Average Gamers favourite douchebag Erik Estavillo is up to his old tricks again…

Last week, Estavillo filed a case against Activision Blizzard for “deceitful business practices” regarding the behemoth that is World of Warcraft. My favourite part of this has got to be where he calls on Depeche Mode founder Martin Lee Gore and actress Winona Ryder to testify on his behalf! Take a read of the Game Politics article to read more about his ridiculous lawsuit.

I didn’t report on this last week as it was posted quickly, but given that a second subpoena has now been issued, this time for his ongoing case against Microsoft. Estavillo calls on Microsoft’s Chief, Bill Gates, demanding he show “documents pertaining to the true and relative number of actual Xbox 360 units that have been fixed by Microsoft over the past 3 years.”

According to Game Politics, Estavillo’s agreed not to issue any more lawsuits in the future. Good news for the courts and video game companies around the world, but disappointing for me – I’ll have to resort to reporting about angry gamers instead:

My Top 10:

My winner for 1937 of Best Picture, Best Actress (Janet Gaynor) and Best Actor (Frederic March): A Star is Born

1. A Star is Born
2. You Only Live Once
3. The Awful Truth
4. Snow White and the Seven Dwarfs
5. Shall We Dance
6. Make Way for Tomorrow
7. Stage Door
8. The Lower Depths
9. Lost Horizon
10. La Marseillaise

Academy Awards:

• Best Picture:  The Life of Emile Zola
• Best Director:  Leo McCarey  (The Awful Truth)
• Best Actor:  Spencer Tracy  (Captains Courageous)
• Best Actress:  Luise Rainer  (The Good Earth)
• Best Supporting Actor:  Joseph Schildkraut  (The Life of Emile Zola)
• Best Supporting Actress:  Alice Brady  (In Old Chicago)
• Best Screenplay:  The Life of Emile Zola
• Best Original Story:  A Star is Born

Consensus Awards:

• Best Picture:  The Life of Emile Zola
• Best Director:  Gregory La Cava  (Stage Door)
• Best Actor:  Paul Muni  (The Life of Emile Zola)
• Best Actress:  Greta Garbo  (Camille)

TSPDT Top 5:

• Snow White and the Seven Dwarfs – #256
• Make Way for Tomorrow – #280
• The Awful Truth – #297
• You Only Live Once – #656
• Camille – #935

Top 5 Awards Points:

1. The Life of Emile Zola – 615
2. A Star is Born – 295
3. The Awful Truth – 280
4. Stage Door – 255
5. The Good Earth – 235

AFI Top 100 Films:

• Snow White and the Seven Dwarfs #49  (1998) / #34  (2007)

Nighthawk Awards:

• Best Picture:  A Star is Born
• Best Director:  Fritz Lang  (You Only Live Once)
• Best Actor:  Frederic March  (A Star is Born)
• Best Actress:  Janet Gaynor  (A Star is Born)
• Best Supporting Actor:  Ralph Bellamy  (The Awful Truth)
• Best Supporting Actress:  Claire Trevor  (Dead End)
• Best Adapted Screenplay:  The Awful Truth (from the play)
• Best Original Screenplay:  A Star is Born
• Best Foreign Film:  Grand Illusion

Nighthawk Notables:

• Best Film to Watch Over and Over:  Snow White and the Seven Dwarfs
• Best Scene:  dancing on roller skates – Shall We Dance
• Best Line:  “If I hold you any closer, I’ll be in back of you.”  (A Day at the Races – Groucho Marx)
• Best Ending:  The Awful Truth

Ebert Great Films:

• Snow White and the Seven Dwarfs

Warner Brothers were concentrating on how good a biopic they could make while David O. Selznick was simply making art.  The Academy has always loved a good biopic, but with a few exceptions (Raging Bull, Yankee Doodle Dandy), I find that they rarely rise to the truly great works of film.  The Life of Emile Zola certainly tries hard and wants to show the importance of art and fighting for the good man (even with most of the Anti-Semitism barely mentioned), but nothing about it really rises above the level of a good film.  A Star is Born, however, the first, and best version of the great story of the rising female and the falling male, is one of the first great films about Hollywood, anchored by Frederic March’s best performance and another brilliant performance from Janet Gaynor.  Gaynor would soon retire from films altogether, but had already left a lasting mark.

Film History: Snow White and the Seven Dwarfs becomes the first U.S. feature-length animated film and ends up the #1 grossing film of all-time.  The Academy of Motion Picture Arts and Sciences gets a new charter and changes from a labor organization to simply a film organization.  We have the single greatest year for actors being born; in the course of 1937, welcomed into the world are: Jack Nicholson, Dustin Hoffman, Jane Fonda, Anthony Hopkins, Morgan Freeman, Warren Beatty, Vanessa Redgrave and Robert Redford who combine for 10 acting Oscars and 45 nominations.  Exiting are Colin Clive (who played Victor Frankenstein), George Gershwin and Jean Harlow.  Alexander Korda abandons his attempt to film I, Claudius with only 20 minutes completed while Sergei Eisenstein abandons Bezhin Meadow with about 30 minutes completed..  Daffy Duck is introduced in Porky’s Duck Hunt.

Academy Awards: The Life of Emile Zola becomes the first film to break the double digit barrier for nominations with 10 (including 2 for writing – one for Screenplay and one for Original Story, as well as a nomination for Assistant Director in the last year the category existed).  For the second time (first since 1930) all the Best Picture nominees have multiple nominations (they have at least 4).  The Guilds are invited back and all members of the Actors, Directors and Writers Guilds nominate and vote.  On the technical side, every studio is guaranteed a nomination for Interior Decoration, Sound and Score simply by submitting an entry.  The initial Irving G. Thalberg Memorial Award is given to Darryl F. Zanuck, who will later win twice more, the only multiple winner of the award.  Luise Rainer wins back to back Oscars, the first to do so, in a surprise win over Greta Garbo, who had won the NYFC and was widely expected to win.  Garbo and Rainer, like Janet Gaynor, will both be out of movies within 5 years.  Leo McCarey wins Best Director for The Awful Truth, but comments “Thanks, but you gave it to me for the wrong picture,” referencing his box office failure Make Way for Tomorrow.

