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    It's down to two

    On the front row at American Idol: Justin Bieber is a "no show" & Simon Cowellshows his nice side

    Jane Howze
    May 19, 2010 | 11:13 pm
    • The view from my seat
    • A coveted ticket to Wednesday night's "American Idol" elimination round.
      Jane Howze
    • Justin Bieber's performance was on tape
    • It won't be the same without Simon
    • Lee DeWyze is the crowd favorite
    • But don't count Crystal Bowersox out
      Photo courtesy of Crystal Bowersox

    Sometimes it just pays to ask.

    I flew from Houston to Los Angeles Wednesday because I was lucky enough to snare a couple of seats to the American Idol elimination round at CBS Studios (courtesy of a client who was a former executive at Fox). My husband and I got there an hour before showtime and, after having to check my cellphone (none are allowed at the show), we made it inside. Even though the studio is small, holding around 300 people max, our seats were on the back row. So I politely asked the guard if I could find a better seat because I was a correspondent for CultureMap.

    He moved me to the front row, a few seats down from Perez Hilton and next to guest singer Travis Garland's parents and a beautiful woman who called him a "good friend."

    "We're Texan too," his mother told me. "We're from Lubbock."

    "You need to listen to him," his friend told me. "He's going to be the next big thing."

    Even though American Idol is live, its guest singers usually aren't. Garland performed his song twice before the show and the best one was presumably chosen for airing.

    "This is TV, nothing is done just once," an announcer intoned before the second take."Cheer louder. Let's go!"

    After Garland finished, the judges (minus Simon Cowell) came out with the 10 Idol finalists, who will go on tour after next week's season-ender, as a big cake was rolled onstage. They sang "Happy Birthday" to Fox reality chief, Mike Darnell. "He hired us all for the show," Randy Jackson said.

    Ellen Degeneres — dubbed "Ellen The Generous" by Washington Post TV writer Lisa de Moraes because she rarely said anything bad about a contestant the entire season — was in deep conversation with frontrunner Lee DeWyze while Randy Jackson huddled with chief rival Crystal Bowersox. But Cowell, who will leave the show after next week's finale, was nowhere to be found.

    "I don't know where Simon is. He must be spray-painting his shirt on," Ryan Seacrest said in one of his few unscripted comments of the night. (During the show, Seacrest reads every line from a Teleprompter that is taller than he is.)

    Even with all this activity, there was still 25 minutes before the show began, so the judges disappeared. As I waited, the audience rippled with whispers that the main attraction, teen idol Justin Bieber, would not be performing live. His performance was previously taped and he was nowhere in the house.

    I asked Garland's friend, "Are you sure?"

    "They always do it that way so they can edit it," she said.

    I told her I was at an American Idol show three years ago and Barry Manilow performed live.

    "That was then," she said.

    With about five minutes until showtime, all 12 previously eliminated contestants reappeared, sending the surprised audience into a shouting frenzy, and the show began.

    The most interesting parts were the commercial breaks. During one extended break, the judges hot footed it out of the auditorium through 20-foot-doors that led to a loading dock. When the doors were slid open to let them exit, sunlight flooded in (it was just a little after 6 p.m. West Coast time), adding a surreal feeling to the evening.

    At another break, judges Randy Jackson and Kara DioGuardi hightailed it over to Hilton's seat to schmooze witth the celebrity gossip blogger. At another stop, the announcer announced that Bieber would not be performing live. "But you can watch his performance on the big screen," he said.

    I was touched during one break, when Cowell and DioGuardi came over to a severely disabled boy in a wheelchair about two feet from me and tenderly spoke with him for several minutes and signed autographs. It made me think that Simon is not such a bad guy.

    Finally it came time to announce the two finalists for next week's closer. When DeWyze's name was announced, the cheers were so earsplitting that I couldn't hear the other chosen contestant, Bowersox. The third contestant, Texan Casey James, sang his farewell song -—John Mayer's "Daughter" —and scooped up a little girl from the audience (maybe a niece? She didn't seem fazed). And then it was over.

