Jennifer Aniston doesn't usually reveal many details when it comes to her personal life, but the "Wanderlust" actress did set one thing straight about her relationship with Justin Theroux in an interview with "Good Morning America" on Monday.

Rumors have been swirling for many months that the co-stars first got together while filming "Wanderlust" -- and while Theroux was still with his ex-girlfriend -- but Aniston said those stories just aren't true.

"Nothing happened on that movie ... it's a rumor," she said in the interview. "It's the easy rumor, but nothing happened. We were just friends."

Aniston added that she and Theroux have known each other for a long time, and that, yes, he's really cute and a great actor.

But that's all that the actress would spill about her beau, in this interview at least. We're sure she's happy to clear up any rumors surrounding their relationship, and it seems that setting the record straight is something she's had a lot of practice doing lately.

"I'm not having triplets," she said in the March issue of GQ, putting to rest the weekly rumors that's she's pregnant. "Not having twins. Nor am I having one baby. [Lifts up sweater and gestures to belly; it appears flat.] I did not elope."

Aniston added, "The one time I do say, 'Yes! I'm pregnant!' they'll be like, 'Pfft. Right.'"

Check out Aniston's "GMA" interview above.

NEW YORK, Feb 20 (Reuters) - Monaco's Prince Pierre Casiraghi was punched in the face during a weekend fight at a New York nightclub that landed a local man in court on assault charges, police said on Monday.
Casiraghi, 24, the grandson of former Hollywood actress Grace Kelly, was briefly hospitalized after the incident, according to media reports. Police said he and three other men were struck by former restaurateur Adam Hock in a dispute at The Double Seven club about 2 a.m. on Saturday.
Among those punched was Stavros Niarchos, the Greek shipping scion and former boyfriend of hotel heiress Paris Hilton, according to a criminal complaint.
Casiraghi told police he was repeatedly struck in the face, according to the criminal complaint, "creating a laceration on informant's cheek, and causing bruising, swelling, redness and substantial pain to informant Casiraghi's face."
The other three men swore out similar complaints against Hock, 47, whose lawyer said he was simply acting in self-defense.
"An individual now known to me from the criminal complaint as the prince was with others harassing my client and acting like little children, name calling and trying to attack my client," said Hock's attorney, Sal Strazzullo.
He said Hock was acting in self-defense when he hit the 24-year-old prince and members of his entourage.
"Unless you're a ninja fighter or Bruce Lee, it's pretty tough to defend yourself against four men," Strazzullo said.
Hock was released from Manhattan Criminal Court without bail after he pleaded not guilty to four counts of assault, he said.
Police declined to comment on whether the four men suffered injuries, saying only that "each was struck in the face with a closed fist."
There was no immediate response to calls placed to an attorney for Casiraghi, who lives in Italy and is third in line to the throne of Monaco, a Mediterranean country smaller than New York's Central Park.
He is the son of Princess of Caroline of Monaco and her second husband, who was killed in a boating accident when Pierre Casiraghi was a young child.
(Reporting by Barbara Goldberg, Additional reporting by Joseph Ax; Editing by Ellen Wulfhorst and Peter Cooney)

She's untruthful, unethical, hateful and often wrong. She makes America worse. Can her.

There she went again, smearing her vile invective across our screens, diminishing us all as human beings.

Poking her stink finger into another none-of-her-business, Nancy Grace managed to make the death of Whitney Houston somehow more tawdry. "I'd like to know," the HLN host spew mused last week, "who let her slip or pushed her underneath that water." She later unapologized on Good Morning America, regarding Dan Abrams appeals to decency as "arguing with me over semantics," accusing him of having gone to Harvard Law School and defending her blithe murder charges with her go-to pretense: "I still want the truth."

The truth, to Nancy Grace, is whatever is handy and profitable. Her truth was that Gary Condit murdered Chandra Levy. Her truth was that the Duke lacrosse team raped Crystal Gail Mangum. Her truth was that Richard Ricci kidnapped Elizabeth Smart (when it later became true he did not, but had unfortunately died in custody, Grace said, "I'm not going on a guilt trip.")

When she isn't convicting people on spec, Grace spreads ugliness, fetishizing the disappearances of young white women and small white children, asking questions that not only don't need to be asked (by her) but wouldn't have been allowed when she was a prosecutor -- as she should recall, having had two convictions thrown out by the Supreme Court of Georgia, once for insinuating unrelated rapes and murders into her closing arguments, and in the second instance being reprimanded, "the conduct of the prosecuting attorney in this case demonstrated her disregard of the notions of due process and fairness, and was inexcusable."

Grace has imported her injudicious style to television journalism, where it is also unethical, it may surprise you to learn. "I think she has managed to demean both professions with her hype, rabid persona, and sensational analysis," Jonathan Turley, professor of law at George Washington University, told the New York Times last May. The professor is being too kind. Grace's verdict first, trial afterward judicial philosophy "erodes the respect for basic rights," as Turley says, but she also corrodes justice itself. Called on her pre-evidentiary convictions, Grace is quick to get technical, to point out that only a jury has the power to convict, but woe to the jury that disobeys her. When 12 people weighed actual evidence and determined Casey Anthony not guilty of murdering her daughter, Grace declared that little white Caylee's "death has gone unavenged." Did you hear that, loyal, rabid viewers?