• Worst Oscar:  Best Score for 100 Men and a Girl
• Worst Oscar Nomination:  Best Picture for In Old Chicago
• Worst Oscar-Nominated Film:  In Old Chicago
• Worst Oscar Omission:  Best Song for Snow White and the Seven Dwarfs (“Heigh Ho”)
• Worst Oscar Category:  Best Picture – nominations for over-rated Captains Courageous and The Good Earth, mediocre 100 Men and a Girl and awful In Old Chicago
• Best Oscar Category:  Best Supporting Actor
• Best Oscar Nomination:  Best Score for Snow White and the Seven Dwarfs – music branch recognized what the rest of the Academy over-looked

Awards: For the first time, the NYFC agreed with the Academy, giving Best Picture to The Life of Emile Zola (it wouldn’t happen again until 1944).  The rest of their winners are a smattering of Oscar nominees who don’t win at the Academy (Gregory La Cava, Paul Muni, Greta Garbo) and the Foreign Film Mayerling.  The NBR goes with Night Must Fall which doesn’t even get a BP nomination at the Oscars, but do find room for 5 of the BP nominees in their top 10.  For their Best Foreign Film they go with The Eternal Mask, thus frustrating all future awards obsessives by choosing a movie that has pretty much disappeared.  They also decide to list 12 worthy acting performances, though without designating a best of in any category or even breaking them down into categories.

Ginger Rogers and Fred Astaire in mid-step in Shall We Dance (1937)

Over-looked Film of 1937:

Shall We Dance (dir. Mark Sandrich)

Why is it that Swing Time gets so much attention and Shall We Dance gets so little?  Just look at this.  How can a film like this have only earned one measly Oscar nomination (and lost)?  I seem to be on the wrong end of the spectrum when it comes to Astaire and Rogers.  I much prefer The Gay Divorcee to Top Hat and I much prefer Shall We Dance to Swing Time.

On one level, all of the films are interchangeable.  Astaire happens upon Rogers, he falls for her, there is a misunderstanding, usually involving the two of them being forced to be a couple.  There are dance routines, there are songs.  Astaire is likable and charming in all of them and Rogers is sweet and snappy (somehow at the same time).  Many of them are ably supported by Edward Everett Horton, who was always good for a good straight performance (much like Margaret Dumont in the Marx Brothers films).  So what is it that makes one film better than another?

They made ten films together and I think The Gay Divorcee is the best, partially because they were so still so young and fresh, but had done a previous film and had really established their chemistry with each other.  But what is so wonderful about Shall We Dance is what really separates the films: what they do in their routine and the strength of the songs.

In fact, for Shall We Dance, the one clip pretty much says it all.  First of all, we have the wonderful Gershwin tune (one of his last as he died this same year).  While “Cheek to Cheek” still gets remembered, this might be the longest lasting tune from any of the Astaire / Rogers films.  Of course, it’s not the only great Gershwin song in the film (it failed to be nominated for an Oscar as did “Nice Work if You Can Get It” and “They All Laughed” while “They Can’t Take That Away from Me” was nominated but lost to the inferior “Sweet Leilani” from Waikiki Wedding).  But then there is the dance.  Has there ever been such grace on film?  Even the acrobatics of Gene Kelly and the choreography of Michael Kidd seem to pale beside what two great dancers could do on a pair of roller skates.

Sitter på datorkunskapen och skriver om alla olika delar i datorn och om in och utmatning.. Det är väl okej men jag har otroligt ocool huvudvärk Inte najs men det går väl över kanske.

För övrigt sjukt sugen på pizza och cola men har inga pengar kvar den här månaden…

Hare Erik

At the moment we are struggling to get any food into Erik as he finds sitting in his high chair just soooo booooring. He also doesn’t like many foods any more that he used to like – like his breakfast porridge for example. The only thing he always enjoys is fresh fruit.

The other day he had one spoonful of breakfast and then decided he wanted an APPLE (pointing and “DA”!). What can we do? Anything to make Erik happy

… slurp … slobber …

Short break …

“I’ve had enough!”

I managed to get to Ballard on a Saturday, which is kind of a rare thing for me. I think if it was up to me, I’d mainly train mornings, as I’m more of a morning person, and I feel a lot sharper than I usually do in the evenings. The class was a super basic warmup with lots of mat movement, and then a few armbars from the guard, including the classic one that everyone knows, and two that aren’t so classic, including the one-arm pushup variation that Big John really likes. I’m sort of good at it, as I do my best to steal all of his good stuff. We also did the one where the guy tries to stack and pull out, and you cross the leg over and attact the other arm with the legs crossed across the guy’s face. Micah showed a neat variation on that one that you can use from the standard seated armbar when the guy shucks your leg off of his face. All you do is transition the leg that’s over his stomach into the near side armpit, which prevents him from sitting up. Then, you move the leg he just pushed off back onto his face.

Got a couple rolls in, one each with Jay and Erik. I’m really working on escapes these days, and making sure I’m getting out every time, not just defending. I can defend all day, but I need to make sure I’m advancing to a better position each time. Monday will be Crossfit/BJJ day, and hopefully get a good roll in with Rene.

Sitter o väntar på mat sen ska jag fara till pappa i Södertälyeah. Rätt skönt just nu, alla kutar runt i huset och fixar o grejjar o stressar för gästerna kommer snart och musik i hela huset och jag sitter här och tar det luuugnt!

Nästa vecka blir rätt mycket o göra tror jag, ska till doktorn, öppet hus i skolan, julmarknad i skolan, ska ta grisvaccin och så vidare och så vidare…

Förresten! Om någon vill köpa ett wow acc eller en Sony Ericsson Z770i  silver eller varför inte både och?! Skriv till mig bara =D

PEACE Erik

Despite a spate of head colds in the household, Thanksgiving came off very nicely. My sister Andrea is visiting us, and she was a tremendous help in the production of a fully edible turkey. I even pulled out some of my nice dishes that have been boxed up since we left Oregon in 2005. Yesterday was spent shopping for pants for my sister’s trip to The Nutcracker with a friend she met in Arizona who is now attending Simmons in the GSLIS program (I know-crazy coincidences!) Today Andrea and I are going to the Harry Potter exhibit at the Museum of Science, and Erik and I are hoping to squeeze in a movie sometime while we have a babysitter. Other than that, Thomas has off on Monday as well, but luckily Erik doesn’t work that day.

Avondje op het Kasteel,

Pallas Doedelzak dolt Massimo van Loo,
Animal Planet’s Untamed and Uncut leek net begonnen,
Gelukkig hebben de Spartanen Erik Falkenburg, O-towniaan in hart en nieren,
die strooit met passjes en zowaar flair geeft aan het Spartaanse spel.

