Coco got a huge opportunity, though it wasn't quite as big as she thought it was, on "Ice Loves Coco." She was invited to star in the Las Vegas revue "Peepshow." It was an exciting opportunity for her, though she struggled to grasp how long they were wanting her to perform.

"You’re gonna have to move to Vegas, OK?" her agent explained. "We’re talking nine shows a week. But we’re looking at a six month time commitment here."

"That’s like a whole year," Coco said.

"A half a year," her agent said patiently.

Still that time commitment was even a bit too much for the reality star. Instead, she agreed to a three-month contract. Even that was enough to get her in some very public hot water with husband Ice-T. After some pictures of her getting cozy with another rapper hit the web, Coco tried to downplay it publicly. But when Ice-T went to Twitter to voice his strong displeasure, she went online as well to apologize to him.

Still, it looks like the couple has patched things up, as they've been spotted out and about getting "cozy" since the scandal, according to Us Magazine.

Catch new episodes of "Ice Love Coco" on Sundays at 10 p.m. ET on E!

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

LOS ANGELES -- Barbra Streisand would really rather relax than star in a movie.

"I like not to be bothered," she said during a recent interview. "I like to look at the ocean and swim in my pool and play with my dog and see my son."

But for the director and writer of "The Guilt Trip," in theaters Wednesday, Streisand was the only choice to play Joyce Brewster, a loving but meddling mom who sees the bonding opportunity of a lifetime when her only son, Andy (Seth Rogen), invites her on a cross-country road trip. Streisand declined the role for a year. Then her real-life son, Jason Gould, joined the chorus of voices urging her to do it, so the legendary 70-year-old entertainer made a few "requests" of producers.

Could they promise weekends off and no call times before 8:30 a.m.? Would they consider renting a warehouse closer to Streisand's Malibu home rather than shooting on a proper sound stage?

"I get a little carsick sometimes so I didn't want to schlep to Paramount, which is an hour and a half to two hours that time of the morning," Streisand said. "So if you rent a warehouse and built the sets – it's ridiculous what I was asking."

Yet the filmmakers obliged her every demand, and in the end, Streisand and Rogen shared one of the most pleasant, fun and creatively comfortable acting experiences they've ever had. The two approach work similarly, they said, and they really became like mother and son on set.

"Aw, you were proud of your mommy?" Streisand asked Rogen sweetly, laying her head on his shoulder playfully after he complimented her performance in the film.

Rogen, 30, said Streisand reminds him of his own mother.

"I think there's a whole generation of mothers who kind of model themselves off of Barbra. She's the patient zero of Jewish mothers," he said. " A lot of people see the movie from all races and nationalities and they're like, `Oh man, she reminds me so much of my mother,' and I think it's because, it's probably because your mother is a fan of hers and acts like her."

Rogen and Streisand also bonded as filmmakers. As multi-hyphenates who work on both sides of the camera, they brought a broad understanding of the moviemaking process and resulting openness to their roles. For example, during one scene where Streisand's character tries to eat a four-pound steak to win a free meal, the actress in her didn't want to do it, but the director in her knew she had to.

"Because, as a filmmaker, I don't care what the actress has to go through," she said.

"Some actors are like that, Rogen said. "Ones who've made movies are like that. You can see that even though they don't want to be doing that, they know that they have to because it's the best thing for the movie."

That director's sense of story and filmmaking also informed their improv scenes. Streisand said ad-libbing comes naturally to her – "not that I've had to use it before in something like `Prince of Tides.'"

Though their characters may seem Jewish (like the actors that play them), both said they tried to make them more generic.

"But then your natural instincts come out," Streisand said.

"And you go Jewish," Rogen added with a laugh.

Streisand then reminded him, "There are a lot of very famous Jewish entertainers," echoing every Jewish mother ever.

The mutual respect between the two was evident when they discussed their upcoming projects. Rogen just finished his co-directorial debut, "The End of the World," which he also wrote and produced.

"How did you find dealing with your actors?" Streisand asked. "Because your actors were all your friends, right? So you could say anything to them."

Rogen said it made it easier in some ways and more difficult in others. The actors all play themselves, he said, and he and Streisand shared a laugh about potential character discussions on set between actor and director.

"You hired me for me, and this is what I want to do!" Streisand laughed.

When she revealed that she's having trouble finding financing for her next directorial project, Rogen commiserated. "It's tough to get a movie going," he said.

Though Streisand's reputation as a legendary talent and reported diva precedes her, Rogen said he was impressed by the Oscar-winner's approach to her work and demeanor on set.

"If anything, it showed me that I should maintain sanity," he said. "There's no excuse to be crazy. Because Barbra's not crazy. She acts very reasonably and she can get away with a lot of (stuff) that she doesn't pull. I've seen people with much less power than her get away with crazier (things) than she's ever pulled... She could go bonkers and she doesn't do anything."

"I'm like this nice person," Streisand said. "Why do I have this strange reputation?"

"I'm saying you could," Rogen said. "I think people project what they would maybe do if they had as much power as you."

All she did was move "The Guilt Trip" sets a little closer to her house.

___

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Online:

Kristen Bell has voiced the eponymous blogger on "Gossip Girl" for six seasons. But it wasn't until series finale that she finale showed her face.

As Gossip Girl was revealed, viewers saw the reactions of various former series regulars -- like Vanessa Abrams (Jessica Szohr) -- and some other famous faces, from Mayor Bloomberg to Bell accompanied by Rachel Bilson.

In the scene, Bell and Bilson appeared to be putting on their own version of the CW series, as Serena and Blair respectively."Hey, Upper East Siders. Gossip Girl here and I the biggest news ever," Bell said.

After a break back-and-forth, Bell told Bilson, "I'm sorry. If I'm being really honest, Rachel, I just don't think you can pull off high school anymore." Then, she looked at her phone and said, "OMG. You are not going to believe who Gossip Girl is" and gave a wink to the camera.

So Bell wasn't actually Gossip Girl, still E! Online called the cameo "Ah-mah-zing!" and Zap2It called Bell's scene "the most delightful part of the finale."

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Excerpt from ORIGIN's January issue, interview with Richard Branson

Interviewers: Editors: Maranda Pleasant, Gina G. Murdock

Maranda Pleasant: What is it that inspires you the most?

Richard Branson: People. Through the right people focusing on the right things, we can, in time, get on top of a lot if not most of the problems of this world. And that's what a number of us are trying to do.

MP: What is it that makes you come most alive?

RB: Being fit and healthy. There's nothing like the endorphins from being fit, and the incredible endorphin rush that goes with that. It beats drugs, drink, and almost anything else I know. I live a very full-on life, but then when I come back to Necker, I try to recharge the batteries. All of us have just got to find that time to look after our bodies. That helps us make sure that our mind is sharp. I know that when I'm feeling great and really fit, I can get in three or four hours more of really productive work.

MP: Do you have some sort of daily routine to keep your center?

RB: Things like kitesurfing, surfing, tennis, running. We also set ourselves family challenges. Climbing Mont Blanc and having to train for it; trying to kitesurf across the English Channel and then having to train for it; trying to break a transatlantic sailing record and then having to train for it. I think it's quite great to set yourself a big challenge and then you've got another reason for keeping fit. As a family, we all ran the marathon about three years ago. It's fantastic to have something like that to aim for.

PHOTOS: (story continues below)

MP: What is it that makes you feel most vulnerable in your life?

RB: I think the opposite of what we've just been talking about. And that is if family or friends are unwell or ill--it's perhaps the only thing that really can make one feel vulnerable.

MP: What is love to you?

RB: I've been very lucky. I come from a very close family. I'm also in a relationship that's been really good. Lasted a long time. We've got wonderful kids from that relationship, and they've had the benefit of being together. It's fantastic to have that sort of togetherness. It's a rarity these days. Something you have to fight for a bit. If you're lucky enough to have it work, I think it's well worth striving for.

MP: What does commitment mean to you?

RB: Commitment is not letting people down. That's very important in life. If you say you're going to do something, make sure you do it. Just try never to let people down.

MP: What advice would you give to women in business, bringing a vision into reality? A couple important things to live by?

RB: I'm not sure you need to give separate advice for women than for guys. I think the same rules apply to both men and women. You just get on and do it, like you've done with your magazine, [and try] to create a product that is noticeably the best in its marketplace. By just getting out there and doing it, you're going to learn all the pitfalls. It may succeed, it may not succeed, but unless you actually try it, it's definitely not going to succeed. I think the slogan "Screw it, just do it"--I think the same applies to women and men. Get on and give it a go. Learn from it if it doesn't work out. Pick yourself up and try again.

MP: I remember you saying once, "I'm never going to ask you to do anything I'm not willing to do." When you lead people, when you have that many employees, is there some creative motto, is there something you try to live by? Your leadership skills are admired globally.

RB: I think leading by example is extremely important. If you go back into military history, the person who's leading the troops ought to be in with the troops and not just standing on the backline sending them into battle. To get the respect of people, I think you've got to roll up your sleeves and lead with your people. The absolute key is treating your people well. Looking for the best in your people. Lots and lots of praise, no criticism. I think quite a lot of companies don't run their companies in that way. Which I think is very sad and could be a great mistake. Leading by fear is a lot of companies' approach, and a horrible way for people to exist in their lives, when most of your life is spent at work. I'm sure you get the best out of people if you look for the best in them. People don't need to be told when they've done something wrong--they know it without having to be told.

Gina G. Murdock: In your new book, Screw Business As Usual, you write about 24902. I think it would be really awesome if you defined what that is. What is 24902 Community, and what are you trying to achieve with that?

