Mamie Gummer is returning to "The Good Wife." The recurring guest star will appear in an upcoming episode of the hit legal drama, Robert and Michelle King, "Good Wife" co-creators and executive producers, confirmed.

"We're thrilled to be facing off against Mamie Gummer's Nancy Crozier again," the Kings said in a statement. "This time she's representing the family of a suicide victim against Lockhart/Gardner when Alicia thinks to out-blonde her by bringing Caitlin (Anna Camp) onto the team."

Gummer has appeared on "The Good Wife" three other times as the cunning Nancy Crozier. The last time she popped up was in the Season 2 episode titled "Getting Off."

Her other TV credits include ABC's "Off The Map" and she recently guest starred on CBS's "A Gifted Man."

"Teen Mom" star Amber Portwood has struck a plea deal after her drug arrest last month -- requiring her to serve a 5-year prison sentence -- but TMZ has learned, there's still a way for her to keep her freedom.

It bears repeating that Spielberg's reputation as an unchallenging filmmaker for the masses has been around for thirty years or so.  Looking back on his first decade of mainstream film making (let's say 1974-1984), it is E.T.: The Extra-Terrestrial that stood out then, and arguably still today as the quintessential Spielberg film.  While it certainly stood then and now as one of his most personal films, it's astonishing success (highest-grossing film of all time for 15 years) basically branded Spielberg as a director whose every film contained the kind of small-town nostalgia and overtly tear-jerking emotionalism that made E.T. such a smash hit.  It's a meme that has followed Spielberg for the last thirty years.  And going through his filmography it's apparent that it's not entirely a fair assessment of his career.  From 1974 until 2011, Spielberg has shown viewers the darkness at least as much, if not more so, than he has shown them the light.

Jaws is a brutally violent horror drama that offers little good-cheer other than the cathartic final triumph.  Close Encounters of the Third Kind is a disturbing character study about a husband/father who slowly goes insane and eventually ditches his family to go on a ride with interstellar beings (those same being who have been abducting random people for centuries, that they arbitrarily return them at the climax doesn't make them 'the good guys').  The first two Indiana Jones pictures are relentlessly violent, cynical, and relatively cold-hearted in their casual disregard for human life.  Indiana Jones and the Temple of Doom is so grotesque that it helped create a new MPAA classification, along with Gremlins (a darkly chaotic suburban horror comedy produced by... guess who?).  These films are of course 'fun', but they are not sweeping testaments to the inherent decency of humanity  E.T. was arguably his first overly sentimental and 'feel-good' film, and I would argue that its record-shattering success is the sole reason why critics (especially detractors) consider Spielberg to be a producer of mainstream feel-good bubblegum fantasies.

But the Steven Spielberg who directed E.T. is also the Steven Spielberg who directed Schindler's List, The Color Purple, Empire of the Sun, War of the Worlds, Munich, and yes War Horse.  These are dark, painful, and often cynical films that show humanity at their darkest hours, and often at their worst.  Sure War of the Worlds has a slightly upbeat finale, but does the final two minutes cancel out the proceeding 105 minutes of unrelenting horror and hopeless pessimism about humanity's ability to survive (morally and literally) its attempted extinction?  Schindler's List and Saving Private Ryan both end of notes of relative 'hope', but the narratives sandwiched between their prologues and epilogues are tales of war, genocide, and inherent human immorality.  War Horse ends on a somewhat upbeat note, but the surviving characters have to go through the literal hell of war to get there, and they are no doubt scared and hardened by their experiences.  The film is more than just a 'boy and his horse' fable, it is a bleak and unapologetic anti-war drama delivered through the bloodstained and arbitrary mass-slaughter that was World War I.  It is arguably an even stronger anti-war film than Saving Private Ryan because it does not attempt to explain (and thus justify) the wanton slaughter.  I don't think I have to explain the inherent pessimism and darkness of Munich (which on a given day is probably my favorite Spielberg film, natch).