And to justice, add truth to Grace's swath of destruction. Her every vehement assertion that later proves false feeds into the fashionable but dangerous notion that the mainstream media cannot be trusted; her connect-any-dots arguments (All the evidence always points to the guilt of whomever is in her eyeline) promotes a cognitive approach favored by conspiracy thinkers. She's not terribly bright, and she's contagious.

Nancy Grace is a blight on cable television; she is bad for civilization.

She's entitled to her opinions, of course, but in a truly just world, she would be spouting them from a dark sticky corner in some sour rathole. Pat Buchanan might even buy her a beer.

Before her untimely death, Whitney Houston's name surfaced as a possible replacement judge on "The X Factor." Now, another name is making the rounds and Anderson Cooper sat down with her on "Anderson" (Weekdays, Syndicated) sat down with her to talk both about those rumors, and her feelings about the passing of Houston. Janet Jackson was in a unique position to offer solace and advice to Houston's surviving family, having recently lost her brother Micheal.

Both performers were larger than life personalities who managed to become among the biggest stars in the history of music. And both have left a huge hole in the world they've left behind. How does one come out from under that?

"It sounds so mean, but you have to move on," she said of the family and loved ones of Houston. "You can't hold onto that, because it can be very devestating. And sometimes therapy is the best thing."

Anderson Cooper asked her about those "X Factor" rumors, but Jackson played coy. "I'm not a judge on 'The X Factor,'" she confirmed. "But that's all I really think I should say."

Clearly, there's something more going on with the story, so it's likely Jackson is at least in talks and at most in full negotiations to join Simon Cowell and L.A. Reid on the judging panel. It would certainly make for an exciting addition to the show.

"The X Factor" returns in the fall, with several key positions still to be cast. "Anderson" is syndicated daily. Check local listings for time and channel.

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.

Donald Trump likes things big and he likes gold, so Paul Teutul Sr. knew exactly what he was doing when his Orange County Choppers built a custom motorcycle for the billionaire. He and his team presented the bike to Trump on "American Chopper: Senior vs. Junior" (Mon., 9 p.m. EST on Discovery) to a rousing applause as Senior rode it in.

"I have to say it, this is the best job you've ever done," Trump told Senior and his team. "100% American made, that's what I like."

It probably helped him get the hook-up that Senior is one of the contestants on the current season of "The Celebrity Apprentice." Plus, Trump and Senior have struck up a friendship, with Trump giving him some tough advice about the ongoing feud between Senior and his son.

The guys from Orange County Choppers were excited to be presenting the bike to Trump, and very proud of the work that they did, saying, "It's one of the best pieces that we've done at Orange County Choppers." The team took their time on it, spending more time on design and using more custom parts than perhaps any other bike they'd done, and it certainly showed. The detail was intricate and the overall look both spectacular and absolutely screaming Donald Trump.

Both Paul Teutel Sr. and Donald Trump can be seen on "The Celebrity Apprentice," airing Sundays at 9 p.m. EST on NBC. "American Chopper: Senior vs. Junior" is on Mondays at 9 p.m. EST on Discovery.

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.

When Luke Weber joined Matisyahu on stage to sing "One Day" -- a song that calls for hope -- he brought the lyrics to life.

Luke is fighting cancer and for a chance at childhood. Chai Lifeline, an organization that offers programs and financial support to children battling life-threatening diseases, helped Luke in his fight when it made one of his biggest dreams come true.

The organization arranged for Luke to join Matisyahu on stage at the Tarrytown Music Hall in New York on Thursday to sing one of the star’s biggest hits, "One Day."

"Sometimes in my tears I drown/but I never let it get me down," Luke sang to a cheering audience. "So when negativity surrounds/I know some day it'll all turn around."

Luke's parents credit Chai Lifeline with giving their son a chance to feel like a regular kid.

"They continue to amaze me,” Luke's mom, Eliza, told Jewishmom.com. "It is because of them that Luke is not a victim of cancer. He is the happiest, most cup-half-full kid we know."

Feeling inspired? Learn how you get involved with Chai Lifeline here.

Kelly Clarkson certainly got in the Disney spirit this weekend!

The singer, who wowed the crowd at the Super Bowl earlier this month with her performance of the national anthem, enjoyed some time at Disney World while in Florida over the weekend. Clarkson even took time to pose with Princess Belle and Beast from "Beauty and the Beast."

It looks like Clarkson is feeling a bit better than she was a few days ago, when she admitted to the crowd during her performance at the Seminole Hard Rock Hotel in South Florida that she was a bit under the weather.

Check out a photo of Clarkson and other stars at theme parks below:

Lea Michele is pretty in pink! The Glee gal hit the sun and sand of Cabo San Lucas, Mexico over the weekend with her gal pals wearing an adorable pink frilly bikini. 

We were already trying to wrap our heads around the news that Chris Brown would lend his voice to Rihanna's "Birthday Cake" remix, but the singers have managed to blow our minds a little bit more.

