Sisters and brothers in Christ, there are alleged claims that Pastor Ronald Harris, Sr. who was gunned down while preaching was having an affair with the deacon's wife. Then, there is an alleged claim that Woodrow Karey (shooter), wife filed a police report, accusing him of rape, which may not be true. Now, it's still very bad Woodrow Karey Jr. did not have respect for God and murdered this man in front of his congregation.  

According to wistv.com, "Mr. Karey stated that he had received some inappropriate text messages from his wife to the pastor," Mancuso said.  What a shame, sometimes this wife could be partially the blame for what happened.  She possible only filed a police report, claiming rape, because she did not want her husband to hurt Pastor Harris.  So said to admit, it's too late.

Saints of God, this is a very sad situation, because allegedly Pastor Harris and Woodrow Karey were good friends.  Aren't those the ones who hurt you the most, sometimes?  However, there is never an excuse for ignoring God's Word that clearly tells us not to kill (Exodus 20:13). 

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wistv.com - Columbia, South Carolina |

Allegations of a sexual relationship being investigated in death of pastor

By Gerron Jordan

CALCASIEU PARISH, LA (KPLC) -

Could we say Evangelist Greg Laurie is in line to be the next Billy Graham?  It's not just Joel Osteen who pulls a big crowd.   Almost 30,000 people attended his Harvest America Crusade the first night.   God is really using Laurie to win lost souls to Christ, just like Pastor Joel Osteen.

According to ChristianPost.com, on the crusade's last day, Sunday, Laurie shared a message titled, "Home Before Dark," based on his own experience, and reminded the crowd that life is short-lived.

It's very beautiful to see Pastor Laurie attract thousands to hear his sermons about Jesus Christ.

Over 27,000 Attend Harvest America Crusade in Philadelphia

By Jessica Martinez , CP Reporter

Red John appears to be making his move on "The Mentalist." After teasing Patrick Jane that he knew the list of Red John suspects -- and had for quite some time -- during last season's finale, Red John got Jane's attention in a big way with this season's premiere. Teresa Lisbon went to investigate something late in the episode, and stopped taking Jane's calls.

His face filled with relief when her phone finally picked up, but it was short-lived as the voice of Red John came through the line. "Sorry, Patrick. Teresa can’t come to the phone right now. Can I take a message?” When Jane failed to respond, Red John said, "No? Well, I’ll tell her you called," and disconnected the call.

What followed was a chilling scene of Red John rubbing blood on Teresa's unconscious face like some kind of twisted clown. Talk about a nightmare scenario for both Teresa and Jane!

TV Fanatic's Christine Orlando found the final sequence breathtaking -- in all the wrong ways. "Watching Jane's relief cross his face at finally getting a call back from Teresa and having it turn to horror was stomach churning. For six seasons this scenario has been his worst nightmare and now it's coming to life in front of him. Can Patrick save Teresa? What's Red John's plan?”

Creator Bruno Heller talked with TV Guide about Jane's mindset during that phone call. "That moment of realizing that he has put Lisbon (or Lisbon has put herself) in such great danger is also illuminating for him," Heller said "It's a quiet but stunning realization that she's not just a colleague, but someone he can't live without. And also it doubles down on his desire to kill the man that's done this.”

Lisbon's life hangs in the balance. How will Jane respond? Tune in to "The Mentalist" on Sundays at 10 p.m. ET on CBS to find out.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser

View the original article at Huffington Post / Celebrity

Don't read this unless you have seen "Felina," the series finale of AMC's "Breaking Bad."

From a structural standpoint, it's hard to be too hard on the "Breaking Bad" finale as a discrete unit. The last hour of the series took all the story threads that were still dangling and wrapped them up, not quite in an elegant bow -- more like a blood-drenched metal chain.

In the last few scenes, creator Vince Gilligan, who wrote and directed the finale, went with a Shakespearean solution, one of those "and then everybody died" situations that you find at the end of some of the Bard's plays. Out in the New Mexico desert, the bright, shining exception to the general bloodbath was Jesse, whose deliriously relieved exit from the Nazi compound was the best moment of the finale.

Yet in the future, I can't imagine many people will think of this as a classic hour of "Breaking Bad." Gilligan himself called "Ozymandias" the finest hour the show ever produced, and it's hard to argue with that assessment. It's fairly common for cable shows to kick out the jams in their penultimate episodes, but "Breaking Bad" went out in a slightly different way. "Ozymandias," the third-from-last installment, had an almost unbearable impact.

In many ways, that hour felt like the show's final destination; the story and the people went furthest they could go in a dozen ways. It placed many viewers (including myself) into an emotional and psychological vise and made "Game of Thrones'" Red Wedding look like a cocktail party. "Ozymandias" was hard to watch, but it was the culmination of almost every idea, theme and story the past five seasons had set in motion. It braided together everything that makes "Breaking Bad" phenomenal and was nearly toxic in its crystalline purity. It was majestic, cathartic, harrowing and great.

"Felina" was not that. The last two episodes, for all their good moments and sturdy attributes, feel like mopping-up exercises, to some extent. Perhaps the choices made at the start of Season 5 ultimately constricted and constrained what the last hours could do. I wasn't expecting another "Ozymandias," but a finale that was often concerned with logistical details and a plot to get rid of minor characters wasn't quite what I was expecting.

"Felina" was not without excellent moments, and it goes without saying that the performances were top-notch. In the first third of the finale, there were some well-constructed twists and turns; the sequence at the Schwartz house was its own little effective thriller. In the middle, there was an elegiac spareness and a quiet grief in the final scenes of the White family. The reveal of Walt in Skyler's kitchen was a terrific -- and chilling -- moment, and Bryan Cranston and Anna Gunn played a full range of emotions from both characters -- especially Skyler -- with fantastic restraint and an ever-present tinge of sadness.

Still, there are some nagging areas of disquiet in the back of my brain, especially as the endgame played out.

For one thing, the finale spent a lot of time on the resolutions of characters (the Nazis, the Schwartzes, Lydia) I barely knew and I didn't care much about. More importantly, it did not spend much time on Walt and Jesse's final moments. Jesse's absence was especially pronounced in the finale, and that may partly account for why the last hour felt kind of lopsided and off. Without Jesse, and with so much attention paid to structural detail, "Felina" ended up coming off as a bit mechanical and remote. The final pieces that the puzzle that "Breaking Bad" has been assembling in Season 5 were slotted into place, but the kind of brain-melting impact of the show's best episodes wasn't present in this hour.

I will admit to wrestling with how much Walt got to control his own narrative (again), and that's what accounts for the fact that I didn't post this until 4 a.m. I'm betting I'll be wrestling with that for some time to come (Ryan McGee and I will publish a Talking TV podcast about the finale Monday evening, in which we'll discuss these matters once again).

Did the fact that Walt had finally stopped lying to himself and his wife, and the fact that he had one final reckoning with Jesse over the barrel of a gun, make it OK that he got to arrange his last hours to his own satisfaction, more or less? When Walt left this Earth, he was on generally civil -- if not friendly -- terms with Skyler and Jesse. Going from the events of "Ozymandias" to these resolutions is not necessarily illogical, but it is fairly swift, all things considered.

Given how much he's wanted to control events and other people, I thought the finale might find Walt struggling at times with forces that tried to overcome him. To not have the upper hand rankles Walt to no end, and he mostly got to have the upper hand here. Now, much of what he controlled and directed benefited others, and there was an evolution in his ability to be self-aware and honest. But I wrestle with the fact that Walt got to call the shots, for the most part.

The case for that scenario: It was Walt being Walt -- why would he change who he basically is at this late date? That makes sense, believe me. The case against Walt having the upper hand: It allows a man who's done many bad things to control key outcomes yet again, and it's perhaps not as dramatic if Walt encounters no real obstacles in his endgame. He ticks items off his list and that is basically that.