That does not mean that Spielberg is incapable of genuinely 'light' mainstream entertainment.  He is still the man who made Hook, The Terminal, Indiana Jones and the Last Crusade, Indiana Jones and the Kingdom of the Crystal Skull, Catch Me If You Can, and The Adventures of Tintin (review). But even some of his  'lighter' entertainments have dark undercurrents and most of them have genuine depth below the big-budget razzle-dazzle.  Indy III and Catch Me If You Can are arguably about Spielberg working out long-simmering issues with his father, Hook is a parable for Spielberg's struggles to be a globe-trotting filmmaker and an active/participatory parent, while Indy IV is basically Spielberg, Lucas, and Ford asking themselves if what should they do once their prime film-making years are behind them.  Minority Report is an exciting and intelligent science-fiction thriller, yet there is ample reason to believe that it's inexplicably upbeat finale is itself a hallucination.  Yes everyone whines about the allegedly 'happy' ending in the otherwise relentlessly bleak (and often brilliant) AI: Artificial Intelligence, but what exactly is so happy about a machine being given the gift of hearing the lie that he has spent his life wanting to hear before he can die?  Even his two Jurassic Park pictures promise 'wonder and awe' but in the end deliver terror and death. The flawed-but-morally complex The Lost World ends on a 'Let's save the animals!' note but first offers a pitch-black narrative where the 'good guy environmentalists' have blood on their hands and the most sympathetic character (Richard Schiff) is heartlessly dispatched in the first act following an act of uncommon bravery.

What's ironic is that the films that most closely skew toward the 'stereotypical' Spielberg film are not among those he directed, but rather among the many films he has produced.  The Goonies, Back to the Future, An American Tail, Who Framed Roger Rabbit?, Men In Black, The Mask of Zorro, Transformers; these audience-pleasing mainstream entertainments, most of them quite good, were all among films he produced, but he did not direct any of them.  Doubly-ironic is that the one iconic 1980s film that he produced but is long-suspected of directing, Tobe Hopper's Poltergeist, fits far more into the wheelhouse of Spielberg's darker entertainments.  It would seem that, along with ET, the critical reputation of Steven Spielberg is drawn not from the films he has directed but rather those he has merely produced.  Steven Spielberg the director is a man who has dabbled in many genres, but his critical reputation is based less on the body of work he has directed but rather simplistic misconceptions based on a single incredibly successful and deeply personal project that he happened to direct near the beginning of his long career, along with some more-overtly crowd-pleasing fantasy pictures he has produced over the decades.

Those that write-off Steven Spielberg as the creator of easily-digestible feel-good slop do themselves, their readers, and film criticism in general a disservice.  E.T.: The Extra-Terrestrial was a terrific example of Spielberg indulging in tear-jerking, audience-pleasing melodrama to maximum critical and financial effect.  But it is just one very good film that Spielberg happened to make back in 1982.  Whether you like Spielberg or not, you must admit that the Spielberg who directed Munich is just as much (if not more so) the real Spielberg as the one who directed Indiana Jones and the Last Crusade.   The same man directed Catch Me If You Can and Empire of the Sun.  Steven Spielberg's year-end 2011 output stands as a shining example of 'light Spielberg' and 'dark Spielberg'.  We cannot and should not write off Steven Spielberg as a one-trick pony purely based on just one of his more popular films.  He is indeed one of the most successful mainstream directors in the history of the medium.  But it is arguably because his films were often challenging, insightful, and willing to go to darker places that they captured the imagination of the last few generations of moviegoers.  It is, give or take a few false steps over the last 40 years, his unwillingness to pander that has made him as popular as he is today.

From Katy Perry's first public outing in Las Vegas to Jennifer Aniston's show-stopping LBD at the Directors Guild of America Awards, it's been a star-studded weekend.