IJskoud is het wel, het leek op de tribune een typische Rosenborg -Brondby,
De vriendinnen van de spelers diep weg gedoken in de jassen met bontkragen.

Uiteindelijk vijf goals gezien, kortom prima avondje op het Kasteel.

Helaas geen foto’s van de wedstrijd door een restrictief camerabeleid:
Wel nog een eigen interview met Erik van een paar maanden terug:

Tjena, nu är det lördag igen då.. Inget har hänt hittils, ganska lugnt och skön dag. Det lär iofs inte hända något speciellt annars idag, antigen åka till pappa och hänga där eller vara hemma där mamma ska ha partaj med sin tjejekompisar. Det är nästan värt att vara hemma här hos mamma för att käk dom gör! Men det märks vart jag hamnar.

Ha en trevlig lördag!

Erik

Så var det dags för ännu en besvikelse.

Första gången jag sett Idol på ett ganska bra tag faktiskt. Och självklart är inte folket att lita till.

Erik förstörde Hey Jude med sin skrikiga röst och Tove blir överöst av överdrivna komplimanger. Visst är de båda duktiga, men så förbannat bra som juryn verkar tycka är de ju inte. Och publiken verkade väldigt lättflörtad.

Att Mariette åkte ut var ju bara tragiskt.

På samma sätt kommer jag känna nästa vecka. Och i finalen. Sen återkommer allt när svenska folket återigen ska rösta, i en annan musiktävling. Melodifestivalen börjar ju om ett par månader. Och även då kommer “fel låt vinna”. Att det alltid ska vara så, hur kommer det sig?

Men men. Röstar man inte ska man väl inte klaga…

Heja Calle nästa vecka!

Exclusive: Loft965.com and Erik Hassle’s management are giving out secret tickets to a tiny private show in a flat by Erik Hassle in London on December 17th. We might not be able to go as we are in South Korea for fun and to review Juun J. so, if anyone is up to go and review it for us, just email us. Good times! Click here to read all we posted about Erik Hassle.

So, I have something exciting to announce (and a first for this blog) – I have been approached by Island Records (owned by Universal Music) and asked if I would like to invite two of my blog readers down to a ’secret’ Erik Hassle gig in East London on December 17th 2009.

Regular readers may be aware that I have blogged about Erik previously, and that I am a fan of his music, and so this was not only a great surprise, but is a good way of putting my blog to some practical use I think (for me, you and the artist!), and allows me to give something back to those lovely people who visit my pages.

To be fair to all, I have decided to operate this as a small competition, as I think/hope that this could prove quite popular! I’ve been given complete freedom to choose how I want to select the people I guestlist (so please don’t be cynical people – and yes, the question is my own! ), I just figured this would be the best way.

Whether you’re an old friend, or a new face, do please feel free to enter, this competition is open to all who are 18 or over. It would be great to see a few familiar faces at the gig, or maybe bump into a few new ones.

To enter, all I would like you to do is answer the following question:

What date is Erik Hassle’s single ‘Hurtful’ being released in the UK?

(hint, you ‘ll find the answer on his official page)

To enter please fill out the details on the Contact Form at the base of this blog post with your name, email and your answer!

Good Luck!!

A few important points to note:

• This competition is only open to people aged 18 years old or over – sorry, but I am simply a blogger and can’t guarantee the welfare of a minor, nor do I know yet if there will be an age restriction on the venue/show.
• If your entry is correct and you are selected, you will win one ticket to the show – thus there will be two winners.
• I will close the competition and remove the ‘Contact Form’ at 17:15 on Friday 4th December 2009.
• The winners will be notified by email soon after – so make sure you pass me the correct email address!!
• Please be aware that I do not have any further information on the secret venue, I am as much in the dark as you! I have my suspicions though, but they may be incorrect! Regardless, it should be easy to get to using TfL transport.
• Winners will need to make their own way to the secret venue.
• Details of the secret venue will be provided to you by email from Universal Music 24 hours before the gig (i.e. on the 16th December).
• In lieu of the above, and due to this being a guestlist, please do be aware that I will need to pass your name and email address to my contact at Universal Music – if you object to this, please do not enter the competition. Note: your details should only be used for the purpose of this competition and communicating the venue to you – you are not signing up for marketing info etc.
• By entering the competition you consent to the above terms.

Thanks!

I admit it.  It’s only Tuesday, and I’m already ready for the week to kick into full holiday mode.  Unfortunately, I have to work tomorrow, so I have to hold on a bit longer.  Must keep in mind that big trips like our awesome European excursion are only possible due to me not taking more PTO during holiday weeks like this! 

With that said, tonight was fairly busy.  Got home from work, and kicked it into baking gear by pre-heating the oven first thing.  The first thing on the list were these Peanut Butter Monster Cookies.  If they don’t seem that Thanksgiving-y to you, you are right – these weren’t made for Thanksgiving at all.  Our good friends the Wists just had their first born bouncing baby boy last Friday!  My google reader coincidentally had a post about baking for the new mommy, and these gluten and wheat free cookies, packed with protein (peanut butter) and whole grain oats were recommended as a go-to snack food.  Knowing me, adding these two together of course resulted in my making the cookies, packing them up and sending them down to Atlanta to the new parents    They didn’t all quite fit in the box, but no worries – these turned out really well and I don’t think we’ll have a problem finding, ahem, a use for them.

While the cookies were cooling, Pinot and I went out for a really short walk, and then I came back in and got my 5 miles in this evening.  I have got to say, I love having the treadmill at home.  It’s so much easier to get runs in during the week this fall and winter, when by the time I’m ready to run it’s completely dark out.  The treadmill comes though each and every time.

In a state of post running euphoria, the preparations for Thursday began.  Nick and I are staying at home for Thanksgiving this year, and Melanie and Javed are joining us for a smaller family meal   I’m just done with the traveling when I can avoid it, and we’ve been to Rochester so many times over the past few months that I am not feeling guilty at all for not going home.  (Couple that with the fact that my mom has probably spent a month out of the last year in MD with us too!) Anyway – making the full holiday spread is much easier when you have a game plan, and my game plan involved popping cranberries and making pies tonight.  So that was exactly what I did.  One classic recipe, my Grandma’s pumpkin pie – this one is always, always in the Thanksgiving rotation.  Two slightly new takes – whereas I usually make my moms popped cranberries, this year I tried something a bit different and popped them in the oven, following the lead of this bourbon cranberry sauce recipe – preliminary taste tests say YUM, despite my cutting back on the sugar just a bit.  I also had a late addition to the line up – earlier today I was looking around and found this post, which reminded me of a cross between pumpkin cheesecake and pecan pie.  Who on earth could resist this?  Certainly not I.  And so, a second pie went into the oven tonight, and it looks so unbelievably good that I can’t wait to dig into it on Thursday with some real homemade whipped cream.

