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Sunday, October 10, 2010

‘The Real Housewives of D.C.’: Michaele and Tareq Salahi on last night’s finale

salahi-party-crashersEven before a single episode of The Real Housewives of D.C. had aired, Michaele and Tareq Salahi were already the most infamous cast members, thanks to their alleged “party crashing” at the White House State Dinner last November. Since then, many have painted the Salahis as bottom-feeders, looking for any and every way to inch their way inside D.C.’s most powerful and prestigious circles. Through it all, the Salahis have stood behind who they are, what they’ve done, and mostly, one another. Last night on Watch What Happens Live, the couple explained they couldn’t be happier with the “explosive” season finale, which showed that they did not give fake names to gain entry into the White House (though the question of whether or not they were actually invited still stands). EW caught up with the Salahis to further examine their reality show identities, discuss their plans for the future, and try to make some sense of their rise to fame er…infamy.

ENTERTAINMENT WEEKLY: You’ve said you are happy with the finale. Why?
TAREQ SALAHI: I think it says it all, [and] the video shows it all. We’re very pleased with it. It completely vindicates us.
MICHAELE SALAHI:
We’re really excited that [it] was Bravo’s finale, that they did it so perfectly, [and] that they showed what really happened. Good or bad, we’re just very happy they captured who we really are, so it’s [been] a fun, fun experience.
TS:…but we’re vindicated. I mean we feel great, we feel relieved.

Do you have any regrets from the night of the State Dinner?

MS: No, absolutely not. [It's] the second greatest night [next] to our wedding. If we had to do it all over again, would we? Yes, because we believed in what we were told. Nobody would go with a film crew, a bright red dress, and the name Salahi to be embarrassed on camera [laughs]. When we were told that we were a part of the receiving line and a part of that night, we certainly were looking forward to it. So no regrets, right Tareq?
TS: No, no, none. We did what we were told. We did nothing wrong as now the video proves. Everything that’s in the book and what the video shows, [when] you put all the pieces of the puzzle together, that chapter of our life is now done. Boom, closed.

How did you feel about seeing the reaction from the other women?

MS: That was probably the hardest part for me — seeing them sit around and [be] really happy [while] wishing harm on me. Especially Stacie, I bonded with her in Paris, I care about her. I care about all the women. I’m sad Cat’s going through a break-up. I really care about them. I don’t really understand that kind of mentality. I come from a different place, [and] I think it’s really backward and barbaric to take pleasure and sit around and jump up on your couch and wish someone harm. It’s inhumane, and it’s not who I thought those women were. I think at the reunion show you’re going to see a lot more drama. For sure.

What is you relationship with the other women at the moment?

MS: I just saw the episode last night, and I’m hurt, so right now I need to just take a pause. I’m very forgiving and a person who moves forward, I think that’s what you have to do in life. Maybe at that time they were just angry for whatever reason. I saw different sides of them, so I guess I’m just trying to understand it right now. Especially Stacie, that’s not the person I know.

Do you think the show portrayed them accurately?

MS: I do. That’s the thing, good or bad, the show caught us. So if we do something silly, if somebody’s had too much wine…
TS:
[Laughs]
MS:
…if I’m being silly, hugging too many people, [or] doing whatever and looking flaky, that’s who I am, I’m sorry! [Laughs] It’s okay. I think they captured who they are, and for whatever reason, they had a lot of anger.

What were your thoughts when you were first approached for the show?

MS: [I was] so excited! It was in March 2009 and I remember, I thought, “Oh my gosh, Real Housewives is coming to D.C.!” What an honor to be a part of a franchise that’s already huge, and [that] Andy Cohen has just blown up and made so successful. Love or hate it, whether people admit it, they’re watching it. When I was asked, I thought, “Somebody wants to talk about my life and talk about what I’ve done in D.C.?”

How have things changed since the episodes began airing?

TS: We’ve seen a huge shift in opinion about us, just since the episode aired last night. It’s been unbelievable.