• Heidi Klum was spotted leaving a ballet class with her daughters Lou and Leni Saturday, and the newly-separated fashion icon was still sporting her wedding ring. Her husband Seal recently told "Access Hollywood," "We're not getting divorced. We're not even legally separated. We are separated ... Is there a chance of us getting back together? Honestly ... I don't know."
• Katy Perry made her first post-split public appearance Friday night in Sin City. The blue-coiffed singer hit up Las Vegas club 1 OAK to promote the Haiti public health organization, GiveLove.org.
• Gabriel Aubry, Halle Berry's ex and the father of her daughter, agreed to enroll in anger management classes after being investigated for criminal child endangerment and battery last week.
• Actor Ian Abercrombie died Jan. 26 at age 77. He was best known for his role as Mr. Pitt, Elaine's quirky boss on "Seinfeld."
• Like father, like son? Jaden Smith is looking more and more like his dad, Will Smith, these days -- especially with his new, shorter haircut.
• Let the baby countdown begin for Jessica Simpson! The mommy-to-be was photographed out with fiance Eric Johnson Saturday looking very pregnant -- and very happy.
• Stars, including Christina Aguilera and Stevie Wonder, paid tribute to the late singer Etta James at her memorial service Saturday.
• Celebrities came out Saturday night for the Directors Guild of America Awards, where "The Artist" director Michel Hazanavicius took home the top honor. Also, Jennifer Aniston looked stunning next to her beau Justin Theroux!
• Jennifer Lopez and boyfriend Casper Smart were spotted getting pretty cozy in Miami's South Beach during Lopez's rooftop photoshoot.
• "Terminator 3" actor Nick Stahl found himself in a sticky situation Sunday morning when he ended up in jail after failing to pay his cab fare. Yikes!

Check out photos from this weekend below:

Bow Wow needs to hire himself a new accountant -- because not only does he have a tax lien against him for unpaid taxes from 2006 ... but now it turns out he owes back taxes from 2008 and 2010 as well!

As TMZ first reported, a tax lien in Florida for the year 2006 put Bow Wow on the hook for $91,105.61. The lien has still not been paid off.

Jennifer Aniston has what some would call a Little Black Dress Addiction, a problem evidenced at last night's Directors Guild Of America Awards.

Jen and a slew of this year's Oscar nominees hit the red carpet in Hollywood to fete the industry's top directors, with "The Artist"'s Michel Hazanavicius winning the top prize. But the battle for best-dressed was a close fought one, with Aniston showing up in all her LBD glory.

While we've grown bored of the "Just Go With It" star's dark cocktail dresses, we must admit that Jen's Dolce & Gabbana Spring 2012 frock was pretty killer. The mini dress showed off those famously toned gams when paired with strappy black sandals.

But several other A-listers brought their A-game. New red carpet fixture Shailene Woodley, star of "The Descendants," looked stunning and mature in a red lace and Berenice Bejo of "The Artist" wore one of Gucci's ubiquitous black and gold flapper dresses.

Meanwhile Michelle Williams, who is gearing up for Oscar night after her Golden Globes Best Actress win, went dark and formal in Chanel Fall 2007 Couture.

So who flexed their fashion muscles best at the Directors Guild Of America Awards? Check out the photos and vote for your faves.

Katherine Heigl certainly attracted attention recently when she matter-of-factly mentioned -- while promoting her new movie "One for the Money" -- that she'd love a return trip to "Grey's Anatomy."

NEW YORK — Beware the Liam in Winter. Liam Neeson's "The Grey" topped the weekend box office with $20 million, according to studio estimates Sunday, continuing the actor's success as an action star in the winter months.

The Alaskan survivalist thriller opened above expectations with a performance on par with previous Neeson thrillers "Taken" and "Unknown." Those films, both January-February releases, opened with $24.7 million and $21.9 million, respectively.

But the R-rated "The Grey," which has received good reviews, drove home the strong appeal of Neeson, action star. It's an unlikely turn for the 59-year-old Neeson, previously better known for his dramatic performances, like those in "Schindler's List" and "Kinsey."

"Liam is a true movie star, period," said Tom Ortenberg, CEO of Open Road Films. It's the second release for the newly formed distributor, created by theater chains AMC and Regal.

