Padma

If Adam C, Ashland or Red actually win, then I'll have to come around to the view I've previously rejected about coaches' popularity and/or country music fans blind loyalty to the genre skewing this competition regardless of ability. (Assuming that they continue as they have to date). Not that they're bad (to varying degrees they're all fine) but I've seen nothing to warrant any actually winning. Maybe miracles can happen in the lives (and of the three I can imagine it maybe happening for Adam C, based on song choice), but it's just impossible for me--as someone who likes a lot of country music--the fun stuff or the gritty, not the religious and the treacle--to imagine any of those three deserving a win. Keisha is different, imo, because she has a great voice and I really like her ability to bring R&B into country. That's refreshing, and I could see her winning with it. If any of the others win, I'd really think--for the first time--that something other than talent was involved. (And, on the record, no way in Hell will Red win.)

An entertaining show, but I would have easily chosen Karli and Moriah over Ashland and Janice. I'd choose Team Adam -- Addison; Team Miley -- Brooke; Team Jennifer -- Noah,; Team Blake - Keisha. And I think Blake or Adam are most likely to win again.

Drew's likeable, but dance-wise, I thought he's regressing. His posture is worse and he looks clunky in some of the dances. Also, it really is annoying for the audience to boo every time someone gives a criticism. They NEED it and for many, you can see it actually helps them. Frankie's another who's likeable and is a better dancer than Drew, by far. But ITA that he's inconsistent and this is, after all, the semi-finals. I thought Drew should have gone before--or with--Victoria, but Frankie really shouldn't be there either. Mark seems a little off his game this season with Lindsey, but I always look forward to what he will bring. Jordan's excellent. Lindsay is a terrific choreographer and dancer. I don't see how they won't win. They truly stand out this season and deserve it. Hope the dances will be better next week than this one.

Oh, okay! Makes sense. I must have missed it because those movies are like nails on a chalkboard (not content, which I don't know--just the way they're filmed) I have a feeling those class differences really -aren't- much of a thing any more since it's hard to come up with them. (Also hard to believe Maid in Manhattan was 15 years ago!) If so, it would make sense with the changing times.

I was disappointed Adam chose Jon over Emily. She'd upped her presentation style so that it matched her tasteful, intelligent singing. I thought she described her approach exactly right, "like a Bond song" and she held my interest throughout. She was good and would have been refreshing going forward (esp. vs. JH's oversingers). I'm sorry she's gone.

That's why I said, "....the way they have to several of Blake's other not handsome, but more endearing, non-winners." Key, "endearing". Not everyone would agree, but I was perfectly fine with Sundance and a big fan of several who weren't what you'd call good-looking, but had charisma or at least some real likeabilty I'm bad with names but can see the faces--a couple, even sort of homely, but very talented and I hoped they'd win. I think Red's good-ol boy earnestness is as fake as his guitar playing, but I'm not exactly unbiased. Maybe America will buy it all and find him completely relatable. Blake seemed as surprised as I was by Red's perfectly fine performance. I think he chose him -because- he won't be in it long, but I guess time will tell.

I don't think Blake's wins are coincidence. I think he plays the game very well, and brands his people intelligently once the voting starts. Mitchell was good-looking but otherwise very average. Red's nothing special imo, although he had his best performance tonight. No way America is going to warm up to a 40 year old corny bald guy (sorry, Red!) the way they have to several of Blake's other not handsome, but more endearing, non-winners. I think he's very strategic. He got rid of Mitchell, imo, so that women aren't voting for looks over talent. I think he really wants to win with Keisha--and I really think he has a great chance of doing it. Choosing Red, imo, was his way of clearing her path in the lives.

If I just listened, I thought this was Red's best performance, I still find him very derivative, but this was less twangy and he sounded fine. However, I hate his guitar "playing" so much that it really distracts me. If they kept the camera on throughout the song, I bet I could count the number of times he actually frets and strums at the same time. (I'm not even sure he's even really fingering chords that he could play or ever is really strumming.) It particularly bugs me when I think of all the really talented guitarists that they've told to "ditch your instrument". Red, more than anyone ever on this show, uses his guitar as a prop, not just for comfort but probably also to make him seem more talented than he is. I'd like to see him have to go without it since others--who really did use it musically--had to do it. Maybe Blake will coach the fakeness out of him.

That's not surprising., but I was really wondering more about theatrical releases. It used to be so common, and I wonder if that has changed.