Speaking of real homemade whipped cream, one of the things that made my evening today was right after work.  I had to stop at Bloom to pick up a few odds and ends for the meal this week, and whipping cream was on the list.  As I was grabbing the whipping cream from the shelf, an older lady looked at me inquisitively and asked me if I made my own whipped cream.  I said that I did, and she explained that she was going to her sons house for Thanksgiving and she needed to bring whipped cream.  She was just going to bring it in the can, but the real stuff tasted so much better, but she hadn’t made it in so long – could I please give her a refresher on how to make and store the whipped cream?  So I did on the spot, and we both walked away smiling.

Last but not least, we did actually have dinner tonight, though it was late (maybe 10PM! – yikes!)  With the fall CSA bounty winding down, we’ve been kicking it with recipes that exhibit our final fresh from the farm goodies.  Last night was a couscous cauliflower dish which wasn’t really that great so I won’t bore you with it.  But tonight, oh tonight.  Tonight’s dish was so good that it officially has made it into my category of ‘I want to make this again’, or maybe the ‘whenever I see collard greens I will buy them and make this recipe with them‘.  Mmmm!  It took a bit longer than I thought it would (so much for reading ahead), but this was so good and so pretty with my add in’s.  In this picture, they look sort of bland and blah, all dark colors brooding.  What did I do to change this?  Add one yellow pepper, sliced into thin strips, and two carrots cut into shreds with the help of a potato peeler.  Add these veggies with the mushrooms in the recipe and then cook the collards down (I salted at the very end to taste) – wow.  These were good!  And did not make nearly enough.  Laura came up for some computer help this evening, and with our late dinner, I hope she didn’t mind my chorus of “mmmms” both from the collard greens and from the scents emerging from the oven.

Duet between two of 2010’s hottest pop stars Erik Hassle and Ellie Goulding.

Ellie Goulding & Erik Hassle – Be Mine

My Top 10:

The final shot of Modern Times (1936): Charlie Chaplin and Paulette Goddard walking off into the future.

1. Modern Times
2. The Petrified Forest
3. Mr. Deeds Goes to Town
4. A Tale of Two Cities
5. My Man Godfrey
6. The Secret Agent
7. Dodsworth
8. Fury
9. After the Thin Man
10. The Great Ziegfeld

Academy Awards:

• Best Picture:  The Great Ziegfeld
• Best Director:  Frank Capra  (Mr. Deeds Goes to Town)
• Best Actor:  Paul Muni  (The Story of Louis Pasteur)
• Best Actress:  Luise Rainer  (The Great Ziegfeld)
• Best Supporting Actor:  Walter Brennan  (Come and Get It)
• Best Supporting Actress:  Gale Sondergaard  (Anthony Adverse)
• Best Screenplay:  The Story of Louis Pasteur
• Best Original Story:  The Story of Louis Pasteur

Consensus Award Winners:

• Best Picture:  Mr. Deeds Goes to Town
• Best Director:  Frank Capra  (Mr. Deeds Goes to Town)
• Best Actor:  Walter Huston  (Dodsworth)
• Best Actress:  Luise Rainer  (The Great Ziegfeld)

TSPDT Consensus Top 5 Films:

• Modern Times – #48
• Swing Time – #541
• Carnival in Flanders – #748
• Fury – #987
• Toni – #997

Top 5 Awards Points:

1. Mr. Deeds Goes to Town – 415
2. The Great Ziegfeld – 390
3. Dodsworth – 330
4. Anthony Adverse – 290
5. The Story of Louis Pasteur – 280

AFI Top 100 Films:

• Modern Times – #81  (1998) / #78  (2007)
• Swing Time – #90  (2007)

Nighthawk Awards:

• Best Picture:  Modern Times
• Best Director:  Charlie Chaplin  (Modern Times)
• Best Actor:  Charlie Chaplin  (Modern Times)
• Best Actress:  Bette Davis  (The Petrified Forest)
• Best Supporting Actor:  Humphrey Bogart  (The Petrified Forest)
• Best Supporting Actress:  Maria Ouspenkaya  (Dodsworth)
• Best Adapted Screenplay:  The Petrified Forest
• Best Original Screenplay:  Modern Times
• Best Foreign Film:  The Crime of Monsieur Lange

Nighthawk Notables:

• Best Film to Watch Over and Over:  Modern Times
• Best Scene:  Spencer Tracy reliving “dying” in Fury
• Best Line:  “I am dead.”  (Fury – Spencer Tracy)
• Best Ending:  Modern Times

Ebert’s Great Movies:

• Swing Time
• My Man Godfrey

Almost a decade into the Sound Era, and Charlie Chaplin was still making his own kind of film.  I’ve already talked here about how brilliant Modern Times is and the amazing virtuoso that was Charlie Chaplin.  It is easily the best film of 1936, currently sitting almost 500 spots higher than any other film from the year in the Top 1000.  In my own Top 1000, Modern Times finishes a good 160 spots above The Petrified Forest and some 250 above Mr. Deeds.  I don’t find 1936 to be quite as bad a year as the Top 1000 does, but it is one of the lower years for both Top 5 films and Top 10 films, though not in the bottom 10 years for either.

Film History: The film world is shaken by the death of Irving Thalberg of pneumonia at the age of 37.  Norma Shearer, his widow, will never be the same again on-screen.  Deanna Durbin makes her film debut, marking the start of a long, but very annoying career.  Bugs Bunny is created by Warner Bros. as a way to counteract Mickey Mouse.  Carl Laemmle is one of the first of the big studio heads to exit, selling Universal Films.  Price-Waterhouse begins as the tabulator of Academy Awards votes.  The Screen Directors Guild is incorporated.  John Gilbert, whose career died out in the Sound Era, makes his last film with Greta Garbo (Queen Christina), then dies of a heart attack at age 40.