"My guess is that Liam Neeson in action thrillers would work just about any time of year."

January is often a dumping ground for less-stellar releases, a tradition held up by two badly reviewed new wide releases: "Man on a Ledge," with Sam Worthington, and "One for the Money" with Katherine Heigl.

"One for the Money" fared better, earning $11.8 million, while "Man on a Ledge" opened with $8.3 million.

Those were reasonably solid returns, and, in an unusual twist, were both ultimately for Lions Gate Entertainment. Its film studio, Lionsgate, released the romantic comedy "One for the Money." The action thriller "Man on a Ledge" was released by Summit Entertainment, which Lions Gate bought for $412.5 million earlier this month.

"One for the Money" was helped by a promotion with Groupon, the Internet discount site, with which Lionsgate previously partnered for "The Lincoln Lawyer." David Spitz, head of distribution for Lionsgate, said the large number of older, female subscribers of Groupon matched well with the audience of "One for the Money."

Groupon email blasts, he said, had a significant promotional effect.

Last week's box-office leader, "Underworld: Awakenings," Sony's Screen Gem's latest installment in its vampire series, came in second with $12.5 million, bringing its cumulative total to $45.1 million.

The unexpectedly large haul for "The Grey," strong holdovers (such as the George Lucas-produced World War II action film "Red Tails," which earned $10.4 million in its second week) and the bump for Oscar contending films following Tuesday's nominations added up to a good weekend for Hollywood. The box office was up about 15 percent on the corresponding weekend last year.

So far, every weekend this year has been an "up" weekend, after a somewhat dismal fourth quarter in 2011.

"`Mission: Impossible,' I think, really helped reinvigorate the marketplace, and that's carried over into the first part of the year," said Paul Dergarabedian, box-office analyst for Hollywood.com. "That's good news for Hollywood after the down-trending box office of 2011."

Oscar favorites "The Descendants," "Hugo" and "The Artist" sought to capitalize on their recent Academy Awards nominations. Each expanded to more theaters and saw an uptick in business.

Fox Searchlight's "The Descendants," which is nominated for five Oscars including best picture, added 1,441 screens in its 11th week of release. It added $6.6 million and has now made $58.8 million, making it one of Fox Searchlight's most successful releases.

Sheila DeLoach, senior vice president of distribution for Fox Searchlight, said the film's nominations and its recent Golden Globes wins (for best drama and best actor, George Clooney) "played a big role" in its weekend box office.

Paramount's "Hugo," which led Oscar nominations with 11 including best picture, saw a 143 percent jump in business over its last weekend. In its tenth week of release, it earned $2.3 million, bringing its total to $58.7 million.

The Weinstein Co.'s "The Artist," with 10 Oscar nominations including best picture, expanded a modest 235 screens to bring it to a total of 897 screens in its 10th week of release. It earned $3.3 million, with a total of $16.7 million.

The Weinstein Co. is being careful with the black-and-white, largely silent film. Thus far, it has appealed particularly to older audiences.

"It's not the same type of picture as any other picture in the marketplace," said Erik Loomis, head of distribution for the Weinstein Co. "Now that the nominations are out, we're going to look to capitalize on it as best we can. ... We're being very, very meticulous with it. We're not throwing it out there and grabbing every theater we can. At some point, we'll open the floodgates on the movie, maybe closer to the awards."

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Hollywood.com. Final figures will be released Monday.

1. "The Grey," $20 million.

2. "Underworld: Awakening," $12.5 million.

3. "One for the Money," $11.8 million.

4. "Red Tails," $10.4 million.

5. "Man on a Ledge," $8.3 million.

6. "Extremely Loud & Incredibly Close," $7.1 million.

7. "The Descendants," $6.6 million.

8. "Contraband," $6.5 million.

9. "Beauty and the Beast," $5.3 million.

10. "Haywire," $4 million.

