Larry Crowne Movie Review

Playtone/Alliance's Larry Crowne, written, directed by Tom Hanks and starring Tom Hanks and Julia Roberts, is the worst kind of vanity film. 1/5

I pride myself on seeing a feature film in its entirety, no matter how dire. But, after watching 30 minutes of Playtone/Alliance's Larry Crowne - written, directed by and starring Tom Hanks - those exits were looking mighty tempting.

A middle-aged fantasy about an older man going back to college, it's a vanity project that wastes the talents of everyone involved.

Tom Hanks Stars in and Directs Larry Crowne, Starring Julia Roberts, George Takei and Pam Grier
When box store employee Larry Crowne (Tom Hanks) gets summoned for a chat with Management, he thinks he's gonna be Employee of the Month for the ninth time. Instead, his smarmy bosses hand him a pink slip. The reason? Larry doesn't have a college education.

Thinking a degree will make him fire-proof (oh, the naivete!), Larry enrolls in the nearest community college. He makes friends with a groovy coed (Gugu Mbatha-Raw) who gets him into her wild-n'-crazy moped gang and outfits him with a funky new wardrobe - if those are thrift store clothes, I'm Karl Lagerfeld. In addition, Larry catches the eye of one of his teachers (Julia Roberts). Much attempted comedy and life lessons ensue.

This movie is the worst kind of middle-aged wish-fulfillment fantasy. Scripter Tom Hanks - along with Nia Vardalos (My Big Fat Greek Wedding) - has written the central character as a Mary-Sue* who seemingly has no flaws. His best friend (Cedric the Entertainer) is black! Kids think Larry's cool! The hunky young stud (Wilmer Valderrama) is scared he might steal his girlfriend! His hot teacher has the hots for him!

Speaking of the hot teacher, Roberts plays her character as a bitter, alcoholic shrew who, if this was real life, would send any potential romantic partner running for the hills. However - since she's played by Julia Roberts - we're supposed to think she's adorable. And yes, she also has a black best friend (Pam Grier). However, there's no way Roberts can make this character appealing and her romantic scenes have zero chemistry. Why Hanks' real-life spouse Rita Wilson (who plays a bank employee) wasn't cast in that role is a mystery. Then again, the entire cast struggles. Even George Takei can't score laughs with his pompous Economics teacher character.

Anything else? Anyone who has ever gone to college or university will immediately call bogus on half the script: whether it's Roberts' willingness to risk her career by snogging a student or the classroom shenanigans, most of which would never fly in any real college.

Larry Crowne a Waste of Time and Talent

From Philadelphia to Toy Story 3, Tom Hanks has earned his reputation as one of Hollywood's greatest actors. However, it's clear his talents don't extend to the camera or the script desk. Let other people write your dialogue, Tom: your career will thank you.

Larry Crowne gets a 1/5.

*FYI: "Mary-Sue" is a literary term for a character in a book or movie who is an idealized version of the author. Classic example: Twilight's Bella Swan is a Mary-Sue of author Stephenie Meyer.

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The Trip Movie Review

Condensed from the BBC-2 TV series, Michael Winterbottom's The Trip features brilliant improvisation between his stars Steve Coogan and Rob Brydon. 4.5/5

The late film critic Gene Siskel once said the litmus test for any film was whether it was more entertaining than watching the cast sit around a table chatting.

The Trip, starring Steve Coogan and Rob Brydon, actually features its stars sitting around a table chatting. The Michael Winterbottom film - edited from the BBC 2 mini-series - follows these two gents as they eat, drink and try not to kill each other across the north of England. And yes, it's very entertaining.

Michael Winterbottom Directs Steve Coogan and Rob Brydon in BBC/Alliance's The Trip

When famous actor/comedian Steve Coogan (Steve Coogan) is asked by The Observer to go on a restaurant tour of Northern England, he sees it as a chance to have a paid vacation with his foodie girlfriend Mischa (Margo Stilley). But when Mischa backs out, saying their relationship needs a break, he's forced to bring his best pal, fellow comedian Rob Brydon (Rob Brydon), along.

Packed into a Range Rover (Range Rover), these two seeming best friends wine, dine, bicker and try to one-up one another through countless high-class restaurants and inns throughout England.

