Category Archives: Music
Victor’s Village is offering one lucky fan the opportunity to win The Hunger Games: Catching Fire Soundtrack and a movie poster featuring YOUR name!
As we’ve mentioned before, The Hunger Games: Catching Fire Soundtrack is looking pretty amazing and we can’t wait to get our hands on it! Now you can get the best of the best with this Soundtrack and Poster bundle.
Winner will receive:
- 1 CD
- 1 Double Picture disc – includes images of Katniss, Peeta, Johanna and Finnick
- 1 24”x36” movie poster
This bundle is the snazziest option out there, currently priced at $59.98!
To enter, comment on this post and tell us about your favorite artist on the soundtrack and why you love them by 9am PST on October 27th! All comments will be numbered and one lucky winner will be chosen via Random.org. The winner will be contacted via email.
Click here to pre-order the soundtrack in any of its available formats.
Best of Luck, Tributes!
We know that we love our music here at Victor’s Village, so when we saw that the soundtrack listing was FINALLY HERE, we were pretty psyched!
We thought we had an idea what the soundtrack would be like, having listened to Alexandra Patsavas’ other movie soundtracks, but this is totally different. It doesn’t have a very indie feel like the Twilight soundtracks or sappy inspirational like Grey’s Anatomy. It doesn’t have a theme, like Songs from District 12 did for The Hunger Games with its Appalachian influences.
Without further ado, zee soundtrack listing:
1. “Atlas” – Coldplay
2. “Silhouettes” – Of Monsters and Men
3. “Elastic Heart” – Sia (ft. The Weeknd & Diplo)
4. “Lean” – The National
5. “We Remain” – Christina Aguilera
6. “Devil May Cry” – The Weeknd
7. “Who We Are” – Imagine Dragons
8. “Everybody Wants To Rule The World” – Lorde
9. “Gale Song” – The Lumineers
10. “Mirror” – Ellie Goulding
11. “Capital Letter” – Patti Smith
12. “Shooting Arrows At The Sky” – Santigold
13. “Place For Us” – Mikky Ekko
14. “Lights” – Phantogram
15. “Angel On Fire” – Antony & The Johnsons
We also got a 90-second preview of the Christina Aguilera song, “We Remain”. Listen in!
We have to admit, we’re not in love with this song as we are Coldplay’s “Atlas”. Christina has got PIPES! Some of the best in the industry. But her music and singing style sound very much the same in every song she’s done recently, and this seems to be no exception. Maybe hearing more of the song will eventually do it some justice?
We are very excited about some other bits, though! Of Monsters and Men! Sia! Imagine Dragons! The Lumineers! Lorde! PATTI FUCKING SMITH! All amazing artists, all of whom bring something totally different and original to the table.
There’s also a mix of artists we admittedly don’t know, like Phantogram, Antony & The Johnsons, and The Weeknd. We just barely know The National, Santigold, and Mikky Ekko (aka Rhianna’s barely-credited collaborator on “Stay”). But we’re ready and willing to get to know their music!
What’s most interesting here is the mix of genres, there’s pop, alternative, folk, and indie music. Experimental R&B and Hip-hop featured alongside the Godmother of Punk. The Catching Fire soundtrack is not going to let us settle down into one genre and enjoy. It’ll be a rollercoaster, but hopefully the music’s arrangement on the soundtrack will allow us all to enjoy its flow.
The Lumineers Named Their Track “Gale Song” and Our Hearts Are ALREADY BROKEN,
The Girl With The Pearl
Alexandra Patsavas is a very talented, well-known music director, so we have faith that she’s going to make The Hunger Games: Catching Fire soundtrack awesome, but that doesn’t mean we’ll love everything on there.
While Coldplay seemed like a smart choice to get the soundtrack awards recognition and please a wide range of audiences, two recent revelations regarding the soundtrack have got us pretty freaked out.
First, Ed Sheeran submitted THREE songs for the Catching Fire soundtrack, all of which were rejected. While some of you may know him only as that guy touring with Taylor Swift, Ed Sheeran is a soulful singer-songwriter whose music brings the feels. There’s something so genuine and raw in his music that we think he’d be a great addition to the Catching Fire soundtrack. Given that Sheeran has pitched to Catching Fire and the Twilight series soundtracks, all of which was manned by Alexandra Patsavas, it seems she disagrees. Maybe none of the songs were up to par, maybe they were. Still, we could see his songs representing so many moments and emotions in the series and the news is disappointing, especially considering that…
Ellie Goulding let it slip that she may be featured on the Catching Fire soundtrack, though it hasn’t been confirmed:
HUH? We’re not hating on Ellie or her music, but given her typical sound and general reliance on a techno beat, we cannot picture her on the soundtrack. Unless she’s representing the Capitol. And let’s just get this out of the way now– If the soundtrack is Capitol themed, we are going to puke… and not buy the soundtrack.