    But not quite.

    "Don't leave everybody," the announcer said. It was time for the coin toss, with a special medallion bearing Bowersox's face on one side and DeWyze's on the other. Bowersox won the flip and chose to go second in next week's finale.

    But I'm pretty sure that DeWyze will win. The audience was on his side and it's been a long time since a woman won American Idol.

    Before we left to retrieve my cell phone —there must have been 60 or more waiting — the cities where the 2011 American Idol auditions were announced. Nashville, Jersey City, and San Francisco are on the list.

    But it won't be the same without Simon.

    unspecified
    news/entertainment

    Movie Review

    28 Years Later revives zombie franchise for new generation

    Alex Bentley
    Jun 20, 2025 | 5:00 pm
    Aaron Taylor-Johnson and Alfie Williams in 28 Years Later
    Photo by Miya Mizuno
    Aaron Taylor-Johnson and Alfie Williams in 28 Years Later.

    The 2000s brought two of the best zombie movies ever made in 28 Days Later and 28 Weeks Later. Both films, despite being made by different filmmakers, featured intense action with fast-moving zombies, harrowing sequences, and real emotional connections with their main characters. Now the original director and writer — Danny Boyle and Alex Garland — have returned with the first of a possible three sequels, 28 Years Later.

    The rage virus from the first two films that turns humans into insatiable monsters has successfully been contained to the United Kingdom, and one group of survivors has managed to band together on a small island off the coast of England. We’re introduced to the group through Jamie (Aaron Taylor-Johnson), his wife, Isla (Jodie Comer), and his son, Spike (Alfie Williams).

    Isla is sick with an unknown illness, while Jamie is set to take the 12-year-old Spike on his first trip to the mainland to hunt zombies. That trip not only gives Spike an education as to the different types of feral zombies that now populate England, but also a clue that other people have survived there. When he discovers that one of them may be a doctor, he makes plans to take his mother there in hopes of finding a cure for whatever ails her.

    While the first two films were notable for their brisk pace that kept the potency of the stories high, Boyle and Garland almost go in the opposite direction for much of this film. The first 90 minutes are relatively slow, with only a couple of sequences that raise the blood pressure. The final half hour or so go a long way toward filling that void, so it’s clear that the filmmakers were biding their time for the story to come in the sequel. A bit more balance in this film would have served them well, though.

    What they do show involves some weird, wild stuff that is objectively upsetting, even for fans of the genre. The zombies have evolved in strange ways, giving them a variety of body shapes and abilities to suit the environment in which they live. These storytelling choices may thrill some and have others scratching their heads. Another human character living on his own (played by Ralph Fiennes), appears to have gone the way of Colonel Kurtz in Apocalypse Now, with a revelation that is bone-chilling.

    Boyle, who’s directed everything from Trainspotting to Slumdog Millionaire, doesn’t have a signature style, and he makes some choices in this film that test your patience. He occasionally employs an odd technique in which the film stutters, for a lack of better term. It’s a bit jarring, especially since it doesn’t seem to improve the storytelling. He also inserts scenes from older films involving medieval warfare that emulate the bow-and-arrow weaponry used by characters in this film, but the exact connection he’s trying to make is unclear.

    The young Williams has a lot put on his shoulders in the film, and he proves to be up to the task of carrying the story. He isn’t precocious or annoying, instead reacting almost exactly like you’d expect a boy of his age to do when faced with extreme situations. Taylor-Johnson and Comer are good complements for him, drawing him out with their polar opposite characters. Fiennes makes a huge impression in the final act of the film, while Jack O’Connell makes a very brief appearance, teasing a bigger role to come.

    It’s difficult to fully judge 28 Years Later because it’s designed to only give you part of the story; part 2, The Bone Temple, is due in 2026, while a third film will follow if the first two do well. This film has its moments and winds up on the positive side of the ledger, but it’s also a frustrating experience that could have used a more stand-alone story.

    ---

    28 Years Later is now playing in theaters.

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