On Monday the former couple (who are rumored to be seeing each other in secret) threw us for a loop when they both released remixes featuring each others vocals.

We knew that Brown was the "shocking" addition to "Birthday Cake" that producers promised, but we were more than surprised to hear Rihanna singing on Brown's remix for "Turn Up The Music."

The songs dropped simultaneously and couldn't have been released at a more opportune time. Brown has been a hot topic in the media this past week after he shot back at critics like country singer Miranda Lambert, who were upset to see him honored and performing at last week's Grammy Awards. Lambert, and other celebrities, spoke out against the music industry officially welcoming Brown back into its good graces for the first time since he brutally assaulted Rihanna in 2009.

Though "RIP Chris Brown" started trending on Twitter after the 22-year-old singer wrote that winning a Grammy was the "ultimate F**k OFF," his career is somehow still alive.

Although many aren't ready to forgive Brown, the remixes are proof that Rihanna certainly has. The 24-year-old singer seems to have extended an olive branch to Brown and perhaps her heart as well. Hearing Rihanna sing on Brown's song the words, "I love you baby," and Chris singing on "Birthday Cake": "Girl I wanna f**k you right now. Been a long time, I've been missing your body," only further fuels rumors the two have being seeing each other in secret.

LISTEN:

YIKES!!!!!!!!!!!! from Mechanical Dummy on Vimeo.

NEW YORK — With a nod of tribute to his ailing mother, Stephen Colbert returned to the air Monday.

Colbert was back hosting "The Colbert Report," which last week mysteriously canceled the tapings of two episodes. Colbert's 91-year-old mother, Lorna Colbert, is ill. And while the comedian didn't address her by name, he offered a "confidential" message to "a lovely lady."

Said Colbert: "Evidently, having 11 children makes you tough as nails."

Colbert is the youngest of 11 children. His father, James Colbert, and two of his brothers were killed in an airplane crash in 1974.

He also comically addressed the rumors stoked by the brief absence of what he called "the hub around which the republic turns."

Early Saturday, ESPN.com ran a headline on their mobile application about Knicks sensation Jeremy Lin, the 23-year-old, out-of-nowhere point guard who has lit up the league and lifted a disappointing team to national prominence once again. He's got legitimate NBA size and build, and real game, too, with the ability to drive hard to the basket, make impressive passes and nail last second three pointers. He's been the key to the Knicks' sudden seven game winning streak, and ball-crazy New York -- along with the sensation-crazy Internet -- has been going nuts for Lin, including finding every conceivable pun for a last name that stretches across his jersey alone in a league of Andersons, Jameses and Millers.

Jeremy Lin is Asian -- a Taiwanese-American from Palo Alto, California who went to Harvard -- and after a turnover-laden game that marked his first loss as a Knicks starter, ESPN.com splashed the words "A Chink in the Armor" underneath a photo of him mishandling the basketball. The Internet -- the same Internet that has turned a God-loving novice into a search term that out-Googles Jesus -- is outraged. And, of course, the headline was egregious, offensive and downright racist. But to act as if this gross mistake wasn't coming, to fake shock that anyone could even think of his race, is nearly as bad an offense.

As a sports-crazed kid growing up around New York City in the early part of the previous decade, I had posters and carefully-scissored Post and Daily News back pages chronicling the brief and glorious run of the 2000 National League Champion Mets lining my bedroom walls. I had Mike Piazza, the super star, Edgardo Alfonzo, the quiet rock, and Robin Ventura, the charismatic face of the team, staring at me from all directions, as if to say, we couldn't have done it without you, Jordan.

My real sports idols, however, were Gary Cohen and Howie Rose, the play-by-play broadcasters who wove those tales of hardball glory over WFAN, the radio station I'd listen to with the TV on mute and was the number one pre-set on all the various radios that I kept stashed under my pillow for all those extra-inning games on school nights. As a scrawny Jewish kid, I knew from an early age that my best chance to make it in pro sports wasn't on the field, but in the media (and I was already blogging, before that was a word).

Sure, I was a decent Little League player, with a few game-winning hits and a weird love for taking grounders, but I knew that the seemingly ironically titled Jewish Sports Heroes book that my grandfather once bought me during a stretch of illness wasn't something that required frequent reprint for new chapters dedicated to the new heroes. My dad took me to the batting cages far more than my average bat speed and slap-single power warranted, but there was no pretense that hard work and some help from those Fred McGriff-approved Tom Emanski training videos would put me on a path to actually being paid to play baseball. Those over-priced, green-bronze cage tokens were an investment in keeping me busy and bolstering a warped teenage self-confidence, not a down payment that would return the gold and treasure given out liberally to first round draft picks.

So, when a skinny kid began hitting homeruns miles out of Toronto's Skydome, and then cashed in with a massive contract in the Hollywood spotlight of Dodger Stadium, I was surprised, elated and proud to call myself a Shawn Green fan. Sure, he didn't play for my Mets, but he was a member of the other underdog team I was born into: the Jews, traditionally an even more hapless group of athletes. Now, I wasn't at all religious then and I still only know when the high holidays are here when I see my little brother tweet about a day off from school in late September, but damnit, I could reasonably imagine that this guy, unlike seemingly every other ballplayer, was just like me: he probably had zany relatives, was constantly called by a nervous-but-loving mom, spent half his childhood learning about the Holocaust and felt weirdly proprietary over bagels, especially when all the kids who got to celebrate Christmas were eating them before homeroom.