Maybe she’ll pull what T. Swift did in her turn on The Hunger Games soundtrack and bust out something totally different from her usual sound. Or perhaps her song will play the same role that Kid Cudi’s “The Ruler and The Killer” did: The out of place song that everyone kinda hates at first, but then learns to love. We’ll bite our nails and worry until we know for sure.
Alexandra, you’re a professional. We trust you. I mean, people who hate Twilight still love the Twilight soundtracks (admittedly, I’m partial to New Moon’s soundtrack). Just don’t let the hype get you. Allow us to get Mother Hen on and ask you this: Just MAKE GOOD CHOICES, okay?
We Worry As If These Songs Are Actually In The Movie,
The Girl With The Pearl
Sometimes you ask for guest posts, sometimes they fall into your lap as a gift from devoted readers! The following falls in the latter category, brought to us by the ever enthusiastic mse! Enjoy!
I’m a huge Coldplay geek in addition to being an enthusiastic Tribute, and I know I’m not alone. I’m not gonna use words like ‘OMG I’m the biggest fan of the band ever’ because yeah, I don’t even have an authentic lyric sheet handwritten by Chris Martin and we all know that that’s the only sign of a true fan – well that and the ability to rotate air. Alas as it turns out you can become one now by entering this contest here, so good luck! Tell me when you learned how to ventilate so I can give you a call on a warmer than usual autumn day.
Back to our topic, as you can guess I was obviously very excited when I learned that Coldplay is going to contribute to the Catching Fire soundtrack, and was eagerly anticipating the release of the song. By that time we already had the lyrics Chris shared via Twitter and we all brushed up on our Greek mythology and knew that the title ‘Atlas’ referred to the Titan who was sentenced to literally carry the world on his shoulders. But we still needed the song itself to truly appreciate the power of that metaphor , and as it turns out, we also needed a beautifully designed lyrics video to get fully obsessed.
I know that saying that this is the most beautiful thing I’ve ever seen is a gross overreaction but guys, THIS IS THE MOST BEAUTIFUL THING THAT I’VE SEEN. EVER.
Okay, so let’s first talk about the song itself. Now, this is probably going to be a subjective opinion, but I totally had a flashback of the Coldplay’s first album, Parachutes while listening to it. For those of you who are not as obsessed with the band as the rest of us, here’s some recap:
Coldplay had 5 big studio albums out in the last 13 years, and while they all had a very Coldplay-ish sound, they also had their distinguished characteristics that made the songs on a specific album stand out and separate them from the music on any of the others.
For example A Rush Of Blood To The Head had this very clean, sleek sound with lots of piano. That album probably also has the most memorable melodies, because the songs were just simply great – the intro to Clocks is possibly the most recognizable Coldplay melody ever, even though it really is nothing special from a musical stand point (although it might make your hands pretty sore by the end if you attempt to actually play it on your piano at home, especially if you have such a horrible wrist movement like me). On the other hand, Viva la Vida or Death and All Of His Friends was this epic journey that I personally like to refer to as the “Coldplay opera” . There’s a very complex sonority to it, the songs don’t always follow a typical structure, and this is that one album that you feel like you just have to listen to from beginning to end.
Atlas however… Atlas feels like modern day Coldplay Parachutes song to me. There’s a bit of back to basic feel to it, yes, but that’s not just it. Parachutes was a very early album for the band, they didn’t use a whole lot of fancy electronic stuff back then, but there was also some naivety and some interesting dissonant melodies which you might notice in Atlas as well. Basically: Parachutes is the angsty teenager of Coldplay albums. Or at least as angsty and teenagery as Coldplay can get.
Now, I’m not saying that Atlas is a definite addition to that album, and there’s a lot of maturity and a more modern sound in this song. Actually I’d say that it’s more like a blend between Parachutes and Viva la Vida, which also had a revolutionary theme beside all the things I mentioned before. And now that I think about it, it might actually be more of a Viva la Vida song after all. But the dissonance in that piano melody gives it a sense of unrest, there’s a clear underlying anxiety – until the chorus resolves it all by promising that it’ll ‘carry your world’ and also ‘all your hurt’.