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Online:

http://www.hollywood.com/boxoffice

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by Rainbow Media Holdings, a subsidiary of Cablevision Systems Corp.; Rogue is owned by Relativity Media LLC.

What does Hollywood think of Katherine Heigl? "She's not on any lists at all," one anonymous "top talent agent" said to Vulture recently. "She's on a respirator. She's not the girl anymore." As Vulture points out, studio executives think Heigl is less bankable than such contemporary leading ladies as Emma Stone, Amanda Seyfried, Scarlett Johansson, Mila Kunis, Kristen Stewart and Kirsten Dunst. Except maybe they're wrong? At least you could make that argument following the surprisingly decent box-office returns for "One For the Money," a bomb-in-waiting that Lionsgate rescheduled twice before Heigl opened it to around $11.75 million this weekend. Not bad! Especially considering the unanimous negative reviews and overall apathy about the project.

Of course, there are caveats to the non-failure of "One For the Money": Lionsgate paired with Groupon to offer discount tickets for the film, something the studio did because of sagging pre-release tracking figures among Heigl's core constituency -- women age 25-to-35, who fall into the sweet spot of Groupon users. (It's also based on the beloved and popular Janet Evanovich book series about Stephanie Plum.) That said: does anyone think Seyfried, Kunis, Dunst, Johansson or Stewart could have actually done better with something as flaccid-looking as this dud? The answer you're looking for is no; none of those actresses has ever led a movie by themselves to an opening as "lofty" as nearly $12 million.

Which makes you wonder why some people in Hollywood hate Heigl. You know why the Internet hates Heigl -- she's outspoken, prickly, annoying, ridiculous and filled with crazy hubris; she also mommy blogs -- but making movies is a business that thrives on results and "what have you done lately," not making friends. In the case of Heigl, what she's done lately is take seeming direct-to-DVD dogs and turn them into something that resembles mediocrity. That's a backhanded compliment, true, but it's also kinda impressive. Can you even believe that "Killers" grossed $47 million? Or that "Life As We Know It" topped $53 million? Do you know one person who saw either of those? Do you know one person who saw "One For the Money"? Heigl has consistently performed as a leading lady. Take out "Knocked Up" -- her biggest hit and a movie that was sold on Seth Rogen's stupid face -- and her grosses since 2007 are as follows: $76.8 million ("27 Dresses"), $88.9 million ("The Ugly Truth"), $47 million ("Killers"), $53 million ("Life As We Know It"). Toss in $54 million for "New Year's Eve," a disappointment that can't be blamed on Heigl since it featured 17 other famous people, and that's a solid run. You know what you're going to get from Heigl, and in a world of dwindling stars and dwindling grosses, that steadiness is not something that should be tossed asunder.

If Heigl does have a problem, it's her eye for material. For lack of a better term, she's blind. With the exception of "27 Dresses," the run of movies Heigl has made since her "Knocked Up" breakout have been variations on bad to worse to ZOMG-AWFUL.

"It's funny, because the question we were asking ourselves last night is, 'Does she have really bad management, or just terrible taste?'" said another anonymous person to Vulture, this one a public-relations maven. "[P]art of the problem seems to that she seems to have become incredibly complacent with her choices: She's out there promoting crap, and people are not respecting that." Even if they are still paying to see it.

Still, Heigl needs to find better material. Which is maybe not what the anti-Heigl cabal of bloggers, jilted publicists and agents want. If she could open something like "One For the Money" to $12 million, imagine what she'd be able to do with a movie that's actually good and/or actually focuses on her chillier attributes. She's the bad guy, after all. Put her in a new millennium-take on "My Best Friend's Wedding" and watch the receipts pile up.

NEW YORK — Nearly six years after it was created, Madonna's Raising Malawi charity is set to break ground on the construction of schools in the impoverished country, but they will be run by the local community, not the superstar's organization.

According to organizers, work on the first school will start on March 30 in the Kasungu area, about 80 miles from the capital of Lilongwe, and all of the schools should be built by June 2013. Raising Malawi is providing $300,000 to the non-governmental organization buildOn to develop the schools. They'll serve about 1,000 boys and girls in the southern African nation.