Academy Awards: The Academy decided to finally reward the actors who weren’t stars with the addition of Supporting Actor and Supporting Actress.  They are both established with 5 nominees, and Actor, Actress, Director and the Screenplay categories are also changed to have 5 nominees.  The Academy gives Best Original Story to Story of Louis Pasteur, inspiring the question of how a true story can be the Best Original Story.  Frank Capra joins Frank Borzage and Frank Lloyd with his second Oscar.  My Man Godfrey becomes the first film to earn acting nominations in all 4 categories, and in spite of that and nominations for Best Director and Best Screenplay, fails to get a Best Picture nomination while Libeled Lady gets a Best Picture nomination and nothing else (and both star William Powell).  In spite of sympathy for Norma Shearer, she comes in third for Best Actress, behind Rainer and Carole Lombard.  Gary Cooper comes in second to Paul Muni for Best Actor.  Frank Capra finishes just barely ahead of W.S. Van Dyke (San Francisco) and Gregory La Cava (My Man Godfrey).  The Story of Louis Pasteur comes in second for Best Picture.

• Worst Oscar:  Best Editing for Anthony Adverse
• Worst Oscar Nomination:  Best Editing for Anthony Adverse
• Worst Oscar Omission:  Best Picture for Modern Times
• Worst Oscar Category:  Best Editing
• Best Oscar Category:  Best Actress

Awards: The two critics groups agreed not just on Best Picture (Mr. Deeds), but also on Foreign Film (Carnival in Flanders).  The NYFC Awards for Best Actor would go to Oscar nominee Walter Huston, while the Best Actress would go the eventual Oscar winner, Luise Rainer.  But oddly, Best Director would go to Rouben Mamoulian for The Gay Desperado, an almost forgotten film today.  The NBR would do better than the Oscars in that it would once again take my choice for the best film (Modern Times) and put it in its Top 10.  Only three of the NBR Top 10 would overlap with the Best Picture nominees and would not include the winner (Mr. Deeds, Story of Louis Pasteur, Romeo and Juliet).

My winner for Best Actress (Bette Davis) and Best Supporting Actor (Humphrey Bogart) with my #2 Best Actor (Leslie Howard) in my #2 film of 1936: The Petrified Forest

Over-looked film of 1936:

The Petrified Forest (dir. Archie Mayo)

How can a film so good be so unknown?  With all the attention paid among film buffs to Bette Davis and clips of her films all over YouTube, with Bogart the most widely celebrated film star of the 20th Century and still it’s nowhere in sight.

The Petrified Forest is the perfect way to remember Leslie Howard.  He was so wrong in Gone with the Wind, it’s hard to figure out where to begin explaining.  And the problem with his Romeo and Juliet wasn’t that he was too old (as was Norma Shearer, but she was radiant); the problem is that Leslie Howard is utterly unbelievable as Romeo.  If there is anything to define Howard’s screen persona it is the quiet intellectual, the one who thinks and ponders.  He may have strong feelings, like in Pygmalion, he may have an air of romance like in Berkeley Square, he may even be the hero, like in The Scarlet Pimpernel, but he is someone who has taken the time to think about things.  He could never be confused with someone who would act so irrationally, so blindly out of passion (and stupidity) as Romeo.  He would have been far more believable as Mercutio, the dreamer, the thinker, not the fickle Romeo.  But in The Petrified Forest, as the depressed, world-weary Alan Squier, the thinker, the man who wants to act and can’t bring himself to do it, who will so quickly fall in love with the waitress who shares that dream, but be unable to fully act upon it, that is the role that Leslie Howard was born to play.

Of course, you need someone to play opposite him.  He dominates Pimpernel and Berkeley, but is matched well with Wendy Hiller as Liza in Pygmalion.  So he is cast opposite Bette Davis, who had already proved his watch on screen in Of Human Bondage (being robbed of an Oscar at the same time).  But they have been on screen together before, have shown how much they can match.  So to add something more we have Bogart, and not the Bogart we would all later know and worship.  This is the younger Bogart, desperate to become a bigger star, helped along by Howard, both in terms of getting the role, and as the character Duke Manatee in the film.  It is Howard’s push that propels the action, much as he propelled the making of the film.  This is a Bogart performance that will help you to understand how the same actor could so convincingly play both Rick Blaine and Fred C. Dobbs.

Then there is the script, of course.  Yes, there is not a whole lot of opening up of it as a film, it feels much like a staged play.  But when you have a location like this, when you have star power like this that knows so well how to respond to each other do you really need more than that?

hola chicos.  tengo que recordaros que el proyecto debe estar finalizado por completo  para este martes 24 de noviembre, los días restantes que quedan para su presentación estarán dedicados a corregir aquellas partes que estén mal hechas o incompletas.

por ello sería bueno que todos nos reuniesemos el mismo dia martes 24 a las 16 horas de  la tarde en la entrada de la facultad para finalizar todo, corregir y hacer aquellas cosas que hemos proyectado realizar en grupo (diagrama y memoria) y finalmente enviarle un correo a Rubén con el proyecto finalizado.

Todo ello conlleva a que para el martes 24 de noviembre a las 16 horas de la tarde esté finalizada cada una de las partes en que dividimos el trabajo para realizar el proyecto.

la alternativa que quería sugerir era la de hacer de wix la página principal del proyecto y enlazarla con jimdo; de todo esto hablaremos el martes por la tarde

muchas gracias

Yesterday Erik and I drove to town to visit Kath and Ayana in their new flat in Woodstock.

http://www.sa-venues.com/attractionswc/woodstock.php

Their apartment is beautiful and sunny and has the most stunning views.

Erik quickly forgot to be shy and thoroughly enjoyed exploring EVERYTHING.

He particularly liked Elvis. (Ayana can even SAY “Elvis”!)

Ayana was fast asleep when we arrived, but she soon awoke very refreshed and the two kids were all over the place.

Ayana found Erik’s carseat …

… to be quite a nice rocking chair.

She also enjoyed flashing at Mommy …

…and just looking very cute.

Later Kath’s sweet little neighbor Micela came over and we all had fun on the deck and in the sandpit.

Then the four of us went for coffee in a very trendy and nice cafe around the corner. When we came home I could hardly believe it was past 3pm already.

A quick apple snack for the little ones…

and Erik and I headed home to avoid the worst Friday afternoon traffic. Having missed his lunch time nap Erik fell asleep straight away and slept like a, well, baby.

