcolm), reluctantly becomes his friend and teaches Jake a better way to play the bongos. In between trips to the library, where he fends off the grouchy, fey assistant (Stephen Furst) and chats up the pushover-for-a-bookworm librarian (Debbie Allen), Jake plays for money on the subway and sidewalks.
With a stash of cash kept safe by one of his many intimates who have jobs and homes -- including security guards, priests, taxi drivers -- Jake makes the rounds, reads the classics, plays chess, dines on garbage and scams a little money from dog walkers by picking up fresh poop and then demanding a fee to dispose of it.
To summarize the further adventures of Jake, once he's shown "Tarzan" Cameron -- who sleeps in a tree in the park -- the ropes and they've dreamed about having a "homeless parade," even getting a ridiculously restrictive permit, things get complicated. A major plot twist sends the film off on an unconvincing tangent that seriously disrupts the lead's idyllic life and overtaxes the filmmakers' abilities to make us see why this is so horrible.
By treading boldly into a milieu that resists glamorizing -- peopling it with Hollywood actors working out simplistic conflicts, hoping that excessively literal and chatty voice-overs will numb the viewer into accepting the watered-down version of life on the streets, and using famous tunes by Bob Dylan and others -- Miele and Fetchko run roughshod over the material and leave credibility behind in the first few moments.
Singer Lou Rawls has a couple of scenes as a concerned Hot Dog vender. Lou Myers (NBC's "A Different world") plays one of Jake's best but expendable friends. Willis Burks II as the lead's chess partner fares better. Robin Givens shows up near the end as a conscienceless publisher. Doug E. Doug, Joyce Randolph and Phyllis Diller all make brief and forgettable appearances.
EVERYTHING'S JAKE
Blackjack Entertainment
A Christopher Fetchko production in association
with Boz Prods., Mirador Pictures, mad.house inc.
Director:Matthew Miele
Screenwriters-producers:Matthew Miele, Christopher Fetchko
Executive producer:Bo Zenga
Director of photography:Anthony Jannelli
Production designer:John Henry
Editor:Noelle Webb
Costume designer:Martha Gretsch
Casting:Judy Keller
Color/stereo
Cast:
Jake:Ernie Hudson
Cameron:Graeme Malcolm
Librarian:Debbie Allen
Abe:Lou Myers
Publisher:Robin Givens
Colonel:Willis Burks II
Assistant librarian:Stephen Furst
Running time -- 91 minutes
No MPAA rating...
- 3/20/2000
- The Hollywood Reporter - Movie News
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