I also think that this structure, the way the song makes a translation from angsty to something more hopeful and uplifting, makes Atlas a perfect first credits song. I’m mentioning this not just because the choice of a first credits song is important in the sense that it contributes to the whole impression a movie has left on you – but because in addition to being a Coldplay geek and a Hunger Games fan I’m also someone who’s very interested in movie awards and Oscars and all that jazz.
Of course you might ask now, what does this all has to do with the Oscars? Here’s the thing: some of the most prestigious film award ceremonies have a category called “Original Song” to them, however the definition of what can be considered part of that is kind of fuzzy. The Globes are more flexible with all this as you can expect, however the Oscars have this crazy rule that only songs that were playing during the movie or as a first credit song can contend. RUDE! That means if I put 51 songs at the end of my movie only one of those will be considered. Pfft! (This is also the reason why Safe & Sound was never going to get an Original Song nomination at the Oscars, in case you didn’t know.)
So yep, Atlas being the first credits song and the song of a universally well-liked popular band and this being their first ever contribution to a movie’s soundtrack increases the chances for an Academy Award shout out about 500%.
“But… why do we always have to bring up the Oscars?” I’m sorry, but this is what happens when your lead actor is an effing double Oscar nominee and a fresh Best Actress winner. People are probably gonna talk about the movie’s Oscar chances in costumes and hair and make-up and visuals and music and all that as we approach award season, so get used to it. And wouldn’t it be just plain cool to read the words “Nominated for X Oscars” on Catching Fire’s IMDb page? Don’t lie to me, you wanna see that just as much as I do.
Before I’d finish this up, we need to talk about that lyrics video though. Because that is just abso-freaking-lutely STUNNING. That’s not just a lyrics video guys, that qualifies as an actual music video if you ask me, and those animations… Wow. It’s simple but effective, and the whole constellation concept is really clever, because obviously there’s no cooler archery symbol than the Sagittarius itself, but it also gives off a sort of mythologic vibe which is obviously a reference to the lyrics themselves and the inspiration behind them.
I also spent a lot of time thinking about the meaning behind the 7 lines that start off and finish the video, and I’m kind of convinced that it refers to the 7 members of Peeta and Katniss’ alliance: Finnick, Mags, Beetee, Wiress, Johanna and Katniss and Peeta themselves. Of course that doesn’t include people like Woof or even the morphlings who were obviously supposed to have been part of that alliance but I stand by my theory.
Now excuse me, but I gotta get back to listening to this song for the 1002th time,
Catching Fire has been trending on the World Wide Twitter trends board off and on all day, and it’s all due to a few things that happened today. If you’ve been at work all day, Smartphone in a drawer, or no access to the Internet at all, The Hunger Games Explorer broke loose like an Easter egg, releasing a whole bunch of goodies on us.
1st we got the news, with links, to the first single off The Hunger Games: Catching Fire soundtrack, yep– the already much teased to “Atlas” by the British band Coldplay. There’s even a handy-dandy contest for the lyrics sheet that the head songwriter, and band leader of Coldplay hand wrote, in the mix. So, if you’re a sucker for Coldplay, or contemporary music memorabilia, I suggest you follow the rules, and try your best to get that piece of paper. You probably know the deal by now, but participating involves having a Twitter account, and the copious use of the hashtag #TickTock12. And now I must share the unfortunate place my brain goes when ever I hear the phrase, or read the phrase, “tick tock…” Click now, or forever hold your peace. You’re about to lose your minds.
2nd, up we had the preemptive news, or better yet, information, that those of us who are the thinking-ahead types, will have the option to pre-order their tickets to finally see The Hunger Games: Catching Fire. Yeah, it’s not exactly a chocolate covered treat, but sometimes practicality has it’s place, especially if you’re one of the people who will be
traveling a far distance to see the film. I say that because I know of several parties who are traveling super super far to see the film with friends, and I mean crossing oceans kind of far. Any who, October the 1st, tickets will be available for pre-order. Have your credit and debit cards at the ready you saucy minxes.
Third, yep… there was a third. It’s like Chanukkah, I know! Where are my peanuts, and my set of crappy pens? Finally some stills of all of the principle cast, and most of the supporting cast as well. They include the likes of Beetee (Jeffrey Wright, who you can catch on Boardwalk Empire within the next few weeks), Enobaria, a knife wielding Gloss, his cunning looking sister Cashmere also wielding a knife, a hard faced Brutus, and in contrast a brightly smiling Mags, and of course– a snarky faced Finnick, dimples dimpling. All the usual suspects were included in the run down, yep even a purple belted Plutarch. But, alas again no Woof– but do you really think Woof would make the cut? His name is Woof? Whatever, we got twenty stills to fawn over like idiots!
