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    Where's the magic?

    Revamped X Factor judging panel is lackluster & Britney Spears is bland inAustin debut

    Tara Seetharam
    May 26, 2012 | 4:52 am
    • Fans embraced the new team at Austin's Frank Erwin Center.
      Photo by Tara Seetharam
    • From left, Simon Cowel, Britney Spears, Demi Lovator and L.A. Reid
      Photo by Tara Seetharam
    • The set sparkled more than the judges did.
      Photo by Tara Seetharam
    • The X-Factor returns in September

    AUSTIN — The X Factor’s first televised audition of Season Two swept the Frank Erwin Center on Thursday and Friday, with two new celebrity judges and a whole lot of spectacle in tow.

    I experienced a bite-sized portion of the audition when I sat in on the final segment, which ran for about two-and-a-half hours Friday. The judges — now Simon Cowell, L.A. Reid, Demi Lovato and Britney Spears — were met with roaring applause from the crowd of 4,000 – and a notable number of Spears and One Direction shout-outs.

    Cowell was easily the most congenial of the four to the audience, declaring Austin his favorite audition city and stopping to shake hands with those seated near him during breaks.

    Pop star Spears has far more relevant experience in the entertainment industry than fellow singing competition judge Jennifer Lopez, but you’d never be able to tell from her brief, dispassionate critiques.

    Twenty-two acts in total took the stage, akin to the flashy talent that marked the show’s first season. They included a handful of youthful boy groups (“This is the year of the groups,” Simon promised, a nod to his protégé), a few over-the-top dancers (look for a flamboyant AT&T rep who worked the stage to Rihanna’s “Hard”) and several older, “last chance” belters.

    The best of the night was 22-year-old Megan “Mugsy” McCullough, a free-spirited redhead whose gorgeous, husky rendition of “Be My Husband” earned high praises from Cowell.

    But the real story of the night was the new judging panel, which —despite the recent media attention —seemed to lack the kind of magic that the show’s glitzy premise requires.

    Pop star Spears, 30, has far more relevant experience in the entertainment industry than fellow singing competition judge Jennifer Lopez, but you’d never be able to tell from her brief, dispassionate critiques. Her only meaty comment was directed to McCullough, who came dressed in a midriff-revealing leopard top much like Spears’ “Slave” ensemble. While Lovato suggested she cover up next time, Spears disagreed, saying that she’d spent her entire life being unfairly criticized for her outfits. “Rock on,” she advised.

    Contrary to Spears, 19-year-old Lovato was a natural conversationalist with the contestants. Her energetic, biting personality is well suited to television – but her age showed. With a limited amount of experience in the industry, her critiques often rang hollow. “I think you need to spend some time figuring out who you are,” she told one contestant in his 30s.

    Cowell and Reid remained the backbone of the panel, delivering rational if not compelling critiques. Their tension from the first season was non-existent; instead, Cowell and Lovato traded the most jabs (“Demi’s single,” Reid told one attractive male contestant; “Today,” Cowell quipped). Though mildly entertaining, their banter lacked the earnestness of Cowell and former judge Paula Abdul’s love-hate relationship.

    The most telling interactions, in fact, were off camera - Cowell made a point to frequently chat with and look after Spears, who sat beside him.

    If there’s a unique dynamic to this new judging panel, it’s yet to be found. The most telling interactions, in fact, were off camera - Cowell made a point to frequently chat with and look after Spears, who sat beside him. I got the feeling he sees something in her that he wants to draw out and nurture. As tepid as Spears came across as a judge, I think there’s a reason –ratings aside-- that Cowell brought her on board: Once upon a time, she personified the show’s namesake.

    We’ll see how it all plays out when the second season of The X Factor premieres in September. Tune in this fall, and sound off below with your thoughts on the show’s makeover.

    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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    news/entertainment

    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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