‘Big Brother’ Betting Watch: Day 12

‘Sup. We’ll be taking a weekly(ish) look at the betting markets for Big Brother throughout the season, looking at who’s working their way up to being a contender and who’s fast becoming an outsider.

CURRENT FAVOURITE:
Corin – 7/2:
Most bookies are offering odds of 7/2 or 4/1 for the Northerner, with Victor Chandler even offering 3/1 at the time of writing. It’s a surprise to see Corin atop the market, but a pleasant one – in episodes we’ve seen she’s become a very fun housemate, and though chances are other housemates will steal the poll position as the weeks go by, she just needs to avoid big arguements and bitching sessions to remain in the race.

Josie – 5/1: A rowdy week for John James has helped the endearing country bumpkin to climb the scales. Betfair offer the best odds at 11/2, while the shortest are offered by William Hill who suggest 9/2.

Steve - 11/2: A kitten’s whisker behind Josie and surely a pretty safe bet to make it to the final. Steve is the most genuinley down-to-earth housemate of this year’s collective and we think he may soon become the overall favourite.

John James – 7/1: The former favourite suffers from his rows with Racheal, exposing him as a bit of an arrogant tosser. He has work to do to redeem himself; but in all honesty we can see his odds going from bad to worse. But those who still believe in him are better off going to Betfair, who offer 8/1.

Nathan – 8/1: The best of Nathan is surely yet to come – we’d forgotten he was in there.

Mario – 11/1: His closeness with Sunshine may be his ball and chain. He was likeable throughout the Mole task, and his popularity may continue to rise the longer he stays out of trouble.

Ben – 16/1: The well-spoken serious guy is proving neither popular or unpopular at present, with middling odds of between 14/1 an 17/1.

Ife – 20/1: We’re a bit disappointed with Ife so far – she looked like she could have been a cracking housemate but she has yet to really prove her worth. Come on, girl. Find your personality.

Caoihme – 22/1: This Shabby thing could make or break her, depending on how she handles it. There’s nothing terribly exciting to say about her at present so we’ll have to wait and see.

Shabby – 28/1: Shabby could turn this around. If she can avoid nomination and continue to provide some of the most watchable television she could completely turn her chances around. Watch this space.

Sunshine – 33/1: We’re gonna say she should have gone on Friday. Rachael would have continued to be an entertaining presence but Sunshine is just a pain. If she’s nominated, she should (depending who she’s up against) be shown the door this Friday.

Dave – 40/1: There’s nothing much to say about Dave, and unlike some of the other dormant HM’s we can’t really see that changing. Can we swap him for another interesting one who didn’t get in?

CURRENT OUTSIDER:
Govan – 50/1:
 Not a massive shocker. On the launch night he seemed like he had all the potential to be this year’s funnyman but he’s instead decided to persue the path of House Bitch. The most interesting thing he’s done so far is “come out” as straight. Hmm. If he’s nominated there’s a very good chance he’ll be out… but then, do we want to lose another big character after already losing Racheal?

For anyone bothered about a Saturdays “comeback”

When you’re releasing an album every year, it’s not really right to call each one a “comeback”, but The Saturdays are gearing up to release the maiden single from album number three (!), and a week ahead of its premiere they have released this 30-second snippet:

Quick pros/cons sesh:

Pros:
> It’s not ‘Forever Is Over’.
> The dresses are nice.

Cons:
> This doesn’t seem like a ”POW LEAD SINGLE” type of lead single.
> The dance routine is horrendous. It’s not so bad it’s good, it’s so bad it’s clearly bad.
> The shots of Frankee indicate that the hilarious “look thoughtful” approach from the ‘Forever Is Over’ video is set to make a return.

It’s only a 30-second snippet so we’ll obviously save full judgement until the whole product is out in the open. Breath is not held, though.