I think I can kind of buy the way things were left in the case of Skyler. Walt giving her the grave site of Hank and Gomez, providing her with a way to avoid prison and making that admission -- "I did it for me. I liked it." -- well, the first two things were the least he could do, and that last admission represents a shift in the thinking of Walter White. Thank goodness he didn't try to apologize again, and thank goodness he finally admitted the truth about what's made him tick all this time.

In the past, Walt's often portrayed himself as being driven primarily by a desire to help others, when the truth was, benefiting other people usually came lower on the priority list than helping himself. But not everything Walt did in his final hours was driven by a rampant ego hiding behind self-serving lies. Selfless impulses had drifted up the list (though the list of priorities, let's face it, is still a mixed bag).

Will those relatively peaceful resolutions with Skyler and Jesse allow some "Breaking Bad" fans to banish Walt's previous actions from their minds and present the man's moral ledger as balanced (or in the black)? Will some viewers walk away from the Albuquerque saga thinking that Walt's slate -- as a human being, a father, a friend, a relative and a partner -- has been wiped clean? I think so, and I know I shouldn't care about that, but I do.

Part of the problem with how "Granite State" and "Felina" fit in to the endgame may arise from the structure of Season 5 as a whole. The last bunch of "Breaking Bad" episodes have had to compress a lot of time and storytelling, and thus, for me, not everything in the finale landed with the impact I'd hoped for. If it did for you, I'm truly happy about that. But for me, "Breaking Bad" at its best has been a show that values sound construction and moral rigor equally. Walt was hypervigilant about keeping the lab spotless and productive, and "Breaking Bad" has been just as conscientious about both entertaining us and making us think. Something was missing from "Felina," and it wasn't soy milk or tableside guacamole.

Several of my concerns came together in the final moments between Jesse and Walt. They nodded at each other, as if all their scores had been settled by what just transpired. The last time these two people saw each other, Walt revealed Jesse's hiding spot to the Nazis and then told him how he'd let Jane die. There is some distance to cover between Walt's confession about Jane and those nods, and I'm not quite sure "Felina" quite had time to cover it. As it happened, we barely saw Jesse before "Felina's" bullet-strewn endgame played out.

Earlier today, I watched the first two episodes of "Breaking Bad," which reminded me that the rage and resentment that drove Walt for so long were present before he began cooking meth. There's the scene of him telling his car-wash boss, Bogdan, to "f*** off," and there's the moment in which he physically attacks boorish idiots in a clothing store who are mocking his son. In those moments, he became addicted to the feeling he got from acting on his anger. It became a drug, an addiction he couldn't shake. And those incidents at work and at the store happened before he even went on the ride-along with Hank.

I'm firmly convinced that Walt would have broken bad someday, with or without cancer, with or without Jesse in his life. But he did break bad with Jesse at his side.

Jesse was the catalyst that greatly enhanced and sped up the chemical reaction that had already begun in Mr. White. But he was also the tortured soul who gave us a vital prism through which we could view Walt's actions, his mixture of self-pity and regret, self-loathing and arrogance. Jesse's humanity was a key part of the "Breaking Bad" cooking process.

Why, then, did Jesse get around the same amount of screen time as Lydia, Todd or Jack? Don't get me wrong, I'm glad he got out of his Nazi hell and his exulting screams as he drove away were terrific. But he was missed in the end. Walt may have been the great brain behind "Breaking Bad," but Jesse was its heart.

As Jesse rode off into the night, the sirens Walt heard recalled the ones that that wailed so long ago in the pilot. These sirens weren't going to pass him by, as the earlier ones did. Surrounded by metal and machines, a song -- Badfinger's "Baby Blue" -- played. The singer talked about a "special love" and a man who "got what I deserved."

"I am awake," Walt told Jesse in the "Breaking Bad" pilot. "I was alive," he told Skyler. Now he is neither.

Did Walt get what he wanted, or what he deserved? Are those the same thing? Perhaps the fact that we'll be talking about this for days to come is the point. When the show began, Walt was a man who was forgotten, passed by, passed over, mocked, disregarded. Everyone he knew paid a terrible price for his transformation. Chemistry wasn't just the process of change for him, it was a chain reaction he couldn't quite control. Was the last thing he wanted to touch cold metal? Probably not, but it was the only thing that was there for him.

The finale aside, in the bigger picture, "Breaking Bad" remains a phenomenal accomplishment. When it debuted five years ago, who knew that it would take us to so many dark, difficult, dangerous and fantastically entertaining places? We had no idea what the show would end up doing for us and to us.

But we got what we deserved.

A few more bullet points:

Follow Maureen Ryan on Twitter: www.twitter.com/moryan

View the original article at Huffington Post / Celebrity

In an interesting twist Joe and Teresa Guidice appeared on "Watch What Happens: Live," and yet it wasn't live. The couple sat down for a pre-taped one-on-one interview with Andy Cohen to discuss the 39-count fraud indictment that's been brought against them. The couple faces 50 years behind bars for a number of charges.

In the interview, they basically played dumb. When asked if they had any idea this was coming, Joe said, "There was talks. We didn’t know exactly what was gonna happen.” He went on to say that he doesn't even know what half the charges are.

Teresa echoed Joe's sentiments by saying, "I don’t even understand those 39 counts." Later, though, she modified her statement saying, "Some of them I understand, and some of them I don’t.” Meanwhile, Joe said that he takes no responsibility for what's happened relating to the charges, while Teresa said, "I've done none of that".

The couple gave different answers to the same questions throughout the interview. Joe said he knew the IRS had been investigating them for a few years, while Teresa said she had no idea. Joe said he had no idea how many years they were facing behind bars -- his guess was 100 years -- while Teresa said she knew it was 50 because "that's what they say in the magazines."

There was one thing they did agree on, though. These charges only exist because the two are celebrities. According to People, they also claimed to have never lived beyond their means -- despite filing for bankruptcy a few years back -- and maintain that they are innocent. They pleaded not guilty.

Next up for the Guidices is an appearance on Sunday's reunion show for "The Real Housewives of New Jersey." After that, it's court in February 2014.

Tune in to "Watch What Happens: Live" every Sunday through Thursday at 11 p.m. ET on Bravo.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

View the original article at Huffington Post / Celebrity

Note: Do not read on if you have not yet seen Season 5, Episode 17 of Bravo's "The Real Housewives of New Jersey," titled "Salon Farewell."

Annnd we're back at the aptly named Moxie Salon ("a force of character, determination or nerve") where Teresa is summoning all of hers to shut Penny down. "You wanted to destroy [Melissa], not me," Penny reiterates. Though Teresa's putting in quite a performance, she's not fooling Melissa or Joe. "I believe Penny, because what is her gain? Her gain is 'Teresa, you put me up to this, now you're making ME look bad? No. I'm gonna rat you out,'" Joe and his lucky white Kangol say.

Penny says she has nothing to prove, and that Kim D.'s the one with the proof. "For years and years and years, [Kim D.'s] hands have been dirty," Caroline reminds us. Silly me; I thought all those unsightly smudges were liver marks brought on by aging ungracefully.

Since nobody's getting anywhere, Melissa starts to ask the tough questions. "Why do you have Teresa's home and cell number in your phone?" Penny's face is a plate of befuddlement with a side of baffled as she replies "she gave it to me!"

Teresa's hands go into flailing windmill mode, like she's trying to supply all of New Jersey with a more energy efficient source of electricity. She tells Penny to pull up her "textes." Penny shouts back that she doesn't save "texteses." I totally get it: a ton of texteses can really clog your inboxeses.

