AMAs: Justin Bieber, Selena Gomez Request To Sit Next To Each Other, But Did …

23 Nov 2015 | Author: | No comments yet »

11 best moments from the AMAs.

LOS ANGELES: Hollywood singer Justin Bieber serenaded his former girlfriend Selena Gomez in a hotel bar with songs including My girl and his hit song Sorry. The AMAs honored music’s biggest stars Sunday night by giving out awards to artists like Justin Bieber, Nicki Minaj, The Weeknd, and Carrie Underwood.He appears to serenade his on/off girlfriend Selena with The Temptations’ hit My Girl as she looks on smiling, while the rest of the revellers in the bar cheer. But the real fun was when the biggest names in music took the stage to for offbeat parings (yes to Alanis and Demi!), touching tributes, and pyrotechnics.

Justin and Selena are both set to perform at the American Music Awards on Sunday (22Nov15), and fans are now speculating that the former couple could even take to the stage together to sing a duet. Bieber, who dropped his new album Purpose in mid-November, has been on an apology tour of sorts, attempting to gain back ‘beliebers’ after scandalous behaviour that included an arrest. Those who had any doubts Selena Gomez could shed her squeaky-clean Disney image with her latest album Revival, were silenced on Sunday, as Gomez delivered what might have been the sultriest performance of the night. Performing “Same Old Love,” Gomez and her team of tuxedo-clad male dancers turned Los Angeles’ Microsoft Theater into an after-hours cabaret, complete with illuminated staircase and disco balls.

I love her and I want her to be awesome, but there are things that remind me of her.” Selena told US publication Billboard that she is proud of her ex-boyfriend’s recent chart comeback, adding, “I’m proud of him… At last year’s AMAs, Gomez gave an early preview of her new music with an emotional rendition of her power ballad “The Heart Wants What It Wants.” In February, she paired up with Zedd for the joyful EDM track “I Want You to Know” before releasing her more stripped-down, sophomore solo LP Revival. The album featured a guest-spot from A$AP Rocky on single “Good for You” and a co-writing credit from Charli XCX on “Same Old Love.” Everything on TV last week retroactively fell under the shadow of what happened in Paris on Friday, which made the weekend shows feel like either a welcome escape or an act of mass commiseration. Last Week Tonight With John Oliver kicked off with the host addressing the terrorists with, “Fuck these assholes.” Saturday Night Live — coming back strong from last week’s Trump debacle — served up both remembrance and relief, with a touching bilingual nod to France.

Oddly — or appropriately — this was actually a good week for small-screen escapism, thanks to kick-ass action from a pair of effects-heavy adventure shows, some long overdue comedy from a beloved duo, and a strange trip into the thoughts of an eccentric movie star. The pop star was nowhere in sight on Sunday, but her specter loomed large: her partnership with a certain mobile company for her Anti Diary was promoted heavily throughout the night.

Twenty years after she released her groundbreaking album Jagged Little Pill, the queen of ’90s alternative rock returned to show all the younger kids how you do an awards show performance. Show creators’ return to sketch comedy. (Seriously, thank you, Netflix.) Comedians don’t get participation medals, however, and the duo’s new show, W/Bob and David, wouldn’t have been so welcome if the old gang weren’t still funny. On the same day that Bieber’s Purpose debuted at No. 1 on the Billboard 200 chart, he closed down the AMAs with a medley featuring “What Do You Mean,” “Where Are U Now?” and “Sorry.” For the finale’s own finale, rain poured from the ceiling and drenched Bieber and his backup dancers as they did the “Sorry” dance. Yes, not every single gag lands in the series’ too-brief four-episode run, but when the troupe hits on a good idea — a “no-nonsense” TV judge replaced by one who tolerates some nonsense; an anti-police harassment activist encountering a friendly cop — they perform the bit with the precision timing of an atomic clock.

Show career serves him well here, with his richer acting experience bringing more depth to sketches like the one where his “bad cop” is sensitive over what his “good cop” partner says about him to crooks. And in one of the best new sketches, the local news reports on the death of a previously unknown member of the Beatles, as a philosophical man-on-the-street wonders, “If you had an invisible third arm that was paralyzed, would you miss it?” The pairing of Odenkirk and Cross is like that metaphorical third arm.