Still, the artwork is nice:

Album Review: Miley Cyrus – Can’t Be Tamed

UK Release: 21 June 2010 / Label: Hollywood / Tracklisting: 1. Liberty Walk; 2. Who Owns My Heart; 3. Can't Be Tamed; 4. Every Rose Has Its Thorn; 5. Two More Lonely People; 6. Forgiveness and Love; 7. Permanent December; 8. Stay; 9. Scars, 10. Take Me Along; 11. Robot; 12. My Heart Beats For Love

We’ve been among the first to admit that when it comes to music, Miley Cyrus is pretty good at defying expectation. Her debut album ‘Breakout’ was a surprisingly satisfying listen, and last summer’s EP ‘The Time of Our Lives’ was very good indeed. But apparently, before she takes a self-imposed break from the music industry, it’s time for a massive musical re-invention. As such we have keyboards where there once were guitars and auto-tune where there was once happy-go-lucky crooning. Yep, you guessed it – like countless others, the Nashville teen has leapt aboard the electropop bandwagon.

First impressions? Massive disappointment. ‘Can’t Be Tamed’ lacks both the “lalala, let’s have fun” factor of ‘Breakout’ and the subtle, cool pop sounds of ‘The Time of Our Lives’, instead getting lost in wishy-washy sub-standard synth-pop and far too many hollow ballads. A few tracks strive for anthemic hands-in-the-air status but fall far short, especially the album’s opener ‘Liberty Walk’; a song about standing up for yourself and “feeling your heart again, breathing new oxygen”. Fair enough, but someone forgot to make it remotely interesting. Similarly ‘Who Owns My Heart’, a track that essentially adds a giant ladel-full of pretentiousness to the concept of drunkenly pulling a randomer in a club (“Is it love or is it art… I can’t tell if it’s the beat or sparks”), is similarly lacking in punch, and in fact it’s the titular lead single that first hits the mark. It’s not the type of track that’ll top the ‘Best of 2010′ lists in six months’ time, but with enough balls to give Operation Forget-I’m-From-Disney some serious momentum, it lodges itself right up there with the best of Miley’s singles.

From those opening three tracks it continues at a similarly fluctating rate. For an album marketed as an attitude-filled evolution for the teen sensation there are still an awful lot of ballads to sit through - we’re quite prone to a good ballad, but only two of what feels like a billion (‘Every Rose Has Its Thorn’ and ‘My Heart Beats For Love’, both better than their titles will have you believe) really make a lasting impression. And as for the up-tempo cuts, it’s all a bit of a waste really. ’Two More Lonely People’ is, after a couple of listens, a pretty good 90s-esque pop nugget, but other than that there’s just a string of forgetful tunes that, from someone as capable as Cyrus, just fail to hit the mark. ‘Party In The USA’? ‘Fly On The Wall’? ‘See You Again’? What happened?!

But then, on the other hand, she does deserve to be cut a smidgeon of slack. She’s credited for co-writing all but one of the standard edition’s twelve tracks, which is a hell of a lot more than Disney-mate Selena Gomez could manage for her latest album; and her vocals have come a long, long way since the fragile wailing that was slightly apparent on tracks like ’The Climb’. To produce a string of cracking tracks and then bow out just as quality control takes a giant turn for the worse seems a shame; but hopefully when she’s ready to revisit the pop world she’ll be back up to standard again.

The new Katy Perry video: Horrendously awkward good fun

The ‘California Gurls’ video from Katy Perry has finally landed, and instead of having anything whatsoever to do with the song (no sand or sun, unfortch), it’s a romp through a land of confectionary in which Katy gets naked, dons a blue wig, faces rude gummy bears, and has cakes for boobs. Fun as it sounds, it’s actually quite awkward. Still, did you expect her to play by the rulebook?

Film Review: Letters to Juliet

Amanda Seyfried is becoming Hollywood’s favourite safe bet for unpretentious, guilty pleasure cinema, and after swinging by teen comedy (‘Mean Girls’), musicals (‘Mamma Mia!’), horror (‘Jennifer’s Body’) and weepies (‘Dear John’), she now addresses pure romantic comedy in the form of Letters to Juliet, a shameless cheese-fest in which fact-checker-come-writer Sophie (Seyfried) goes to Verona with her chef boyfriend, only to fall headfirst into a grandmother’s 50-year-old love story.