Green was one of the National League's best sluggers for a few years, and he'd have been a star no matter what. But naturally, because he was different, the media gave him special attention. Whether he liked it or not, he was the face of Jewish athletics, this generation's Sandy Koufax, who, over 30 years after his retirement, was still the gold standard for big league Yids. No doubt, he was covered as someone, something, different.

After a while, it began to grate on me: why couldn't we just appreciate his talent, and let him be a regular ballplayer, who gets interviewed and highlighted after a game winning RBI, with puns made on anything but the different religious symbol he wore on a silver chain underneath his jersey -- especially when huge, silver and diamond crosses were known to thump the chests of half of the league's players when they ran around the bases?

And when he came to the Mets, during their momentous (and then soul-crushing) 2006 run to the NLCS, forget it; I was interning for the team that summer, and one of my sharpest memories amidst all the winning and celebrating was the attention paid to the diminished right fielder who became the toast of the most Jewish part of the country.

I felt that, instead of being a star who happened to be Jewish, Green was famous for being the Jewish star. And the same thing is happening to Jeremy Lin, but a million times worse.

Lin, as I said, can ball. No doubt. And when boxer Floyd Mayweather said that Lin is only getting hyped because he's Asian, he rightly got smacked by the media and fans on Twitter. But the fact is that, Mayweather, probably quite accidentally, raised a valid point. Lin, with his monster numbers, buzzer-beating heroics and winning ways, not to mention feel-good, anyone-can-do-it populist story, would be celebrated regardless of his race, especially in a town that, quite literally, gives its sports heroes keys to the city. But it's hard for me to not think that Lin is also being viewed by some as a novelty act, a high-flying world-beater who, in street clothes, might be mistaken for a math major.

It's a quiet racism when compared to the injustices our country has legally and tacitly sanctioned, but Asian-Americans do indeed face their own uphill struggle against stereotypes and prejudice. And so Lin, in breaking all those stereotypes, is being giddily greeted as some sort of "Amasian" ninja (he's been called the Linja), his seemingly inexplicable success amplified by the fact that he looks different from anyone else on the court -- or, for the most part, any court throughout the nation.

I'm a Knicks fan and have enjoyed this run as much as anyone, especially after all the years I've suffered with this team. I've even made my fair share of Lin puns, which, in isolation, aren't particularly egregious. And I have had plenty of conversations with fellow liberal New Yorkers who wouldn't dream of making a racial slur but can't help but get excited over the bizarre and thrilling adventure on which this kid has led the Knicks.

We'd love him regardless of his race, because he's damn talented and a winner, but we should at least admit that the goofiness, the puns, the sudden inclusion on the national stage of All-Star weekend and the dedicated merchandise booth at Madison Square Garden -- all that is undoubtedly linked, in part, to his race. And it's okay to celebrate it -- every kid, regardless of race or religion, deserves a sports role model -- but don't act surprised when it suddenly goes awry, like it did with ESPN's headline. Yes, the writer has since been fired, but that doesn't mean the rest of us don't have some important lessons to learn as well.

A version of this story first appeared at The Merkinist. The author can be contacted here.

Tim DeKay played catcher throughout his high school baseball career, a position often described as the director of the field. That seems fitting for the "White Collar" actor, since he directed Tuesday night's all-new episode (8 p.m. EST on USA), entitled "Stealing Home."

"It's the only player who faces a completely opposite direction than all of his teammates," DeKay told HuffPost TV. "The catcher sees the entire field, knows what everyone should be doing."

So when he found out that he was going to get the chance to direct an episode of "White Collar," DeKay -- who already has a few short films under his director's belt -- was ready for the challenge. "They knew that I wanted to direct since Season 1," said DeKay. "They approached me and said, 'You should direct next season.' Consequently, I'll be directing an episode every season. Fortunately, the stars aligned, and I got to direct a baseball episode."

In the episode, Peter and Neal (Matt Bomer) find themselves tasked with taking down a con man who is attempting to steal a priceless baseball artifact from the new Yankee Stadium. Peter, who we find out was a former minor league big shot (with the rookie baseball card to prove it!), is beside himself with excitement, caught up in the mysticism behind the legendary stadium. In fact "White Collar" fans can expect to see a bit of a role reversal, as Peter gets a little too excited.

HuffPost TV chatted with DeKay about his experience behind the camera, his fascination with Yankee Stadium and what Neal's impending commutation means for Peter and Neal's friendship. We also scored an exclusive sneak peek at the episode, and a sweet "White Collar" giveaway for one lucky reader. (Details below.)

There was definitely a lot of mysticism in the episode. At one point, I was pretty certain that Peter had a "Field of Dreams" moment. Was that intentional?
I loved all of those baseball movies, and I think part of what made the episode feel so mystical was the empty baseball stadium. To be honest, I don't think there's anything more exciting than an empty stadium. When you see it empty like that, all you see is possibility. I wanted to make sure that we got that.