"This remains a very big priority in my life and I am excited that with the help of buildOn we can maintain our ongoing commitment to move forward efficiently," Madonna said in a statement provided to The Associated Press.

Raising Malawi had originally intended to build all-girls schools that the organization would run. But it faced several obstacles in its goal, including complaints from some local farmers that they had been moved off land that Raising Malawi intended to use for its mission. Raising Malawi also had difficulty getting title to the land and there were concerns about the high costs of construction.

The new plan calls for "simple structures" that will be more practical and better serve Raising Malawi's original mission, said Trevor Neilson, who is helping to direct the project as partner of the Global Philanthropy Group. The approach will allow the program to serve twice as many children as before, Madonna said.

"I have learned a great deal over the last few years and feel so much more confident that we can reach out goals to educate children in Malawi, especially young girls, in a much more efficient and practical way," she said. Madonna has adopted two children from Malawi.

BuildOn has already built more than 50 schools in Malawi and 427 schools worldwide.

"For schools to be successful, they need to have community ownership and leadership," Neilson said in an interview Friday. "Raising Malawi shouldn't be running schools in Malawi. Local communities in Malawi should be running those schools, so that's a big part of the shift."

BuildOn has been working in Malawi for almost 20 years, said spokeswoman Carrie Pena. The organization works closely with the community, and locals even volunteer the labor to build the schools, according to Pena.

"It's absolutely a community-owned school," she said.

Neilson praised Madonna for sticking with her plan to build schools for Malawi's children despite several setbacks for the star, who is the director of the new movie "W.E.," out next week, and is this year's Super Bowl performer. Madonna brought in Global Philanthropy to work with Raising Malawi more than a year ago and removed the involvement of the Kabbalah Centre. She has practiced Kabbalah, a form of Jewish mysticism.

"When the previous management team had those problems, I think a lot of people thought Madonna would give up," Neilson said "It would have been understandable, but instead she's going to reaching twice as many kids."

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Online:

http://www.raisingmalawi.org

http://www.buildon.org/

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Nekesa Mumbi Moody is the AP's music editor. Follow her at http://www.twitter.com/nekesamumbi

Nick Stahl found himself a little short on cash Friday night when his cab driver told him his bill was $84 ... so then Nick Stahl found himself arrested, TMZ has learned.

Law enforcement sources tell TMZ ... when Stahl arrived at his destination, he told the cab driver he just didn't have the cash or credit to pay the fare. We're told the cabbie then flagged down a nearby officer, and Nick was arrested.

We all know that celebrities love to post photos of themselves on Twitter (hey, Rihanna!), but what about those other, seemingly innocuous tweets that qualify as neither pastime or promotion?

It could be a paid-for tweet plugged into the social network for a pretty penny in return.

The latest issue of New York Magazine, out on stands Monday, reports that celebs like Kim Kardashian, Snoop Dogg and even Charlie Sheen have all made bank in the tens of thousands for endorsing major companies like Toyota, Best Buy and American Airlines on Twitter.

Below, a quick roundup of the listed numbers:

• Kim Kardashian: $10,000, for companies like ShoeDazzle.com and CVS.
• Snoop Dogg: $8,000 per tweet.
• Paula Abdul: $5,000 per tweet.
• Whitney Port: $2,500 per tweet.
• Charlie Sheen: $50,000 per tweet, for companies like Internships.com.

PHOTO:

It's been a whirlwind week for Heidi Klum and Seal, and the drama isn't about to stop just yet.

The couple shocked friends and fans last week when they announced they were separating after being married for seven years. However, it seems both parties aren't totally giving up on their relationship.

Days after Seal stepped out wearing his wedding ring, Klum was spotted with her wedding bling on as well.

According to X17online.com, the model and "Project Runway" host was photographed leaving a ballet class with daughters Leni and Lou, marking the first time she's been spotted in public since her split from Seal.

