Adam Sandler Makes Well-Deserved Record-Setting 11 Razzie Nominations

Champion aren't just to make sure that the individuals who win of tonight's Film Independent Spirit Honours major props visit Adam Sandler with an outstanding showing in current day Razzie nominations announcement, which found the Jack & Jill/Go From It star damaging the previous record for a lot of personal Razzie nominations acquired every year. (Sandler won 11 nominations, while Jack & Jill itself acquired 12.) Eddie Murphy, guess you're free for your Year of Norbit. Start to see the full report on fairly apparent nominees competing for Golden Raspberry (dis)honors following a the jump by leaving your predictions below. WORST PICTURE Bucky Larson: Born to become Star Jack & Jill New Years Eve Transformers: Dark in the Moon Twilight: Breaking Beginning Part 1 WORST ACTOR Russell Brand, Arthur Nicolas Cage, Drive Angry 3-D/Season in the Witch/Trespass Rachelle Lefervre, Abduction/The Twilight Saga: Breaking Beginning Pt. 1 Adam Sandler, Jack & Jill/Go From It Nick Swardson, Bucky Larson: Born to become Star WORST ACTRESS Martin Lawrence, Large Mommas: Like Father Like Boy Sarah Palin, Undefeated Nicole Kidman, I've No Clue How She'll ItOrNew Years Eve Adam Sandler, Jack & Jill Billy Burke, The Twilight Saga: Breaking Beginning Pt. 1 WORST SUPPORTING ACTOR Patrick Dempsey, Transformers: Dark in the Moon James Franco, Your Highness Ken Jeong, Large Mommas 3, Hangover Part 2, Transformers: Dark in the Moon, Zookeeper Al Pacino, Jack & Jill Nick Swardson, Jack & Jill/Go From It WORST SUPPORTING ACTRESS Katie Holmes, Jack & Jill Brandon T. Jackson, Large Mommas 3 Nicole Kidman, Go From It David Spade, Jack & Jill Rosie Huntington-Whiteley, Transformers: Dark in the Moon WORST ENSEMBLE Bucky Larson: Born to become Star Jack & Jill New Years Eve Transformers: Dark in the Moon Breaking DawnThe Twilight Saga: Breaking Beginning Pt. 1 WORST DIRECTOR Michael Bay, Transformers: Dark in the Moon Tom Brady, Bucky Larson: Born to become Star Bill Condon, The Twilight Saga: Breaking Beginning Pt. 1 Dennis Dugan, Jack & Jill/Go From It Garry Marshall, New Years Eve WORST PREQUEL, REMAKE, RIP-OFF or Follow-up Arthur Bucky Larson: Born to become Star The Hangover 2 Jack & Jill The Twilight Saga: Breaking Beginning Pt. 1 WORST SCREEN COUPLE Nicolas Cage and anybody Shia LaBeouf and Rosie Huntington-Whiteley, Transformers: Dark in the Moon Adam Sandler and Jennifer Aniston/Brooklyn Decker, Go From It Adam Sandler and Holmes, Pacino, or themselves in Jack & Jill Billy Burke and RPattz or Rachelle Lefervre, The Twilight Saga: Breaking Beginning Pt. 1 WORST Script Bucky Larson: Born to become Star Jack & Jill New Years Eve Transformers: Dark in the Moon The Twilight Saga: Breaking Beginning Pt. 1 The Razzies will probably be introduced on April 1. More details here.