Stay frosty, there are eleven other eggs to be cracked open! Bring on #TickTock11.
Them There Eyes
The musical stylings of The Hunger Games: Catching Fire are almost upon us! Well, one song, at least!
On August 26, the first song on the soundtrack will be released: “Atlas” by Coldplay.
Our first thought was “Hmmm… Coldplay.” That’s usually how we think of the band. We find their songs agreeable, don’t change their station when they come on, and we might even sing along a bit. We don’t know of they’re quite the musical revolutionaries that they’re sometimes heralded to be, but they’ve got a unique take on pop.
The lyrics for the song were tweeted out the lyrics to the song shortly after the announcement. Lyrics in mind, “Atlas” is referring to the disgraced Titan from Greek mythology who carries the weight of the world on his shoulders, used in comparison to the emotional weight Katniss carries after realizing that she’s become a symbol of the rebellion. The lyrics are pretty simple, but poignant. We’re seeing it as a supporting character offering Katniss not only a political but emotional alliance.
What does this say for the soundtrack? T. Bone Burnett created Songs From District 12 for the first film with a very Appalachian feel that thrilled fansites. But Toto, we are NOT in District 12 anymore! Alexandra Patsavas seems to go for more of an electric, overall feel for her movie soundtracks other than a specific theme. We may scratch the surface of District 12, but if we’re starting off with a band that has a sound that can’t quite be pinned down, we imagine this soundtrack will take us allllll around Panem!
“Safe and Sound”, the first single off The Hunger Games soundtrack, was the first time in a while that we weren’t disappointed in Taylor Swift (and we’ve pretty much been ever since), so we’re curious to see how “Atlas” compares.
Can We Call Coldplay Fans Cold Playas? Please?
The Girl With The Pearl
Sometimes it takes 88 years for something great to finally come out of something equally as great. Broad words, I know– but here I am continuing my series on book to film adaptations, and I’m coming back with a biggie. The Great Gatsby was published 88 years ago, April 10th, 1925. To date there have been six film adaptations made from F. Scott Fitzgerald’s novel, and as of now I’ve seen three of them; Jack Clayton’s from 1974, Robert Markowitz’s from 2000, and now Baz Lurhman’s from this year.
I read The Great Gatsby for the first time when I was 13 years-old, it was an assigned book my 8th grade year, and I’d never heard of it before I was handed a copy one innocuous day back in the ’90s. We had a whole unit centered around that novel, or perhaps I did a self appointed unit centered around it, because after reading it I did biographical project on Fitzgerald’s wife Zelda Sayre, the inspiration behind the female lead in Gatsby, Daisy Buchanan. So, I think I can say with authority that I immersed my self in that world pretty much in a drenching all consuming fashion, meaning when I see film adaptations of the world that Fitzgerald interpreted, and created– I take it damn seriously. Sadly with each adaptation I’ve seen up until now, there have been screaming missteps. To me without any qualms, I have this to say about Clayton’s 1974 version, and Markowitz’s 2000 version, they were boring ass boring films, which as a Fitzgerald fan, and a film fan, disappointed me, and pissed me off. What I’ve been craving, yearning for for over almost 20 years where it comes to an audio visual interpretation of this novel for me, has finally came true. I’m going to say it loud, and proud right now– Baz Lurhman’s adaptation of The Great Gatsby is the only adaptation in my eyes, in my heart, in my book loving, film obsessed head– who has finally got Fitzgerald’s story onto film with the right mix of reverence, respect, artistic flair, daring, and theatricality.
See, what’s always been missing for me from the other Gatsby versions, was a vision of the story that wasn’t afraid of taking chances, or going a little crazy, and quite possibly, or frankly, but in a wholly respectful manner, forgetting that they were adapting one of the greatest novels every written– into a film. Markowitz’s and Clayton’s versions like I said
were boring, and to be even more blunt, felt like I was watching someone’s sepia toned memories being put through the filter of a tortoise. They were both afraid of taking this violent, romantic, colorful, and rich story, and making it violet, colorful, and rich. Sure, they got the romance down, that’s why they used muted tones, or seemingly filtered every scene that Daisy was in with a sheen of mist, or whatever, but it didn’t work for me, it didn’t grab me, didn’t shake me, didn’t move me to feel anything except a lack of interest, and a painful need to imagine I had to go to the bathroom so I could leave the room for a few minutes. Lurhman’s style doesn’t allow you to think about your bladder! Lurhman’s style grabs you by the eye balls, the ears, and the heart stings by using color schemes, and musical scores that are modern and classic all at the same time. He uses film stock, and shooting techniques that don’t allow you to get bored, because he changes angles, and speed, and filters, and elements like water, water’s a favorite of his, and jars you, and pleases you to the point where you’re immersed, just like if you were sucked into a novel for the 1st time, rather than watching a history being told at a plotted, and measurable pace.