Yes, I can think of a lot of both of those kinds of situations, but I'm only thinking of older movies. I don't see a lot of new mainstream movies but I'm drawing a blank on them. I wonder if that theme is still done much, where a romance takes off in spite of class differences--and precisely because the upper class gets rejected in some way in favor of good old middle class people and values. Maybe people here will know if that'sstill a theme in contemporary (last 10 years or so?) films.

Yes, Gale Gordon and John Hillerman! A similarity I never noticed before. Hillerman did so much with his presence and voice, very clever character development for a short, chubby guy with bad hair from Texas. I always enjoyed him. Re: snooty wrong partner. I'm not sure its true any more, but in old films the "wrong choice" was often obviously upper class compared with the right partner who was middle or working class. Gloria in Auntie Mame is one in a long list. Kind of makes sense to do it as often as they did, given the economic composition of movie-goers.

No, I don't think it could have been. But trite suits his exaggerated twang for every song and hokey (unconvincingly) personality. There's much of classic country that I like (and while Sundance wasn't my favorite in the competition, I did like him.), but I really resent those hackneyed songs as anything other than historic relics. And I normally root for the older contestants to do well, but listening to Red singing is like nails on a chalkboard to me, including his song choices. I was so disappointed that Blake advanced him over others who were so much better on his team (that would be anyone, even Megan who wasn't great, but was more ambitious.) I'm afraid if Red advance he'll knock off others whose performances would be much more enjoyable. Hopefully, he won't advance to Lives. That might be a nice career boost but nothing more.

I liked Halperin's own statement (today) much better than Mika's typically weak one. Maybe Halperin is just smarter than the other men in the news for this, but he understands a few things that they don't. (O'Reilly, I'm looking at you.) First, he doesn't call the women liars. He admits he had a serious problem at ABC, defines it fairly, and apologizes to the women he treated that way. He also says that although no complaints or suits were filed, he realized he had a problem and got counseling. Most interestingly, he is unequivocal that in the decades that followed, at all other workplaces, including TIME, Bloomberg and NBC, he never behaved inappropriately with anyone. That's a big claim. If no one challenges it, I would think his apology for unacceptable conduct that happened over 20 years ago should be enough..

I'm another who has a bad feeling about the Judy biopic. Here's what EW said, in brief: "....Acclaimed British stage director Rupert Goold will helm the project, and principal photography is set to begin in February. Tom Edge (The Crown) wrote the script, and David Livingstone is producing for Calamity. The official announcement for the film describes the plot as follows: “Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in The Wizard of Oz, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on?” The film seems poised to follow the same period of Garland’s life featured in the Tony-nominated 2012 play End of the Rainbow,"... Producers say Judy will feature many of Garland’s most beloved songs, *** She was in bad health when she performed for 5 weeks in London in February 1969. She died in June, at 47, after recently marrying her fifth husband, Mickey Deens, who sounds lie a sleazy jerk to me, based on Wikipedia at least: "In 1966, according to Deans' book "Weep No More, My Lady," he met actress and singer Judy Garland at her hotel in New York. A mutual friend of theirs asked Deans to deliver a package of stimulant tablets to Garland. Deans recalled that she seemed cordial but disoriented. Because Garland's two youngest children were present, Deans felt it appropriate to introduce himself as a doctor. After three years of intermittent dating, Deans proposed and they were married on March 15, 1969, in London. Deans worked to promote Garland's career toward the end of her life, but found it impossible to control her excessive use of prescription drugs. Deans discovered Garland dead on the morning of June 22, 1969. Although many obituaries at the time stated Garland was found on the floor of their bathroom, Deans stated that he found her seated on the toilet. The coroner's autopsy later determined she died from an accidental, incautious overdose of barbiturates.[citation needed]

I agree about the Edwardian style/sentiment but "Why Do the Wrong People Travel?" imo, is a timeless message. :) Seriously, I agree with the rest of what you say, unless it was all performed together, retrospective-nostalgia-Feinstein-style. I'd never seen the "Noel & Cole" CD and am thrilled to see that it was done so recently. It's heavier on the Coward patter songs than I would have been, but I understand they're emphasizing the parallels of sophistication, wit and charm. I guess it will be another thing you've recommended here that I'm going to order. Thanks! (I think). "If Love Were All" is the first Coward song I heard--on television with him on the piano. It's remains one of my favorites and maybe that timing is one reason why I don't see it as that dissimilar to some of his other songs. I find that same feeling of wistfulness and even a touch of melancholy in many of the romantic ones . It's a quality I like in his music--along with the wit and charm, of course. On the subject of Coward and TCM, I tried to watch "Star!" when they showed it last month. I thought Daniel Massey was good as Noel Coward (he was Coward's godson), but I just don't think Julie Andrews is a very good actress outside of a limted kind of part. The director (Wise) and screenwriter interviewed lots of people who knew Lawrence, and they also had cooperation from Coward and Beatrice Lillie (another close friend)..but it just wasn't a good part for Julie Andrews (including the way she sings), and that made it unwatchable, imo. I couldn't even make it through 10 minutes!.