My Top 10:

Victor McLaglen in his Oscar winning role in The Informer (1935)

1. The Informer
2. Bride of Frankenstein
3. The 39 Steps
4. Les Miserables
5. Mutiny on the Bounty
6. The Man Who Knew Too Much
7. Captain Blood
8. Top Hat
9. A Night at the Opera
10. A Midsummer Night’s Dream

Academy Awards:

• Best Picture:  Mutiny on the Bounty
• Best Director:  John Ford  (The Informer)
• Best Actor:  Victor McLaglen  (The Informer)
• Best Actress:  Bette Davis  (Dangerous)
• Best Screenplay:  The Informer (from the story by Liam O’Flaherty)
• Best Original Story:  The Scoundrel

TSPDT Consensus Top 5 Films:

• A Night at the Opera – #202
• Bride of Frankenstein – #223
• Top Hat – #307
• The 39 Steps – #309
• Triumph of the Will – #347

Top 5 Awards Points:

1. The Informer – 635
2. Mutiny on the Bounty – 410
3. Lives of a Bengal Lancer – 220
4. A Midsummer Night’s Dream – 150
5. Ruggles of Red Gap – 120

Consensus Awards Winners:

• Best Picture:  The Informer
• Best Director:  John Ford  (The Informer)
• Best Actor:  Charles Laughton  (Mutiny on the Bounty / Les Miserables / Ruggles of Red Gap)
• Best Actress:  Bette Davis  (Dangerous) / Greta Garbo  (Anna Karenina)

AFI Top 100 Films:

• Mutiny on the Bounty – #86  (1998 – not on 2007 poll)
• A Night at the Opera – #85  (2007 – not on 1998 poll)

Nighthawk Awards:

• 

  Katharine Hepburn was denied her second Oscar for Alice Adams (1935)

• Best Picture:  The Informer
• Best Director:  John Ford  (The Informer)
• Best Actor:  Charles Laughton  (Mutiny on the Bounty)
• Best Actress:  Katharine Hepburn  (Alice Adams)
• Best Supporting Actor:  W.C. Fields  (David Copperfield)
• Best Supporting Actress:  Una O’Connor  (The Informer)
• Best Adapted Screenplay:  The Informer (from the story by Liam O’Flaherty)
• Best Original Screenplay:  The Man Who Knew Too Much

Nighthawk Notables:

• Best Film to Watch Over and Over:  Bride of Frankenstein
• Best Scene:  the cabin scene in A Night at the Opera
• Best Ending:  Bride of Frankenstein (“You go.  We belong dead.”)
• Best Line:  If we shadows have offended / Think but this and all is mended / That you have but slumbered here / While these visions did appear / And this weak and idle theme / Yielding no more but a dream / And as I am an honest Puck / If we have unearned luck / Now to ’scape the serpent’s tongue / We shall make amends ‘ere long / Else the Puck a liar call / So good night unto you all / Give me your hands if we be friends / And Robin shall restore amends  (A Midsummer Night’s Dream – Mickey Rooney – still in my memory 23 years after being in the play in 6th grade)
• See the Movie – Don’t Read the Book:  The 39 Steps

Ebert Great Movies:

• Bride of Frankenstein
• Top Hat
• Triumph of the Will

At the very moment where American movies were taking their place at the top of the pile (notice I have no Best Foreign Film for 1935), we have a disgusting reminder of the power of film with Triumph of the Will, the all important documentary from Leni Reifenstahl that documented a Nuremberg rally and the utter worship of Adolf Hitler.  There was no question that this was powerful propaganda (as Hollywood knew could happen – the year before, Louis B. Mayer had used newsreel films critical of Upton Sinclair to keep him from becoming Governor of California), a stunning look at the pure craftsmanship of political construction were those rallies, and the only real antidote to watching the film (and a pure interest in film history is the only reason to watch it) is to watch Night and Fog, a film just as disturbing in the naked depiction of what the Nazism of Reifenstahl’s film would result in.

The Informer, in spite of terrible box office, is widely acclaimed as the best film of the year, winning both critics groups and several Oscars, while losing Best Picture, yet today doesn’t get the acclaim.  Bride of Frankenstein brings the Golden Age of Horror to an end.  While Universal will continue to churn out Horror films, they will decrease in quality.  Only twice in the next 25 years will a Horror film make my Top 10.

Film History: David O. Selznick leaves MGM and becomes an independent producer.  20th Century Fox and Republic Pictures are founded.  Errol Flynn stars in Captain Blood, becoming a star.  Becky Sharp, the first three-color Technicolor feature film, is released.  The Museum of Modern Art establishes its film library.  Porky Pig debuts, the first of what will become the Loony Tunes characters.  Will Rogers dies in a plane crash in Alaska.

Academy Awards: For the last time, we have a film (Mutiny on the Bounty) win Best Picture and nothing else.  Mutiny does set a new record though with 8 nominations and is the first film with 3 acting nominations (all for Best Actor).  The Informer, on the other hand, wins 4 Oscars, the second most at the time, but fails to win Best Picture.  It will be 13 years before a film again wins Director and Screenplay without winning Picture.  Bette Davis makes up for her snub the year before by winning Best Actress, the first widely accepted example of a “make-up Oscar”, possibly costing Katharine Hepburn a second Oscar.  A Midsummer Night’s Dream becomes the only film to win an Oscar (Best Cinematography) without an actual nomination due to the allowing of write-in votes.  Write-ins finish in second place for Best Actor (Paul Muni in Black Fury) and Director (Captain Blood) while Captain Blood comes in third for Screenplay and Score as a write-in.  The Academy adds a new category, Dance Direction, will which only last a few years.

• Worst Oscar:  Best Sound for Naughty Marietta
• Worst Oscar Nomination:  Best Picture for Naughty Marietta
• Worst Oscar Omission:  Best Cinematography for Bride of Frankenstein
• Worst Oscar Category:  Best Cinematography – ignored Bride of Frankenstein, The Informer and Captain Blood – and the winner was a write-in (and better than the actual nominees)
• Best Oscar Category:  Best Song – I would have gone with “Cheek to Cheek” for the win, but definitely three great nominees

Awards: The New York Film Critics Circle decided that they wanted in on the awards action, so they broke out with their initial awards in 1935.  They and the NBR pick The Informer for Best Picture.  This begins a trend as five more times in the next decade a film will win both critics groups and all five times that film will lost at the Oscars (Mr. Deeds Goes to Town, The Citadel, The Grapes of Wrath, Citizen Kane, In Which We Serve).  While the NBR continues with a Best Foreign Film (Chapayev), the NYFC decides to give a Best Director (eventual Oscar winner John Ford), Best Actor (Charles Laughton for his work throughout the year) and Greta Garbo (who fails to get nominated by the Academy for Anna Karenina).