RB: If we can get every business leader in the world to adopt a problem--I think because they are slightly more entrepreneurially-minded than social workers and politicians--between us all, we should be able to get on top of an awful lot of problems of the world. That would be good for the companies and it would be good for society. So 24902, or the B Team that we're just setting up, is basically a group of business leaders. [We're trying] to look at the way business is currently being run to see if there are better ways of running it. Business has evolved, capitalism has evolved. But capitalism has never stood back and examined itself properly. I think everybody knows that capitalism is the only thing that works, but is the current form of capitalism the best way of it working?

There must be better ways. For instance, should public companies have to be judged on every quarter's results? Why not have a system where they can think for the long-term rather than think for the short-term? I think if you can get a number of really great business leaders together, we can try to come up with ideas which can try to guide the business community into a better way of thinking. Should we, when we audit our accounts, should there be an environmental audit as well as just a pure bottom profit audit? Should there be a social audit? What are the companies doing to make the world a better place, apart from creating jobs, which is very important in itself? It's just trying to awaken the business community to realize that their employees will be much more satisfied if they're working for a company that is making a real difference in the world.

Fans who thought Barney getting with Patrice and telling Robin he was done with her were just delaying tactics were right. Only they weren't the tactics of the writers or producers. They were all part of the last "play" Barney will ever make. This week's "How I Met Your Mother" revealed the elaborate plot behind how Barney proposed to Robin.

It was classically over-the-top Barney, but it was also incredibly moving. He even had a ploy in there to ensure he had Ted's blessing, by only telling Ted that he was going to propose to Patrice. In fact, he and Patrice weren't even dating. She was in on the whole thing.

So Robin arrived at her favorite spot in the city to find the last page of Barney's now-burned Playbook. "The Robin" detailed every step along the way until the final step: "Hope she says yes."

She lowered the page to find Barney on one knee with a ring. And though she'd just seconds ago declared that all of this was why they would never work as a couple, she said, "Yes."

The love and laughs continue every Monday at 8 p.m. ET on CBS' "How I Met Your Mother." New episodes return January 14, 2013.

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Oz and Willow were reunited as "How I Met Your Mother" staged a mini-"Buffy the Vampire Slayer" reunion. Seth Green guest-starred as an old college "buddy" of Lily and Marshal, only he thought a lot more of their friendship than they did. In fact, they thought he was "creepy Daryl" and a little stalker-y.

When they headed back to Wesleyan University for a visit, they were shocked to see Daryl still there. But he was thrilled to see them, and even had something he wanted to give them. It was a check for $100,000. Their "friendship" had inspired him to start a business selling hacky sacks on campus and he was doing great with it.

Only they thought his obsession with them had pushed him to kill them. Just a few seconds more and he might have given them the check. Instead, he tore it up.

Keep laughing with "How I Met Your Mother," Mondays at 8 p.m. EST on CBS. New episodes kick off again January 14, 2013.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

"The Voice" kicked off part one of the finale with a touching tribute to the victims of the Newtown shooting at Sandy Hook Elementary School. With candles lining the stage, each of the four coaches, the Top 3, host Carson Daly and some of the former "Voice" contestants from Season 3 held a sign with the name and age of one of the victims as they sang Jeff Buckley's "Hallelujah."

It was a moving beginning -- reminiscent of the children's choir that sang "Silent Night" at the start of this past week's "Saturday Night Live" -- and the screen went silent before regularly scheduled programming commenced.

For the final performance night of "The Voice," each of the Top 3 -- Cassadee Pope and Terry McDermott of Team Blake and Nicholas David of Team Cee Lo -- is taking the stage three times: singing a new song, their breakout song from earlier the season and doing a duet with their coaches.

Nicholas David
Team Cee Lo

Song Of Choice:
Mashup Of Jerry Lee Lewis' "Great Balls Of Fire" & Jimi Hendricks' "Fire"
It's hard to believe Cee Lo was the only coadge to turn around for Nick -- and here he is in the Top 3. "My plan was, every week, to keep singing songs with a message about love, about hope," Nicholas says retrospectively of his goals. He often brought Cee Lo -- and presumably many viewers -- to tears. Though he dedicated his performance last week to his "gal," who's always stuck by him, this week, St. Nick is doing this for his family at large.

Jaimie: "'Gal' is Nick's favorite word. Other than 'ay nah.'"

"My family is the most important thing in the world," he says before taking the stage as tears fill up in his eyes. "There's nothing else that I'd rather do than do this for them."

Nick is the only contestant to take on a mashup not just for the finale, but over the entire third season. The set designer certainly took is theme literally and the stage was either ablaze or covered with flaming imagery. While Nick is playing a piano that is quite literally on fire, he's sandwiched by six fringe-clad go-go dancers. Once he gets up to work the stage, we see there are also images of fires on the screens behind and on the floor below him and then, he starts to kick. It's no surprise he's sweating ... a lot.

Jaimie: "FIRE? In the piano?"
Chelsey: "HOW DO THE KEYS WORK WHEN THEYRE ON FIYAH?"
Jaimie: "I don't know, but this is a mean thing to do to an already sweaty man."
Chelsey: "That is one shiny blazer. I could use something like that for my New Year's outfit."

After a series of "ay nah's," "yeah boy's" and "yeah baby's," Nick whips out a rag to start dabbing his sweaty face as the judges commend him. "Not only did we see a different side of you tonight -- a crazy kickin' side -- but we also sometimes forget that this is so entertaining and fun," Adam tells him. "I'm so happy that you decided to take this moment to just entertain this crowd." After a very dad-like joke about The Rockettes, Blake echoes Adam's sentiments, saying "Tonight is a celebration. You made it one."

Coadge Cee Lo is smiling from sunglass arm to sunglass arm. "Your honesty is always appreciated. Your ability is always heartwarming," he sys. "But your fire tonight burned this house down ... I loved it. I'm forever a fan of yours, Nick."

Then of course, Nick began bowing. Sadly, we saw no chicken dance.

Breakout Song Reprise:
"Lean On Me," Bill Withers
Nick goes with the performance from Week 3 of the live shows that brought Cee Lo to tears and compelled original singer Withers to pay St. Nick a vist on the following week of "The Voice." Nick sounds great, as always, but it's pretty ridiculous for these contestants to be singing a song they performed no more than a month and a half ago, considering there have been only six weeks of live performances.

Chelsey: "This might be one of the most unnecessary things ever. Next to Christina Milian."
Jaimie: "I agree. We just heard these songs. We don't need to hear them again."
Chelsey: "Why don't they make the show an hour and cut this out? WE GOT SHIT TO DO! QUIT WASTING MY TIME, CARSON!"

However, Nick did change it up a bit: This time, instead of having a robe-clad church choir singing behind him, Nick brought a chorus of regular clothes folks sitting on wooden crates while he played a wooden piano. It was a bit more laid-back and Adam was into it.

"Nick, I like this outfit, man. You like a principal ... of the school of funky stuff," he said and immediately regretted. "You do justice to [that song] every time you sing it." Nick's coadge Cee Lo added, "You never cease to amaze me. I sit here in awe of your ability and your energy ... I believe in you. You make me believe. You move me, Nick ... I love you, man."

Coadge Duet:
"Play That Funky Music" Wild Cherry
During some pre-duet bonding time with Nick's parents, sons and "gal" in Cee Lo's above-ground lair "gal" got emotional over the sacrifices they've made along the way and Nick's eldest son "Iceman" gave Cee Lo a cracker. "You licked all the salt off of it, dawg," he says with a laugh.

Jaimie: "Nick's parents are very cute. And normal."
Chelsey: "I know ... Oh wait. 'ICEMAN.' Their son goes by 'Iceman.'"
Jaimie: "And nevermind."

Then, it was time for the soulful mentor and mentee to take on the Wild Cherry classic in what was definitely the silliest performance of the night. (A) Cee Lo's wearing shorts.

Jaimie: "Oh, those are shorts."
Chelsey: "Uh oh. He has exposed his arms and legs this season. Tank goodness on separate occasions."

There were also sunglasses and sequins galore and of course, more go-go dancers both in cages and suspended from the ceiling. But the performance really got interesting when a mini Cee Lo took the stage and offered some funky dance moves. "You complete me," Cee Lo told him.

Chelsey: "OMG. He completes him. Celeb couple of the year. Late entry but they earned it."

Not even Nick's chicken dance could compete.

Cassadee Pope
Team Blake

Breakout Song Reprise:
"Over You," Miranda Lambert
Cassadee's first performance of the night is a reprisal of her biggest hit of the season, "Over You." It is no surprise that Cassadee chose this song, seeing as it is most definitely the most purchased song by a Voice contestant on iTunes. We're not really feeling this whole "redoing songs" thing though.

Chelsey: "They're redoing songs? Is this for real? Like, c'mon."
Jaimie: "I agree. I'm tired of this."

Cassadee goes with her classic performance of singing ballads in a pretty dress, and we're starting to get bored with it. But the fans seem to love it, as do the coadges, so what do we know?

Christina tells Cassadee that she looks "drop dead gorgeous" and "stunning." "I'm so enamored by your whole presence tonight...sky's the limit for you," she tells her.

Chelsey: "I'm tired of Christina low key hitting on Cassadee."
Jaimie: "Meeee too. She's looking her up and down."
Chelsey: "Undressing her with her eyes."
JaimieL "That'd be a bitch to undress."