The singer, on the other hand, hasn't been shy about talking to the press about the split.

"We're not getting divorced," Seal said in an interview with "Access Hollywood", which aired Jan. 27. "We're not even legally separated. We are separated. The reality of the situation is we have grown apart. And so .... is there a chance of us getting back together? Honestly ... I don't know. I don't know the answer to that."

Check out a photo of Klum and are daughters below. For more, head over to X17online.com.

PHOTO:

Check out other celebrity couples who have called it quits below:

LOS ANGELES — The "Harry Potter" finale has earned some love from Hollywood's top acting union, winning the Screen Actors Guild Award for best big-screen stunt ensemble Sunday.

The win for "Harry Potter and the Deathly Hallows: Part 2" was a final triumph for the fantasy franchise that concluded last summer after a run of eight blockbusters.

Winning the TV stunt ensemble prize was "Game of Thrones." The stunt awards were announced on the arrivals red carpet before the show began.

Among the early arrivals to the cheers of enthusiastic fans on a warm afternoon were Patrick Duffy and Linda Gray of the old "Dallas" TV series, soon to be the new "Dallas" TV series on TNT.

For the main event, Sunday's 18th annual SAG ceremony is heavy on actors playing illustrious real-life figures.

Among them: Meryl Streep as Margaret Thatcher in "The Iron Lady"; Leonardo DiCaprio as J. Edgar Hoover in "J. Edgar"; and Michelle Williams as Marilyn Monroe and Kenneth Branagh as Laurence Olivier in "My Week With Marilyn."

Streep won a Golden Globe for "The Iron Lady" and is considered a favorite for the SAG prize and for her third win at the Academy Awards, which are set for Feb. 26.

The front-runners for the other SAG awards are actors in fictional roles, though, among them George Clooney as a dad in crisis in "The Descendants" and Jean Dujardin as a silent-film star fallen on hard times in "The Artist." Both are up for best actor, and both won Globes – Clooney as dramatic actor, Dujardin as musical or comedy actor.

Octavia Spencer as a brassy Mississippi maid in "The Help" and Christopher Plummer as an elderly dad who comes out as gay in "Beginners" won Globes for supporting performances and have strong prospects for the same honors at the SAG Awards.

The winners at the SAG ceremony typically go on to earn Oscars. All four acting recipients at SAG last year later took home Oscars – Colin Firth for "The King's Speech," Natalie Portman for "Black Swan" and Christian Bale and Melissa Leo for "The Fighter."

The same generally holds true for the weekend's other big Hollywood honors, the Directors Guild of America Awards, where Michel Hazanavicius won the feature-film prize Saturday for "The Artist." The Directors Guild winner has gone on to earn the best-director Oscar 57 times in the 63-year history of the union's awards show.

SAG also presents an award for overall cast performance, a prize that's loosely considered the ceremony's equivalent of a best-picture honor. However, the cast award has a spotty record at predicting what will win best picture at the Oscars.

While "The King's Speech" won both honors a year ago, the SAG cast recipient has gone on to claim the top Oscar only eight times in the 16 years since the guild added the category.

Airing live on TNT and TBS from the Shrine Exhibition Center in downtown Los Angeles, the show features nine television categories, as well.

Receiving the guild's life-achievement award is Mary Tyler Moore. The prize was to be presented by Dick Van Dyke, her co-star on the 1960s sit-com "The Dick Van Dyke Show."

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Online:

http://www.sagawards.com

http://www.sagawards.com

The only thing worse than a wardrobe malfunction is a wardrobe malfunction... down there.

Celine Dion surprised audience members at a concert on Friday when she took to the stage in at the Jamaica Jazz and Blues Festival in a teeny gold Balmain minidress. The long-sleeve bodice of the dress stayed on, but the short hemline gave show goers sitting below a bit more than they bargained for, according to E! News.

Dion told Zappos Couture's "The Trend" that "normally when people are level the length [of the dress] is fine. But people were like this (looks up)... So it was like I didn't think of the people downstairs and me there."