What about at home in D.C.? How are things different?

MS: After the White House, we [became] afraid. Our attorneys [and] everyone said, “Stay away; don’t talk.” The White House officials said “Don’t talk.” So we got really afraid, and that paranoia wasn’t good. It’s better that everybody talks, rather than just not talk at all. We’re really excited [that] we’re back [and] very much a part of the scene. Recently [Tareq's] father passed, and it’s been very painful, but the only good thing out of the tragedy of losing his dad is [that] the mother and son hugged. There was already progression there, but now it really has healed. And the beautiful property [Oasis Winery] that you see in demise right now will [be] restored to what it was, and that’s the greatest thing: that the mother and son are back together as a family.

That is great. I’m so sorry for your loss.

TS: Thank you, thank you. Bravo really did capture a lot of that through the season. All that’s real. It’s a compelling story that’s just beginning to be told, to be honest.

So what are you future plans? What’s next with Oasis? Michaele, you mentioned possibly writing a book?

MS: Oh my god, I know, is that too funny? [Laughs]. There is a great book out right now — it’s not our book — it’s called Cirque Du Salahi: Be Careful Who You Trust and Diane Dimond did a great job. What I’m going to do is just really focus on rebuilding Oasis with my husband and his mother, and try to do a lot of good on the way. I’m very active with multiple sclerosis and have been for the last decade of my life. I get letters every day from people all over the world who have MS, [and] I think I want to be on the forefront of making a difference. With MS, there’s a tremendous amount of depression. There’s all kinds of symptoms, and I think I’ve hidden it well for 17 years, and I could show someone else, maybe carry them through like my mom did.
TS: All these MS chapters have been coming out and asking for Michaele to be involved and be supportive. So it looks like there’s a role being developed behind the scenes where Michaele can be a great advocate for MS.

Are you open to a second season of The Real Housewives?

MS: Oh yeah. There’s so much more to say. I mean we just started. There’s more than just that one night. Somehow the White House just became one night, but there’s five of us and it’d be interesting to see how — you’ll see a lot in the reunion — relationships [are] in reality. Okay we don’t like each other, [and] these are the reasons why. That’s what life’s about. We do that with our families. People fight.

Has the exposure been the biggest benefit of the show?

MS: No matter where I go, people are loving, [and] they want to tell you about their life. The most moving part about being in this is having the opportunity for people to even care to talk [to you] about, “Hey, I love you on that show and I get bullied too,” or “I have this problem,” or “I can relate to this woman,” or “I can relate to you.” It’s kind of fun to hear that feedback.
TS:
Especially if you look on the Bravo blog today. A lot of people [are] relating to the bullying that happened to Michaele [because of what] sadly happened to [Rutgers student Tyler Clementi]. You’ve got real-life situations happening and again, it’s a true compelling story. Michaele came out and revealed her MS. [That's] big. It’s inspiring to others, [and] people are coming out [and] talking to Michaele. We have to plan an extra hour to get through the airport [now].
MS:
[Laughs] We do now! It’s funny. I think back to it almost a year ago [when] we were afraid to go out of our house, literally, after the White House. Now when we go somewhere, we do plan ahead because people are just like, “Oh gosh, I’m from Chicago,” or “I’m from here,” and they want to tell you, and I think it’s such a privilege to be a part of this show…
TS:
And Michaele wants to listen!
MS: I want to listen! I’m like “Okay, you’re from Chicago,  you’re doing what?”
TS:
She stops and talks to everyone.
MS: Because we all matter. We’re on a show [and] we have the opportunity to hear people out, [to] hear what they’re going through. I see it more as just a great way to keep connecting with people. That’s been the high for me, and it’s an honor to be a part of a franchise. But even more, to connect with all these different types of people.

It sounds like you should have your own talk show.

MS: [Laughs] Hey! Your words…
TS:
That’s what Kathie Lee [Gifford] said [laughs].

Have you thought about that? Or any other television projects?