The lack of pixilated proof or an electronic paper trail makes Teresa get positively giddy. Now, nobody can really accuse her of orchestrating all this nonsense. To celebrate, she launches into her favorite rabid chipmunk voice and says things in a frequency that only certain creatures (like Penny) can hear. "I'm gonna show you what kinda liar you are," Penny says angrily as her husband, Johnny walks in.

Johnny, clad in a quilted Kangol cap and black dress shirt, looks like a human dark chocolate M&M: round, big and full of stuff that could eventually kill you. Joe Gorga walks up to him and grabs his huge sausage hand, telling him "I'm the guy you destroyed on f---ing Twitter." Johnny does something that I think is called shrugging, but it's hard to tell when the shrugger in question has no neck.

"We want to know where the hate came from," Melissa chimes in as Joe questions how the hell Johnny knows so much about his family. "Ask your sister where it stems from. Where the f--k did I get that information from?" Johnny says angrily. With that, Teresa starts to convulse, and Joe screams "JUST SAY IT!" What happens next is a blur of shrieking onlookers, flying clothes and black screens as cameras are thrown around. Though Bravo's had us salivating over this alleged knock-down drag-out fight scene all year, it seems like the only things that took a beating are a bunch of old racks ... and I'm not talking about Kim D. and her cronies' boobs. "Are you happy!? Are you happy what you did to a family?!" Caroline screams as Kim D. is restrained by a gaggle of elderly witches she raised from the dead.

Caroline hustles her family out while the rest of the cast tries to make heads or tails of the drama. "He's a psycho, but why is he always mentioning you?" Joe says to Teresa. "Get those people out of your corner," Melissa screams at Teresa. "Don't get your hair done at their salon!" Instead of being all rah-rah family when the shit hits the fan, Teresa has to actually live her promise to extricate herself from the people powering the rumor mill.

The next day, Melissa and Joe have a postmortem in their kitchen. Melissa explains that the party wasn't an "awakening call" for her because she knew all along that Teresa was the puppet master -- but she hopes that the evening was an eye-opener for Teresa. At this point, they've become numb to their anger ... so now, they're hoping to move toward forgiveness to lighten their emotional burdens.

Of course Teresa's not sitting at home wringing her hands and wondering how she can become a better person and make things right. Rather, she's feeling very sorry for herself and hoping her brother won't "allow a stranger" to cause problems between them. Joe Giudice goes a step further, saying that Melissa and Joe are "not too smart" if they believe that Teresa has a mean bone in her body.

Later, the Gorgas decide to invite Rich and Kathy over to remind themselves that life could always be worse. Sometimes when I'm having a rough day, I just imagine what marriage to a popped collar and transition lenses would be like and I suddenly feel much better, too. Rich reminds them that Joe Giudice's court date is coming up, reminding them that their inter-familial issues pale in comparison to the potential jail time the Giudices are facing. And if you thought Teresa's all-purple outfit last week was bad, just imagine how unflattering an orange jumpsuit would be. Still, I'm sure she'd fashion a darling little matching shiv to compliment her look ... 'cause jail or no jail, the only thing that separates us from animals is our ability to accessorize.

While the Gorgas and Giudices fall apart, Caroline's counting her blessings at her house in Jersey. As she stands in various doorways, she realizes that it's "so much more than a house," and that there's no way they can walk away from it. Suddenly, she realizes that she doesn't need the Hoboken apartment in order to usher in a new chapter of her life -- she can turn the pages right here, in her beloved Franklin Lakes home.

.... Yeahh, and if you believed that pile of sentimental crap for a second, you obviously haven't heard that Bravo's giving her a spinoff called 'Manzo'd With Children.' I'm sure she lurves her house and all, but let's be honest: It'd be pretty difficult to come up with a good story line if Caroline and Al actually flew the coop and left their kids to wander the streets scrounging for scraps of pancetta.

Things are not quite as snuggly at Teresa's house, where she's enjoying a nice liquid lunch with her loyal minion, Jacqueline. She encourages Teresa to come clean if there is even a shred of malicious talk that she can take accountability for. Teresa hesitates, then says that looking back she regrets some things she "maybe did." As she admits that she should have just walked away from the harpies, Jacqueline breaths an audible sigh of relief. This is hardly an admission of guilt, but it's the first time Teresa's even skirted the possibility of having a fabulicious hand in any wrongdoing. "We were in a bad place, and I'm sure we all listened to things that we shouldn't have listened," Teresa says. That's not really English, but we get the picture. When Teresa was ticked off at Melissa, it was kinda great to hear bad things about her ... and it was difficult to leave a conversation that made her feel good, or perhaps justified in her hatred.
"It's called 'being human,'" Jacqueline says wisely.

Over at the blk. headquarters, Chris Laurita and the Manzo boys host a small tasting for their new flavors, because Black Death spiked with blueberry is the ultimate thirst quencher. I tell you, this drink seems like the liquid version of Penny: It looks like it'll 100 percent give you an STD, and you will regret it in the morning. Joe Gorga isn't crazy impressed with the various black sludge he's been handed ... and then, something puts an even worse taste in his mouth: Teresa. She walks nervously over to her brother and goes in for an awkward kiss.

At Jacqueline's urging, Teresa decides to talk to her brother. It's quite easy, considering he's about 2 inches away from her on the couch. "I want to show you somethin'," she says as she leads him away.

She admits that she loves him more than anything, so she wants to be painfully honest. "This is really hard for me to say this to you," she starts. "Maybe I do regret things that I've done," she says. She's so freaked out at this point that she's practically twitching, and it's understandable: she's about to put it all out there, and she could lose a brother in the process.

She pushes onward and explains that the night she met Penny and Jan at a restaurant, she wasn't "the fondest" of Melissa. When they started to disparage Melissa and bring up cheating rumors, Teresa enjoyed their vitriol. "I admit it. I made mistakes, I listened to the wrong people, and I apologize" she says simply. "I just want to know in your heart, I swear to you, I never put them up to doing anything." Her hands fly to her face to checks if her hairline has risen a few inches, as that happens when she lies (case and point: where it currently is now).

Joe takes a deep breath and looks straight into his sister's dead eyes, letting Teresa dangle on the hook for a moment. Will there be an outburst? Will he continue his season-long bottle genocide? Instead of getting angry, he gets a little misty. "You admitted it, and that's all I ever wanted form you," he says. This is a big deal for him, and gives him the closure he's been longing for. He's a tiny, tiny man with a big, full heart.

"Melissa's not better than you, and you're not better than her" he says. Then, Teresa tells him he should put his wife and kids before her and breaks into an ugly monster cry . "I ... just ... love ... you!" she heaves. She grabs his hand and they stand up to embrace. It would be a lot more emotional if it wasn't a little funny that he only comes up to her shoulders. "That's it, I'm happy. I might not look like it, but I'm happy" he says. They cry for everything they've been through, and their tears say more than any therapy session breakthrough ever did. This is it: this is for real. They've pulled the sutures off the wound for the last time. Now it's time to slap on a band-aid and let it heal for good.

Now that Hurricane Siblings has passed, it's time for Teresa and that bitch Sandy to come full circle as well. Joe Giudice has worked to get their Jersey Shore house all fixed up, and it looks awesome. The only part that's still a bit dangerous is when all the "starting fresh" parallels between the house and her relationships hit you over the head. Watch out! Symbolism falling!

There's a knock at the door, and suddenly the whole cast has flooded in for a delish BBQ sponsored by Teresa's 'Fabellini,' because it's not weird or desperate to have posters for your own company in your own backyard. As they sit around the table, it's hard to believe there was ever any bad blood between this crew. They eat and laugh and celebrate another year of not killing each other.

So, where does the last episode find all the women? Let's see ...

Kathy is ready for a new kitchen and started building her dream home. (AKA nothing is really going on in her life, and her investors probably decided to take the gun and leave the cannoli.)