Adam tells Cassadee that she's developed her voice so much and that it's very "finely tuned." Coadge Blake calls it "perfect" and, in classic Blake form, tells her "Gosh dangit, Cassadee. You amaze me. You really do."

It feels like the coadge commentary is getting just as repetitive as the performances.

Coadge Duet:
"Steve McQueen," Sheryl Crow
Cassadee is chillin' at Coadge Blake's house, sippin' on some Starbucks, totally natural. She is joined by her mother, sister, and boyfriend. Cassadee explains that she only took singing lessons because of her sister, and her mom shares the story of when they made it to LA from Florida in only 48 hours.

Cassadee says that she's happy to connect Blake and her mom because "they have both done so much for [her]. Cassadee's mom says that Blake has given Cassadee the confidence that she needs. Blake says "God definitely broke the mold when he made Cassadee Pope."

For their duet, they choose this racecar themed country song. There are actual racecars on and Cassadee is sitting on a motorcycle, in case anyone wasn't clear on the theme.

Chelsey: "Vroom vroom."
Jaimie: "Bored."
Chelsey: "Yawn."

Maybe it's our lack of country music and racing knowledge, but we were quite unfamiliar with the song choice.

Jaimie: "Is this a song from Cars? Because wow."
Chelsey: "I don't see how it can't be. By Steve McQueen do they mean Lighning McQueen?"
Jaimie: "Oh maybe that was my confusion."
Chelsey (after receiving some help from the Interweb): "Apparently Steve McQueen is also a racecar drove in addition to Lightning McQueen. Though I guess Lightning McQueen is just an actual racecar."

Luckily this riveting conversation killed some time for us during this fairly blah performance. Though at one point, Cassadee did go full Sue Sylvester and break out a bullhorn, so that was fun.

Song of Choice:
"Cry," Faith Hill
Cassadee says that the live shows are when she "felt [herself] coming into [her] own." Blake naturally asks Cassadee if she's heard from her dad during rehearsals, and she says she has. This actually clears things up for us, because before a commercial we saw her mouth "Hi Mom! Hi Dad!" and we were like WHAAAA?! So now it makes sense. Anyway, apparently she and her dad are trying to make it work, so thanks Mark Burnett!

For this final performance of the night, Cassadee is doing what she does best these days, a country ballad! It's fall up in here, and the leaves are falling and Cassadee is dressed like an autumn queen. There's also a nice camera angle of Cassadee through the leaves.

Chelsey: "They're getting fancy with the camera angles tonight. Maybe there's a backstage cinematography competition, like the second tier model competition on Project Runway."
Jaimie: "I think there's also a hair accessory competition in that case."
Chelsey: "Cassadee is for sure winning that one. But Christina sure is giving it her all."

Cassadee definitely gives the performance her all, and it is quite powerful, especially as she hits the final note.

Jaimie: "Her mouth looked GINORMO."
Chelsey: "Like the Lincoln Tunnel with teeth (copyright Mr. Gettle)."

Adam tells Cassadee that he wanted her on his team so badly, and that's why he's been critical, but in the end "[she] accomplished everything that [he] was hoping [she] would accomplish on Blake's team." "I'm so happy that you're here in this moment," he tells her.

Coadge Blake tells Cassadee, "I don't know what more I can say...I've never heard you sing as good as you did tonight and that's saying a lot."

Terry McDermott
Team Blake

Coadge Duet:
"Dude Looks Like A Lady," Aerosmith
Terry is rockin' a new 'do (kind of) and just chillin' at Coadge Blake's house with his fam. "It's pretty big of a house!" his son Liam tells Blake. But then, who's that?! It's Terry McDermott Sr., here to surprise Terry Jr.!

Chelsey: "Terry's shocked face looked comical."
Jaimie: "He looked like the dramatic chipmunk."

Carson announces the performance and tells us that we will see a "familiar face" playing guitar. We are intrigued. Will it be someone famous?! Will it be Terry Sr. returning to the stage!?

Soon enough, a skinny shirtless man in a long ginger wig and bandana emerges on guitar.

Chelsey: "That is in fact not Terry's dad."
Jaimie: "Is that like a famous guitarist?"
Chelsey: "It looks like Adam in a funny wig. What the eff is happening."
Jaimie: "I hope they explain."

As the performance comes to a close, Carson reveals that it was Mr. Levine in a wig. Cool, guys. You got us.

On a more relevant and important note, this performance was great.

Song of Choice:
"Broken Wings," Mister Mister
Terry chooses this 80s classic because it is apparently his son's favorite song (natch). During rehearsals he and Blake decide to work on trying to "de-80s" the song.

Terry has a band supporting him for this performance, and there are a lot of close-ups on the tambourine player, who is unfortunately not Joe Jonas.

Chelsey: "Tambourine man sure is getting a lot of airtime."
Jaimie: "Indeed. And again, he is not Terry's dad. What's with the military ensembles?"
Chelsey: "Yeah, don't get it."

At the end of the performance, confetti falls from the ceiling, because...duh.

Chelsey: "Do I see glitter falling from the sky? Oh it's confetti. Still don't get it."
Jaimie: "It's broken wing particles, of course."

Adam tells Cee Lo that he realizes there was some sort of malfunction at the beginning of the performance (did we miss a nip slip!? JK it had to do with sound) and Terry recovered and "that's a big thing."

Coadge Blake goes back to their duet performance and says that Terry does it week after week. "Every time you get onstage something epic happens," he tells him. "You make these classic rock songs sound new again...no one's been able to do that except you."

Breakout Song Reprise:
"I Want to Know What Love Is," Foreigner
Earlier in the night, Terry referred to this performance as his "turning point" because it was the first time he performed "bare bones," so of course he chooses it for his (unnecessary) reprisal performance.

Chelsey: "This performance was like yesterday. THIS IS SO DUMB."
Jaimie: "So dumb."

This time around, Terry has some more going on with the performance, and he is not playing piano. There are, however, glowsticks, so HELLZZZZ YEAH!

Christina goes on some completely absurd rant about Terry's work ethic, because he's performed "so many" songs tonight and he's still "plowin' through" every single time.

Jaimie: "OH MY GOD, she is SO DUMB. They all sing the same amount of songs."

Coadge Blake tells Terry that he thinks "[he] sang that song better tonight than [he] did the first time around." "You absolutely drive me crazy because you blow me away...I am so honored to have been associated with you at some point in your career," Blake tells him.

"The pleasure is all mine," sweet baby angel cherub face Terry replies.

At 2 a.m. EST/ 11 p.m PST, here were the iTunes standings:
Cassadee Pope, "Cry"
Cassadee Pope, "Over You"
Terry McDermott, "Broken Wings"
Terry McDermott, "I Want To Know What Love Is"
Nicholas David, "Great Balls Of Fire/Fire"
Cassadee Pope, "Stupid Boy"
Terry McDermott & Blake Shelton, "Dude Looks Like A Lady"
Cassadee Pope & Blake Shelton, "Steve McQueen"
Nicholas David, "Lean On Me"
Nicholas David & Cee Lo Green, "Play That Funky Music"
Terry McDermott, "Let It Be"
Cassadee Pope, "Torn"
Nicholas David, "Somewhere Over The Rainbow"
Terry McDermott, "Maybe I'm Amazed"
Nicholas David, "You Are So Beautiful"
Cassadee Pope, "Stand"
Cassadee Pope, "I'm With You"
Cassadee Pope, "Not Over You"
Terry McDermott, "Don't Stop Believin'"
Cassadee Pope, "Are You Happy Now?"

With nearly every song Cassadee's sang on "The Voice" Season 3 in the Top 200 on iTunes -- and considering that's been the case for weeks -- it seem impossible for her not to win based on the iTunes votes themselves, which count 10 times the amount if they land in the Top 10. But who knows? Anything could happen when "The Voice" Season 3 comes to a close on Tuesday.

NBC gave viewers a sneak peek at their newest comedy entry, "1600 Penn," before the holidays. The series stars Bill Pullman and Jenna Elfman as the President and First Lady in a fictional White House. Despite its auspicious setting, this preview made it pretty clear that the show is going to try and be first a family comedy.

To help that along, the First Family has four children, including Skip (Josh Gad), who has spent the last seven years goofing around in college. He's easily the most outrageous thing about the show, but then this episode focused almost entirely on him.

Eldest daughter Becca (Martha MacIsaac) was given a secondary storyline where it was revealed that she was pregnant. She reluctantly shared the secret with her stepmother, Emily (Elfman). Other than that, she plays the typical moody and sullen young daughter role on the show.

The family is rounded out by two younger children, who were introduced in a scene after they'd been sent home from school for fighting with one another. The reveal there was that they were both pining after the same girl.

The series is certainly ambitious, but is it funny? EW thought not, but holds out hope that Pullman and Elfman can bring the laughs. Vulture is less confident, though, saying the show isn't delivering on its promise to be NBC's answer to "Modern Family."

"1600 Penn" returns to NBC's lineup on its regular night on Thursday, January 10, 2013 at 9:30 p.m. EST.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Spoiler alert: Do not read on if you haven't seen Season 3, Episode 7 of Bravo's "The Real Housewives of Beverly Hills," titled "Oy, Faye!"

While Bravo shook up the third season of "The Real Housewives of Beverly Hills" with an epic, profanity-laced scream-fest last week, it seems as though the series returned to its previously sleepy ways. This is probably because Brandi's "bombshell" was still edited out of the entire show. Seriously, Bravo? You pull this with not one, but two episodes? I do not appreciate it.