Fans of Michael Winterbottom will swiftly recognize that The Trip is an extension of his 2006 film Tristram Shandy: A Cock and Bull Story. Brydon and Coogan played thinly fictionalized versions of themselves in that film, and they do the same here. Coogan is the freewheeling bastard, desperate to become a big Hollywood star but realizing that life is passing him by ("I've been 41 for three years now!" he tells his agent) even as he seduces a string of barmaids, waitresses and hotel clerks. Brydon is more grounded: less ambitious but happy with his wife and infant daughter. Coogan mocks Brydon's seeming lack of ambition and his success with his 'Small Man in a Box' joke, but is secretly jealous of his friend.

Much of their dialogue is improvised, whether it's competing celebrity impressions (Michael Caine, Woody Allen and Christoph Waltz get spoofed a lot) or trying to undermine and one-up each other in front of friends, associates and even Coogan's parents.

This film could have been the worst kind of vanity project but Winterbottom, Brydon and Coogan are smart enough to keep things rolling along. Their improvised riffing is hilarious and there's enough drama and moments of quiet contemplation to keep things interesting. Be aware that this film is very British: if you have absolutely no bloody clue who Richard Hammond is, then the humour will sail over your head.

The Trip is a Fun Ride

Some will argue that the six-episode BBC-2 series is a lot more interesting and delves more into these characters' personalities than the movie. But if you haven't seen the mini-series you won't notice anything missing. The Trip gets a 4.5/5.

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Stargate Universe - Justice

Stargate Universe is the latest part of the Stargate franchise, developed by MGM with producers Robert C. Cooper and Brad Wright. Series ran 2009-2011.
Life was a deeper look at the day to day life of the crew, looking particularly at Camile (Ming-Na), who seemed fairly stable until she visited home and revealed her vulnerability. Scott (Brian J. Smith) discovered he had a son, whom he assumed had been aborted before birth. Young (Louis Ferreira) had a lot of stress as he had to cope with Rush’s (Robert Carlyle) deceit, the day to day running of the ship and the knowledge that Telford (Lou Diamond Philips) was paying friendly visits to his wife. Spencer (Josh Blacker), who has always been a negative presence in the background, was focused on more in Life, which links into Justice.


Justice begins with the death of Spencer; the most abrasive member of the crew is found dead in his quarters with a bullet in his head when he doesn’t turn up for duty. Suicide was discussed, however the absence of a gun lead to the conclusion that there was a murderer on board.

Rush is less than surprised due to Spencer’s confrontational behaviour and the fact that he hoarded supplies, and those present agree that he had no friends to speak of. Young launches an investigated, using a group including Eli (David Blue) and Scott as they were playing cards and couldn’t have committed the murder. They begin a room by room search, which causes friction with some of the crew. Eli and Scott are shocked when they find the missing gun hidden in Young’s room, neither one wanting to believe he had anything to do with it.

Despite Scott’s objections, Young orders the younger officer to take the gun to Camile and tell her where he found it. He insists on the investigation going ahead with him as the main suspect until he is proven innocent. Camile contacts the IOA through the communication stones and it is decided that a hearing should be called. Young asks Chloe (Elyse Levesque) to be his defence.

Many people are called to the stand, including Franklin (Mark Burgess), who admitted that Young defended him from Spencer. Rush is also put on the stand, where he admits Young had spoken to him about Spencer’s disruptive behaviour, and agreed that Spencer had been lowering morale. It is revealed by TJ (Alaina Huffman) that Spencer was taking pills, suggesting he had withdrawals, which could have led to suicide. Only the absence of the gun suggests murder, but they do not have the facilities to really find out what really happened.

Whether Young is guilty or not is almost put to the vote, until Camile and Young agree that if Young steps down and puts Camile in charge then they will close the case as unsolved. Once in charge Camile gives Rush control of his science team, meaning he can study the chair at his leisure. Rush tempts his team into work by suggesting that the chair may be able to help them control the ship, and possibly return to Earth. Tragedy strikes, as Young knew it would, when Franklin sits in the chair without authorisation, hoping to further Rush’s work. Franklin is left in a coma.

In the meantime, Scott and Eli continue going over Kino footage, hoping to prove Young’s innocence so that he can re-take command of the ship. Eli discovers that some footage has been deleted, which shows Spencer talking to the Kino before shooting himself. Young accompanies Rush to the planet, where the scientist sets to work studying what he can of the ship. Young stays with Rush for an extra few minutes, where Rush admits that he discovered Spencer’s suicide and planted the gun in Young’s quarters. After a heated confrontation only one returns to the ship.