Maybe I should have stated this before hand, but I’m an old school Baz Lurhman fan going all the way back to 1992 when he released his first feature film, Strictly Ballroom. Also, I snuck out of a life drawing course I was taking in 1996 to go see his Romeo & Juliet, yep– said I had a doctors appointment, which I did, the doctor just happened to be William Shakespeare, who had an 8th grade education and a fire in his britches. Lurhman has a style, it’s loud, it’s brash, it’s dramatic, and it’s theatrical, and it’s an acquired taste
unfortunately. For me Lurhman’s films are like watching where directors like Busby Berkeley and Vincente Minnelli left off, in fact I’ll make the educated guess right now, that those two men greatly influenced Lurhman’s own style. I have a point in bringing this all up, Lurhman’s style isn’t a style that your typical literary type is going to appreciate, because literature for so many people is quiet, is peaceful, is private. But Lurhman came from a theatrical background, or better yet an opera background, where quiet, peaceful, and private doesn’t go over that well, because you have to get the person in the back of the room to believe they’re getting their money’s worth, along with the people with the box seats right above the stage. So, when I see people ragging on Lurhman’s Gatsby by saying “it would have been better if he’d read the book.” I sit back and go, “oh, honey– he’s a theatre geek, he probably has the book memorized, and does each character with a different voice at the dinner table.”
It also helps that Leo looks really good in a three-piece suit. Who wants to come over and watch Scott and Fran on VHS!?
Them There Eyes
Not too long ago our quirky Miss Jennifer Lawrence hosted the illustrious Saturday Night Live, which I’m sure everyone has seen by now, or at least clips of, downloaded a torrent– I don’t care, just watch it somehow. Anyway, she hosted, and she did a bang up job, which is a good thing! That being said, I think the highlight for me other than seeing Jen pretend to be a dog, and the most evil waitress ever, was seeing The Lumineers performing. I know, I know, they have nothing to do with Jen, and she probably only spoke to them briefly in real life, but I’m a Lumineers fan, and I was over the moon that they passed the live TV test, in other words, for me if a band I like sounds as good as or better on TV than they do on their record– I will consider shelling out money to see them live in concert. Lumineers passed with flying colors! Y’know who didn’t? Fun. Sorry Fun. but you were pitchy, and then you canceled a bunch of dates, including the one in my city, sorta made me glad I didn’t jump on buying tickets to see you, all’s I’m sayin’.
Back to Lumineers! Several weeks ago when the announcement was made that Jen was hosting SNL, I posted this article. And in this article I said that I thought The Lumineers would be a good candidate for Soundtrack 2.0. That belief has only gotten stronger over time, and was ceremoniously solidified in my heart after seeing them as the musical guest on SNL. I’m sorry, guys– but they need to be part of this project, ’cause they’re freakin’ perfect! They’re folky, they’re soulful, they’re like Mumford and Sons and The Civil Wars had a baby, and the baby moved to Colorado, and met a cello player on Craigslist! I can’t even pick a favorite song of theirs, but just know this– all their songs on their debut album are good, and I can only hope that their second will be just as good or better. So, you’ll hear it here for the second time!
Lumineers for soundtrack 2.0! If only we knew who the music supervisor was.
Earlier this week some sad news was quietly released. T Bone Burnett is retiring as a music producer, and therefore he is not coming back to produce the soundtrack to The Hunger Games: Catching Fire, otherwise known as Soundtrack 2.0. Well, here it’s known as that anyway. I’m sad, and I hope I’m not alone in feeling that way, because while Mr. Burnett is in no way leaving the music industry, the fact that he will no longer be guiding musicians and performers in the same manner anymore, it’s just sad– okay? Hate to say it, ’cause it’s completely clichéd, but we’re not strangers to using those on this site, but– it’s the end of an era. Burnett, if you don’t know already, is an executive producer on the ABC drama Nashville, and that’s taking up pretty much all of his time, and energy as of late. I can’t fault a man for finding a new passion, and it’s also endearing to know that Nashville is a joint project with his wife, which kind of brings a smile to my face. Sorry, married couples who can stay married, and work together, I think they’re pretty special. The questions crashing around my head now, after I stop smiling over how functional Burnett’s relationship with his wife is, is who’s going to take over as the music supervisor/ soundtrack producer on Catching Fire, and is there even going to still be a companion album and/or soundtrack? I’m not a big soundtrack connoisseur, but taking the reigns from someone like T Bone Burnett is probably going to be a head trip for whom ever has the tenacity to take the gig. I can think of only a handful of people who might be able to do the job, and one of them I really hope isn’t being considered.
