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    Idol Worship

    Best American Idol season ender ever? Beyoncé, Lady Gaga & Scott McCreery makeit special

    Tara Seetharam
    May 26, 2011 | 7:36 am
    • Scotty McCreery,right, is the latest American Idol. He beat out Lauren Alaina,left.
    • Beyonce added star power to the show.......
    • ....along with Lady Gaga

    After Tuesday night’s poorly produced performance episode, last night’s American Idol finale was a breath of fresh air, punctuated by engaging performances and a willingness to poke fun where necessary. I was disappointed we didn’t get a final Lauren Alaina / Scotty McCreery duet as in past seasons, but there were still plenty of highlights to choose from:

    • Top 13, “Born This Way” medley – A ridiculous and fitting choice all at once. The animated Top 13 made the most of the anthem, cheesy choreography and all. It was a trip to see contestants like Scotty McCreery and Casey Abrams dig into the whole thing with reckless abandon.
    • Casey Abrams & Jack Black, “Fat Bottom Girls” – There were a handful of great duets last night, but I’m not sure any of them were more entertaining than this one. Abrams and Black infused the performance with the spirit and commitment of the best SNL parodies - and they actually sounded pretty good together.
    • Top 13 Girls, Beyonce medley – I don’t know that we’ve ever had a fiercer, more dynamic group of girls in the finals. Sure, Beyonce schooled the whole crew when she came out guns blazing on “Crazy in Love,” but who doesn’t pale in comparison to Sasha Fierce? The girls brought impressive individual swagger and vocals to the slew of hits.
    • Haley Reinhart & Tony Bennett, “Steppin’ Out With My Baby” – I love how this song drew out the delicious, feathery-light jazz side of Reinhart’s voice, and I adored the sweet dance intermission. I’ll say it again: Reinhart has grown into herself as an artist in a big way this season.
    • Scotty McCreery & Tim McGraw, “Live Like You Were Dying” – Maybe it was the song or maybe it was the adrenaline rush, but McCreery has never sounded better. It was a telling glimpse into his future as a recording artist - and how cute was their high five at the end?
    • Idol humor– Props to the producers for recognizing that a little self-parody goes a long way. My favorite segment showed the contestants musing over the young age of the final two contestants (the best: “So we have like two sixth graders in the competition and they’re kicking everyone’s ass” – Stefano Langone). Close seconds were the James Durbin / Casey Abrams / Pia Toscano fight over the “most shocking elimination” title and Randy’s “in it to win it” (never again, please) montage.
    • Lady Gaga, “The Edge of Glory” – Yeah, the performance got a little over-the-top towards the end, but if this song isn’t in the sweet spot of her vocal range, I don’t know what is. She sounded amazing, and maybe I totally dug the saxophone interlude. Don’t judge.
    • The results – Those who’ve been following me this season know that I’ve always been more drawn to the color and character of Alaina’s voice - but a sense of satisfaction washed over me when McCreery took the crown. Take a look at his best qualities –his firm sense of self, solid vocal talent, consistent performances and endearing sincerity—and you’ll see that he’s made of the same stuff of the previous Idol winners, albeit wrapped in a different, straightforward package. His post-Idol career will be an interesting one to follow, as he delves into a country music industry that doesn’t always seem willing to shed light on traditionalist artists like himself. Here’s to hoping he knocks down some doors and is met by people who allow him to embrace his individuality.

    And that’s a wrap, folks. Share your thoughts on the finale below, and sincere thanks to all of you for taking this wacky ride with me this season!

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

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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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