MS: I would love that! That would be fun.
TS:
When Michaele co-hosted Today with Kathie Lee and Hoda [Kotb] last week, I think she found her new calling. I’m telling you, she was so good.
MS:
We had fun. We did dance breaks in the commercials! They were laughing, but you have to have fun. I had a blast with them. They’re very smart women, [and] they’re inspiring women. If I could just [do] a smidge of what they do, that would be a dream. I would love to do that.

Read more:
Real Housewives finale: The Salahi Show
Michaele Salahi has MS


View the original article here

‘Social Network’ and ‘Life As We Know It’ battle for first place at box office

life-as-we-know-it-02Image Credit: Peter IovinoNo film will cross $20 million again this weekend but it’s sure that the one that gets closest will win first place. Whether it will be last weekend’s first place winner The Social Network or this frame’s new romantic comedy Life As We Know It is still undetermined. Social Network earned an estimated $4.9 million yesterday while the Katherine Heigl- Josh Duhamel starrer grossed a bit over $5 million on Friday.

In third place is another of this weekend’s new releases, Secretariat. The Diane Lane-starrer earned an estimated $4 million for its opening day. Spots four and five are likely to belong to kid flick Legend of the Guardians: The Owls of Ga’Hoole which grossed under $2 million on Friday and Wes Craven’s new flick, the 3-D horror film My Soul to Take, which grossed an estimated $2.7 million for the day. The order of these two films has yet to be determined. In fact, the top five are all very much in flux.  Saturday will be crucial in determining the winner.

Check back tomorrow for complete results.


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'Saturday Night Live' review: Jane Lynch was a gleefully good host - Entertainment Weekly

Jane Lynch really sold her theme song for Glee during the opening moments of this week’s Saturday Night Live. Wearing a fetching off-the-shoulder jacket and backed by Fred Armisen on guitar, Lynch took the Sue Sylvester-centric lyrics and performed them with disarming energy. That opening performance characterized her work throughout the entire show; even during the weaker sketches, she entered into them with a vitality that never seemed forced.

SNL got its Glee out of the way early on, with a parody of the series that hit most of the right notes, ridiculing the show’s repetitive character tics. (Keenan Thompson as Mercedes, Armisen as Artie, and Andy Samberg as Kurt could have pretty much stepped into a regular episode of Glee.) The sketch had a reckless old Mad magazine-style spirit, and didn’t require the addition of Kristen Wiig’s Gilly to be funny.

The ad for the “Dammit, Your Mom Is On Facebook Filter,” with Lynch as a cornball mom, was cleverly executed, as was the evening’s “Digital Short,” featuring Lynch as Samberg’s too-intimate therapist. While the short’s final shot was a funny surprise, I’d give the edge to “Facebook Filter” for funniness.

Lynch upstaged Wiig on the sheer strength of brassiness during the show’s Password parody, “Secret Word.” Although her character had a different name, Lynch was really doing a terrific variation on Phyllis Diller, one that captured Diller’s raucous 1960s-era self-deprecation.

At the other extreme, Lynch proved a team player willing to step back while Jay Pharoah let loose his Denzel Washington impersonation. It was a dead-on approximation of Washington’s intonation and attitude, weakened a bit by the sloppy writing, which lacked a decisive ending.

Bruno Mars, sporting a powder-blue dinner jacket and a Little Anthony pompadour, sounded terrific belting out “Grenade” and his “Just The Way You Are.”

This SNL was heavy on fake commercials, which also included Lynch doing a game parody of Faith Hill’s NFL theme-singing, and Jason Sudeikis running out the clock with the night’s final-weird-moment, a spoof of Patrick Cox’s “Tax Masters” ads, outfitted with a “half-formed twin brother” on the side of his head.

The week’s weakest spots: “Weekend Update” was a wash, and by now, Kristen Wiig has more interest in Suze Orman than anybody else in America does.

But the bottom line is, Lynch sparked an above-average SNL.