She visits the house where Juliet Capulet supposedly lived and finds women from all over the globe writing letters to her, telling of their various personal troubles, and sticking them to the wall of the building. After finding out that the letters get answered by a group of women who call themselves “Juliet’s secretaries”, Sophie finds a letter that remained undiscovered for 50 years, and answers it. Suddenly the writer of the letter, 65 year-old Brit Claire (Vanessa Redgrave) appears, having followed Sophie’s advice to track down the boyfriend she knew briefly as a teenager. Conveniently, she brings along her snooty grandson Charlie (Chris Egan), who immediatley locks horns with Sophie. But, as their search goes on, the pair… well, no prizes for guessing.

Seyfried is likeable as ever in a role that hardly tests her acting credibility, while Redgrave is fabulous as that rare older character with a substantial romantic storyline. Australian Egan is a hard pill to swallow for English audiences, as he plays up to every upper-crust English stereotype (check out the comically posh accent); but depending on how seriously you take the film as a whole he provides a nice amount of laughable banter with Seyfried.

This is a thoroughly predictable 105-minute fantasy-fest that will appeal  to both the young and old demographics; full of tired dialogue and plot developments that can be spotted a mile off, but just about cute enough to avoid being truly horrendous. Any small grip on reality the film had to begin with is completely lost by the ludicrously executed ending, but for a bit of innocent, guilty-pleasure viewing it’s a film that does its job nicely enough. If you want groundbreaking, thought-provoking cinema, however, you couldn’t have picked a worse film.

All good things come to an end

There is a distressingly high amount of evidence to suggest that Brothers & Sisters, perhaps the greatest televisual invention of all eternity, is coming to an end this time next year.

The episode order for Season 5 has been reduced from 22 to 18, and cast members have been chatting to a US TV magazine about being ready to say goodbye.

Rachel Griffiths, who plays Sarah, told ‘TV Guide’: ”In my negotiation, I asked, ‘does 18 mean it’s the last season?’ I would love to know. I feel like this is the last season, but I don’t know for sure.” The show’s cinematographer said ”I think it’s been a nice run, and it will be good for us to know we can wrap up everyone’s stories.”

Teasers about the fifth season include that the show will do a ‘Desperate Housewives’/'One Tree Hill’ style leap forward in time. It’ll only be a year, but it will save screentime in terms of a certain character not having to mourn another certain character (we’re trying really hard not to spoil the end of Season 4 here…). The show will also look different, as in a money-saving move the show will be changing the type of film it uses, or something. We don’t really get the tech business.

There are three episodes left to air in the UK of Season 4, and production of Season 5 begins mid-July. It’ll start airing in the Autumn in the States, and probably around January over here.

The Top 5 ‘Over The Rainbow’ exits

So Danielle has been crowned the winner of the latest BBC musical talent search Over The Rainbow, and with that another ludicrous yet thoroughly addictive series comes to its conclusion.

The hilarity of the show has by far exceeded the already OTT-nature of predecessor ‘I’d Do Anything’, with the eliminated contestants having to perform ‘Over The Rainbow’ after handing over their shoes to their sing-off opponent and riding a ridiculous glittery moon over the studio, and flying off at the end. And, as we learned when we went to see the show being filmed, the moon doesn’t actually go anywhere – there’s an awkward bring-back-down process as soon as the final credits have finished rolling.

For the eliminated Dorothys however that was an incredibly important performance; one which had to prove to watching casting directors and producers that the girls were worth a shot in the theatre. Here we take a quick look at the five most memorable farewells…

5. Jenny – Jenny’s performances flicked between amazing and average, so it was pleasing when she busted out ‘Over the Rainbow’ one last time and made it look totally effortless.