Jacqueline is "celebrating" Ashlee's return to New Jersey where she'll start beauty school (AKA she'll be Kathy in 10 years), and the family continues to focus on Nicholas' recovery.

Caroline is not moving to the Hoboken apartment, and Bravo slipped in a covert reference to the upcoming show. The whole "Caroline and Albert are back home with Lauren, Frannie and a rotating cast of animals" is how they described the spin-off in a PR blast they sent out.

Melissa and Joe sold their mansion for $3.8M and moved to a home that's 30 minutes away from Teresa. Still, they plan to have Sunday dinners ... "someday."

Normally, during seasons when cast members aren't indicted, that's where the episode ends. But this time, we're treated to a quick jail bird vignette between Joe and Teresa. She has a special glow that one can get from a fancy spa treatment called "being hammered," and I'm a little worried that they're having this cold dead heart to cold dead heart so close to the water. Instead of pushing him and cutting her losses, Teresa thanks Joe for all the work he did on the shore house. "Our little situation is basically nothing," Joe says, alluding to the federal fraud charges. "I will not let anyone take me down. I'll fight to do whatever I gotta do for my family. I'm gonna prove myself right." Teresa tries to mask her disgust as she gives him a little smooch, and they turn to walk back to the house.

Teresa's wrap up says she continues to "love, love, love" ... which, judging from her performance this season, can often look a lot like hate.

Though they're off the dock, Teresa and Joe are still in very hot water. They pleaded "not guilty" to the 39-count indictment, and face jail -- and Joe could be deported.
For sake of their girls, I wish them luck.

Thanks again for reading and for all your wonderfully kind comments. Let's meet back here for the reunions, K?

View the original article at Huffington Post / Celebrity

What's ahead in "The Good Wife" Season 5? Returning faces, great cases and lots of betrayal, according to Julianna Margulies.

In the second episode of "The Good Wife" Season 5, "The Bit Bucket," Stockard Channing reappears as Veronica, Alicia's mother.

"It's a very sweet episode this season. [Stockard Channing's character] really tries to come in and helps Alicia in a very sweet way. I think Alicia is terribly touched by it. It's financial help, which is also, in their relationship, emotional help," Margulies told The Huffington Post. "I hope throughout the season that we get more of her and that we get to explain things a little better, but the one episode that we shot with Stockard Channing, there's a very sweet moment between the two of them."

Margulies said it's not warm and fuzzy because Channing's character can't do that, "but it's as warm and fuzzy as it's going to get." Viewers know whenever Channing's character returns or Dallas Roberts shows up as Owen, it gives new insight into who Alicia Florrick is as a person. Margulies said she loves it when they bring in Roberts' character. "I told them, I was like, 'Can we do one episode where it's just about those two and [we] figure out who these people are, how they grew up, who they were?' I just find them fascinating."

Read on for more of what's ahead on "The Good Wife."

We've seen in the premiere episode, "Everything Is Ending," that there's some friction in the Alicia/Cary alliance. What can we expect?
I think in the beginning it's a lot of idealism and excitement, but I think what Alicia starts to realize is that 10 fourth year associates are not seasoned partners. They're idealistic and quick to speak before thinking, and she starts to realize that she has to man the show because there's not enough experience there. The hope was, coming from Cary, that Alicia and Cary are the new Will and Diane, but they're not. Alicia sees it very fast and realizes that she has to manipulate the situation a little more so that mistakes don't keep happening.

Not the perfect work marriage there?
Definitely not. I think they're definitely trying and Cary's heart is in the right place. It's also very helpful that he worked in the DA's office. He gets to do a lot of things she wouldn't be able to do and brings a lot to the plate, but I think experience-wise, living-wise and age-wise, it's not exactly going as she planned.

In one of the last scenes of the show, Alicia mutters "Don't hate me" to Will. Is she really afraid of losing him forever?
Yeah. I think what she's most afraid of is him hating her and thinking that she's betraying him ... I always think how would this have played out if she said, "I know you and I can't be together, I have to leave here." How would that have worked out rather than her just leaving? So, we'll see.

Another relationship fans are questioning is the Alicia/Kalinda dynamic. In the first episode, Alicia asks 'why isn't Kalinda coming?' Will we see them interact as Alicia plans her exit?
I don't want to give anything away there, so I'm going to say wait and see.

When we talked last time, people really hooked onto the Alicia/Kalinda part. They so want them to be friends again. As you said, there's no real going back to that after what happened.
I mean realistically there just isn't. There just isn't. They've both moved on in different ways. They've always had a good work relationship, but I think … you'll see. The other thing that's happened with this whole law firm is that people have to make choices. There comes a choice between Kalinda and Robyn, Jess Weixler's character, and you'll see. There are monetary decisions made and that's a moral question too. I don't want to give that away.

I know we have Nathan Lane and Carrie Preston coming back --
Yeah, I get to work with him tomorrow morning! I'm so excited.

Are there any upcoming cases you can tease?
What's amazing is that with all this law firm debacle going on, the backdrop of these cases -- as you saw in the first episode with the death row case -- the second episode has a very complicated NSA case that has to do with Chum Hum, which is the John Benjamin Hickey character, Neil Gross. He comes in. I had to read that episode three times ... I was like, "Oh my god, this stuff is complicated." It's incredibly tricky and they stay very current with what's going on in the world. In Episode 3, the case is a really tricky abortion case. All questions I kept asking myself, "What would I do?" and that's the genius of the Kings and their writing. They never ever falter in keeping the cases interesting while having all these characters at war with one another. It's incredible how it's mapped out. The cases have been incredibly interesting this year and all very current.

I liked the balance of the main case and their planning. I think last year the election weighed heavy on the show and now it's focusing back on the heart of Lockhart/Gardner.
Yeah, it really is about the main characters rather than just the guest stars.

"The Good Wife" airs Sundays at 9 p.m. ET on CBS.

View the original article at Huffington Post / Celebrity

Miley Cyrus starts her new documentary by saying, "I don't apologize for anything," setting a defiant tone that underscores the entirety of the project. "Miley: The Movement" is the movie that MTV made for -- and with -- Cyrus, and while it positions itself as a behind-the-scenes look into the pop star's controversial year of mostly naked and racially complicated music videos and performances, viewers may be hard-pressed to walk away with new knowledge about the singer.

Sure, there's Miley saying she thought she would be in a band ("like Paramore") and that she's "a part of history" ("The way I am about Britney, some people are that way about me") and a "strategic hot mess." But as a question and answer session at a press screening with MTV executives revealed, "Miley: The Movement" was created with the input of Cyrus and her team. The film focuses heavily on the MTV Video Music Awards, which are presented as the holy grail of music, and doesn't include Liam Hemsworth (Cyrus' now ex-fiance) or Billy Ray Cyrus (her country singer superstar dad), nor does it address any accusations of cultural appropriation levied against Miley.

It does, however, include one line that prompted uncomfortable laughter at the aforementioned screening. Miley's mother, Tish Cyrus, appears often in the movie and notes that "all of a sudden, Miley was friends with all these ... people." She then goes on to discuss a studio encounter with Juicy J, the southern rapper whose musical stylings have informed a number of Miley's aesthetic decisions as of late (he's the dude whose show she famously "twerked" at). The way Tish marvels at her young, white daughter hanging out with black performers is so awkward that it almost feels like MTV is trolling us by not cutting the soundbite from the final edit.

Miley doesn't seem to have any complicated feelings on the matter. She chats constantly with "Mike Willy" (that's her nickname for Mike WiLL Made, the producer behind "We Can't Stop" and much of "BANGERZ," Miley's forthcoming LP), shouts out Pharrell Williams (who appears in the movie to say, "This whole process, I've just been saying, 'yes'") and even gives a shout-out to Amazon Ashley (the statuesque model on whom Cyrus pantomimed performing analingus on and whose rear she slapped repeatedly while on stage at the VMAs).