Cabaret Clubs Are Opening and Closing Around New York City

If anyone has a right to sing a torch song over this month's announcement that cabaret performance at the Oak Room of Manhattan's legendary Algonquin Hotel has ended, it's Andrea Marcovicci. The singer has performed there every autumn for the past 25 years. "It's a loss so profound that it feels like I've had a box full of family photographs burn up in a fire," she said.Gary Budge, the general manager of the history-laden West 44th Street hotelpart of the Marriott Autograph Collection brandrevealed that when innovations currently under way at the Algonquin are completed, part of the Oak Room area will have been taken to enlarge the hotel's Blue Bar. The remainder will be "repurposed" as a breakfast space for Marriott Reward Elite travelers. The announcement has provoked sorrow and activism in the city's cabaret community and beyond. Lyricist Enid Futterman and writer Vicki Stivala started an online petition aimed to convince Marriott management to change its mind. Signers include entertainer Carol Burnett, actor Tom Conti, film director Peter Bogdanovich, and songwriters Marilyn and Alan Bergman.One of the more pressing questions following the announcement concerned the fate of performers who have long called the Oak Room their artistic home base in NY. In addition to Marcovicci, the list includes Steve Ross, KT Sullivan, Karen Akers, and Jack Jones. Lesley Alexanderjournalist, music producer, and director of operations for Marcovicci's record label, Andreasong Recordingsbelieves that none of these performers will be left out in the cold. "Talent always rises," Alexander said, suggesting that some Oak Room performers would likely find a new roof at one of the city's remaining high-end cabaret spaces: the Caf Carlyle and Feinstein's at Loews Regency. John Iachetti, who books talent for Feinstein's, said that Jones is set to perform at the club in June.Deeper concerns about the overall health of the city's cabaret scene were sparked by Budge's remark that "even with terrific talent, [the Oak Room] had declining audiences." Most insiders, however, don't believe cabaret is dying. Alexander said that in the 1980s, when a number of clubs shuttered, she researched the longtime history of nightclub performance in NY. She found that interest in cabaret waxes and wanes. She believes that any reduction in audiences these days is tied to the nation's prolonged economic downturn, not to a dwindling interest in intimate, live performance.Some in the city's cabaret community believe that the Oak Room's stringent devotion to a traditional "Great American Songbook" repertoire may have limited the kinds of customers it attracted. Writer James Gavin ("Intimate Nights") first visited the club in 1985, about four years after cabaret promoter Donald Smith revitalized the dormant room. Gavin returned approximately 100 times over the years. He appreciates that it nourished the talent of younger performers and said he will miss the venue. But he noted, "The staid model of cabaret that developed in the '80sthat of formal, sexless presentations of standards, long on manners and short on fun, and geared toward a well-to-do, older crowdis pretty much over." Alexander said the Oak Room had included some more-contemporary styles of music. But she said it was a tricky proposition to "expand your audience without diluting your brand." The Oak Room's brand, she said, has always been linked to elegance and sophistication, "and you're not going to get intelligence singing, 'Ooh, baby, baby.' " Beck Lee, publicist for the Metropolitan Room on West 22nd Street in Manhattan, said that "supply" is no problem in NY's cabaret market. There are plenty of established and aspiring performers. But, he said, he wonders sometimes about "demand." Lee stressed the importance of "stirring things up artistically" to attract new and varied audiences. He cited the Metropolitan Room's sold-out run of Barb Jungr's show last fall, which featured Bob Dylan songs; the show will return for a three-week encore engagement in the spring.Thomas Honeck, booking manager and general manager for the West Village's Duplex club, said, "People don't just 'come to the cabaret,' as the song says. They generally come to see specific performers, so there will always be an audience for that."Shortly after the news of the Oak Room's closing came the announcement that a new club, 54 Below, will open beneath the Studio 54 theater on West 54th Street. The 160-seat space is designed to bring more performers from musical theater to the cabaret world. Patti LuPone will headline when 54 Below opens in June.No one seems to be suggesting that 54 Below's presence will compensate for the disappearance of the Oak Room. Marcovicci said she's not sure the Marriott "higher-ups" fathom the historical and cultural loss their planned repurposing signifies. She is channeling her grief into the petition effort, hoping somehow to keep the music playing at the Algonquin. "But I'm speaking as an artist," she added, "and sometimes artists cry in the wind." By Mark Dundas Wood February 22, 2012 PHOTO CREDIT Stephen Sorokoff If anyone has a right to sing a torch song over this month's announcement that cabaret performance at the Oak Room of Manhattan's legendary Algonquin Hotel has ended, it's Andrea Marcovicci. The singer has performed there every autumn for the past 25 years. "It's a loss so profound that it feels like I've had a box full of family photographs burn up in a fire," she said.Gary Budge, the general manager of the history-laden West 44th Street hotelpart of the Marriott Autograph Collection brandrevealed that when innovations currently under way at the Algonquin are completed, part of the Oak Room area will have been taken to enlarge the hotel's Blue Bar. The remainder will be "repurposed" as a breakfast space for Marriott Reward Elite travelers. The announcement has provoked sorrow and activism in the city's cabaret community and beyond. Lyricist Enid Futterman and writer Vicki Stivala started an online petition aimed to convince Marriott management to change its mind. Signers include entertainer Carol Burnett, actor Tom Conti, film director Peter Bogdanovich, and songwriters Marilyn and Alan Bergman.One of the more pressing questions following the announcement concerned the fate of performers who have long called the Oak Room their artistic home base in NY. In addition to Marcovicci, the list includes Steve Ross, KT Sullivan, Karen Akers, and Jack Jones. Lesley Alexanderjournalist, music producer, and director of operations for Marcovicci's record label, Andreasong Recordingsbelieves that none of these performers will be left out in the cold. "Talent always rises," Alexander said, suggesting that some Oak Room performers would likely find a new roof at one of the city's remaining high-end cabaret spaces: the Caf Carlyle and Feinstein's at Loews Regency. John Iachetti, who books talent for Feinstein's, said that Jones is set to perform at the club in June.Deeper concerns about the overall health of the city's cabaret scene were sparked by Budge's remark that "even with terrific talent, [the Oak Room] had declining audiences." Most insiders, however, don't believe cabaret is dying. Alexander said that in the 1980s, when a number of clubs shuttered, she researched the longtime history of nightclub performance in NY. She found that interest in cabaret waxes and wanes. She believes that any reduction in audiences these days is tied to the nation's prolonged economic downturn, not to a dwindling interest in intimate, live performance.Some in the city's cabaret community believe that the Oak Room's stringent devotion to a traditional "Great American Songbook" repertoire may have limited the kinds of customers it attracted. Writer James Gavin ("Intimate Nights") first visited the club in 1985, about four years after cabaret promoter Donald Smith revitalized the dormant room. Gavin returned approximately 100 times over the years. He appreciates that it nourished the talent of younger performers and said he will miss the venue. But he noted, "The staid model of cabaret that developed in the '80sthat of formal, sexless presentations of standards, long on manners and short on fun, and geared toward a well-to-do, older crowdis pretty much over." Alexander said the Oak Room had included some more-contemporary styles of music. But she said it was a tricky proposition to "expand your audience without diluting your brand." The Oak Room's brand, she said, has always been linked to elegance and sophistication, "and you're not going to get intelligence singing, 'Ooh, baby, baby.' " Beck Lee, publicist for the Metropolitan Room on West 22nd Street in Manhattan, said that "supply" is no problem in NY's cabaret market. There are plenty of established and aspiring performers. But, he said, he wonders sometimes about "demand." Lee stressed the importance of "stirring things up artistically" to attract new and varied audiences. He cited the Metropolitan Room's sold-out run of Barb Jungr's show last fall, which featured Bob Dylan songs; the show will return for a three-week encore engagement in the spring.Thomas Honeck, booking manager and general manager for the West Village's Duplex club, said, "People don't just 'come to the cabaret,' as the song says. They generally come to see specific performers, so there will always be an audience for that."Shortly after the news of the Oak Room's closing came the announcement that a new club, 54 Below, will open beneath the Studio 54 theater on West 54th Street. The 160-seat space is designed to bring more performers from musical theater to the cabaret world. Patti LuPone will headline when 54 Below opens in June.No one seems to be suggesting that 54 Below's presence will compensate for the disappearance of the Oak Room. Marcovicci said she's not sure the Marriott "higher-ups" fathom the historical and cultural loss their planned repurposing signifies. She is channeling her grief into the petition effort, hoping somehow to keep the music playing at the Algonquin. "But I'm speaking as an artist," she added, "and sometimes artists cry in the wind."