Set in 1979, at a time when the Gipper was on the campaign trail, this week’s episode — “The Gift of the Magi” — brought him to southwest Minnesota, where he delivered a stump speech so heartfelt that it choked up the local anti-government cynic Karl Weathers (played by Nick Offerman). On some other shows, Campbell might’ve been asked to do a broad, cartoonish Ronnie; here, he’s so convincingly sincere that even lifelong Democrats may wish they could go back in time and vote for him. Fargo’s second season has been telling an intricate story about the waning days of the 1970s, musing about how hippies and down-home crime families alike were steamrolled by the promises of big-time capitalism. The show’s also been exploring the freaky side of this particular time in American history, evoking the prog-rock, UFOs, and macrame fringes of the Me Decade — all by way of explaining how a former Hollywood actor became a viable presidential candidate.

Who better then than the physically sturdy, unnervingly square Campbell to play a man who pledged to lead the country into a future meant to reflect our imaginary past? TV fight sequences have become more kinetic and visceral over the past few years — we’re looking at you, Daredevil and Strike Back — but rarely have top-quality punch-outs and slice-ups been as much of a selling-point as they are in AMC’s new postapocalyptic martial arts extravaganza.

The show has a capable lead in American-born Chinese movie star Daniel Wu, and features a suitably out-there premise, about a not-so-distant future controlled by ruthless “barons” and their sword-wielding “clippers.” But while there’s not much here that should disappoint (or, frankly, surprise) genre fans, there’s a reason why each commercial break during the series premiere was preceded by a teaser for the next round of bloodletting. That’s because the most important name in the Into the Badlands credits doesn’t belong to Wu, or even creators Alfred Gough and Miles Millar, but to fight choreographer Ku Huen Chiu, who’s previously worked on Crouching Tiger, Hidden Dragon and the Kill Bill films.

HBO gave us Going Clear, Tales of the Grim Sleeper, How to Dance in Ohio, and Kurt Cobain: Montage of Heck, while Showtime has come through with Mormon bigamist exposé Prophet’s Prey, and now this peek inside the Method actor’s mind. The latter actually has a lot in common with the Cobain film, in that it too taps the private archives of a pop-culture icon to let him tell his story in his own words. In the case of Marlon Brando, director Stevan Riley had access to caches of audio-tapes of the eloquent, thoughtful actor, who later in his career became more reclusive and more inscrutable. The doc spans the star’s career, giving as much space to his string of 1960s flops and his enthusiasm for Tahiti as he does to On the Waterfront or The Godfather.

Pretty much the only voice here is the big guy’s, which makes the movie feel like a frank, personal behind-the-scenes look at what drove an oft-mercurial man. From the scenes of a handsome-as-hell young Brando hitting on lady reporters to the tapes of him talking about civil rights and showbiz phoniness, Listen to Me Marlon captures what made this actor so difficult to those who knew him intimately, and so beloved to those who watched him raptly from afar. Season Two has required a lot more set-up, with episode after episode of new characters popping by hype up the Machiavellian alternate-Earth speedster known as “Zoom.” All of that finally paid off last week in a long visit from the ultimate rogue and some peak Flash action. Even before the Big Bad zipped over from Earth-2 to pummel our hero into near-paralysis, this was a packed episode: a jailbreak by tragic antagonist Dr. Light; a hilariously awkward Zoom-baiting ruse involving Light’s Earth-1 doppelgänger; and multiple attempts by the newly psychic Cisco to pick up “vibes” from the morally questionable scientist Harrison Wells. “Enter Zoom” sported the brightness, humor, and camaraderie that’s been setting this show apart from its much grimmer DC-derived brethren Gotham and Arrow (not to mention Marvel’s Agents of S.H.I.E.L.D).

But the episode also gave us a lingering look at a seemingly unbeatable foe, which could lead to some nerve-wracking but entertaining complications for Barry Allen and company in the months to come. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again.

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