Dear Jennifer, Please don't choose any songs that I like if you're going to turn them into over-embellished, screech-fests. Thanks! Dear Adam, You got rid of Brandon who admittedly was flawed but interested me more than anyone else on your team. Actually, I can't remember much about your team, sorry. Dear Blake, I like old-school country and always seem to have a favorite on your team. (This time that would be Keisha). I don't know what you see in Red. If twang were lethal, I'd be a goner. That was so bad. And his cornball humor isn't funny and, worse, just seems fake (When you're as ugly as I am....). However, Blake, I forgive you for subjecting me to another one of his performances because you made me laugh at that comment about the Lauper song. Something like "That was like 'girls just want to have fun--but they're not having any." Ha! and true. They had such lovely voices, but that was awful. Dear Miley, I really think you're one of the best coaches. You seem to work well with your singers and bring a nice emotional support to the performances--but also good suggestions and demonstrations of what you're thinking they should be doing with it. You're not phoning it in and you're not making it all about yourself. I also think you have some good comments afterwards--again, putting thought into it and not phoning it in. I'm really sorry that you won't be back. Hope you make your goal of winning the season (the all-girl team was a nice gimmick since you were stuck with it, but I'm glad it didn't limit you from adding a guy. I don't know if Stephan has the discipline to learn the songs perfectly--I'm still shocked he couldn't remember his audition song--but he has potential and I'd lie to hear him again. Addision and Karli both have beautiful voices and I'm glad they are both in the competition. (Small criticism: Looks aren't everything. If you are trying to get Dad to take over one day for Blake, please forgetaboutit.)

I'd include Sail Away on my Feinstein CD. Along with 13 others (since we make lists here.....) "I'll See You Again" “World Weary” “Zigeuner” "A Room With a View" "Poor Little Rich Girl" Parisian Pierrot" "Mad Dogs and Englishmen" "If Love Were All" "I'll Follow My Secret Heart" "Someday I'll Find You" "Mrs Worthington" "The Stately Homes of England" And I know Feinstein couldn’t resist, “I Like America” I don't know why Coward doesn't seem to be very well known today. Maybe because many of his songs are romantic ballads, maybe they may seem a bit dated today. I was thinking of Kern and Berlin and Porter. They all have one big advantage (esp. Berlin) of being included in a lot of films which allows new audiences (including musicians) to discover them. But I wonder if any of it has to do with how those three are well suited to jazz interpretations which keeps them fresh. (Of course, Coward wasn't American. A small detail..) Of the songs above, only the first six might lend themselves to jazz interpretations ,imo, but then again,, most contemporary musicians haven't heard any of his music so how would they know? Feinstein might not be thinking of Noel Coward, but these are all well suited to piano and voice, with a variety of tempos and moods to make a nicely varied CD/live performance, like those that he likes to do with songwriters. Oh well, I'll dream on! .

@Gemma Violet--"Brief Encounter" is a favorite of mine, too, and so beautifully filmed and directed. If you get TCM "On Demand" it's showing there now. @Rinaldo -- Yes, it was big dose of stiff upper lip reserve, even in the midst of a tumultuous adulterous affair and a world war. But "The Astonished Heart", though a much weaker film than "Brief.Encounter.",started slowly but built to a lot more -visible- emotional drama. I'm such a fan of Noel Coward, and he's in so few films, that I really enjoyed it. And I was also very surprised by Margaret Leighton as the alluring younger woman as I'd only seen her in older parts (first time I saw her--in "The Best Man"--I was so impressed that I looked her up. She was exactly as you said--unusually elegant esp. for a 1960s film. But she was also very good opposite Coward as the sexy young "object of middle aged desire" "In Which We Serve" got excellent reviews (and I can see why Coward insisted on being the lead since he was good friends of Mountbatten, whom he based the script on, as you know. But I have to admit that the directing (Lean again) held my attention much more than the story, which is never a good thing. I'm afraid I didn't even make it to the end. You know how we sometimes think of something we'd like to tell a famous person if we were ever to meet him? Well, my person is Michael Feinstein and I would love to ask him if he's ever considered doing one of his "single songwriter" albums of Noel Coward songs to add to Berlin, Kern, etc.. Coward's written some great ones--there are some beautiful romantic ballads, some songs from plays that need to be preceded by bittersweet dialogue, a sing-speak dramatic song or two, and several fun, clever or silly ones.. He wrote both music and lyrics and it's sad that he's largely forgotten now. I think a nice CD by Feinstein would be an excellent way to revive interest. (And, yes, I saw "Oh, Coward" but that was a long time ago--long gone and not the same as an album of music. Just sharing a dream--in case anyone here should ever bump into him. :))

