Carrie Underwood Gushes About Her ”Happy” Baby Boy, Reveals His New Milestone …

23 Nov 2015 | Author: | No comments yet »

Carrie Underwood Delivers Enchanting Performance Of ‘Heartbeat’ At The 2015 AMAs.

Carrie Underwood performed her song “Heartbeat” during the broadcast of the 2015 American Music Awards. Underwood’s performance of the next single from her album Storyteller coincides with the Top 5 status of her current single “Smoke Break.” A nominee for Favorite Female Artist — Country, Underwood’s performance of the romantic ballad had her surrounded by flickering candlelight and shrouded in smoke. Her red gown had an extended trailer that didn’t allow for much movement, but the video screens behind her kept a barrage of visuals coming, freeing her up to focus on the performance. The current Queen of Country Music gave a show-stopping performance of her new ballad, “Heartbeat,” at the Microsoft Theater in Los Angeles on Nov. 22 and blew everyone away — even those who may not be the biggest country fans! Within the past week he’s really gotten great at it and he’s pulling up on everything and walking around the coffee table,” the “See You Again” singer shared when asked about her child’s latest milestone. “You have to move anything he could fall on.” During Sunday’s show, Underwood will belt out her latest single titled “Heartbeat.” During rehearsals, the blond beauty practiced a mere four times.

Talk about a pro! “He’s such a happy baby and so even when things aren’t that great…like if he is not feeling well or he’s kind of fussy or even the little stupid things that happen, you know, he spits up or something, I have to change my clothes, it’s all okay because that smile is—it just melts me,” she shared with a giant grin on her face. 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.

While Carrie’s performance was completely incredible, we certainly weren’t surprised to see the country superstar rock the stage the way she did — even knowing that millions of people were watching! 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.

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. 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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