We learned in the episode that Peter made it to the minor leagues. Did you play baseball as well?
I was a baseball player. I played in high school and a little bit in college. I was a catcher. I don't know if I could have played any other position. As a catcher, you're always on the ball.

There's a great shot in the episode where Peter and Neal have that catcher's view.
Funny you should say that because we almost didn't get that shot. They wanted us to shoot from a different angle, but I was like, "You can't do that!" This was the moment that I truly became "The Director." I couldn't let them ruin my vision. I told them that we have to shoot behind home plate. That's the only way that you get that sense of infinity. Needless to say, I won that argument.

Now, this is also the first production to have been filmed in the new Yankee Stadium. Obviously, that meant there was a lot of pressure, right?
That's exactly it! We didn't know that we were actually going to get Yankee Stadium until two days before we started shooting. It could have been the Brooklyn Cyclones or perhaps the Staten Island Yankees. We actually used the Staten Island Yankee Stadium in a couple of scenes, but for the most part, it was all Yankee Stadium. It was a great honor, and what was really neat for me was to see the crew going into Yankee Stadium and taking pictures. Everyone was so excited.

Being a New Yorker, I've had the privilege of seeing many games there. It's giant!
Oh, it's huge, and it's well put together. It may be giant, but we were all sitting in different seats, and there truly is not a bad seat in the house. Of course, it's great to be two rows up from Derek Jeter on the deck circle, but if you're way out in left field, there's beauty from every angle.

Sadly, Derek Jeter did not make an appearance in the episode ...
We ran the gamut there, with Derek Jeter and Reggie Jackson, who's rather prominent there in the front office, but we didn't end up getting them. I was okay with that. Those cameos are tricky. They can be great -- because you have Derek Jeter as a cameo -- but they can also kind of glare as a cameo. It's like the audience is suddenly hyper-aware that we're filming in Yankee Stadium, as opposed to just telling a story.

Well, and it also takes a minute or two away from the story.
It does. It's a bit of a coda, like, "Oh, they got him." Then the audience will leave the story for a bit.

"Stealing Home" is a very Peter-centric episode. How did you go about directing yourself?
I've been with Peter for a long time now, so I get him. [Laughs] But also, Matt [Bomer] gets him, and the writers get him, so once I went out there in front of the camera to play Peter, it was great. Most of the time, you know what feels right, but sometimes I look toward the writer, who was behind the monitors, and he'd say, "Maybe try it this way or that way." And then I'd go to Matt and ask him what he thought.

Did you tend to replay the scenes you were in?
I never replayed it at all. [Laughs] There was talk about maybe getting another monitor so that I could see my take, but that takes up a lot of time, to go back and to watch it. I think that I was wisely advised by producer Jeff King not to do it because the labor wouldn't have been worth it.

What was the most frustrating moment on set for you, as the director?
It was smooth sailing for the most part. There was one particular scene where Peter and Sarah [Hilarie Burton] have a conversation on the street. During prep, I was planning to shoot it on one particular street that had a great building. We started shooting at 9 a.m. there, and for whatever reason, it was an incredibly hot day. There was so much sun. When we went to shoot it, the director of photography was like, "This isn't going to work. She's not going to look good. I really don't think we should shoot it here." And at that point, 100-plus crew members are just staring at me. It felt like all of New York stopped -- the cabbies, everyone -- and they just looked at me. I looked at a street adjacent to us and said, "What about that street?" It was amazing. Within five minutes, the crew had moved everything.

That last scene, where Neal and Peter were on the field, were you really on the field?
Here's what happened. We were on the field in the Staten Island Yankee Stadium, and we shot that scene there, and it rained. And then the day that we were at Yankee Stadium, the Yankees saw how well we behaved, and they told us that we could go on the field for just a little bit. There were no microphones, no sound or anything, but we were able to get that cool panning shot of the stadium behind us. It was pretty exciting to be able to say that I've played catch at Yankee Stadium. I took a little piece of grass, and put it in my pocket, and then I forgot about it. Wardrobe was like, "Why is there grass in your pocket?"

You didn't get to run the bases?
No, they wouldn't let us do that, but I did have my son's glove. I use my son's glove in the episode to play catch.

We know that Neal's commutation is coming up in the finale, and that it's going to come down to Peter's decision ...
Right. The season finale is Neal's commutation, and as Neal and Peter have said to each other, it comes down to Peter's decision and what he says, but there's another factor that comes into play. Agent Kramer (Beau Bridges) is going to throw a wrench in the whole thing, but his actions are justified. As wrong as they seem to Peter and Neal, his actions are justified, and they're not Machiavellian in nature. You understand his agenda as well. It's the best cliffhanger of all three seasons.

There's always that sense of doubt in Peter's mind about Neal's motives. Even in the episode that you directed, Neal doesn't tell Peter the whole story. Will those two come to a head in the finale?
Of course! He's constantly faced with that decision where he knows that Neal is omitting some truths from him. Peter doesn't want to put Neal on the spot and ask him, but in the season finale, Peter asks Neal a question about something, and it's a great moment between the two. Peter wants to trust him, but he never will, and Neal doesn't trust Peter either. But the two of them do love each other. He's constantly rooting for Neal. He wants him to do well.