4. Steph – We were in the studio audience for Steph’s departure, and the audience’s relentless cheering when ALW decided to save Lauren was a very deserved farewell for perhaps the most rounded performer of the series. Her lovely, delicate tone proved no issue for her rendition of ‘Over the Rainbow’ as she, like every other performance she did, smashed it.

3. Emilie – OH DEAR. Emilie was a likeable girl but it was doing her more harm than good being kept in every week. And what would we have got if we paid £60 to see her in the West End? A cracked last note, on the basis of her farewell tune.

2. Amy - The glamour model was the first from the Top 11 to get the chop, and absoloutley smashed her farewell rendition of ‘Over the Rainbow’. She was by far one of the most capable singers, and yes she would have been an absurd Dorothy, but a little longer on the show to gain some more exposure would have been great for her. Her exit was the best sung by a country mile.

1. Stephanie – Considered by many to be a frontrunner, 7th-place Stephanie’s exit was the definitive shocker of the series. Her farewell ride was an emotional one, with tears forcing her to take a break, and a touching encouragement from sing-off survivor Steph to go for the power finale.

Look who’s joining ‘Desperate Housewives’ next season…

It’s been confirmed already that Mark Moses will be reprising his role as Paul Young, the widower of Mary-Alice, in the next season of Desperate Housewives; and since then it’s also been confirmed that Harriet Samson-Harris will reprise her role as Martha Huber’s sister, Felicia Tillman. The mystery, it is confirmed, will revolve around them.

But, just for banter, guess who else is coming to Wisteria Lane next year?

Vanessa Williams played Wilhelmena Slater on the now-deceased ‘Ugly Betty’ for roughly half a decade, and will be joining the cast of ‘Housewives’ next year to bring trouble to the other ladies.

Apparently she won’t really be involved in the main mystery plot, but she will be joining as a series regular – none of this ‘guest star’ business.

‘Over the Rainbow’: Week 7 analysis

Excuse the lateness of this week’s analysis – we were in the studio audience, y’see – but, without giving away who goes this week, here were our opinions:

1 (5) Sophie: Well, she did well didn’t she?! A bit of a breakthrough for Sophie – ‘Reflection’ was great, a spotless vocal again, and, for once, a believable performance. She really gave it some in her duet with Steph as well. Might be too little, too late to go the whole way; but on the basis of tonight she’s ready to fight for her place in the final.

2 (3) Danielle: We loved Danielle alot more from seven rows back than we did on the screen; an indication that she would actually be rather good in a packed theatre. We’re warming to her slowly, if only as coming to terms with the fact she’s probably likely to win. ‘When You Believe’ was a decent performance, and her and Lauren’s ‘Popular’ was just great.

3 (2) Steph: Got handed a bit of a dick song this week; while the other girls had subtly-instrumented ballads, Steph had a balls-out super-ballad with the band at full volume to contend with. She got drowned out by them a little, but still put in a great performance; and, in contrast to what the panel said, we thought she was a pretty good actress in the VT clip as well.

4 (1) Lauren: Lauren was great again this week, but the others raised their game and found her standard. ‘Heaven’ was very strong – the vulnerability was lacking a bit, but obviously the vocal was all there, as ever. Acting-wise, in her VT she was far too over-the-top; but her duet with Danielle was fantastic.

JLS sampling Julie Andrews (no, really)

‘You can be the DJ, I can be the dancefloor, you can get up on me’ is just one of the magical ground-breaking lyrics in the new JLS single, drenched in needless auto-tune and sampling… WAIT FOR IT… ‘The Sound of Music’.

‘The Club is Alive’ is the first track to be lifted from the group’s second album (that was quick!), and has been sent to radio over the past couple of days.

It certainly justifies the group’s hype alot more than their first three singles, but it’s all a bit rushed and “QUICK! CASH IN!” at the moment, with a rapidly recorded second LP already slated for release this autumn. Still, fair play – it’s bound to perform well and the fans will lap it up.