Review

This episode gives viewer a closer look at Rush’s dark side as he sets Young up for Spencer’s murder in order to gain control of his science team, intending to study the chair without Young’s limitations. The situation is cleverly handled as Rush never leaves any clear evidence of his intentions; he never ordered Franklin to sit in that chair, though Young suggest that he knew Franklin was so close to breaking point that he would, just so that they could get home.

Robert Carlyle plays his part as both unassuming scientist and villain very well; until it is revealed, viewers can only guess that Rush was the guilty party as it is never made clear, and Rush speaks on Young’s behalf at various points. Ming-Na shows Camile’s ability to manipulate proceedings during the trial, as well as her limited leadership skills, making it clear that she is not as secure in the role as Young. She easily bends to Rush’s will. David Blue shows Eli as he grapples with his own feelings about Young, beginning to have doubts about the man for the first time.

Louis Ferreira shows Young’s integrity as he handles his own situation as prime suspect for a murder, refusing to remain in command while his innocence is in question. We also see that without command Young is of little use, seen idle in his quarters for the first time as the work has been handed over to Camile. We also see a darker side of him during his confrontation with Rush at the end of the episode.

In this episode we are shown a new planet, where the gate has been deposited in a deep canyon on a desert world. In the canyon an alien ship is also found, a small craft that seems abandoned, though the inside is not revealed as Rush has trouble with the door and remains with Young to open it.

This episode signals the first sign intelligent life, something many fans were impatient for since the series has so far focused on the characters and their situation. Personally, I believe that this focus on characters was an important factor since without knowing the characters it is difficult to relate to them, and without seeing them dealing with their new situation the emotional impact would have been lost. In my opinion this was the right time to introduce new life, since we have gotten to know the characters and future episodes would begin to stagnate without a new outside influence

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Review of the movie 'Midnight in Paris'

'Midnight in Paris' is the quintessential Woody Allen movie. It is a light, witty, humorous movie with a stream of intellect running just below the surface

Everyone should experience Midnight in Paris.
See the City of Light shimmering in the night against a darkened sky.
See the City of Love with the amorous walking hand in hand down Parisian avenues.
See Paris in springtime when life renews and the rains wash away winter’s grime.
See Midnight in Paris, Woody Allen’s latest movie starring Owen Wilson. It is a love letter to France’s capital, a love letter to the hopeless romantic, a meditation on the timelessness of the city, a celebration of eternal art, music, literature and the human intellect and soul.

Touring Paris

The movie follows a young American couple, Gil (Wilson) and Inez (Rachel McAdams) as they explore Paris together. Recently engaged, they struggle to come to an understanding on how their life together is going to unfold. It is a struggle illuminated and exasperated by how each would like to experience the city.
Inez is drawn to the opulence and wealth of Paris. She is the ultimate tourist, there to take in the sights and collect her treasures. The city is just a pit stop in her life, another story to impress her friends, a check mark on her bucket list.

Gil is there to take it all in and collect stories as well, except he wants to ingest it all. He wants to contemplate Monet and Picasso, sway to Parisian street music, and draw inspiration from literature. Gil is a romantic in love with Paris, harboring dreams of becoming an expat and writing the next great novel.

Experiencing Paris

A schism in their relationship develops as the two halves of the couple begin exploring Paris separately.
Inez spends her time with her parents who are in France on a business trip. She meets up with her supposed intellectual friends who are gratified in espousing all they think they know rather than learning about what they may not understand.
Gil delves deep into the city’s past. He forms a connection with Paris of the 1920s, when literary luminaries Earnest Hemmingway, F. Scott and Zelda Fitzgerald, and Gertrude Stein called the city home. Gil swings to the sounds of the Jazz Age, a time when Cole Porter inhabited Paris, entertaining his literary friends. Gil cannot get over the surreal experience of being in the city of Salvador Dali and Luis Bunuel.
The dichotomy between Inez and Gil becomes so extreme the question of what they ever saw in each other becomes quite prominent. But the attraction remains evident, if fading, in Midnight in Paris.