Viewers returned to Brandi's war with Adrienne and Paul Maloof at Mauricio's windy rooftop party. We were reminded of Adrienne's whole Brandi "slept till 3:00 p.m. and left [her] kids alone" accusation, and witnessed a drawn out version of the Maloofs exiting the party.

After they left, the housewives avec Camille, but sans Lisa and Yolanda, were left to ride that drama wave for as long as possible. Kyle immediately started arguing with Kim about her decision to tell the Maloofs, while Taylor looked like she wanted to vomit -- admitting that Paul screaming in Brandi's face made her uncomfortable.

After yelling at her sister for causing such a raucous, Kyle then started picking fights with everyone, thereby extending the original conflict and attempting to insert herself as the central character, so the fight would revolve around her.

Kyle shot Taylor down when the domestic violence survivor said she felt uncomfortable that Paul was up in Brandi's face. "This is not about you, Taylor," a sassy and mean-spirited Kyle said in her confessional. This strikes me as, well, just not the right response. At all. Ever. And it seems like what Kyle really meant to say was, "This is about me, got it?"

Then Taylor, without explicitly saying so, compared the situation between Brandi dropping a bombshell about Adrienne, to Camille's whole "that's not cool" rant in Season 2 about Taylor's now-deceased abusive husband.

During her confessional, Camille pointed out what she called the "big difference" between Adrienne and Taylor. She said that Taylor basically blabbed freely about her situation, whereas Adrienne never blabbed about whatever it is that we don't know yet (possibly Adrienne using a surrogate if the rumors are true). Then, Camille made some really awkward hand gesture to drive her point home, but it actually looked like she was milking a cow.

Kyle went to have lunch with her friend Faye, the woman famous for taking on the electronic cigarette-smoking ghost whisperer Allison Dubois in the Season 1 episode, "Dinner Party From Hell." She's also known for testifying against O.J. Simpson and later posing nude for Playboy.

We learned that Faye is not a Brandi fan, and then viewers had to sit through yet another scene where the cast members talked about that thing we don't know because the network continued to edit it out of every conversation. I really don't see why Faye is ever on this show, but Kyle said she's hosting a dinner party on Friday, and invited her to attend.

Then, Yolanda returned! But we had to watch her work out, which I found to be a downright terrifying experience. I really could have used some easing into this scene of the alien that is Yolanda sprinting up her palatial staircase like a madwoman, doing better push ups than Michelle Obama and just generally being a freak of a workout fiend with her trainer, Dr. Dale. Yes, Dr. Dale, who was staring at her bod as she dipped, and bended, and jumped, and stretched and yelled out in debatably pretend anguish, "You're so mean!" I'm getting stressed out just writing about this. But she kept going, and started doing these strange pulsating squat-type-things with her arms stretched out in front of her.

Then we were privileged to some more useless Yolanda-isms. She's already told us that there's nothing worse than a drunk woman. This week, she told us that she believed "exercise is the fountain of youth."

"I'm always riding horses, biking. Like last week, I swam two miles every day -- I thought I was part of the Olympics," she said with a laugh.

I'm shaking my head in disbelief right now.

But Yolanda continued on about how she saw her model daughter walk the runway and her butt and legs were "so tight"; and how she really wants to be married to her husband David Foster for longer than his previous three marriages so she needs "to keep [her] ass tight."

I really don't know how to address the insanity that was Yolanda working out and sharing her mind-numbing, painful thoughts about life, fitness, fountains and youth -- but I do feel like I have whiplash.

Meanwhile, Brandi was at Lisa's home and said she's felt so anxious about her feud with Adrienne that she's been picking her face. Lisa gasped in horror. "Leave your face alone!" she cried.

After, we had to sit through what felt like the millionth conversation about the thing Brandi said that we don't really know about.

Here's Brandi's version of the whole fight:

Kim told Adrienne and Paul ... But I didn't even know they were there yet. I saw them from a far and thought they were having an argument. And then, all of a sudden, he comes walking -- I'm sitting in a chair this whole time -- and he's like, 'You bitch, you bitch'; and I'm like -- he was this close to my face [insert thumb and index finger gesture depicting a small space here] -- and screaming -- and he's like, 'Bitch, bitch, bitch'; and she's screaming.

I have to give Brandi credit -- this was a fairly accurate description. She just forgot to mention her own comments, like when she called Paul "baby." That was weird.

And then I blinked and Lisa and Brandi were outside with Ken -- chipper as ever -- who was puttering around the garden in a straw hat. Brandi gave him a hug and then Ken just dropped trou to show off his hip replacement scar. WTF, KEN?!

"Ken we don't want to see that," Lisa scolded. "Ken's a superhero!" Brandi cheered. And then they went inside and Ken pulled up his pants.

So we finally reached Friday (not to imply that there's any sort of logical timeline to this show, but Kyle said her party was happening on a Friday). Adrienne, Kim and Yolanda were absent (our resident workout warrior was at Donna Summers' funeral).

Kyle toasted to Faye for decorating her dining room, the near-completion of which Kyle used as an excuse to gather the housewives. Besides the flowers at the center of the table that looked Vanderpump-esque, the room was drab.

"It is so you, in every way," Faye said. I found the remark insulting to Kyle, considering my aforementioned opinion of said dining room.

Within moments, Brandi was asked to rehash the entire feud between her and Adrienne. Faye prepared to pounce. And after Brandi said that Adrienne "might have bought a book deal," Faye interjected.

"I'm not going to get into it with you, because I don't know you that well. But [Adrienne's] been horrible to me, and that's just what it is," Brandi said.

Then Lisa and Kyle started bickering at one another after the women suggested Brandi send Adrienne flowers to apologize. Brandi refused.

Then Faye just ended the whole conversation by saying, "Forget the flowers; send her an orchid." I have no idea if Faye was serious or trying to be funny. It could go either way because I really do think Faye might not know that orchids are also flowers. Again, why is she on this show?

Part of me feels certain that Faye was brought in so the series could have a "Dinner Party From Hell: Part Deux," but it all just fell completely flat -- probably because we have no idea what Brandi said about Adrienne.

Faye continued to provoke Brandi, so she just got up and left the table. And I'm not sure why but Kyle uttered a very dramatic "Shit!" and then the episode ended.

Where do you think we'll go from here? What do you think about the fact that we still don't know for sure what Brandi said about Adrienne? Did I leave anything out? Let us know your thoughts in the comments below.

"The Real Housewives of Beverly Hills" airs on Mondays at 9 p.m. EST on Bravo.

It was Christmas-time for the Friday family, and the "Extreme Makeover: Home Edition" team had the best possible gift for all of them. Devonda and James Friday had recently adopted five siblings, so that they wouldn't be separated. But it was a lot to take in all at once, and more than their house could physically handle comfortably.

The new house was completed in December 2011, allowing the family to spend their first Christmas together in a more comfortable and more spacious environment. And the design team had given the kids something they'd never had before: their own rooms.

"I’ve always had to share with everybody and never got anything of my own, and now I do," said 14-year-old Kamaya. "And that’s awesome."

The Charlotte Observer said that the family is gearing up to celebrate their second Christmas together in their new home, while remembering that magical week a year ago when it was built by tuning into the final of these special "tenth season" special episodes of "Extreme Makeover: Home Edition."

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Leah
After a stressful week of college and kids, it's time for another date with Jeremy! He must have learned his lesson last time -- 'cause on this one, he whips out a helmet and quickly renders Leah incapable of talking. She hops on the back of his motorcycle and they ride like the wind. In fact, if she had any undamaged strands of human hair on her head, I bet it would have wafted right through them.

"I think it's time to make it official," Jeremy says afterwards when they are sitting on some random concrete steps. "Ahhh! I can't believe I have a boyfriend" is Leah's pretty adorable response. Now that she's been his girlfriend for a solid three seconds, she decides to reveal the fact that she cheated on her previous man. Nothing says "you made the right choice!" like a reminder that you're dating a sex-crazed infidel.

But, as they stare in to each other's hoop earrings, it's obvious that they are ready to overlook the past. "I'm glad I sent that friend request on Facebook," he says, like a real-life cyber Romeo. You know that if those two crazy kids didn't end up dead in the play they would have poked the junk out of each other first.

Now that Jeremy is her boyfriend, it's time for him to meet the twins. When he comes over, Leah's in the middle of a very attractive diaper change, complete with bum lotion. It's just "Babies Gone Wild" up in that trailer, I tell you -- and I bet those chubby little hands didn't even sign the consent forms.

Over at Corey's house, his parents ask about his ever-changing Facebook status; For about three days it said "In a Relationship." Apparently that fell apart almost as quickly as it started, and his mom knows why: His standards are too high. "You need to find a girl who may not be the prettiest thing on earth," she says inexplicably. Uh, what? I'm pretty sure your son is well aware that he looks permanently stoned and has the thinnest lips possible in the history of lips. There's no need to rub it in.

"I ain't never getting married again. I'm gonna wait until I'm like 80 when I ain't got much longer to live," Corey replies. Hey, it's working for Hugh Hefner.

Meanwhile, Leah's desperate to tell someone about the status of things with her beloved Jeremy, so she calls her trusty friend Kayla and says: "Hey Kayla, do you recall that lovely tree in that random park? Let us sit under it so that nature may flourish around us just as my new relationship has." Or, that's how it would sound if "Teen Mom 2" and "Downton Abbey" had a crossover episode called "Downteen Babbey."

Leah quickly dishes on their most recent date. Although she has survived birthing twins, living in a trailer and handling the furry creature that grows above her forehead, she still found the back of a bike to be "scary." "Now I feel like you're you again, but like, a whole new you," Kayla says happily. Um ... that makes no sense but we'll just let it go. Kayla's got enough problems with, like, having her face.