Peter Lorre menacing Leslie Banks in The Man Who Knew Too Much (1934), Hitchcock's first great film

Under-appreciated film of 1935:

The Man Who Knew Too Much (dir. Alfred Hitchcock)

This film is so under-appreciated that it is ranked 32nd among Hitchcock’s films on the IMDb, behind such mediocre films as I Confess, Marnie and the remake.  I personally find it to be the 11th best Hitchcock film.  It was Hitchcock’s first great film, the one that established him as a master of suspense.  It is so obviously superior to the re-make that I can’t understand why anyone would champion the latter.

What does the re-make have in its corner?  Jimmy Stewart.  Jimmy Stewart proved over the course of several films that he was the proper lead for Hitchcock in an emotional role (to counter-act Cary Grant in a more comedic role – Hitchcock’s opinion as put forth in Hitchcock/Truffaut) and in he, of course, is the emotional core of the re-make.  But on the other hand, the re-make also has Doris Day, in Hitchcock’s continual quest to replace Grace Kelly as the perfect icy blonde, has the annoying child and simply takes too long.  Hitchcock, in the book, talks about how the longer scene at the Royal Albert Hall allows for a greater feeling of suspense, but it just makes it seem to take so much longer (that and Doris Day was so badly miscast – the only reason for casting her was the song “Que Sera Sera” which seems so out of place in a Hitchcock film).

Then look at the earlier film.  Yes, it is not particularly technically polished.  It is the work of someone younger, with a British cinema that is not as advanced.  But it has suspense, it has style, it moves, it flows, it doesn’t crawl along.  Did you really need 120 minutes to tell the same story that you had already done in 75?  And it has the teenage daughter as opposed to the young son, so much more interesting, both in the opening scene, and at the conclusion, out on the rooftop.

Then there is the most important aspect of the original: Peter Lorre.  The story goes that Lorre didn’t actually know English yet, that he faked his way through his interview with Hitchcock and learned his part phonetically.  It doesn’t really matter.  Lorre was a master actor, who had already given one of the great screen performances in M and had fled Nazi Germany.  This film was the beginning of a long and fruitful career as one of the best character actors in film.  He would later team again with Hitchcock in a brilliant, bizarre performance in The Secret Agent, but here, he is so despicable, so subtly slimy and creepy.  The language barrier only adds to the performance.  How could adding Jimmy Stewart possibly make up for the loss of Peter Lorre?  While the Academy did film a great dis-service by never awarding an Oscar to Claude Rains, the greatest of all character actors, they did an even greater dis-service by never even nominating Peter Lorre, for a masterful career that included M, The Man Who Knew Too Much, The Secret Agent, The Maltese Falcon, Casablanca and Casbah.  Every time he appeared on screen, you could instantly think to yourself, I should never, ever trust that man.  That career truly began in this role and if you haven’t seen it, you owe it to yourself and seek it.  Skip the re-make.

Inanity, Intrigue and Inigo Montoya

November 20th, 2009

In the promos for the season finale of Season Six of Project Runway, Lifetime uses dramatic music and a deep-voiced announcer to try to build suspense for the big reveal. However, in their language, they have something wrong: they create anticipation for the reveal of who is “the next big name in fashion,” and my immediate response is “who cares?”

See, what works about Project Runway is that it transfers the aesthetics of the fashion industry into terms that are unrelated to the fashion industry. I know nothing about fashion, but I know a lot about what Nina Garcia likes to see in fashion, or what the series values in terms of creativity. It’s created an audience that, even if they have no knowledge of the fashion industry, have gained knowledge of what Project Runway considers fashion. As such, rather than caring about what these young designers do in the context of the fashion industry, we care about how they situate themselves within the show’s cast of characters from seasons past. For a viewer like me, Bryant Park is the setting of the finale of Project Runway, not a global fashion event, which is why Lifetime language is demonstrative of the season’s failures: I don’t care if they’re a big name in fashion, I want them to be a big name for Project Runway.

And I can confirm that Irina, Althea and Carol Hannah will not be names to remember, a fact which has more to do with the way the show treated them than it does with their individual personalities and talent. And while we’ll never know if this season would have been more interesting if it were in New York, and if the production company hadn’t changed, what we do know is that Season Six failed to provide both the next big name in fashion and a single memorable name for this franchise.

[A few more thoughts on Project Runway, and then some thoughts on both Top Chef and Survivor, with spoilers after the jump...]

I won’t spend any more time identifying what went wrong this season, as Linda Holmes at NPR has pretty much done that for me, but I want to say that Irina is about the perfect winner for the season. She had the most sense of character and the most interesting point of view, but was still ultimately uninteresting and lacking in identity, fitting the season perfectly. I didn’t think her collection was actually that interesting, but compared to Carol Hannah’s (which lacked cohesion) and Althea’s (which lacked clarity – there’s a difference) it was about as close to a winning collection the season could get.

And while some eliminations this season have been impossible to predict thanks to the confusing mismatch of judges, this one was really easy to see coming based on the judges’ deliberation. You could sense the judges were struggling to come up with something to say about each designer: these final critiques are always more positive than negative, and yet you could sense that the positives were all more dull than you could imagine. You could sense the judges trying to pretend as if there was ever a sense of consistency in the design aesthetics: my favourite was Heidi describing Carol Hannah, which I’ll now quote for you.

“You do see Carol Hannah, you see her point of view, and she loves dresses, and she’s impeccable in her tailoring…I mean that’s…what has…made her get this far, because she’s always been very good at that.”

So her point of view is dresses and impeccable tailoring, and the reason she got this far is because she was very good at it. Right there, with all the stammering pauses intact, you have the problem: she had no point of view except making acceptable clothes decently. Michael Kors had a similarly laughable moment when he described Althea as “very plugged into the street,” which made me guffaw. None of these designers could possibly be street-smart, and it was as if they were so desperate to distinguish these designers from one another that they needed to pigeonhole them into one idea. It made for a really hilarious sequence as you could sense things unraveling, and yet they could do nothing but plug on through and pretend that this really was the most dramatic finale of all time.

What’s interesting about Survivor (yep, this is a segueway) this season is that, for a show that often creates drama where there is none in an effort to make the final tribal council interesting, the producers have been able to sit back and watch people self-destruct over the past three weeks. Never before has a merge created quite this much chaos, and I’m sure Mark Burnett is giddy about the whole thing: I’m not sure I can remember the last time I’ve sat through the last quarter of this many episodes in a row. I fell into a pattern a while ago that I would effectively stop watching the show in its entirety after the immunity challenge, knowing that (because of how common pecking orders are, and because of how rarely the immunity idol was in play) the result was inevitable, and there were only a few occasions where something surprising happened during my fastforwarding that would result in me going back to see how it went down.