Inhabiting Paris

It remains, because no matter how loathsome Inez’ character was written by Allen, McAdams is able to impart a tinge of charm in the character as a reminder of what ensnared Gil in the first place.
It remains, because Gil is a neurotic ball of nerves, dreaming of greatness but unable to escape the pull of his established life. In Wilson, Allen has found a kindred actor. Wilson is the man Allen has played for years, the man Allen is finally to old to play.
Midnight in Paris as a whole works because of the fantastic cast. Kathy Bates, Adrien Brody, and the captivating Marion Cotillard each take turns stealing scenes from the movie’s stars.
It works because it is the quintessential Woody Allen movie. It is a light, witty, humorous movie with a stream of intellect running just below the surface.
It is a movie for romantics.
It is a movie for travelers.
It is a movie for readers, artists, dancers, and musicians.
Midnight in Paris is a movie for anyone with a love of life.

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Actor Demian Bichir Discusses His New Film – A Better Life

Best known as the charming druglord and politician on Showtime's Weeds, the Mexican superstar talks about his leading role in the upcoming dramatic feature.

In the touching dramatic feature A Better Life, Demián Bichir delivers an amazing Oscar-worthy performance as Carlos, a hard-working gardener and illegal immigrant, whose endeavors to give his American-born teenaged son a brighter future are met with tragic consequences. The film was directed by the Oscar-nominated director of About A Boy, Chris Weitz.
During his recent promotional tour for the film in Miami, I had the opportunity to sit down with the very handsome, yet modest actor Mexican Demián Bichir, and discuss the soon to be released drama, including how he executed some of the film’s many emotionally powerful scenes.

Q: Tell us about your character.

Demián Bichir: My character a strong man, who works very hard in a very decent and honorable way to overcome any obstacles, in order to give his son a better life. Because he’s an undocumented worker, he needs to transit through life in a very discreet way, with an almost a low key type of personality trying to be almost invisible.

Q: How did you get involved with this film?

Demián Bichir: I met Chris Weitz almost two years ago, when he wanted to meet me for his vampire movie, New Moon. But, when I was called in to audition, he began talking to me about this gardener, and I didn’t understand. So, I said, “is this a gardener or a vampire role?”

No, it was another film [A Better Life], a great film, but they didn’t have a script yet. They sent it to me over a year later, and I fell in love with it instantly.

Q: How did you prepare for your character?

Demián Bichir: You have to go through a lot of work always for any character.

Whenever you step into a new project and character there’s a lot of work involved.

I always hope that I have enough time to do so, because sometimes films move very, very fast. But, I was able to have some time to put on weight. Chris and I decided that I had to add about 20-25 pounds. And, then, of course, learning everything about gardening and climbing up tall palms trees.

Then there is the emotional aspects of the character that was very, very hard to understand; to portray.

Core to the story is the father and son relationship as well as their generational divide.

Q: How did you and Jose Julian, who makes his feature film acting debut playing your son Luis, create your bond?

Demián Bichir: It was instant. We got along very well from day one. José Julián is the rare case of a new actor doing his first feature with such grace and talent, and savvy. He’s so smart, disciplined and professional. It was like seeing an old actor in action. He’s always ready to learn; he’s like a sponge.

We spent a lot of time together, before shooting and during rehearsals, even. We spent long conversations with Chris, talking about our characters and their relationship. Then, during production, we a lot of spent time together; we had breakfast, lunch and dinner, as much as we could.

And, we’re still friends.

Q: So, it must have been hard after the film was over with, then?

Demián Bichir: He tells a story about the film. At the end of the film at the detention center, he was a little bit nervous, because it was a very emotional scene, and it was very hard [for him] to get into it. And then, he was also having problems to fully, deeply concentrate.

So I talked to him, I told him, you know, I don’t know if you realize this, but we are not going to see each other again. He broke down. He looked at me, like are you serious?! When this is over, I’m going away from your life, and that’s it, alright? That was very hard for him, because we had become very good friends. Even now, as I tell this story, I’m getting goose bumps,

Now, he tells this story about what I did and how it worked; it helped to bring him into the mood.

The emotional impact of this film comes greatly from your strong Oscar-worthy portrayal of Carlos. In a particular scene, occurring at the detention center, a fellow detainee had just swiped your phone calling card, and without any dialogue, you were able to convey your desperation in your face alone, and win the sympathy of the hoodlum.

Q: How did you prepare for that scene?

Demián Bichir: It’s so important that you mention this scene. We didn’t want to say one word. We did want to go into any violence. This card means his passport to probably talk to his son for the last time. So don’t even try.

It’s not that you prepare that specific part, but for the whole ride. When you work, you ready to go into a really crazy journey.

At that point, for when that particular scene comes, I was intentionally having less hours of sleep, on my own, so I could have puffier eyes, and look really tried and desperate and sad. So that’s what you can do physically to help achieve that.