Since Jeremy will be around her babies, Leah decides to tell Corey about their new status. Plus, it's kinda nice to rub Mr. New into Mr. Old-And-In-Need-Of-Subtitles' face. Corey, surprisingly, takes the news extremely well -- and Leah seems frustrated. Since she couldn't get his blood pressure to rise, she decides to mess with hers. "Are you dating anyone?," she probes. "I've dated a couple and they didn't work out," Corey admits sullenly, never actually clarifying if he meant a couple of humans. (Hey, you never know. Boyfriend's real into hunting.)

When they hang up, I search Leah's face for something -- maybe a flicker of happiness that Corey was single, perhaps some melancholy -- but she simply goes back to her work. Her "work," in case you didn't notice, is violently highlighting sections of a piece of paper. Either she's truly moved on ... or perhaps this is just what resigning oneself to a new life looks like.

Jenelle
Though Jenelle is feeling good, she's also off her meds -- and Bahhbrahh is the first to remind her that this is, unfortunately, how being bipolar works. One minute you're flying high, the next you have "episodes, and end up in a big crisis." (She actually pronounces that mostly like a normal person, so no Bahhbrahh translation necessary.) Since Jenelle's face registers no emotion and she looks about one level above zombie, the conversation is pretty unsettling. If this is what "good" looks like ... then I'm nervous to see "bad" again.

Now that her mental health issues are out of the way, it's time to discuss the truly important update: Jenelle's met someone new. "Is he skinny?," Bahhbrahh wonders. "You ahlways go fuh skinny guys! AAAHH AHAHAHA." Bahhbrahh's getting a real kick out of herself tonight. She seems so excited that her daughter is "stepping uhp" that she even says it's OK for Jenelle to bring Jace out for a whole day. It's nice to see them getting along, but the whole scene pains me, too. Bahhbrahh's trying so hard not to ruffle a feather, that the entire convo feels artificial and forced. Smiling and nodding at everything your screwed up kid says doesn't equal a relationship -- but any communication that's not screaming is a step in the right direction.

A few days later, after school, Jenelle's pal Marissa introduces her to Mr. Skinny. His name is Josh and [SPOLER ALERT] he's her future ex-boyfriend. You may recall that she revealed his identity to the Internet in the fall of 2011, only to announce the devastating news of their end a week later.

When they finally meet face-to-face, Jenelle opens with the words ever guy loves to hear: "So, you know I have a baby, right?" He doesn't seem very flustered, mostly because his face is really strange and hard to read. He sort of has a cro-mag thing going, and I'm struggling to understand his jaw.

Looks aside, he's totes perfect for Jenelle because he has a record, too. He was on probation for stealing his mom's credit card, which everyone seems to think is really impressive and amusing. He probably kept it under his bangs on his massive forehead. There's a large amount of storage space there. He probably snuck a Macy's and Sephora card up in the ol' head wallet, too.

It's funny -- I never truly appreciated evolution until I was reminded of what we all used to look like.

Since Jenelle has deemed Josh acceptable, she plans a day at the aquarium with Jace. The little guy is totally enthralled with the fish ... and Jenelle's all about her new catch, too.

After their successful double date (Jenelle and Josh, friend Melissa and Jace), Jenelle's ready to try a solo adventure. Since Josh has a car and is either 21 or 22, Bahhbrahh's all about it. "Don't show him yah bad side," she warns.

At the bowling alley, Jenelle mostly just shows him how little effort she can put in to her appearance. It's like she spends two hours drawing in her eyebrows then totally gives up on the rest of her face.

Since things went so well, it's time for Josh to meet Bahhbrahh -- but Jenelle's admittedly in a bad mood and completely off her meds. Josh sweetly suggests that they bring Jace out for another adventure, but Jenelle bites his head off. "When I get tired, I turn into a raging bitch, dude," she grumbles before storming out. "That's what happens with bipolar people," she explains to Josh. "They're happy, happy, happy and then they are depressed for days."

With that, sweet little Jace walks out to the car and hands Jenelle a tiny purple flower. She takes it gently and looks at the delicate petals, trying to replace her anger with love. Poor Jenelle. She's the butt of endless jokes in this column, but nobody would really choose to live like this.

Chelsea
As Chelsea spirals into a depression, her face also revolts against her. You can't keep anything from me, Chelsea. Plus, when you get zits, they are roughly the size of those puppies that you have in your house for about a day. Friend Kayla has suggested that she get help (from a therapist, although a dermatologist might be a good idea too), and Chelsea gives us a window into her world: The majority of people in her family have suffered from depression, and Adam's not the first boy to let her down.

Since turning to food is easier than actually seeking out a professional, Chelsea breaks out the mega-jumbo Sprite and frozen pizza. Her skin screams in horror and her hair sighs in relief. It's a lot easier to be the second ugliest part of a person, after all. (Note: My boyfriend says I am too mean to Chelsea, but we know it's all in good fun. Or, at least I know it's all in good fun)

At lunch with her mom (who has a NOSE RING NOW?!), Chelsea brings up therapy again. Mom, who is obviously having some sort of midlife crisis in which she tests out every adolescent fashion tend, is "all for it." She seems a little glum, though, and I'm assuming it's because she's no longer sporting her fabulous hair feathers. Can someone introduce her to Jenelle already? I am just picturing them rocking out at the next Ke$ha concert, and it's the most delightfully horrifying scene ever.

Since Aubree's at Adam's for the night, Chelsea's finally free to have a therapy session. She puts on her best sweats, calls up an Oompa Loompa friend to bring over some orange foundation, and heads on over.

The therapist immediately delves into her relationship with Adam, followed by her life as a child of divorce. Chelsea says her parents' breakup was when everything started to go wrong, and she yearns for the days when her family lived under the same roof. Suddenly, her desperate desire to make it work with Adam is a bit more understandable: She wants to shield Aubree from the pain of a broken home. Afterwards, Chelsea admits therapy wasn't that bad -- but she's not convinced.

Since her therapist said to Google "boundaries," Chelsea breaks out her iPad. As she reads a checklist of "unhealthy" ones, she quickly realizes that every single item applies to her. Yep, I sense a lot of therapy in Chelsea's future -- and for the first time, she does to.

Kailyn
When Jo comes over to pick up Isaac, Kailyn's not her best self. With tears in her eyes and a nose that desperately needs to be blown, she blubbers her Jordan pain. "I'm not going to find anyone else that accepts me the way he did," she says. It's all extremely awkward considering they are both well aware that Kailyn is likely crying more for Jo than for Jordan.

Jordan was her backup plan, and it failed -- so now the wounds that she was trying to heal in the first place are uncovered yet again. Every time Jo tries to soothe her with a "you'll find someone" or a "what a loser," it's just a painful reminder that he's not saying, "Hey, let's give US a try."

When she's feeling better a few days later, she meets with friend Gigi for some gossip and beautification. Yes, Gigi is actually daring enough to run her hands (and a curling iron) through Kailyn's hair and, shockingly, she's not coming across any of the tiny creatures that work in the oil factory.

Kailyn admits that she's going to break up with Jordan ... and confesses that he was really just a rebound that she caught a second time. "How are you going to do it?" friend Gigi wonders. Kailyn's not sure, but I've got an idea: Text him a photo of the horrible act that Gigi is committing upon your hair. That'll send him running.

Finally, it's time for the fateful call. Jordan immediately apologizes for standing her up, but Kailyn has made up her mind. "I think I need to move on from our relationship," she says point blank. Jordan agrees, although he says it will be hard not to see her or Isaac. As far as "Teen Mom 2" breakups go, it's extremely chill. No histrionics, just the stone cold truth: Kailyn and Jordan were never right for each other. Someday, he will meet a lovely girl who enjoys eating all meals out of a Tupperware, and it will be love at first slurp.

Though she's depressed, Kailyn goes out to meet Jo and pick up Isaac. "You'll find someone who is perfect for you someday, and you will be their little queen," Jo says sweetly. But oops -- "That's what you used to call me," Kailyn replies with a sad smile. C'mon, Jo! Get your head right. If you know you've got a Stage 5 clinger on your hands, it's best not to remind her of the good ol' days, before you decided to throw condoms to the wind and make an illegitimate child.

Jo glosses over his error, reminding Kailyn that he's officially dating Vee. "It's hard for me thinking about [Isaac] having a step-mom," Kailyn admits. "Sometimes it crosses my mind about being with you," she says hopefully. "We've come so far from that," Jo replies, dashing her dreams of a happy, rapping family. This is like getting your stitches ripped out, and poor Kailyn starts to tear up again. Note to all the ladies: If you are feeling sad about the end of a relationship, try not to meet up with another dude who has expressed a desire to also not be with you.

"Teen Mom 2" airs on Mondays at 10 p.m. EST on MTV.

A crossbow worth thousands came into the shop on "Pawn Stars," and it was something Rick had never seen before. The crossbow dated back to the 15th century and the Bavarian-German army.

Rick was excited to see the item, saying he'd never had a medieval crossbow in the shop before. He brought in an expert to appraise the item.

The expert said the crossbow was worth up to $10,000, which probably sounds pretty impressive to most people. Not so for the crossbow's owner, who thought it worth even more. Ultimately, he didn't sell the item to the shop, but it was still fun for Rick and the viewers to see it.