That person is Alexandra Patsavas, AKA the lady who produced all the soundtracks for The Twilight Saga, The OC, Grey’s Anatomy, as well as the new Nick Hoult film, Warm Bodies. I’m not saying she’s not good at her job, but I seriously fear that if she takes over for T Bone Burnett, the soundtrack will be balls to the walls super feel-y breathy voiced men and women, and pop bands who use too many lasers in their live shows. Also, I really truly believe that severing The Hunger Games franchise from anything and all things Twilight related is a good thing. Burnett already set a tone with Songs From District 12 and Beyond, and I don’t think messing with the formula is a grand idea. Not saying that branching out isn’t a good idea, but– yeah, I have trepidations. Here’s an even sadder tid-bit, all the best soundtracks that I can think of that have come out within the last decade or more– they were produced, or compiled by the director of the films, or the people who produced the albums have moved on. Those soundtracks include Garden State (Zach Braff), Juno (Jason Reitman) Reality Bites, Pump Up The Volume, Trainspotting, and even Romeo & Juliet from 1996, which I believe was also produced by Baz Lurhmann the director, and had two soundtracks. My take on this unexpected new direction this hopeful soundtrack is going to have to take is this, perhaps they should find a record producer who produces singular records for bands and artists, not a compiler of existing music– who then gets one or two songs written or sub-let for a film’s soundtrack.
I have no idea where this project is going, and not knowing is seemingly the default setting here in Hunger Games fan-world.
Them There Eyes
Last year, or maybe a little more than a year — or less — I can’t recall (time is my enemy), I was on an episode of The Hunger Games Fireside Chat, and every panelist was asked what they hoped would happen in promotion for The Hunger Games? I said I hoped that Jennifer Lawrence would host Saturday Night Live either before or after The Hunger Games premiered, and in promotion for it. Well, that didn’t happen, but tonight it was announced that Jennifer will be hosting SNL January 19th, 2013, unless of course the world ends. So, yeah… she’s totally hosting in promotion for Silver Linings Playbook, and not only that but the musical guest is none other than The Lumineers, and if you’ve been paying attention you should know that The Lumineers is Josh Hutcherson’s (Peeta), new favorite thing. My guess is not only will Jen be hosting (yes, we’re on a nick-name basis in my head), but Josh will be backstage fan-boying it up whilst also being a supportive friend to his future fake fiancée. Perhaps if we’re lucky the writers on the show will take advantage of having “Katniss Everdeen” there, and write a ridiculous Hunger Games themed sketch. If not that, could they please get Bradley Cooper to just walk on, and stand there– that would make my night. Better yet, have a sketch where magically Josh Hutcherson AND Bradley Cooper are there, and they’re fighting over Jennifer’s on screen love and affection– in a dance-off.
Come to think of it, it’s sort of a god-send that Jennifer’s schedule freed up in January, ’cause only a matter of weeks ago news broke that the next X-Men film filming date was pushed back to April (Jen’s part of the cast of X-Men), when it had been stated numerous times that it was happening in January. Can I just say, kismet!? Without X-Men being pushed back, Jennifer would not have been available for this fantastic opportunity, which frankly is something she was born to take on. I mean, have you seen this girl in interviews, she’s a natural at comedy! Too many exclamation points are happening here, but I think it also has to be said that it feels very cosmic that she’s going to be hosting this program that’s seemingly reserved for highly acclaimed, and hopefuls for the awards season. She’s winning something this coming year, but to us– I think she’s already won. Speaking of cosmic, as I write this article I’m listening to The Lumineers, and I without any qualms think they’re more than perfect for Soundtrack 2.0. So, T-Bone Burnett, if you’re paying attention, and you’re magically on for producing Soundtrack 2.0, The Lumineers is a name you should keep in the forefront of your mind.
Take a listen, you might start to fan-out just like Mr. Hutcherson, I know I’m getting there.
Them There Eyes