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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

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

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