You never know what's going to walk in the doors on "Pawn Stars," Mondays at 10 p.m. EST on History.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Anne Hathaway shared her embarrassingly vulgar first meeting with Daniel Craig on "Chelsea Lately." It was at an industry party, and she spotted him from across the room. Suddenly, they locked eyes and he said, "Hey, you. F*ck you!"

"I was like, ‘Oh my God! I have just instantly become so famous that Daniel Craig is messing with me and we don’t even know each other," Hathaway said. That has to be it. After all, what other explanation could there be?

She shot the message right back to him, and they started exchanging obscene gestures with him, but then Craig realized what she was doing. "Oh, not you," he told her.

That's right. He'd been communicating with British director Stephen Daldry. She turned to see Daldry reacting to her ridiculous gestures as well. So, that's another explanation. She'd just been in the line of fire of Craig talking to someone he did know.

Tune in for more laughs with "Chelsea Lately" every weeknight at 11 p.m. EST on E!

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Steven Spielberg is a man who lets his work speak for him. And with an oeuvre that includes such feats of movie magic as "E.T.," "Indiana Jones" and "Jurassic Park" as well as modern classics such as "Schlinder's List" and "Saving Private Ryan," we can hardly blame him.

But on Steven Spielberg's 66th birthday, we wanted to take a look at some of the lesser-known facts about one of Hollywood's most influential men. For example -- if Steven Spielberg hadn't become a world renowned director and producer, would he have become a video game designer? Maybe. Check out our slideshow below to find out that and nine more unexpected facts about Steven Spielberg. Let us know which facts you were surprised to hear in the comments section.

There's the husband-and-wife architectural team behind the new Barnes Foundation in Philadelphia, and the playwright who has probably brought more Asians to Broadway and other stages than anyone else. There's also Barbra Streisand who -- at 70 -- embarked on a highly acclaimed tour this year that took her to her native Brooklyn for the first time, as well as Ang Lee, whose "Life of Pi" adaptation is widely expected to win several Oscar nominations.

Welcome to our celebration of Post 50 innovators who dared to be different in 2012. Obviously, the list could go on and on, but we picked 13 who seemed to represent a variety of disciplines -- and who never cease to amaze us with their creativity.

Take a look at our slideshow and please feel free to add your own suggestions for the most creative midlifers in 2012 in the comments.

Somebody's been doing a lot of squats down the gym, haven't they, Dwayne Johnson?

Dwayne, AKA The Rock, posted this snap of his seriously impressive pins on Twitter. Well, we say 'pins', they look more like industrial screws to us.

He also tweeted the message: “Sometimes the most important victories are just for yourself. LEGS. 35KneeSurgeries #RupturedDiscs #StillFindAWay."

Yeah, yeah, we get it - you're big and tough.

The 'Scorpion King' star and former WWF wrestler has always been a bit of a beefcake but he's taken it up a notch or ten for his latest role in 'Pain And Gain'.

The 40-year-old plays a bodybuilder in the forthcoming film alongside Mark Wahlberg who has also beefed up for his role.

And all those hours in the gym are really paying off because The Rock has also just landed himself another major role that will require him to flex those biceps - he's been signed up to play Hercules.

'Hercules: The Thracian Wars' is due to start filming next year and will be directed by 'X-Men: The Last Stand' director, Brett Ratner.

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NEW YORK — The Connecticut school shooting rampage compelled Hollywood to air disclaimers before violent television shows, swap some programs for others, cancel film openings and present somber specials on daytime TV shows that are usually more focused on entertainment.

The responses came in addition to news specials on Friday's killing of 27 people, most of them school children, in Newtown, Conn., by a gunman who later took his own life.

Showtime gave its viewers a special warning Sunday before the season finales of the thriller series "Homeland," and "Dexter," a series about a serial killer.

"In light of the tragedy that has occurred in Connecticut, the following program contains images that may be disturbing," said the disclaimer before both programs.

Another cable network, HBO, postponed airings of the 2012 crime thriller "Contraband" over the weekend. The film with Mark Wahlberg and Kate Beckinsale was replaced by airings of "Crazy, Stupid Love" and the remake of "Arthur," the network said.

The Film Society of Lincoln Center in New York canceled Monday's screening of Tom Cruise's violent new movie, "Jack Reacher," that was to include a conversation with the actor. A scheduled premiere of the movie in Pittsburgh had also been postponed over the weekend.

In Los Angeles, the Weinstein Co. canceled Tuesday's planned premiere of the violent movie "Django Unchained."

The TLC network postponed a Dec. 27 special, "Best Funeral Ever," about a colorful Dallas funeral home. The show, considered a pilot for a potential series, will instead air during the first week of January.

In one of the odder substitutions, NBC pulled a Blake Shelton holiday special at the last minute Friday and replaced it with one starring Michael Buble. That's because the Shelton special had an animated segment about a reindeer killing, which NBC would be removed from any future showings of the special.

It's a ritual for entertainment companies in the wake of national tragedies, noted Chris Ender, CBS entertainment spokesman: The network's series and promos are all looked at carefully with an eye toward whether any of them could be considered insensitive with the news still fresh in mind. CBS has made no changes other than doing two prime-time news specials, he said.

Fox on Sunday night replaced new episodes of its animated comedies "Family Guy" and "American Dad" with repeats amid worries they could be seen the wrong way. The "American Dad" episode featured a demon who punished naughty children at Christmas.

Several daytime talk shows, including "Katie," "Dr. Oz," "Dr. Phil," and "The Doctors," responded with shows Monday that were dedicated to Friday's shootings. That's unusual for these shows, which are usually taped much further in advance.

Katie Couric's show featured interviews with two families that had lost children in the shootings. In one interview, Couric asked the sobbing brother of one child killed, "Is there something you want people to know about your little brother?"

News reporters had been criticized in the immediate aftermath of the coverage for interviewing children who had been in the Newtown school during the shooting.

Both Couric and "Dr. Oz" featured interviews with spiritual leader Joel Osteen.

Talk show host Phil Graham, in addition to devoting his own program on the shooting, also appeared in Monday's episode of "The Doctors."

"Doctor's orders: Hug your family a little bit tighter today," said Travis Stork of "The Doctors."

"The View" invited ABC News' Chris Cuomo and forensic psychiatrist Michael Welner to talk about the incident. One of the show's co-hosts, Elisabeth Hasselbeck, asked Welner with tears in her eyes, "How can this happen?"

___

Associated Press writer Nicole Evatt contributed to this report.

Michael Showalter is perhaps best known for co-writing and starring in Wet Hot American Summer, the seminal camp movie send-up that featured everyone from Amy Poehler and Paul Rudd, to Bradley Cooper and Janeane Garofalo. But Showalter has been finding new ways to make people laugh since he was a member of the sketch comedy troupe The State, on MTV, and later Stella, with Michael Ian Black and David Wain. In addition to doing standup, he wrote and directed the 2005 romantic comedy The Baxter, teaches graduate screenwriting at NYU, and last year published a comedic memoir called Mr. Funny Pants.

Recently the author, director, and cat-person took the time to answer a few questions about writing, nerding, and musical theatre.

Your parents were both Ivy League professors and you grew up in Princeton, NJ. How nerdy do you consider yourself on a scale of 1 to Spock?

"Tribble." Is that an acceptable answer?

What were your obsessions as a kid?

(Not necessarily in this order:)

1. Animal House/John Belushi
2. Mad Magazine
3. Baseball cards
4. Broadway musicals
5. Mork from Ork
6. Girls
7. Pizza & hoagies

Have you ever played D&D?

Never full-fledged D&D but we used to play "mini-D&D" all the time. We'd make our little mazes and maps and just get regular dice. I don't even recall how it worked exactly.

Which books have you read more than once?

More than once? Yeesh. That's gonna be an odd list:

Rolling Stone Record Guide
Hitchcock/Truffaut Interviews
Screenplay by Syd Field
The Complete Book of Symptoms & Treatments

You were a semiotics major at Brown. How did you decide on that? And what does a semiotics major say to a girl at a party?

I went to college thinking of maybe pursuing a career in film criticism. Semiotics was as close as I could get to that.

"Hey, baby. I'm semiotics major. Wanna interpolate?"

You also wrote plays. What were they like?

I didn't really write plays. I wrote something with David Wain and Joe LoTruglio many years ago called, "Sex a.k.a. Weiners and Boobs." It's sort of like a comedic, theatrical version of High Noon.

Is it true that you love musicals and dream of being in one?

Indeed it is! I love musicals. When I was at camp and in middle school and high school I did a bunch of them (Gypsy, Three Penny Opera, Bye Bye Birdy, Oliver, South Pacific and Oklahoma to name a few.) I've always loved going to see Broadway shows. I've seen'em all: Rent, Chorus Line, Cats, West Side Story, Guys & Dolls, Wicked, you name it! My not-so-secret ambition is to sing and dance in a Broadway show.

You've talked a fair bit about structure: from the structure of a screenplay to the structure of a joke. As a screenwriting professor now yourself, what do you tell your students when they hit a structural roadblock in their writing?

I am a big proponent of writing a great outline. That way you can avoid hitting a roadblock. There is no worse feeling than writing yourself into a corner but if you've figured it all out in the outline then you won't have that problem. Think about it: would an architect ever build a house without a blueprint? Just wing it? He'd get all the plumbing wrong! It is no different with screenwriting. Have a great blueprint to work from!

Thanks to an endless stream of cat videos everyone's obsessed with cats nowadays, but you were an early adopter, so to speak. What do you like about cats and why do you think they rule the internet the way they do?