Of course, no celebrity documentary is complete without adversity, and in this case we're presented with no less than three bouts of despair. In one, a dramatic mood and a brief phone call to Mike WiLL underscore the idea that "We Can't Stop" might not be a smash hit because it debuts at in the 180s on the iTunes chart. But by midday, the song is No. 1 in basically every country -- it was at 181 because it had literally just been uploaded. The second crisis comes when Cyrus develops a one-day cold (a host of treatments, including a flown-in masseuse, don't help). Finally, at the VMAs themselves, Cyrus' entry to the red carpet doesn't go exactly as planned, sending the singer into an expletive-laden rant (think Katy Perry's crying-about-her-divorce-before-going-on-stage minus the divorce).

There are some redeeming moments in the mini-movie, but most come at Miley's expense. Britney Spears has a standout appearance, and the face she makes when Miley says Billy Ray thought his daughter would "become a stripper" after seeing the "I'm A Slave 4 U" video is probably worth watching the entire movie.

Cyrus parses some of the post-VMAs criticism by focusing on allegations her performance was too sexual. She successfully flips the script on would-be slut-shamers by pointing out that she was dressed as a baby surrounded by teddy bears before dropping two memorable lines. One almost needs a 2 Chainz-esque "truuuuu" to go along with it: "You're always gonna make people talk, you might as well make them talk for like two weeks rather than two seconds."

"We're in 2013," Cyrus says in the second-most notable quotable of the film. "I live in America, which is the land of the free, and I feel like if you can't express yourself, you're not very free." In the MTV version of the world, Miley Cyrus is a an honest-to-god civil rights advocate.

"Miley: The Movement" airs at 10 pm ET/PT on Wednesday, Oct. 2 on MTV.

View the original article at Huffington Post / Celebrity

Such a power couple.

Kim Kardashian and Kanye West were spotted looking ultra glam on Sunday night as they left the Givenchy show, which was their first formal public appearance as a couple since Kardashian gave birth to their daughter North back in June.

The 32-year-old reality star's style seemed to be skewing more relaxed lately, but she returned to her slinky, sexy, curve-hugging and cleavage-baring roots in a sexy black peplum dress with a thigh high split. Not to be overshadowed, West, looked the part in a shiny pants and shirt combo, which he paired with a long overcoat.

The couple are in France for Paris Fashion Week, and were spotted meeting with former editor-in-chief of Vogue Paris Carine Roitfeld on Friday.

Kim and Kanye also seem to have surprised everyone when they rubbed elbows with commoners and took the Eurostar train over to London on Saturday night.

View the original article at Huffington Post / Celebrity

The "Once Upon a Time" Season 3 premiere, "The Heart of the Truest Believer" has now aired, and we've had our first glimpse of all the dangers lying in wait for our characters in Neverland. Peter Pan has revealed himself to be a master manipulator, tricking Henry into revealing just how powerful his sense of belief is, Greg and Tamara met a swift (and fitting) end, and our reluctant gang of heroes and villains learned that if they want to survive in Neverland, they'll have to work together.

But many questions still remain -- why does Pan want Henry's heart? How will Neal make his way from the Enchanted Forest to Neverland to reunite with his family? What is the significance of the doll that brought the fearsome Rumplestiltskin to tears? HuffPost TV was among a group of reporters who spoke to "Once" showrunners Adam Horowitz and Eddy Kitsis to find out what we can expect in Neverland, when we might meet Tinker Bell and how the "OUAT" version of Ariel differs from the killer mermaids that attacked the Jolly Roger in the premiere. Read on for more.

Questions and answers have been edited and condensed for clarity.

What's ahead in Neverland?
Kitsis: The thing we wanted to do this year -- and we've always wanted to go to Neverland -- is we really wanted to focus on the core characters, and we thought because Neverland is a place where you don't grow up, then you have to confront your past. So our inspiration was the idea that these characters would have to return to who they were before the curse in order to achieve this, and at the same time, we wanted to have them dig deeper into what everything means. Last year was so [fast] like a bullet, and so we wanted to have time to reflect on what's happened and what does it mean? Yeah, Emma looks at Mary Margaret as her mom, but does she really actually think of her as her mom?

Horowitz: We were really trying to use Neverland -- and we continue to do this as the season progresses -- as a prism through which we can see these characters hopefully more clearly and more deeply.

Will we see anything romantic develop between Emma and Hook?
Horowitz: Well, the whole relationship “ship” thing is an awesome thing that fans bring to the experience of watching the show, but the story we’re telling encompasses both the relationships between all the characters and potential romances and not, but the bigger emotional story, as well.

Kitsis: Obviously, they think Neal’s dead. Obviously, Hook is a man who likes ladies, and as we saw last year when they climbed the beanstalk, Emma has probably captured his heart a little bit. But in the same respect, we see that Neal is fighting like hell to get a second chance with her, and right now, I think that Emma is focused on getting Henry. She’s not somebody who likes to let her walls down, and her heart’s been broken too many times for her to be worried about dating right now, but we’ll see. She’s got two handsome guys.

Why choose killer mermaids to attack the Jolly Roger?
Kitsis: Well, in the Peter Pan book, they were only nice to Peter, and they were saucy, and we like our mermaids saucy. For us, when we were coming up with this, we just loved the idea that that was who they were attacked by, and that was kind of symbolic of Neverland. It’s not what you think it is. Most people think of Ariel when they think of mermaids, and what they don’t know is that she’s surrounded by really hot-tempered mermaids.

Horowitz: To be fair, they were swimming peacefully when a pirate ship came through.

Kitsis: Yeah, to be fair to the mermaids, this is their turf, and they did not have an entry visa.

What Is the "Once Upon a Time" version of Ariel like?
Horowitz: It’s our spin on Ariel. She’s going to be different than what you saw of the mermaids in this premiere.

Kitsis: I think the spirit of Ariel, JoAnna Garcia plays really well, which is the spirit of somebody who wants to see the world and wants to experience things outside of what they know. So we have our own little take on it, but I think that the thing that makes Ariel such a great character -- this spirit within her -- is similar to our Ariel.

Horowitz: And there’s a fork in the episode.

How does Prince Eric compare to our Prince Charming?
Horowitz: I think our take on Prince Eric is slightly different than what you saw in the movie, but it also is hopefully honoring what many people adore about that movie. As far as relation to Charming, they’re both princes, and they both have ...

Kitsis: ... honor. They like adventure.

Horowitz: But unlike Charming, he’s not a prince who comes from separated twins who were then forced to impersonate royalty ...

Kitsis: Nor was he engaged to Midas’ daughter. Our Ariel [story], though, really focuses much more on her, and her journey, and she also has a connection to one of our characters that you’ll see in her story.

How will the Charming family dynamic shift in Neverland?
Horowitz: It’s complicated, and hopefully in a good way ... they’re an unusual family in that there’s this odd age thing going on between them -- they’re the same age, and they’ve been separated for many, many years, and now they’re thrown together on a mission. And really, for the first time in an enclosed kind of space, they’re able to start to deal with and sort out so many of these issues that they haven’t really had a chance to address yet.

Kitsis: I think, also, for Snow and Charming, they realize in this moment that their daughter doesn’t really look to them for parental guidance, and that’s something hard to get. So they’re realizing they need to earn it. In a lot of ways, when they see Emma thinking, "if I took that bean last year and threw it on the ground and just took Henry when we had the chance, none of this would have happened. And maybe being good doesn’t work. Maybe it works in the Enchanted Forest, but it didn’t work in Portland, and it certainly didn’t work when I grew up."