But after the merge, the self-destruction within the Galu tribe (who were dominant early on) has been a joy to watch – as Erik, sitting on the jury after being the victim of the first set of bizarre circumstances, said last night, “Man, this is some good shit.” After last week saw the Galu tribe fail to listen to Monica and plan some sort of contingency in case Russell managed to find the hidden immunity idol (which he did), resulting in Kelly leaving the game, this week was all about the Galu tribe running around like chickens with their heads cut off. When things finally get to tribal council, the sides are tied at 5, and when John eventually switches sides in order to avoid the drawing of rocks (which could send himself or anyone else home) it’s yet another moment where Galu realizes that they are not, in fact, a tribe anymore. What’s interesting about John is that he is really part of the problem here: I think that Galu would have simply picked off a Foa Foa member in that first week if he hadn’t first suggested taking off Monica, which was the information Erik got burned on as a messenger, so he’s sort of the one who set this all in motion. As such, it’s fitting he puts the final nail in the coffin in what was a really engaging final tribal council. The first merge episode had the frantic switchover that got rid of Eric, last week had Russell’s cagey Idol play, and this week saw John kill Galu for good – a very eventful, and very strong, period for Survivor.

Top Chef, meanwhile, sort of had an off week. This isn’t to suggest that I didn’t like the end result, which has the always likely Final Four come together after Jennifer manages to throw off her demons to win the Quickfire and place respectably in the Elimination Challenge in earning a spot in the Napa Valley finale, which sees Eli sent home. The episode was about the camaraderie of the chefs, as they seemed to all get along and there was a whole lot of emotion to be found in the final sequence was Eli basically admits that he’s okay going home at this stage considering the people who are going on instead (which was especially sad after Eli had turned himself into an Inigo Montoya figure for his mentor Richard Blais earlier in the episode). I didn’t particularly like Eli, but the rest of the chefs did and as a result I found his departure interesting.

However, I think that (to bring this all full circle) the actual challenge suffered because I really had no idea what this supposed “Culinary Olympics” was really about, and more problematically the show couldn’t actually judge based on that sort of criteria considering the amount of time given to the chefs. I understand that they wanted to try to capture the spirit of the event, but while Project Runway has turned Bryant Park into a life long goal that everyone aspires to this competition came out of nowhere and had too little meaning for me to be all that excited about. It also created a strange scenario where the judging was supposed to be based on who best captured the spirit of the event, and yet because nobody really went wild with zucchini baskets or anything similar it ended up coming down to whose food tasted the best, which is why Kevin was ultimately named the winner even when many judges felt Bryan had the most potential within the context of this type of competition. I don’t doubt Kevin deserved to win based on some criteria, but considering the nature of this competition he himself admitted he didn’t show enough technique, so the judges seemed to ignore that aspect of the challenge in favour of simply feeling Kevin best-executed “food” and thus wins the $30,000.

It just goes to show you that there’s only so much you can do in an hour of reality television: sometimes you try to make an exciting season sound interesting, sometimes you have everything go perfectly and barely need to touch a thing, and in another instance you have a big idea that just never translates well into the competition (unless my lack of knowledge of Thomas Keller in some way destroyed my ability to see the challenge as a really big deal).

Cultural Observations

• My favourite thing about the Runway finale was that we had the prior knowledge of the fact that, since this was taped during the period of legal limbo for the show, nobody knew who the designers were and thus they couldn’t actually be seen by the crowd and the media. What this means is that any time you saw any of the contestants watching the show, or saw the families, or saw the designers on the runway, that was all staged either before or after the fact (note how no one but the other designers comment on any contestant by name). What I loved is how, even if I hadn’t known that, the awkwardness of the introductions would have tipped me off: they were clearly uncomfortable with the charade.
• Does anyone have any verdict on Models of the Runway? I stopped watching after about two weeks, and I found that the models were total non-entities for me as a result – I can’t imagine watching another 30-minutes of this terrible season every week, but I did miss not caring about Irina’s model in any capacity when she won.
• My one complaint with Survivor is that they “gamed” the game too much in terms of trying to turn the “Immunity Idol” scavenger hunt that Russell invented into an actual part of the gameplay setup. It was way too easy to find when they were given a visual clue, and while it resulted in the “chase through the woods sequence” and got a good moment out of Dave being oh-so-close to finding it, I thought that it was a bit cheap and sort of took the spontaneity out of Russell’s genius.
• I’ve had no issues with Kevin’s beard on Top Chef this season, as I believed it to be awesome, but then this week we saw what happens when he doesn’t spike his hair at all. It totally makes the beard look about 5x mangier, and the longish greasy hair he had in the preview for next week made it look even more ridiculous. The different hair at Napa (Padma had bangs, Jennifer’s was curly) totally took me out of the show, which really does say something about me, doesn’t it?

Precis som vanligt så är där inte särskilt mycket att se på TV ikväll. Vi har veckans repriser av NCIS och NCIS: Los Angeles på TV3. Vi har även ett nytt avsnitt av Eureka på TV6 och den underhållande filmen Ocean’s eleven på Kanal 5. Tyvärr har den gått ett par gånger för mycket och jag tror inte att den lockar särskilt många tittare.

Istället vänder jag mig åter igen till TV4 där vi får se en ny fredagsfinal i Idol 2009. Förra veckan var slutresultatet ganska väntat när Eddie åkte ut och denna veckan kan jag inte tänka mig något annat än att Reza lämnar. Nästa vecka blir det däremot tufft då samtliga fyra har blivit lite av mina favoriter.

Kvällens låtar

Tove Östman Styrke

• Sweet dreams (are made of this) (Eurythmics) – till fansen
• Himlen är oskyldigt blå (Ted Gärdestad)- till anhörig

Calle Kristiansson

• Your song (Elton John) – till fansen
• To be with you (mr Big)- till anhörig

Erik Grönwall

• My life would suck without you (Kelly Clarkson) – till fansen
• Always (Bon Jovi)- till anhörig

Reza Ningtyas Lindh

• You’ve got a friend (Carole King) – till fansen
• When I need you (Leo Sayer) – till anhörig

Mariette Hansson

• Ängeln i rummet (Eva Dahlgren) – till anhörig
• Time of your life (Green Day)- till fansen

20:00 Idol på TV4

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