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    Inside Idol

    Steven Tyler steals the day with his kooky ways: Move over JLo, Idol's new starhas emerged

    Tara Seetharam
    Jan 20, 2011 | 10:54 am
    • Steven Tyler's musings are stealing the show on the remade American Idol.
    • The new judges seem committed to letting the competitors be the stars.
    • Devyn Rush — a former singing waitress — has emerged as an early favorite.

    The highly anticipated 10th season of American Idol kicked off Wednesday night with a two-hour New Jersey episode. Despite its makeover, the show feels comfortingly the same as before — which means, as usual, it’s a mixed bag of good and bad:

    Thumbs Up

    • Above all, there’s one thing worth celebrating: The new judging panel is ripe with sincerity and commitment. You get the feeling that this is more than just a monster deal they inked — they genuinely care about the fate of the contestants and the show. It’s true that the contestants, not the judges, have always determined the overall quality of each season, but when the judges are having as much fun as they are this time around, it’s hard not to have fun right along with them.

    • Steven Tyler seriously knows how to have a good time. See: his emphatic sing-along with Caleb Hawley’s “I Just Love You So.” There’s something so endearing about his wacky but authentic persona that makes me want to hug him — or maybe just have a beer with him.

    • The episode began with a recap of the dramatic judges announcement last fall and all the hoopla that surrounded it. An expected package, to be sure, but what followed was unexpected: “But this isn’t our story. It’s yours!”

    And strangely enough, the rest of the episode embraced this theme, with more focus on the talent (the good kind) than I’ve seen in years. Encouraging, indeed.

    • Devyn Rush: The best of the night, 20-year-old Rush delivered a jazzy, controlled rendition of “God Bless the Child” with a little scatting thrown in for good measure. Attempting a throwback style is risky business on Idol — note the success of the flawed Megan Joy and the downfall of the promising Lilly Scott — but Rush is so naturally talented that it doesn’t come off as affected. Steven called it “delicious,” and I agree.

    • Travis Orlando: He’s lived in a shelter for years, but came in wearing a “It’s Gonna be Fantastic” shirt, which unsurprisingly got a giggle out of Randy. Orlando's got a nice tone and rhythm to his voice, and ironically, the 16-year-old shows a sense of confidence and authority when he sings that contrasts with his self-deprecating demeanor.

    And while I still believe back stories should play second fiddle to talent, you bet I teared up when his mom and twin brother swooped into the auditioning room for a tearful embrace.

    Thumbs Down

    • After nine seasons, do the producers really think the public still believes a chunk of contestants coincidentally chose the same song for their audition — this time Miley Cyrus’ infectious hit, “Party in the U.S.A”? Or do they get such a kick out of the contestants’ bewildered expressions as they try to remember the words that they just don’t care?

    • Sincere or not, the new judging panel lacks the sharp wisdom of panels passed. Simon Cowell had the ability to show up, not give a damn, tune in for about 15 seconds of someone’s audition and proceed to deliver an assessment so stunningly accurate that you’d want to rewind and hear it again. Jennifer and Steven have proven to be present and engaged, but are they bitingly insightful?

    Maybe they’ll grow to be, but not in this episode. I’m personally holding out hope for Jennifer, who shows just the right amount of empathy; if she can sharpen her judgment just a smidge, it’ll be a killer combination.

    • It’s hard to imagine Simon handing golden tickets to contestants Tiffany Rios and Ashley Sullivan, who both made it through to Hollywood. Rios, who could pass for Snookie’s lost cousin, delivered a serviceable but unremarkable “I’m Your Lady” after a strange self-penned song. Sullivan barreled through a vocally one-dimensional version of “Gimme Gimme” and followed it up with a tearful proclamation about wanting to bring Liza Minnelli to pop music (I think Lady Gaga will suffice for now).

    Both received bloated praise from the judges — not quite Ellen DeGeneres style, but close — and won’t stand a chance during Hollywood Week.

    Quote of the Night
    “Well hellfire, save matches, f**k a duck and see what hatches”
    - Steven Tyler’s insane but awesome response to a Josh Turner sound-alike, to which he followed up with: “Am I allowed to say that?”

    What are your thoughts on the season premiere of American Idol Season 10?

    Get more of Tara Seetharam's pop culture musings on her website taraseetharam.com and follow her on Twitter @TaraAshley.

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    Movie Review

    Offbeat drama Pillion features command performance by Alexander Skarsgård

    Alex Bentley
    Feb 20, 2026 | 4:30 pm
    Alexander Skarsgård and Harry Melling in Pillion
    Photo courtesy of A24
    Alexander Skarsgård and Harry Melling in Pillion.

    Describing the new movie Pillion is almost an act of futility. It contains a variety of seemingly disparate parts that coalesce into a whole to make it utterly fascinating. Few other recent films have been able to walk the line between filthy and wholesome in quite the way this one does, and that’s only because few other filmmakers would actually dare to try.

    It centers on Colin (Harry Melling), a meek man in his mid-thirties who still lives at home with his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), while working a dead-end job giving out parking tickets. While performing in a barbershop quartet at his local pub, Colin catches the eye of biker Ray (Alexander Skarsgård), who summons him for a clandestine hook-up the following day (which just so happens to be Christmas Day).

    With barely a word exchanged between them, Ray establishes a dominance over Colin that quickly leads to them starting a relationship in which Colin does anything Ray asks. And that means more than just sex: Colin, whether desperate for any kind of affection or unlocking a side of himself he hadn’t known, readily agrees to cook, clean, shop, and basically do whatever else Ray wants him to do.

    Written and directed by first-time feature filmmaker Harry Lighton, the film is astonishing in the way it’s able to mine humor from Colin and Ray’s atypical bond. To call Ray “unfeeling” might not be totally accurate, but the way he treats Colin borders on cruel. However, the way Lighton structures the film, it’s easy to understand why someone like Colin would be willing to go along with the situation. It’s both hilarious and heartbreaking to see Colin debase himself in a variety of ways.

    On the flip side is Colin’s heartfelt arc with his parents. It’s established right away that Peggy, who is sick with cancer, is a bit too involved with Colin’s love life, with the opening scene featuring her setting him up on a blind date. But their easy acceptance of his queerness and desire to see him find love is as heartwarming as it gets. The juxtaposition between the wholesomeness of their family and Colin’s new life is also the source of a good amount of comedy.

    Lighton does not shy away from the sexual side of Colin and Ray’s relationship, and the scenes he depicts are as graphic as you are likely to see in an R-rated film. Some go up to and a little past what might be expected in a mainstream movie (including the use of a certain fake appendage). Other times they play out in a comical way to illustrate just how far Colin has progressed from the person he was when the film started.

    Skarsgård, who stole the show in the Charli XCX movie The Moment, is the attraction in more ways than one in this film. The part calls for someone who’s not only impossibly handsome, but also a person who can stop dissent with just a glance, and he lives up to both qualities equally well. Melling, best known for playing Neville Longbottom in the Harry Potter movies, also embodies his role perfectly. He plays Colin as weak enough to be run roughshod over by Ray, but not so hopeless as to not be worth rooting for.

    Pillion (which is the name of the secondary seat on a motorcycle on which Colin rides multiple times in the film) operates at a storytelling level that is difficult to achieve. Many people will not fully understand the film’s central relationship, but the way it is showcased by Lighton makes it compelling, gut-wrenching, and sexy.

    ---

    Pillion is now playing in theaters.

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