I think that what is hard for the Charmings is, they realize that their daughter grew up without hope, and that they have to instill it back in her, and how do you do that when her son is kidnapped, and you’re in a place that is making you confront your past? Because she has more in common with the Lost Boys than she does Snow and Charming.

Horowitz: From Emma’s point of view it’s [like] "since I’ve been back, your lives have sucked," but from Mary Margaret and David’s point of view, "no, it’s been great, because we’re back, and we’re a family." They have these challenges to overcome in order to be together and be a family and not have life suck.

What does Sean Maguire bring to the show as Robin Hood?
Kitsis: We were very excited to have Sean. He has a great take on [Robin Hood], and Robin Hood’s story is just beginning. We’re airing in two 11-episode pods, and I think you’re going to get a little into him in the beginning of this year, and we’re definitely going to get a lot of him in the second half. I think he’s a character we’re really excited about because he’s a thief, but he’s a thief with honor. Sean just really brings a sense of honor and a code to him, but there’s a sense of playfulness, which we think Robin Hood needs.

Does airing the show in two "pods" impact the way you're writing it?
Horowitz: It is impacting [how we write], and we hope in a really positive way, which is in addition to two 11-episode arcs, the scheduling of running them more or less uninterrupted in both arcs allows us to really gain story momentum. To really look at them as two mini-seasons that are hopefully thematically connected and building to one big finish. It allows us to tell this ... we call it the "Neverland arc" in the first half, and in the second half, tell the "blank" arc, which we’re not going to spoil just yet, but which will grow out of where you see these first 11 end. As writers, it’s been both challenging and really freeing ... to allow us to really focus on giving a complete experience in the fall and a complete experience in the spring.

Kitsis: It’s also really hard, as a writer, to do 22 episodes of one story in today’s world. I think television is changing, and the habits change, and people are used to 10- to 12-episode seasons. So for us, it’s also exciting because we get to do two seasons this year ... we’re trying to do all killer, no filler, and it’s inspiring because it allows us to really tell contained stories that we want to tell without being, like, "well how do we stretch this one idea for 22?"

Is Peter Pan beyond redemption or sympathy?
Kitsis: Our characters are all looking for a happy ending. They’re all looking for love. It’s just, what choices do you use to get them? Some people are okay playing hardball. Some people want to do it the right way. Peter Pan is an interesting story ...

Horowitz: What we’ve said before on the show is ... in our minds, evil isn’t born, it’s made, and I think that applies to all the villains, including Peter Pan.

Kitsis: But he is a sick, twisted kid. The fact that Rumplestiltskin who, up until this point, is probably the nastiest of our villains and the most clever -- when he says it’s someone he’s frightened of, I’m frightened of him. He gets in your head, and he says "oh, what are you most insecure about? I’m going to really exploit that." ... There are a lot of Peter Pans out there, so you look to have your own take, but for us it came from a character place, which is somebody who refuses to grow up has to have a lot of problems. Because it sounds great when you’re 16, but when you hit 25, or older, you start to go, "oh God, I would hate to be 16 again," and "oh, I’m missing out on all the things of life." You can’t just hit the pause button.

Horowitz: I mean, imagine if you were stuck at 16. It sounds great, but for hundreds of years, you’re getting carded.

Kitsis: Oh, by the way, you can’t even rent a car.

What are the challenges of having Lost Boys as villains, considering you can't have our heroes killing kids?
Kitsis: Can't we? [Laughs.]

Horowitz: We thought that that is a really interesting dilemma, to have villains that, just by looking at them, you really can’t engage in a real way ...

Kitsis: Even though they’re probably two hundred years older than you.

Horowitz: But they’re trapped as children, as boys, and how is that going to be a challenge?

Kitsis: I think it is a challenge ... but Felix scares me. I mean, that guy is so creepy, and the Lost Boys have a bit of a "Lord of the Flies" situation going on. But it is tough, and no one wants to kill children, but they want to get Henry back, and this is their villain. So, I think that is a challenge, but we have a very clever group, and I think that one of the things on the show is we have got very dark, including killing someone’s father to enact a curse, and kidnapping children, and throwing them in the Infinite Forest, but we never do violence that is gratuitous, and we don’t kill people unless it is earned ... and I think Greg and Tamara were probably earned because they believed in something without thinking about it.

What role will Henry play, now that he's in Pan's clutches?
Horowitz: Henry has, as we’ve seen over the years, been a very resourceful, independent boy, who is now going to be thrown into a situation where that will not only be tested but he’s going to have to deal with ... not just running away and trying to escape, but now dealing with a psychological test, which is Pan, who likes to mess with your head. What’s going to happen when Henry is face-to-face with the ultimate manipulator?

Kitsis: The thing that makes Henry so great is his belief. He believed enough in a book to get on a bus, to go to Boston, to convince this woman who gave him up for adoption in a prison in Phoenix, to come back because Snow White and Charming needed to remember whom they were -- and it worked. So this is a world where that belief is going to be used against him, and I don’t think we’ve ever seen that before. So that’s what we’re excited about.

How is Regina going to handle being trapped with people she hates?
Horowitz: It’s not going to be easy for her.

Kitsis: You could see at the end, she doesn’t care for Emma saying she’s the leader. Rumple said right away, "I’m out," and I think she’s mad that she's [like] "why am I at the kids’ table?"

Horowitz: Some of that will be delved into in Episode 3. We get a little bit more into Regina and just what it’s like for her to be on this trip with people she detests.

How will Tinker Bell and the Darlings play into this version of Pan?
Horowitz: With Tinker Bell, we’re going to be seeing her very soon -- in fact, in Episode 3, and like all the characters that we try to bring into the "Once" fold, we try to have a spin on it that’s a little bit different than what you would expect, and also there’s a connection to some of our characters that you’ve already met. As for the Darlings, they’re so integral to the Peter Pan story, we have not forgotten about them, and there is a connection and a tie-in to what we’re doing with them, as well.

How much will the season focus on Rumple's predicted fate, and his attempts to avoid it -- or not avoid it?
Kitsis: A lot. There was a prophecy, and the prophecy said that the boy would be his undoing. So it seems to me he left, very determined to do the right thing, but he was offered a deal -- he is offered many temptations, and now he doesn’t even have to kill the boy. He just has to leave an island.

Horowitz: It’s funny, the character posters we’ve been releasing every couple days, the Rumple one says "believe you can change fate," and whether you can or can’t is kind of a core dilemma for him because he is being ripped back and forth between this prophecy, which tells him the boy will be his undoing, and the fact that the boy is his blood. What are his priorities? What’s he going to do? How is he going to wriggle his way out of this? Can he wriggle his way out of it?

Kitsis: He believes he has nothing left to live for. He holds himself responsible for the death of his son. What he doesn’t realize is that his son is in his house with Robin Hood. So Neal is very important to many characters on the show right now, who are behaving in certain ways based on the knowledge that he’s dead ... Episode 4 is called “Nasty Habits” and that will be [Rumple's] first back-story that we see this year.

What can you tease about where Mulan, Aurora, Phillip and Neal's story is headed?
Kitsis: Episode 3 is going to show where that’s going, and Neal is going to, come hell or high water, get back to Neverland, and so I think that they feel like they're heroes that will support him, and we know Robin Hood feels a debt to him ...

Horowitz: There’s a little bit more of a wrinkle to their story that we’ll delve into in Episode 3.

"Once Upon a Time" airs Sundays at 8 p.m. ET on ABC.

What did you think of the "Once Upon a Time" Season 3 premiere? Weigh in below!

View the original article at Huffington Post / Celebrity

There was a key line of dialogue in the opening scenes of the season premiere of "Revenge," but it wasn't about Emily's plots against the Graysons. It was a way to wipe the slate clean after a few missteps into the convoluted during the show's second season.