Three tonight on TCM by Noel Coward. "Brief Encounter", "The Astonished Heart" and--the one I've never seen and don't want to miss "In Which We Serve". Yes, it's a propaganda film for Britain during WWII, but a much praised one, with narration by Leslie Howard, Coward in the Mountbatten-inspired role, and the great John Mills. It's directed, at Coward's request, by both Coward and David Lean (script and music by Coward).

When they called Whitney and Frankie "in jeopardy" I figured it was just an obvious way to give Sasha a heads up that she was going home. I thought Sasha's rhumba needed more hip action, but she had lovely lines and could have been a contender with a partner like Mark or Val. Lindsey and Whitney never seem very bright when they talk, but they are both beautiful dancers and I generally love their choreography. Disney night is my favorite and I thought both teams were excellent and I'm convinced they will be there at the end. Agree that Drew and TO are both the most improved. I enjoyed them. As for 'Coco", the dance was fine, but...yikes! ...the music!!! I must have heard something different from everyone else because I thought it was a shocking disaster (and I love so much Disney music). The man was singing a ballad with a completely different tempo and melody than the background of Mexican music. What the hell was that? I couldn't believe it, or understand how anyone could dance to it. Not the best Disney night, but enjoyable nonetheless.

Keisha and Noah had me thinking back to a not-so-popular singing competition of a few years back, "Can You Duet?" I really enjoyed their version of "I'm So Lonesome..." together. Both can do country, both are soulful, and both had some really lovely moments within that song, with nice feeling and control. They sang well together. I couldn't help thinking they'd be nice as a teamed up country-soul duet (a combo that country music really needs, imo). So glad Jennifer stole Noah. I'm looking forward to hearing more. re: coaches, I'm still enjoying Miley and feel she makes much better comments than many coaches of the past. Seems to coach well, too, and to genuinely care. I'm surprised she won't be back again in future seasons. I'll miss her youth, enthusiasm, coaching and comments.

Thanks so much for all of these spoilers! REally appreciate them. I was struck by how easy it would have been to match those team photos with the coaches if no coach was included in the picture. Wasn't expecting that. but fits all so obvious--.

As far as I can tell, Miley has an all-woman team just because she lost out on all her pitches to guys. However, I give her credit for embracing it and trying to turn it into some kind of special thing rather than an example of failure. And from the video viajero posted, I think she'll make it work, so good for her. Her team seems to be having a great time together and actually makes me like the idea of all women, (feminist here, happy to see women working supportively together as a group, not the catty bitchiness that you see portrayed all over television). I haven't followed the blinds carefully enough to know how strong the team is, but I hope they do well.

Finally, in Brandon Brown there's someone I'm looking forward to hearing more from. He was off here and there, but has great instincts and a good look and vibe to go with it. I -never- root for Adam to get someone I like, especially African American men, because they pretty much fall by the wayside and/or get stuck with clichéd R&B from the 1970s. But this time, I wanted him to choose Adam because I think he'll give him Sam Cooke and I want to hear it. Also, he -may- get this guy better than the others. Or maybe lose him to Blake. That would have been fine with me, too, even though he may not know Willie Nelson, that's not a bad catalogue for him. Willie's country but has a lot of soul (and recorded "Georgia On My Mind" too, of course, which was probably Blake's frame of reference.) No idea why I'm optimistic about Adam coaching the one singer I feel excited about, but there it is. (And I'm scared that Jennifer is going to be demonstrating and encouraging runs and all the other embellishments that I generally think of as oversinging and can't stand. Adam, at least is somewhat restrained--and will definitely coach him not to point to his head when he sings the line "...on my mind...". lol.) ETA: Never mind. I'll hope for a steal for Brandon. Adam's got Jon and you can see he's likely to be his chosen one. I liked him, but there's no room on Team Adam for Brandon, too. He'll probably be given Michael Jackson or Stevie Wonder and, if lucky, get stolen.

Interesting question! I cast my vote for Dirk Bogarde as Liszt in "Song Without End". I haven't seen it for quite a while, but I remember him as being quite amazing for a non-pianist playing such difficult music so convincingly.