"White Collar" airs Tuesdays at 8 p.m. EST on USA.

Watch our exclusive clip from Tuesday night's all-new episode, directed by DeKay. Neal is getting close to finally getting his anklet removed, but of course, Mozzie has a scheme that is too good to be true, and he’s trying to convince Neal to get on board to be point-man for infamous Gordon Taylor’s next big score.

ENTER TO WIN HUFFPOST TV'S "WHITE COLLAR" FAN GIVEAWAY BELOW:

Are you the ultimate "White Collar" fan? Just tell us your favorite episode in the comments section below to enter to win the ultimate "White Collar" prize pack, worth $325, including:

• Custom Waxwear Shoe Bag
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• Custom Reporter’s Notebook
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Here are the rules and a bit of legal jargon:

• Open to legal residents of the 50 United States, the District of Columbia and Canada (excluding Quebec) who are 18 and older.
• To enter, tell us your favorite "White Collar" in the comments.
• The comment must be left before February 28 at 5 p.m. EST to be considered.
• One entry per person please.
• One winner will be selected in a random drawing.
• The one winner will receive the "White Collar" prize pack at $325 value.
• Click here for complete Official Rules.

With most late night shows following a pretty strict unwritten formula, things can seem fairly predictable most times. That's why it's always a lot of fun when animals get introduced into the mix. They simply will not follow expected protocols, and that very unpredictability makes for some brilliant spontaneous television, as with Jack Hanna's latest trip to "Late Show" (Weeknights, 11:35 p.m. EST on CBS.

The animals he brought along, as usual, took over the set. While David Letterman was clearly amused at the honey badger pumping -- or humping -- the floor to mark his territory, he was less enthused after a river otter bit Hanna. The animal apparently got the digit confused with chicken.

But right after it happened, Letterman stood up. "If you guys are gonna be all right, I have some paperwork I need to finish upstairs," he quipped. "Turn off the lights when you're done."

To emphasize the value and importance of preserving wildlife, Hanna brought out an endangered jaguar, which made itself at home on Letterman's desk and took quite a liking to his microphone. "A lot of 'em die from eating microphones," Letterman shared.

Never scripted and always fun to watch, animals are a late night tradition that may make hosts squeamish or uncomfortable -- all the more fun for the home audience -- but still make for some of the most honest and genuine moments on television.

Watch "Late Show" every weeknight at 11:35 p.m. EST on CBS.

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.

Cheryl Tiegs was the first celebrity castoff in the Season 5 premiere of Donald Trump's "The Celebrity Apprentice."

The 64-year-old former supermodel failed as a cheese slicer in the sandwich challenge and when it was between her and reality tv star -- and Mafia princess -- Victoria Gotti, it was nice girl Tiegs who got the axe from Trump. Surely, Trump was trying to protect his own head with that move.

Now Tiegs is speaking out against her former "Celebrity Apprentice" cast members, and her former boss, Donald Trump. "It was very mean-spirited," Tiegs told host Wendy Williams in an appearance on "The Wendy Williams Show."

When asked whether had seen the drama-filled show before, Tiegs claimed that she wanted to show America a different side of "The Celebrity Apprentice."

"I've built 12 companies in my life," said Tiegs. "I've been on the cover of 'Time' magazine three times, not for my beauty but because what I was doing was newsworthy around the world. I've worked with teams all my life, but I've been nice and I've been kind. I wanted to bring something to 'Celebrity Apprentice' to let America know that you don't have to be back-stabbing and mean-spirited in order to a challenge."

Unfortunately for Tiegs, it looks like nice girls finish last.

"The Celebrity Apprentice" airs Sundays at 9 p.m. EST on NBC.

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.

When Angelina Jolie asked me to join her in presenting the avant-première of her film, In the Land of Blood and Honey, I began, of course, by asking to view it. But once I had, I did not hesitate for a second.

Because, really, what a story!

Here is a great Hollywood actress.

Here is one of the most popular and famous stars of cinema in the entire world.

Here is a great name, and no one could doubt that the day she decided to go behind the camera, she would have an unlimited choice of subjects, of financing, of scenarios, and, of course, of actors beating the path to her door for the privilege of participating in the adventure.

But one day Angelina Jolie, indeed, goes behind the camera -- and what happens?

She shoots a film d'auteur, with unknown Bosnian actors, in a language, Bosnian, that seems improbable both in America and in Europe -- and the film is set in this blind spot of 20th century history, in this moment of utter sorrow, one of indignity and shame, too, for the nations that let it happen: the Bosnian war.

The result is a film that, first of all, rings unbelievably true. I know the places she evokes. I saw, in real life, the men and women who resemble Danijel and Aila, the Romeo and Juliet of this love story set against a backdrop of concentration camps and horror, like brothers and sisters. And this affair of rape as a weapon of war, this humiliation of a people through the tortured bodies of its women, this ethnic purification via the belly that is, not the décor, but the subject of the film, I filmed it in Bosna!, my 1994 documentary. Well, the fiction she has based upon these tragedies, their reconstitution nearly twenty years later in the Hungarian studios, their presentation in script, scene, and caption, are strikingly true to life and recapture the breath, the dark violence, that were the mark of a reality that, unhappily, I can confirm.