I'm not sure why I like cats so much. I mean, they're really cute obviously. They are both wild and domestic at the same time. This is somewhat endlessly fascinating. One second they'll be snuggling at your feet and the next minute they are killing a mouse (or a toy mouse at least.)

Were there any alternate titles for Wet, Hot, American Summer?

For a long time it was called "One Nine Eight Two." ("1982", get it?) We loved that title. "Wet Hot American Summer" probably has a little more zing to it though.

Finally, in your book Mr. Funny Pants you say that there's no way to look cool while holding an ice cream cone. What things always look cool while someone's doing them?

1) Fixing something on the moon.
2) Anonymously donating money to charity.
3) Picking up garbage.

I have a secret to share, one which until now only a few close friends have known, and which even my wife did not find out until recently:

I love the Monkees.

I don't mean it like, when I hear "Last Train To Clarksville" or "Daydream Believer" on the radio, I go, "Oh, I love that song." I mean I LOVE the Monkees. Every obscure album track, every studio outtake, every previously unreleased alternate mono mix. I not only have to have it, but I have to listen to it, frequently, with the diligence of a scholar and the passion of a fan club president. (Which I'm not. Yet.) I usually listen on headphones, because I don't want to drive my wife and daughter crazy. Sometimes being a Monkees fanatic is a lonely pursuit.

My passion for the Monkees, which began when I was a lad of fifteen or so, never extended past their 1970 breakup. For years -- decades, even -- I reckoned that it would be sad to see Micky Dolenz, Davy Jones and Peter Tork (Mike Nesmith rarely joined them) on their periodic reunion tours, trying to look contemporary (their late '80s outfits were particularly heinous) and butchering their old hits with synthesized keyboards and drums. I stayed away from their two comeback albums, even the one with Nesmith back in the fold. I contented myself with the Monkees as a thoroughly '60s entity, which was easy to do as more vintage outtakes and deluxe expanded collections continued to surface.

But last February, Davy Jones died quite suddenly -- only a few months after completing the Monkees' 45th anniversary reunion tour, which I'd missed as usual. And I realized that time was running out to see the remaining Monkees while they yet walked the earth.

Thankfully, the team of Dolenz, Nesmith and Tork did decide to strap on the gear (yes, naysayers, they do play their own instruments!) and hit the road one more time. Without Davy, of course, but with Mike back in the fold for the first time in the States since 1969. After enlisting the assistance of a core group of friends who could be trusted with my still-secret Monkeemania, I scored a pair of orchestra seats for the last show of the tour, in New York's Beacon Theater.

Around the same time, I got to hear Micky Dolenz's latest album, Remember (Robo/Fontana), which quietly slipped out in September and is scheduled to be re-launched with a bit more fanfare in early 2013, along with a live DVD shot in New York a few months ago. Micky's kept himself busy between Monkees reunions -- he was a TV and film producer/director in England for many years, and he's also done a lot of musical theater both in the U.S. and England, including shows like Hairspray and Aida. But his solo musical output has been sporadic, and it's been weird. A handful of singles in the '70s, a pair of kids' albums in the '90s, and of all things, a karaoke-styled re-recording of some of his Monkees hits.

And that was it until 2010, when his first "real" solo album, King For A Day, surfaced. A tribute to one-time Monkees songwriter Carole King, it featured Micky tackling selected nuggets from her catalog, ranging from the awesome (a stomping "Don't Bring Me Down," first made popular by the Animals) to the icky (I don't need to hear anyone cover "Take Good Care Of My Baby," even a Monkee).

But Remember is not only the best record he's made since the Monkees' heyday, it's one of the best records I've heard by anyone in 2012. It's a... well, I'll get to that in a bit. But on this record, and at the Monkees gig I saw, he sounds like his voice had been cryogenically frozen around 1969 and thawed out this year. It's shocking. It's astounding. It's... depressing.

Why, why, has Micky Dolenz -- blessed with one of the great voices in pop music history (whether or not you afford the Monkees any credibility, you can't listen to "Pleasant Valley Sunday" and not agree that the guy can sing a goddamn song) -- recorded so little all these decades? And what had led him to start taking his recording career seriously at this late date?

I became intrigued. And fascinated. I wanted to hear the story from the man himself. And so I pulled as many strings as I could and arranged a phone interview with Micky Dolenz. The giddiest of schoolgirls had nothing on me as I planned and plotted to sound like a bonafide journalist and not a 43-year-old husband and father with a longstanding man-crush.

After screwing up the time and calling two hours late (damn time zones), I found myself chatting with the man himself. He opened with "How are ya, Tony?" I could have ended it right there -- Micky Dolenz addressed me by name! -- and have been satisfied, but I had 20 minutes allotted to me, so it was time to ask The Question.

"So... why have you not recorded more over the last 40 years?"

"That's a good question - I don't know!" he replied, genuinely sounding like nobody had ever asked him why he didn't make more records. Kinda made me wish I could have asked him back in the '80s. "The thing is, I'm not a prolific songwriter. Basically, unless somebody would come to me with an offer, a deal, you know, I wasn't -- have never been -- the kind of person who has gone out and shopped album deals or record deals."

I parried his "not prolific" thrust: "But you say in the liner notes of the new album that you've got some songs sitting around that you'd like to record one day." I quickly did the math. Even if the guy wrote one song a year -- which I believe qualifies as not prolific -- that's still about three or four albums worth of tunes.

"Over the years I've had a couple of ideas for albums come up -- actually, one of them was Dolenz Does Nilsson. He was a very good friend of mine. And indeed, 'Remember' [written by Nilsson] is the title track on this album." I'm a big Harry Nilsson fan, so I was ready to get my credit card out and rent the studio time myself. But I played it cool.

"He had his first hit, his first record with us [The Monkees], 'Cuddly Toy.' He got to quit his job at the bank, absolutely a true story. That's what he told me. Lester Sill was the head of publishing at Screen Gems music publishing. [Nilsson] walked out of the studio, and he told me years later, Lester Sill said, 'You can quit the bank.'"

He then returned to the subject at hand. "But like I say, I've never been extremely prolific as a songwriter. And then I'd kind of wait until somebody would come up and express some sort of interest in recording me, and that's what happened with King For A Day."

Of the new album, he told me, "This album was envisioned to some degree by [producer/arranger] David Harris. He came to me, I didn't go to him. We met years and years ago, and he kept hounding me -- 'I really, really am a fan, I really love your voice, I really think we can do a great album.' Finally I met up with him and we started chatting, and out of those conversations came this idea of an audio scrapbook.... I started telling him these stories, and we decided, this is a great idea for a concept."

Remember revisits songs that have significance, in one way or another, in Dolenz's life and career. There are a handful of Monkees remakes, of course, but some more intriguing choices as well. His stunning acoustic reworking of the Beatles' "Good Morning, Good Morning," for example, is included because they were working on that song when he first met them. "Just An Old Fashioned Love Song" was offered to Dolenz after the Monkees' breakup, but Three Dog Night got to it before he did and had a Top Five hit with it. Now, I've hated that song since I first heard it, which was probably when I was about four years old. But I can't get enough of Micky's interpretation, with a winsome, McCartney-esque vocal and even a nifty scat interlude.

"So we started going backwards," Micky said, "from the songs that I had stories about, to some degree. Then he said, 'I would love to re-envision 'Randy Scouse Git' [a Monkees hit written by Dolenz]. And I was like, hey, go for it. I'm probably too close to it to be able to do that one.

"And then I told him the story of 'Sugar Sugar,' and he said, 'That's a great story. I'd really like to try and come up with an idea for that.' And I said, 'You've got to be kidding me! I can't do "Sugar Sugar"!' But now it's one of my favorite tracks."

To show what a bad interviewer I am, I didn't ask him to actually tell the story of "Sugar Sugar" because I already knew it. So now it's my job to tell it. As Monkees lore has it, original Monkees svengali Don Kirshner told the band, "'Sugar Sugar' is your next single, now go into the studio." The Monkees basically said, "Who are you to tell us what to record? You're only the guy who's chosen our material since Day One and helped make us the biggest band in America when we're not even really a band. So screw you." Quite a shocking career move, when you think about it. But anyway, the Monkees never recorded "Sugar Sugar." Kirshner, of course, scored a huge hit with it a couple of years later when he had another fictional band, the Archies, record it. Dolenz's reinvention of it on the new album sounds nothing like the bubblegum pop tune it originally was, but he sings the hell out of it, and the new arrangement really works.

Dolenz said the album was in gestation for about three years. "There wasn't a record company involved, it was a labor of love. [David Harris] was putting in his time, and I was putting in my time -- I came up with a bit of money here and there for musicians and a bit of this and a bit of that -- and we all had other things going on. But the upside of that is that there was an enormous amount of time for reflection which you don't normally have.... He had his studio in his house, so nobody was spending a whole lot of money on studio time or equipment. We were able to really take our time."

One benefit of that arrangement was that Micky was able to record all the backing vocals himself -- and on some of these tracks there are a lot of backing vocals. "I decided at one point, early on -- because we'd talked about getting other vocalists, background vocalists -- I said, 'This is what I do. I'm a singer, I wrote a couple of these, but... I wanna just sing.' And I'm glad I did. I'm very proud of the fact that I did all these vocals. And there's no electronic doubling or anything. Like that one song, 'Prithee (Do Not Ask For Love)' [a Monkees outtake resurrected for Remember]. That is probably upwards of 30 or 40 vocals. There were so many layers of vocals on the album that I joked once, 'Let's call the album Getting Layered.'"

"Speaking of your vocals," I asked, "how do you keep your voice in such great shape?"