Q: Why was this story important to make as a film?

Demián Bichir: First of all it’s a good script regardless of the matter, or issue. Second, because it deeply touches your heart, and opens your mind. If you’re an Hispanic, an immigrant or undocumented worker in this country, it’s going to be very close to you. But, if you are Anglo, if you don’t speak Spanish, if you’ve never had to leave your country to have a better life, you will be touched as well.

And, if you don’t understand, in a clear way, what the immigration problem is about, you will, when you see this film.

Q: Is your character, the handsome & charming druglord-slash-politician, Esteban, returning to Showtime’s Weeds this season?

Demián Bichir: They just showed the episode last night, and they killed Esteban in jail. There are rallies all over the world asking for Esteban to come back to life, from the dead!

Q: What other projects do you have in the works?

Demián Bichir: I planning soon to go back to Mexico to do a play, Swimming with Sharks based on the film done by Kevin Spacey twelve years ago. It’s the theater version. I haven’t done a play in Mexico for over five years, although I have in Los Angeles. Before that, in July, I’m going to shoot with Oliver Stone in his new film. It’s called Savages.

Q: What has your experience been like to be a famous celebrity in Mexico, then coming to LA to re-establish your talent as an actor in the US?

Demián Bichir: It’s been quite a ride; it’s been quite trip. I don’t really think about fame, I just think about expanding my horizons. I tried to do what I do any where in the world. That’s why I shot films in Bolivia, Columbia, Ireland, Spain, anywhere. Wherever there’s a good story, and you want me in it, I’ll take a plane.

A Better Life will be released into movie theaters in July 2011 by Summit Entertainment.

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Why "The Voice" is Better than American Idol

Now that the "The Voice" has run it's course, it's time to compare it against American Idol.

Now that a winner has been selected (Javier Colon) for the vocal competition show The Voice, it's time to compare it to that other juggernaut, American Idol. For my money, The Voice wins, here why:

Quality

There's no question the caliber of the contestants was far and away better than anything we've seen on America Idol regardless of season. The top eight on The Voice all could have easily beat anyone from American Idol over the years, except perhaps Carrie Underwood and first season winner Kelly Clarkson.

Professionalism

From the get-go, The Voice demonstrated it was serious about showcasing actual talent, and doing so in a professional way. By skipping past the auditions and only showing us the gems, the producers of this show sought to highlight talent, not simply use their air time as a vehicle to ridicule contestants. Also, by starting the show off with the judges chairs turned backwards to the contestants as they performed, the producers once again showed us they meant it when they said the show was about "the voice". making sure contestants got on the show through their vocal talent alone. Continuing on from there, the judges/coaches all took the role of mentor, rather than as critic, making the show more enjoyable for the viewers. Also, by showing how the coaches voted, the show gave itself a dose of honesty in a medium not known for such.

Voting

The voting method on The Voice was better too; choosing to count downloads on iTunes was a stroke of genius. Not only was it a good way to count votes in general, but it provided prospective record companies proof that the contestants (not just the winner) were capable of selling records.

Diversity

It was truly fun to see singers of all ages, genders and races performing with one another as well as alone. Also, it was good to see performers that weren't all in the mold of modern pop or even country; real people with real personalities that looked like regular people for the most part. Compared to American Idol, it was breath of fresh air.

Credible Judges

Unlike American Idol, which has become almost a laughing-stock, the people who put together The Voice were clearly serious about hiring judges/coaches that carried some actual weight in the music business; while maybe not A-List stars, the coaches are certainly all known for both their accomplishments and personalities. What we as viewers saw over the course of the short season was accomplished professionals mentoring gifted wannabe's in truly moving ways.

Having said all that, there is still room for improvement on The Voice. The main thing would be to fix

the live audio feed. Listening to a replay of the singers on Hulu with a computer, you'd hardly even know it was the same performers we'd all seen live (or even taped) just days before. Also, there seems to be some disconnect about what the purpose of the teams had to do with the outcome of the show; it still came down to one performer winning. And finally, to ward off popularity/beauty contests, why not keep the faces of the contestants covered so that when America votes, it will be all about The Voice, instead of a cute face or effusive personality?