Revenge Exclusive: Scoop on TV's Most sexy Mystery

Unhealthy news: Erica, who were built with a child with Private Practice's Cooper, includes a terminal brain tumor. What's promising: Amelia Shepherd and her your government Derek will reunite to try and save her.Amelia (Caterina Scorsone) will visit Grey's Anatomy's Dallas Sophistication throughout a unique ... Find Out More > Other Links From TVGuide.com A.J. LangerPatrick DempseyEric DaneGrey's AnatomyCaterina ScorsonePaul AdelsteinPrivate PracticeGriffin Gluck

Japan ad shop partners with TV Asahi, Fremantle

Tokyo, japan, japan -- Dentsu, Japan's greatest ad shop, is joining up while using TV Asahi network and Fremantle to co-push variety programs together with other content, according to Japanese press reviews. Using Dentsu and Fremantle's sales channels, they plan to sell the shows in Europe, U . s . States and Asia. The Three partners will divide the revenues. The shows will first be broadcast on tv Asahi, but produced using overseas auds in your thoughts, from script to theme song. Dentsu is seeking new revenue streams abroad given limited prospects for expansion in your house. Inside the October to December quarter, however, regular profits acquired 4% to $225 million as TV ad with recovery of demand within the March 11 disaster and rise in orders in the U . s . States subsid adding. Contact the number newsroom at news@variety.com

Summit int'l chief David Garrett to exit

A month after Summit merged with Lionsgate, Summit co-founder and president of international David Garrett is preparing to ankle the company, according to sources with knowledge of the situation.Reasons behind Garrett's resignation were not immediately clear, but observers told Variety that the exec became emotional when speaking of the merger last week while attending the Berlin Film Festival. It's unclear when Garrett will formally depart the company.Word of Garrett's move comes as Lionsgate begins the integration of Summit staffers into its film operations, spurring movement among execs from both sides. Last week, Summit's Erik Feig was named production prexy of Lionsgate Motion Picture Group, while the former occupant of that post, Alli Shearmur, is expected to segue to a producing deal.Garrett, Patrick Wachsberger and Bob Hayward officially launched Summit in 1993 as a production, distribution and sales operation. The company's profile grew in recent years as it scored with the "Twilight" franchise and fielded a best-picture Oscar winner with "The Hurt Locker." As recently as this past week, sources indicated that Summit's and Lionsgate's sales operations will continue as is for the rest of 2012, with both operations -- Summit's headed by Garrett and Lionsgate's by Helen Lee Kim -- reporting to Patrick Wachsberger.(Diana Lodderhose contributed to this article.) Contact Rachel Abrams at Rachel.Abrams@variety.com