She used the show, and the show used her skills as both a performer and, occasionally, an improviser (adding a sharp reaction or edge to a line in responding to another cast member), to better advantage than could have been expected.

Agree? Disagree?

Follow: @kentucker


View the original article here

'SNL' recap: Jane Lynch, with glee

Jane Lynch really sold her theme song for Glee during the opening moments of this week’s Saturday Night Live. Wearing a fetching off-the-shoulder jacket and backed by Fred Armisen on guitar, Lynch took the Sue Sylvester-centric lyrics and performed them with disarming energy. That opening performance characterized her work throughout the entire show; even during the weaker sketches, she entered into them with a vitality that never seemed forced.

SNL got its Glee out of the way early on, with a parody of the series that hit most of the right notes, ridiculing the show’s repetitive character tics. (Keenan Thompson as Mercedes, Armisen as Artie, and Andy Samberg as Kurt could have pretty much stepped into a regular episode of Glee.) The sketch had a reckless old Mad magazine-style spirit, and didn’t require the addition of Kristen Wiig’s Gilly to be funny.

The ad for the “Dammit, Your Mom Is On Facebook Filter,” with Lynch as a cornball mom, was cleverly executed, as was the evening’s “Digital Short,” featuring Lynch as Samberg’s too-intimate therapist. While the short’s final shot was a funny surprise, I’d give the edge to “Facebook Filter” for funniness.

Lynch upstaged Wiig on the sheer strength of brassiness during the show’s Password parody, “Secret Word.” Although her character had a different name, Lynch was really doing a terrific variation on Phyllis Diller, one that captured Diller’s raucous 1960s-era self-deprecation.

At the other extreme, Lynch proved a team player willing to step back while Jay Pharoah let loose his Denzel Washington impersonation. It was a dead-on approximation of Washington’s intonation and attitude, weakened a bit by the sloppy writing, which lacked a decisive ending.

Bruno Mars, sporting a powder-blue dinner jacket and a Little Anthony pompadour, sounded terrific belting out “Grenade” and his “Just The Way You Are.”

This SNL was heavy on fake commercials, which also included Lynch doing a game parody of Faith Hill’s NFL theme-singing, and Jason Sudeikis running out the clock with the night’s final-weird-moment, a spoof of Patrick Cox’s “Tax Masters” ads, outfitted with a “half-formed twin brother” on the side of his head.

The week’s weakest spots: “Weekend Update” was a wash, and by now, Kristen Wiig has more interest in Suze Orman than anybody else in America does.

But the bottom line is, Lynch sparked an above-average SNL.

She used the show, and the show used her skills as both a performer and, occasionally, an improviser (adding a sharp reaction or edge to a line in responding to another cast member), to better advantage than could have been expected.

Agree? Disagree?

Follow: @kentucker


View the original article here

NYC Comic Con: Eric Bana and Joe Wright talk ‘Hanna’

Eric-BanaImage Credit: Marc Susset-Lacroix/WireImage.comIf you’ve seen director Joe Wright’s last three films — Pride & Prejudice, Atonement, and The Soloist — Hanna might come as something of a shock. Based on a few minutes of sneak preview footage shown today at NYC’s Comic-Con, the movie has no corsets, no string instruments, and no country mansions. Instead, it’s got guns. And spies. And a deadly teenager (Saoirse Ronan) who was raised as an assassin by her father (Eric Bana) and sent on a mission to find a CIA agent (Cate Blanchett).

In other words, it’s not something you’d expect from a guy whose movies usually appeal to the Masterpiece Theatre demographic. “Everyone thinks I’m all classical music and period films,” Wright tells EW. “It was very exciting to get the gloves off. I really enjoyed all the action stuff. It’s like pure filmmaking.”

For action-movie vet Eric Bana (Star Trek), the thrill of the movie was in the freshness of its story. “When I read the script I felt like I’d never seen that film,” says Bana. “It felt totally original. And that’s getting harder and harder to find, so when you do, you jump on it.”

Hanna hits theaters April 8, 2011.


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