"Let's never say the words 'Carrion' and 'Initiative' again," Emily told Nolan, and hopefully the show will stick to those words. When larger conspiracies fell over this revenge drama, the story got muddled and the audience didn't appreciate it. The title sums up what fans are looking for in this show, and Emily has a long way to go in her quest to take down the Graysons. She doesn't need those kinds of distractions, and neither do we.

And so Emily got back to what she does best. When Ashley forced her hand, she put herself in Emily's crosshairs, and so she was taken care of. At an unveiling for Conrad's portrait, Emily managed to take down both Conrad and Ashley. She poisoned him to make it look like his Huntington's disease was acting up, and then framed Ashley for revealing the disease to the press. Now, Conrad will have to step down as mayor.

Unfortunately, her big reveal to Jack last season has led to consequences. When Jack confronted her about her role in what happened at the unveiling, Emily said, "These are terrible people, doing terrible things. This is what they deserve.”

“Did Amanda get what she deserved? Did Declan? Will I?” Jack said, pointing out the heavy cost of her revenge. "Finish this by the end of the summer, then leave for good. Or I’ll tell everyone the truth.”

“Hell hath no fury like a bartender/single father/jilted childhood love scorned!" wrote E! Online's Tierney Bricker of the twist. "But he's not the only love interest Emily has to watch her back around.” In the final moments of the premiere, Aiden visited Victoria and vowed to help her "destroy" Emily.

TV Fanatic's Miranda Wicker thinks the Jack-Emily dynamic is the endgame of the series, so his ultimatum is just a setback. "Jack Porter's been kind of a scruffy doormat for two seasons, but there's something about his salt of the earth persona that makes him hot," she wrote. "He'll come around. But not until he's made things difficult for Emily by speeding up her timetable.”

It's boy trouble times two for Emily on "Revenge," Sundays at 9 p.m. ET on ABC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

View the original article at Huffington Post / Celebrity

Those of you who live in the Lake Charles area of Louisiana should pay respects to Pastor Ronald Harris, Sr.  His family is going through a lot of grief right now and they need all the support they can get.  However, it could be a private funeral for all we know, but those of you who live in the area and have visited Tabernacle of Praise Worship Center should see if you can pay respects to this great man of God.

Funeral Arrangements Announced for Pastor Ronald J. Harris, Sr., Who Was Shot While Preaching

Arrangements for Pastor Ronald J. Harris, Sr. have been announced by Fondel Memorial Chapel in Lake Charles. 

Saints of God, this man, Woodrow Karey walked into a church in St. Charles, Louisiana and shot a pastor dead.  Whatever Pastor Ronald Harris Sr. may have done to offend Karey, there is never an excuse to take his life.  Now, Harris' wife will have to remember her husband preaching his last sermon, then falling to his death.

According to CNN.com, during his arrest, Karey directed the deputies to two guns he had discarded in a wooded area. One of the firearms was a shotgun and the other was a pistol, police said. Police have not said which weapon was used to kill the pastor.

May Pastor Ronald Harris, Sr. or Tabernacle of Praise Worship Center rest in peace.  At least he died preaching God's Word.

Louisiana pastor shot and killed while preaching

LOS ANGELES — A new study suggests the proliferation of gay and transgender characters in films and television shows has not prevented gay, lesbian, bisexual and transgender actors from experiencing discrimination in Hollywood.

The Screen Actors Guild-American Federation of Television and Radio Artists commissioned the survey, released Friday. It found that more than half of the actors who identify as gay, bisexual and transgender think directors and producers are biased against them.

More than one-third of the actors who don't fall into those categories agreed with that perception.

Only 16 percent of the gay, bisexual and transgender respondents, however, said they had experienced discrimination. Gay men reported the most, with about one-fifth saying they had been discriminated against.

The online survey of nearly 5,700 SAG/AFTRA members also found that more than half of the gay, transgender and bisexual respondents had heard producers and directors make anti-gay comments while working on-set.

The performers' union, which is holding its annual convention in Los Angeles, said it pursued the first-of-its-kind research at the request of a committee that represents lesbian, gay, bisexual and transgender members and as a methodical way to explore an issue usually discussed through anecdotes.

The study was conducted by the Williams Institute, a think tank based at UCLA that specializes in sexual orientation, gender identity and public policy.

"The survey results show both progress and indications that more work will be necessary to make the workplace an equal and fully welcoming place for LGBT performers," M. V. Lee Badgett, a University of Massachusetts, Amherst economics professor affiliated with the UCLA institute. "The good news is that almost no one thought that opportunities for LGBT actors were getting worse."

Of the 5,692 participants, 465 identified as gay men, 61 as lesbians, and seven as transgender. Another 301 men and women described themselves as bisexual.

The survey also revealed that despite concerns about being typecast, two-thirds of the gay actors who had played gay characters felt that it had not harmed their careers or limited the roles they were offered. Nine percent of the gay men and lesbians said they had been turned down for roles during the past five years because of their sexual orientations.

View the original article at Huffington Post / Celebrity

Bethenny Frankel is not one to shy away from talking about divorce, and if this clip from next Monday's episode of her show "Bethenny" is any indication, she knows how to get her guests to open up about the subject as well.

In the clip, Martha Stewart talks to Frankel about her messy 1990 divorce from publisher Andy Stewart, and admits that the split was not her choice.

"It's a horrible thing to go through a divorce. Unfortunately, it wasn't a compromise. It was his choice, by the way, not mine," she says.

Stewart also offered Frankel some very frank advice on how to get over an ex.

"The best thing to do is think of your partner as a piece of you-know-what. It's over and get on with your life," she says.

Frankel is in the midst of her own divorce; the host and reality TV star split from her husband of three years, Jason Hoppy, in January.

Check out the full clip above to see more of Frankel's sit down with Stewart.

Keep in touch! Check out HuffPost Divorce on Facebook and Twitter.

View the original article at Huffington Post / Celebrity

"Unforgettable" has been renewed for Season 3 by CBS, HuffPost TV has confirmed. It has received a 13-episode order and will return next summer along with CBS' other summer hit, "Under the Dome," and newly commissioned Steven Spielberg sci-fi series "Extant."

The procedural was cancelled after its freshman season before being unexpectedly brought back from the dead and relaunched as a summer series in its second year. In Season 2, the drama averaged 8.2 million viewers and a 1.4 rating in the adults 18-49 demo.

"Unforgettable" stars Poppy Montgomery as a police detective with a rare condition that allows her to remember and readily access the details of every moment in her life, and Dylan Walsh as her ex-boyfriend and partner. It also stars Jane Curtain, Dallas Roberts, James Hiroyuki and Tawny Cypress.

View the original article at Huffington Post / Celebrity

Move over, "New Girl," Damon Wayans Jr. has a new comedy on the horizon. The "Happy Endings" alum is set to star in "Man/Child," a single-camera comedy that has earned a pilot production commitment from Fox, according to Deadline.

"Man/Child" reportedly centers around two single dads (one to be played by Wayans), who move in together and struggle to find the balance between being responsible parents and debaucherous bachelors.

The pilot is written by "Wilfred" executive producers Reed Agnew & Eli Jorne and will be directed by Jason Winer, whose Small Dog Picture Co is producing along with 20th TV.

Wayans will also reprise his role as Coach in a multi-episode arc during "New Girl's" third season. He appeared in the Fox comedy's pilot, but the role was in second position to "Happy Endings," which was renewed -- causing "New Girl" to replace his character with Lamorne Morris' Winston from episode 2.

View the original article at Huffington Post / Celebrity

ALBUQUERQUE, N.M. — The southwestern New Mexico city that's played home to "Breaking Bad" is preparing for the end, with the Emmy-award winning series airing its last episode on Sunday.