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Shut Up Little Man! An Audio Misadventure Review

Documentary exploring two young roommates, who in 1987, made tapes of the hilarious arguments of their neighbours, inadvertently birthing a pop culture saga

The Story
Shut Up Little Man! An Audio Misadventure is an essential documentary and one of the finest films of 2011 so far. It can be viewed as a treatise on the nature of privacy, intellectual property ownership, memes, and the dubious moral power plays that come to fruition when corporations get their mitts on something lucrative. What is more it takes such concepts and makes them both hysterically funny and tragic in equal measure.
The two camp, alcoholic buddies at the centre of everything, Peter Haskett and Raymond Huffman, subside in a run-down garishly-coloured San Francisco apartment complex in the 1980s, dubbed the ‘Pepto Bismol Palace’ by their twentysomething neighbours Eddie Lee Sausage and Mitchell D.

The two friends take to recording Peter and Raymond’s rants surreptitiously, and though eventually discovered, the raving pair remains indifferent, allowing them to continue until they have amassed a sizable collection of compressed rage.

As they create, collect and collate their tapes among friends, word spreads of this quirky pair whose quotes (‘Don’t call me ‘goodnight!’’, ‘If you wanna talk to me, then shut yer fuckin’ mouth!’) turn them into cult underground figures among West Coast hipsters, and eventually, the whole US, in an era before the internet made such things both quick and quickly passé.

The Style

Shut Up Little Man!, which is directed by Australian filmmaker Matthew Bate, makes the most of its brief running time carefully cutting the usual talking heads-style interview footage with comic vignettes, animations, puppet shows, and lively re-enactments.

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Interview highlights include renowned Ghost World comic artist Daniel Clowes, who turned the pair into a series, Greg the Bunny director Mike Mitchell, who wished to adapt the tapes for the big screen, and an obsessive SULM! fan for whom the tapes symbolise an important part of his youth. Vignettes of Clowes comic art, stage shows, puppet adaptations and a prominent arc surrounding legal wranglings for a Hollywood adaptation of Pete and Raymond effectively shows how the tapes grew beyond their creators.

The Legacy

While undeniably comical, the film presents serious underlying themes – footage of an inebriated and somewhat destitute Peter Haskell approving expansion of the ‘Shut Up Little Man!’ brand for a measly $100 cheque is as effective a display of corporate greed in action as anything Michael Moore could come up with.

Any debate regarding the pair’s privacy rights are not explored in depth, but a salient point is made that the volume of Pete and Ray’s arguments were loud enough that they fell squarely within the realm of the public sphere. Focus in the second half of the doc turns to the tug-of-war between three parties vying for film rights (which never came to fruition, although it was eventually adapted into the little-seen Shut Yer Dirty Little Mouth! in 2001).

It is a documentary so well-crafted it should with any justice reach an audience beyond the festival circuit, with an appeal that plays equally well to both the art cinema and college circuit.

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The Real Housewives of New York City Season 4, Episode 13 Recap

Ramona threw a birthday party for herself and Sonja while tensions flared between Jill and Simon in "Your Tweeting Heart".

The June 30, 2011 episode of The Real Housewives of New York City revolved around Ramona's plans for a surprise party for Sonja that also doubled as her own birthday party, but the show's drama came from Simon making Jill uncomfortable with his behavior.
Ramona's Birthday Party Plans

Ramona told Alex and Kelly she had decided to make her birthday party a joint party for herself and Sonja, but wanted to keep it a surprise. They met with event planner Arthur Backal, who showed them around the space.

Cindy launched her bikini wax kit at a nightclub. She said the promotional event was a fun way of getting her company’s name out there. Jill, Alex, and Kelly all came, and Simon told Jill he wanted to meet to talk out their differences.

Sonja's Feng Shui

Plumber Paul Huckemeyer arrived at Sonja's house to help with her clogged toilet. Feng shui expert Judith Wendell arrived as they were talking. Her BlackBerry turned out to be the source of the clog. As Huckemeyer left, Wendell explained her plans to cleanse Sonja's environment.
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Sonja told Wendell she wanted to "turn a corner and let go of some old things". She started crying, and told Wendell she wanted to be fully herself and feel financially secure again. She said she was ready to get rid of all her negative energy and move on.
Jill's Conflicts With Simon

LuAnn and Kelly helped Jill paint her apartment, and she told them about Simon's cyberbullying. LuAnn wondered why Alex and Simon were trying to get attention this way, and she said she felt it creepy that Simon was using them to further his career.