Whoops. Luckily Celine's confidence wasn't shaken, as the 43-year-old mother of twins is used to braving the stage in barely-there dresses (even just five months after giving birth). She did, however, spend the rest of the Jamaican festival in longer frocks.

See Celine's Jamaica Jazz and Blues Festival outfits at DailyMail.co.uk.

Is Taylor Lautner off the market again?

The "Breaking Dawn" hunk was spotted out with ex-girlfriend Sara Hicks in Santa Monica on Friday night.

Fox and American Idol snagged the exclusive world preview of Madonna's new music video for the single "Give Me All Your Luvin'"

The video, which features Nicki Minaj and M.I.A., will air during Idol on Feb. 2. The single -- written by Madonna, Martin Solveig, Nicki Minaj and M.I.A. -- comes out the next day.

John Rich, a veteran TV director with ties to many classic sitcoms, has died at the age of 86.

Rich won three Emmys over the course of his career, two for his directorial work. He directed numerous episodes of "All in the Family," including the first one, as well as several episodes of "The Brady Bunch," "Gilligan's Island" and "That Girl," among other classic sitcoms.

Rich won an Emmy for his directorial work on "The Dick Van Dyke Show" and two for "All in the Family." His last credited TV directorial work is the short-lived 1999 series "Payne," starring John Larroquette and Julie Benz.

"We are deeply saddened to learn today of the passing of John Rich," Taylor Hackford, president of the Directors Guild of America, said in a statement. "A legendary figure in the history of TV comedy, John tirelessly served our Guild for nearly six decades. He directed some of the most beloved classics of all time and his skills as a television director were unsurpassed, but no matter how busy and successful his career was, John always made time for the DGA."

Rich was a member of the Screen Directors Guild since 1953 and helped merge that union with the Radio and Television Directors Guild in 1960, creating the present-day Directors Guild of America.

Click here to read Hackford's full statement on Rich's passing.

The late, great Paul Newman was not just an Oscar-winning actor. The philanthropist, humanitarian and family man was also a passionate race car driver who even co-founded his own team, Newman/Haas Racing.

The "Pawn Stars" (Mon., 10 p.m. EST on History) found themselves handling what was possibly a piece of Newman race car history -- a Newman/Haas suit with what the owner said was Paul Newman's signature on the chest.

He wanted $10,000 for the suit, so Rick and The Old Man brought in Drew to authenticate the autograph. Casting an expert eye over it, he agreed that the first name was "very consistent" with known Newman autographs. So far, so good for the owner.

However, the last name rang alarm bells for Drew. "Guys, I gotta tell you something." Drum roll, please... "I just can't authenticate this. The last name especially is just all over the place." In fact, Drew wasn't sure the last name was even "Newman."

So, with only the owner's word -- "And we don't take that" -- to back up his claim that the autograph was Paul Newman's, the "Pawn Stars" sent him and his suit packing.

Catch up with the "Pawn Stars" on 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.

Fashion icon Donna Karan sat down with Oprah Winfrey to talk about about her philanthropic work and what's it like to have her own name as a successful international brand.

On "Oprah's Next Chapter" (Mon., 10 p.m. EST on OWN) Karan talked about her Urban Zen Foundation and said that "for me, philanthropy and commerce are completely interconnected." Where one person cannot make a difference, a group of people working together, can.

Oprah -- no stranger to name-brand recognition herself -- wondered, how does it feel to be "Donna Karan?" What's it like to live with a name that is so synonymous with your work? "It's so funny," Karan said. "I don't feel myself as 'Donna Karan.' ... I like DKNY better because it's the separation of the name."

How did DKNY come about? Karan never wanted her own name as the brand, "so I said, okay, if I put 'New York' under 'Donna Karan,' then ... it wouldn't be about me!"

Watch more interviews with inspirational people on "Oprah's Next Chapter," Sundays at 9 p.m. EST and Mondays at 10 p.m. EST on OWN.

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.