The result is a rare and very moving case of a successful transmission. Angelina Jolie was an adolescent at the time of the events she relates. She was only aware of them through vague hearsay, no doubt well after the fact. At the time when a mere handful of her elders (Peter Schneider and Hans Christoph Buch in Germany; Salman Rushdie in England; Christopher Hitchens or Susan Sontag in the United States; the author of these lines, and a few others, in France) feared that Sarajevo marked the tolling of the bell for a Europe had just offered the 21st century its new and no less nightmarish Spanish Civil War, she was still dreaming about her roles in Glass Shadow  and Hackers. But she has taken over, picked up the torch, continued in a sense the struggle and, not content to relive what we lived through, accomplished the miracle, always overwhelming when it happens, of turning our memory into history.

And the result is, ultimately, a political act such as the cinema engenders with increasing rarity. A politically committed film? Partial? A film that does not hesitate to do battle and take the risk, when necessary, of being accused of Manicheism by the cretins? Yes, of course. For it's a film that calls a spade a spade. A film that, far from the braying unanimity one imagines a pure creation of the Hollywood industry might inspire, calls the members of the Serb militias of the era "fascists" and takes care to distinguish, in the confusion of those sombre days, victims and executioners. And a film that, as a result, to borrow Godard's expression, is not just a film, but a just film, rendering justice to the dead and honor to the survivors.

When In the Land of Blood and Honey was shown in Sarajevo, on the eve of its presentation in Paris, it was welcomed by a crowd that vacillated for long moments between tears and cheering. Normal. Consider the violated women who have remained silent for the past twenty years. The children of those rapes, who are now becoming adults, who have born their genetic burden like a disgrace. Consider this Bosnian society that beheld, there, its most painful secret. Here is, suddenly, a great actress, and a great lady as well, who has used her prestige so that, for the first time, they might be allowed to raise their downcast heads.

I witnessed a similar situation, forty years ago, in Bangladesh, when a Muslim chief of State, President Mujibur Rahman, made the courageous decision to declare birangona -- literally, national heroines -- the dozens of thousands of young women who had been raped by the ruffian soldiers of the Pakistani army and who, for that, had been outcasts not only of society but often of their own families as well. This, mutatis mutandis, is the gesture of Angelina Jolie. And it is what makes the sombre grandeur of her film.

Our paths had crossed once earlier, in connexion with the memory of Daniel Pearl, whose widow she portrayed in a film.

And then a second time, on February 25th, 2007, at Bahai, in the north Sudan, where I was waiting for the possibility of clandestine passage to Darfur, and where she had come to visit the refugee camps.

This third meeting is the best -- at the encounter of a suffering that knows no statute of limitations and its inscription in the register of a work of art.

The City of Toronto has removed 38 "Goon" movie posters deeming to be unfit for public consumption, according to Alliance Films.

A spokesperson for Alliance says the outdoor advertisements on bus shelters featuring Canadian actor Jay Baruchel were "gesturing in a way that the city believes is inappropriate."

The ad features Baruchel sticking out his tongue in between his fingers -- which some may deem sexually suggestive or just a wild rocker having fun. Alliance Films says the posters have been up for two weeks and were removed on Wednesday.

Two weeks ago, "The Artist" star Jean Dujardin was under fire in France for a movie poster depicting the actor holding a woman's legs open with the tagline, "I'm going to a meeting," according to The Hollywood Reporter. The film "The Players," also features a similar ad with the tagline, "It's going to cut out. I'm entering a tunnel."

"Goon" director Mike Dowse says the ads weren't meant to be offensive. "I question whether this has to do with Jay's tongue or his ability to burn Maple Leafs' jerseys, neither of which are offensive in any way."

However, at the movie's red carpet premier in Toronto, Schreiber told the Toronto Star he could see why the posters were taken down. "Having two small children myself, I can appreciate somebody being offended or not wanting that out there on the streets."

With files from the Canadian Press

Although she is only a teenager, Dakota Fanning has transformed into an a-list style star.

We have proof that the current NYU undergrad, who sits front row at Marc Jacobs and Rodarte, started her career hitting the red carpet in everything from frilly princess dresses to an Alice in Wonderland costume. To celebrate Fanning's 18th birthday on February 23rd, take a look in our gallery below to see how far her fashion sense has come:

Meanwhile, do you think Fanning is too young to be sexy?

No matter whether she wins or loses, Best Supporting Actress nominee Octavia Spencer is going to treat herself after the 2012 Academy Awards.

"I'm going to get my boobs lifted. That's going to be my first gift," she told Parade magazine. "I figured going into my forties I want my boobs where they were when I was 17."

The 41-year-old star, who has already won a Golden Globe, a BAFTA Award and a SAG Award for her role in "The Help," told the magazine she plans to go under the knife after next fall.

"[I'm getting the surgery post-Oscars] because right after the Oscars I start a Diablo Cody movie. We're taping out of the country for four months so I wouldn't be back here until about August," she said. "So I want to do this around November. Then that way I could just relax until January."