Simon asked Alex if she was mad, and she said she was questioning why she ever tried to get to a better place with Jill. She said Jill's refusal to talk to Simon was a problem, and that something had to change. She told him "there is no Jill and Alex unless there's Jill and Simon".
The Birthday Party

Ramona said that Sonja would be "amazed" by the surprise party. Jill and Simon eyed each other warily as Ramona tried to organize Sonja's friends into a line. Sonja was overwhelmed with emotion when Ramona told her it was also her party and that she'd asked the guests to donate to her favorite charity.

Sonja said that seeing her friends there made her feel that everything would be okay. Cindy apologized for arriving late, explaining that she left her holiday party and felt it was important to "extend a hand" since she'd made up with Ramona and Sonja.

Ramona talked to Jill about feeling excluded when she wasn't invited to her hosiery event. She expressed doubts about whether she could trust Jill. Ramona's husband Mario showed her and Sonja to a room with a large screen displaying photos of important times in their lives.

Cindy met her parents for lunch and took one of her children with her. The baby proved to be more trouble than expected, and she called an assistant to look after her for the rest of the lunch. She told her parents she wasn't sure how to take her children on an airplane when they went on vacation.
Kelly and Alex Clashed

Kelly met Alex for coffee and told her they were "all concerned" about Simon's behavior. Alex told Kelly she should talk to Simon and insisted they were "two separate people". When Alex said she didn't need Kelly to speak up for her, Kelly retorted that she wouldn't from now on.

Alex told Kelly she didn't have a clear picture of who she was. Kelly insisted she was reaching out to her to find out if she was okay, and Alex told her it was a "passive-aggressive" thing to do. Kelly denied she was attacking Alex, and Kelly said Alex would have to fend for herself. Alex said she was amazed that anyone would think they would take their side over Simon's.

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Sarah Ferguson Rebuilding Life on OWN Oprah Winfrey Network

Sarah Ferguson was called a breath of fresh air when she married handsome Prince Andrew of the British Royal Family, but the fairy tale ended.

Sarah Ferguson, Duchess of York, at one time lived the dream, married to handsome Prince Andrew of the British Royal family. Once called a breath of fresh air in the royal family, she became the subject of ridicule and scorn, and eventually scandal. Ferguson, called "Fergie," has been doing some soul searching and trying to pull her life back from ruin, in a show on Oprah Winfrey's OWN Network, Finding Sarah.

Sarah Ferguson Duchess of York

Sarah Ferguson was once best friends with Princess Diana, the wife of Prince Charles, future King of England. The free spirited "Fergie" was divorced from Prince Andrew after some tabloid photos showed her in a compromising position. Unlike Diana, who got a handsome divorce settlement from Prince Charles, Ferguson did not try for a big settlement. Instead, Ferguson became royalty for hire, making a variety of public appearances for pay. Fergie was the "Weight Watchers" spokesperson and lost weight on the weight loss program. Financially, she did very well for a time, but managed to go through all the money she made and more.

Sarah Ferguson and Prince Andrew

Sarah Ferguson, who on an interview on The Oprah Winfrey Show" said that she and Prince Andrew were 'happily divorced, lives in the same residence with her former husband. The couple has two daughters, Princess Eugenie and Princess Beatrice, whom they co-parent. Although the family is non-traditional, they seemed to be a happy family.

It was Ferguson's close relationship with Prince Andrew that played a role in a scandal during the summer of 2010. The Duchess was approached by an undercover reporter who promised her money in exchange for access to the Prince. Ferguson was seen, looking disheveled, drinking wine and smoking, while making a deal. Unfortunately for Ferguson, the videos were made public and she was humiliated by scandal once again.

Finding Sarah on OWN: Oprah Winfrey Network

Ferguson had appeared on The Oprah Winfrey Show previously, so it was not a surprise that Oprah got the big interview with Ferguson after the scandal broke. Ferguson was regretful over the many mistakes that she had made and aware that she had thrown away a life that most people can only dream of having. During the course of the interview, Ferguson admitted that she was nearly a million dollars in debt and was desperate for money.
Several months later, it was announced that Sarah Ferguson would have a documentary series on Oprah Winfrey's new cable television network, OWN: Oprah Winfrey Network. The series, which premiered in June, 2011, follows Ferguson as she identifies her self -destructive behavior and works on rebuilding her life. In the course of the show, Ferguson consults Oprah's experts, including Dr. Phil McGraw, financial expert Suze Orman and trainer Aaron Ferguson.

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