"My parents were both in the business and they were singers, both of them, so I suspect that... you know, singing is like a sport. And singing is a physical thing -- your vocal cords are these muscles. I suspect that might be part of it, because my sister Coco (who was a backup singer on the latest Monkees tour) is also an incredible singer."

"Do you do a lot of training?" I envisioned him constantly drinking tea with honey and singing scales nonstop from the '60s to the present day in order to maintain his range.

"After the Monkees, when other groups and other singers were going out in the '70s and '80s, and singing in smoky clubs with no monitors -- I missed all that. It was like ten years when I didn't sing a note. So just in terms of wear and tear, I got ten years ahead of the curve. And then, when I did come back, one of the first things I started doing was musicals. When I got cast in Aida, the Elton John-Tim Rice musical, back in 2000 and somethin' [2004, actually], I started training properly. And really, for the first time in my life, I actually learned how to sing properly. I learned how to train, I learned how to warm up, I learned how to do vocal exercises.

"I remember once my mom, who was a really good singer, back in the days of the Monkees she said to me, 'Micky, you really should learn how to breathe.' Because I'd never taken any lessons, I never knew about proper breathing and your diaphragm and all that. I remember saying, 'Mom, I've sold 65 million records!' I really had no clue."

As I moved the conversation from Micky to the Monkees, I vowed not to ask him what pretty much every interviewer had asked him for the past ten months -- something like, "So Davy Jones died, how do you feel about that?" Because, first, he'd answered that question a bajillion times, and second, how would you feel if your friend and co-worker for 45 years suddenly passed away? Besides, there was plenty of other stuff to ask him about.

"Now that it's over, how do you think the Monkees tour went?"

"Fantastic, it was absolutely wonderful. And it was wonderful, of course, playing with Mike again. He brings a very different dynamic to the show. I don't want to say it's necessarily better or worse, it's just different. But I personally had a great, great time playing with him. Even in my solo show, I've always done two or three Nesmith tunes, and every Monkees show we did with David, we always did Nesmith songs, always. And I would usually sing them or we would do them as a medley or something like that. So it was wonderful to sing with him as we did originally."

"Do you think you'll tour together again?"

"You never know. That's the short answer. I just don't know at this point, it's too soon to tell what's gonna happen."

"I'm just glad you don't all hate each other, because that's what I read after every Monkees tour."

"Well, it's never quite THAT bad. I'm not saying that we didn't have our differences.... But I don't think ours were as bad as some of the other ones, the horror stories I've heard about. I don't think we were even that bad when we were that bad! You have problems -- when you live and work and play and have the kind of experiences that we did over years... you know, I describe it as like having siblings. If you have a sibling, you love him, you hate him, you have wonderful times, you have arguments, you have bad times.... When you spend that much time and you're that close, and it's that intense, as families can be. You know, Davy was the closest thing I ever had to a brother."

He gave me the perfect opening, but I still wasn't gonna go there. Like I said, I'm not much of an interviewer.

"Did you consider yourself an actor or a musician before the Monkees?" (He'd been a child star on TV in the '50s show Circus Boy, and he'd also played and recorded with a couple of bands.)

"I was an entertainer, ever since I was a kid. I mean, my first instrument was Spanish classical guitar. My father got me into that and I was doing that... and then I discovered the Kingston Trio, and then I was into singing [laughs]. So my sister and I, we would sing, and I had a friend, and we used to play at some private parties. Then, that sort of morphed into folk rock, and then rock n' roll. Before the Monkees, I was in a couple of cover bands. One was called Micky & The One-Nighters, the other one was the Missing Links, believe it or not, doing cover band stuff. 'Johnny B. Goode,' 'House Of The Rising Sun' was one of my first party pieces when I was on stage.

"So when I was cast, they were clearly not just looking for actors, otherwise they would have cast four actors, like in the old Hollywood system, and not even bother with the music. But you had to be able to sing, you had to be able to act, you had to be able to improvise. The screen tests, I remember, were heavily weighted toward improvisation. So they clearly knew what they were doing -- they didn't just want to have four guys out there acting.

"You know," he said, "the closest thing to The Monkees that I've seen come along since the Monkees -- 'cause there have been so many attempts, I can't tell you the production meetings I've been in where they said, 'We wanna redo The Monkees,' and they picked my brains, and then they'd do some stupid attempt. The closest thing that's come along, I think, is Glee. Because it's obviously a show about an imaginary glee club at an imaginary high school, but all the people, all the cast of that show, they can actually do it. They can actually sing, they can dance, they can act, they're for real. And I've heard they've actually been on tour, if I'm not mistaken.

I stifled the urge to say, "But Micky, on Glee they just butcher other people's hits in some kind of unlistenable Broadway musical/karaoke hybrid that makes me want to kill every time I hear it!" Instead, I simply said, "Yeah, but they don't do original material."

"Yeah, that's true, but they can actually do it. You know, they can actually sing, these people. But it's a show about an imaginary glee club, like The Monkees was a show about an imaginary rock and roll group that wanted to be the Beatles. And never made it! Because almost all rock groups are unsuccessful, and that's what it spoke to -- all those kids out there around the world, not just in America, that wanted to be the Beatles. And they were in their living rooms and their basements and they were practicing and they were trying to be the Beatles. And on the Monkees' TV show we were never successful. Which does beg the question -- how did we afford that beach house? Which no one ever successfully answered."

I saw another opening, and this time I went for it. "Clearly it was the Liquid Paper fortune." (A little Monkees humor there -- Mike Nesmith's mother invented Liquid Paper, which back in the pre-computer days made every student and secretary's life a lot easier.)

"Yeah, right!" And oh my friends and oh my foes, Micky Dolenz, comic actor supreme, cracked up at my joke. That's going in my obituary.

I managed to maintain my composure, and asked another question I'd always wondered about: "Did you have any primary vocal influences?"

"Early ones, of course. The early influences I had were rock n' rollers.That was what I was doing before the Monkees -- those were my influences. I was into Eric Burdon, I was into Sam The Sham & The Pharaohs, I was into much harder rock. My influences were LIttle Richard and Jerry Lee Lewis and Chuck Berry. I was a screaming rock n' roller.... But then when the Monkees came along, of course, I took direction. It was obviously a pop group, with pop music and pop songs, and I was hired to play the part of a drummer in a pop group. Which was designed -- the show and the music -- for ten year old little girls. And they said, 'This is the style.'"

"Were there any songs where you said 'No, I'm not doing this'?"

"Well, 'Sugar Sugar,' I said no, but that was political reasons. You know, the song's not a bad song, and I love the version that we've done. It's a rude song [laughs] -- it's pretty dirty. I didn't say no because of any creative reason. I said no because of the 'palace revolt' against Donnie Kirshner, that Mike was spearheading.

"I do remember when we were doing 'Gonna Buy Me A Dog' [the so-bad-it's-good song from their first album] I seem to remember that they wanted Davy and I to sing that straight, like legitimate. Meaning a little pop tune for little girls, And I remember Davy and I going, "We're getting into our early and mid-20s here, and we're singing to eight year olds. I mean, this is weird." And that's when we started goofing on the song, and of course it turned into a little mini-classic. It's hilarious. And we've been asked over the years, why don't you do it onstage? I don't think we ever tried, because you couldn't possibly pull that off. It was totally improvisation, it was totally made up, you know?

"And to their credit, somebody -- I don't know who, Donnie Kirshner or whoever -- somebody must have said, you know, 'We're gonna use that version.' I'm pretty sure they never kept a straight version, because I don't think we ever did one. I think that we just said, no, we're just not gonna sing 'I'm gonna buy me a dog because I need a friend now because my girl left me.' I think we just said no, and just started screwing around."

At this point, with my time running short, I had to get in a little collector geekery: "Any plans for any new Monkees reissues on Rhino anytime soon?" (Personally, I'm hoping for a 3 CD deluxe version of The Monkees Present, an album which barely cracked the Top 100 back in 1969. No, really.)

"Well, I don't know... nobody's told me. All that stuff, they just put out. Sometimes they'd call me and they asked me if I wanted to do comments, when they did the DVD of the show and [the Monkees' 1968 psychedelic classic cult film] Head.... But no, they don't call us and ask about all that, because they don't have to. They own it all."

Damn! Sounds like shades of Don Kirshner all over again. "But you'd think they'd want some input from the actual band members?"

"Well, remember, it wasn't a band! You know, maybe it became one, but in the original days, we had absolutely nothing to say about anything, you know. Which is kind of weird in itself. But if you realize, or if you just accept the concept, that it started out as a TV show about a band, then everything makes a little more sense."

Touché, Micky Dolenz. Touché.

After Howard Stern was confirmed for "America's Got Talent" Season 8, he made no secret of the fact he was rooting for Rosie O'Donnell to replace recently departed Sharon Osbourne behind the judges' table.

"Rosie and Howard have had a tough past but now they are great friends," a friend of Howard's told The Huffington Post. "He thinks she is a great talent and will bring a new energy to that show."

O'Donnell told The Huffington Post that she'd consider the judging position, but in a recent interview with The New York Observer, the comedienne was more overt about her interest.

“Next year there are some things on the horizon,” she told the Observer. “I am very interested in doing 'America’s Got Talent' with Howard Stern and I am talking to them. Let’s see how that works."

As for what kind of judge she thinks she'd be, O'Donnell admitted, "I think I’d probably be nicer than most but I think I’d be honest. I think [Stern] is a genius, so to work with him would be a thrill for me.” Producer Simon Cowell, however, is rumored to be considering Carmen Electra for the judging role.