The actress hasn't been shy when it comes to talking about her body, and at the end of January, she revealed that she was trying to drop 15 pounds. Spencer later claimed comments that she didn't feel healthy or as valuable because of her weight, relayed to People magazine, were misconstrued.

Spencer turned to her Facebook page to clear up the quotes that were taken out of context. "I am NOT WORRYING ABOUT MY WEIGHT! I AM NOT TRYING TO CONFORM TO an unrealistic model of beauty," she wrote. "I AM however being proactive in being the healthiest I can be. And before you ask, NO, awards season is not the reason. I've been doing this for the past 10 years because it took that long to gain the weight! Right now, believe it or not, I'm pretty damn healthy! 20 LBS (max) is all I intend to lose."

Celebs who regret going under the knife:

I was born and raised in Corpus Christi, Texas, just a few hours from the U.S.-Mexico border. My family has lived there for nine generations, under multiple flags. As a Mexican-American growing up in a city with a large, established Hispanic community, my hybrid identity was not unique; many friends and classmates experienced a similar cultural mix. Growing up in this vibrant community left me with a strong desire to give back to them in the same way that they gave to me.

My childhood foreshadowed the direction we are moving as a nation. It is no secret that the U.S. Latino population is expanding -- we currently number more than 50 million and will account for 60% of the nation's population growth through 2050. Throughout our country, Latinos live in and contribute to, an increasingly diverse America. And for women especially, balancing the demands of intertwined cultures can be challenging.

In recognition of this, I am creating the Eva Longoria Foundation. Our mission is to help Latinas build better futures for themselves and their families through education and entrepreneurship. We will support programs which help Latinas become college ready and college graduates. And we will provide Latinas with career training, mentorship, capital and opportunity.

Unfortunately, my upbringing differed from those of many Latinas today in a few significant ways. I received a solid high school education, graduated from college and, before becoming an actress, lived comfortably working a professional job. This path to economic security is currently unattainable for many Latinas.

As a group, Latinas are disproportionately impoverished and uneducated. 27% live below the poverty line, struggling to make ends meet and put food on the table. On average, women make $0.77 for every dollar a white man makes. For Latinas, the disparity is even more severe -- they make only $0.54 on the dollar.

While many factors contribute to poverty, education plays a key role in a person's ability to secure a good job. Today, only 65% of adult Latinas hold high school degrees and just 15% graduate from college. Without secondary or higher education, these women have few opportunities to secure jobs that provide a living wage. Growing up in low-income neighborhoods and attending failing schools, their daughters often find themselves trapped in the same situation, a cycle of poverty that can continue for generations.

Though examining this status quo can sound depressing, a closer look offers great hope for a brighter future. Facing a challenging job market, Latinas are incredibly entrepreneurial, starting businesses at six times the national rate. They respond to economic adversity with determination, hard work and creativity. Just imagine what these women could do with resources at their disposal.

As it stands, Latinas are a powerful and relatively untapped resource for this country. Maya Angelou once said, "There is a world of difference between truth and facts; Facts can obscure the truth". I can't help but think how accurate this is related to Latinas. Today's facts about them are discouraging. If you looked only at the statistics, you might not realize that Latinas exemplify the positive attributes that built this great country. The truth is that by investing in and helping this vibrant group realize their potential, we will build a stronger America for all of us.

Going to a live show and hearing songs you already know be performed is great, but going to a live show and hearing songs you know be paired up with a 7 minute long freestyle about an unsuccessful seduction is even better.

At his concert in Melbourne, Australia, Kanye West returned to form by doing just that -- taking his fans down a romantic journey that ended in disappointment. West recounts contacting one of his ex lovers late at night, asking her to come over and being led to believe she was going to take him up on the offer, only to be ultimately denied.

West gets a great deal of flack for going off the script like this, but it certainly makes for an honest, entertaining experience for the viewer. At the Madison Square Garden shows of his Watch The Throne tour with Jay-Z, West freestyled at the end of "Runaway," reminding those in the audiences, "if you love someone tonight / hold on to them tight" and berating himself over his mismanagement of prior relationships.

Our favorite moments in this performance include when his ex tells him she'll come over as soon as her favorite Pitbull song is played at the club and when he reminds her that by leaving the door open for her, he could have been robbed because "New York City is dangerous."

Watch the video below and then read a transcript of the most memorable moments. (Caution: Graphic Language).

Selected lyrics from the freestyle:

"12:35 saying that you ain't get the text
And that you're on your way, well okay, okay
Now it's 1:15 and baby you got to be playin',
Where you, are you coming are you still coming through?
She said she's at the club with her girl and it's her girl birthday and she's keeping her longer
And [she said] you know how that goes and she want to see me so bad and
She's leaving in about 15 minutes after this one favorite Pitbull song goes off or some s***t like that

...

And I can't understand, holding the white wine
Blackberry in my hand, looking at the time
Seven AM, I can't believe this is me through this again

I left the door cracked open, New York City is dangerous,
I could have been robbed, I could have been robbed!

...

And my friends say, what the f**k is wrong with him?"
'Cause there ain't no sex like an ex, ain't no sex like an ex