As the AMC finale approaches, Albuquerque is planning on celebrating with watch parties and red carpet casting events in a city still benefiting from a tourism boost thanks to the drama's popularity.

Despite the show's dark themes of drug trafficking and violence, tourism officials say "Breaking Bad" highlighted neighborhoods around the city and gave viewers a sense of Albuquerque. The show displayed the city's downtown Route 66, its various stores and restaurants, and even took audiences to Latino barrios and nearby American Indian Pueblos – places rarely seen in Hollywood.

"Before the show, Albuquerque didn't have an image," said Ann Lerner, Albuquerque's film liaison. "When I started this job in 2003 and I mentioned New Mexico, people would say, `Oh, I love Santa Fe.' No one thought of Albuquerque."

That has changed in the five seasons that "Breaking Bad" has aired on AMC, growing its reputation and buzz as Netflix users raced to catch up on previous episodes. Since then, trolley and private limo tours of scenes from the show have sold out and created waiting lists that go on for weeks. A city-run website detailing locations of scenes – from seedy motels to the one-time headquarters of a now deceased drug lord – has seen tens of thousands of visitors.

The series, she said, has boosted inquiries to the city's film office. And two more television series are currently under production, Lerner said.

Albuquerque businesses also have taken advantage by selling "Breaking Bad" themed products like "blue meth" candy and character-related clothing. One art store, Masks y Mas, continues to sell statues of La Santa Muerte, the Mexican folk saint of death. That underground saint was shown in one season opener and was the spiritual protector of the show's cartel assassins, cousins Leonel and Marco.

Meanwhile, the show has become a weekly social media event during every airing as Albuquerque residents and visitors post photos and links of sites they've visited. Often, a character's death or a single quote can spark a hashtag on Twitter to trend worldwide.

"We expect this craze to continue for a while," said Tania Armenta, a vice-president for the Albuquerque Convention & Visitors Bureau. "All this has translated into more visitors who come here and then enjoy all aspects of the city."

"Breaking Bad" follows former high school teacher Walter White, played by Bryan Cranston, producing methamphetamine with a former student, Jesse Pinkman, played by Aaron Paul.

The show recently won the Emmy for outstanding drama.

In accepting the award, series creator Vince Gilligan even gave Albuquerque a shoutout. "Thank you to a wonderful crew in Albuquerque, N.M.," he said, generating more buzz on social media.

On finale night, a number of watch parties have been scheduled around town and food related to the show has been ordered in advance.

Jesuit volunteers at Immaculate Conception Church, for example, will hold a watch party in the basement of the downtown church. Other fans will gather at Hotel Albuquerque for a special VIP showing serviced with special cocktails named after "Breaking Bad" characters.

"I'm nervous," said Lerner, who plans on joining the city's watching frenzy but from her own living room. "I have no idea how it's going to end."

___

Follow Russell Contreras at http://twitter.com/russcontreras

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On "Homeland," Claire Danes has given her character Carrie Mathison a gift: A truly epic "cry face." It's dramatic, always evolving, and it involves a level of chin acting that few actors can compete with.

But all of this cry-face-mania has overshadowed another phenomenal, mash-up-worthy "Homeland" look: Saul Berenson's "stare face." Watch our mash-up of Saul Berenson staring at things, above, to get a master class in stare-acting.

Sure, if Saul (Mandy Patinkin) has something really important to say, he'll muster the energy to shoot some cutting words through the bristles of his beard, but most of the time, his answer to a question or a discovery is a cold, hard stare.

When Saul stares, he doesn't just look off into the distance -- his body remains 99 percent still. It's as if he's hoping he'll turn to stone so he won't have to deal with Carrie's crazy bullsh*t anymore.

We've grown to love Saul Berenson for his wisdom, his beard and his inability to conceal the loneliness that crushes him just a little more each day. With "Homeland" Season 3 upon us, it's time to celebrate him and the magical thing that happens when he just lets his eyes and his unmoving body do the talking.

"Homeland" Season 3 premieres Sun., Sept. 29 at 9 p.m. on Showtime.

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Katy Perry graces the cover of Billboard magazine's next issue and looks like an angelic woodland nymph from our dreams. She also opens up about her past and present loves, her music, and her future aspirations.

When asked about boyfriend John Mayer, whom Perry dated for nine months, then broke it off, then got back together with, she said: "He literally is a genius, as is evident from his songwriting. I always tell him, 'Darling, you know I'm going to have to give your mind to science after you've passed, because we're going to have to understand how all these sparks work.'"

"We'll be in bed," she continued, "and he'll be doing the crossword puzzle. Every night, he tries to finish it in under 10 minutes. When he puts his mind to something, he really gets it done very well. I always ask for his help."

The 28-year-old beauty also opened up about the behind the scenes of her 2011 interview with Barbara Walters, who picked Perry as one of "The Most Fascinating People" of that year.

"I shouldn't have done the interview: I was playing Madison Square Garden that same night, and I knew that the end of my marriage was coming," Perry told Billboard, referring to her now-over marriage to comedian Russell Brand. "I was just exhausted and stressed. I'd prepped everyone that I was running late, but Barbara showed up at the original time anyway."

"When I got there, I apologized immediately, but then she said to me, 'You know, I've only ever waited for one other person this long, and you know who that person was? Judy Garland. You know how she turned out, right?' I was like, 'Oh, snap! Yes, bitch!'" she added. "I think it's the coolest thing that Barbara Walters shaded me. I just couldn't tell her as we were sitting down for a mega-interview, 'Hey, my marriage is falling apart. Give me a break.'"

For more with Perry, head over to Billboard.com or pick up an issue, on newsstands Sept. 30.

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Are you ready to jump down the rabbit hole with ABC's "Once Upon a Time in Wonderland"? Premiering Thursday, October 10 at 8 p.m. ET, the enchanting "OUAT" spinoff from Adam Horowitz and Eddy Kitsis will transport viewers through the looking glass and show them a whole new take on Wonderland.

Above, The Huffington Post has a first look at the show featuring star Sophie Lowe, who will introduce you to everything this updated version of the classic tale has to offer -- romance, mystery and a decidedly "badass" Alice.

In Victorian England, young and beautiful Alice (Lowe) tells an impossible tale of a strange new land that exists on the other side of a rabbit hole. An invisible cat, a hookah-smoking caterpillar and playing cards that can talk are just some of the fantastic things she's seen during her adventure. Surely this troubled girl must be insane. Her doctors intend to cure her with a treatment that will make her forget -- everything. Alice seems ready to put it all behind her, especially the painful memory of the genie she fell in love with and lost forever, the handsome and mysterious Cyrus (Peter Gadiot). But in her heart Alice knows this world is real, and just in the nick of time the sardonic Knave of Hearts (Michael Socha) and the irrepressible White Rabbit (John Lithgow) arrive to save her from her fate. Together the trio will take a tumble down the rabbit hole to a Wonderland where nothing is impossible.

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Bad boy Robin Thicke is doing some good.

The "Blurred Lines" singer has hooked up with a site that donates money from concert ticket sales to worthy causes, MTV reports.

Thicke aligned with Tickets for Charity to raise funds for St. Jude Children's Research Hospital and the Natural Resources Defense Council. Each ticket also allocates proceeds to a charity of the buyer's choice.

From the TFC website:

Robin Thicke is heading to a city near you and TFC has your ticket to some of the best seats in the house starting in the third row.

However, philanthropic fans will have to wait until February for the first benefit concert on the list, according to site. Tickets listed for a Feb. 21 Atlanta date cost $125.45, with $30 of that pegged for donation.

While Thicke stirs controversy, at least he seems to be getting hot and heavy with giving. In July, he teamed with Charitybuzz on a "Roadie for a Day" contest to raise money for disadvantaged youth in New York City to gain access to the arts.

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