Greg Grande on Jefferson Sage

Released: Involves an finish., Feb. 3, 2012, 4:00am PTBy Grande'Bridesmaids'Greg Grande on Jefferson Sage, production designer, "Bridesmaids" and "New Girl"Anybody who's seen "Bridesmaids" will not ever neglect the production type of Jefferson Sage's tacky Brazilian Churra-Chi restaurant in the seedy neighborhood where Annie (Kristen Wiig) takes her fellow bridesmaids for just about any "steak" lunch. It's the jumping-off point where Sage has subtly created a perfect palette and takes us around the visual journey into an anything-goes world, immediately juxtaposed in the chic, cream-on-white-colored, bridal-gown studio where everything literally erupts.Sage's design and color sensibility along with his spontaneity also lead the means by which after we zigzag from Annie's stress apartment for the Parisian-designed bridal shower in the Tudor revival mansion, full of French cafe round the terrace, pavilion tents for that reason, a miniature Eiffel Tower together with a seven-ft chocolate fountain. All this facilitates the climax of "Bridesmaids" -- which Sage, working with director Paul Feig and producer Judd Apatow, have changed the landscape in the American female comedy.Shifting for the smallscreen, Sage produces a place awesome enough to hold the type of style-setter Zooey Deschanel in Fox's "New Girl": an empty loft with textured walls, uncovered brick, metallic loading door and giant home home windows in the spacious living space where Deschanel and her three male roomies curler skate within the huge wood floor, hang within the entrance and bounce in the walls.The appearance sense is outlined with bold color options spread on entrance doors and walls, which hints in the loft's industrial past and us visually involved. Then there's probably the most discussed bathroom on network TV -- a urinal alongside lockers and a pair of commercial sinks -Making us appreciate Sage's innovative style. He seems to possess every opportunity to create cohabitation in the sexes look stylish and current.Greg Grande's credits include "Cougar Town," "Switched at Birth" and "Jane by Design."ADG Honours 2012Tightening the definitionDesigners on designProduction designers and art company company directors discuss the ADG-nominated work from the peersJohn Muto on Dante Ferretti Greg Grande on Jefferson Sage Norm Newberry on Stuart Craig John Sabato on Patti Podesta Ken Averill on Christopher Glass John Shaffner on Steve Bass Dork Blass on Mark Worthington John Iacovelli on James Yarnell Contact the number newsroom at news@variety.com

The Voice Rules! (But Here Are 6 Things That Could Make It Even Better)

The Voice A year ago, no one, not even the powers that be at NBC, expected The Voice to pose a real threat to American Idol. Simon Cowell had taken his talents to The X Factor and between the two shows, Fox would out-yell and outspend any and all other music competitions. But then The Voice and its big red swivel chairs and its panel of feisty, funny judges surprised everyone. Rather than repurposing the Idol formula, The Voice gave America a much-needed break from painful auditions, "dawgs," "songs that inspire" week, and judges critiques that ranged from "you really made it your own" to "that was beautiful, perfect." The show also beat X Factor to the punch in having judges act as mentors to the contestants, and in lining up a group of contestants of all ages and races and - most importantly - singing styles. The Voice Season 2 scoop: More blind audition rounds, bigger teams, savvier contestants And so, The Voice not only became NBC's 2011 sleeper hit, it also reinvigorated a format that Idol in 10 seasons had made tired. So what now? Executive producer Mark Burnett has already announced slight tweaks for Season 2: each coach will have a team of 12 (up from last year's 8), and both the initial blind audition rounds and the head-to-head battle rounds will be extended. The show has also hired new social media correspondent Christina Milian, who replaces Alison Haislip. Auditions were filmed last summer, and the battle rounds have been taped, but that doesn't mean there isn't time to consider some constructive feedback! Our hopes and wishes for Season 2: We've seen the dancers - and we don't need them. At first, they were shiny and new. Now, after also watching legions of them stomp around contestants on both The Voice and The X Factor, they're just distracting and remind us too much of a Vegas night club (not a compliment). Besides, no one sounds good trying to sing and booty shake at the same time. The Voice: No more nice judges and details on the new advisers Really? More than four weeks of battle rounds? Love the neon boxing ring. Love the duets. The problem with the battle rounds is that the contestants who appear in that first week go MIA for the next several weeks - and then it's good luck to viewers who can remember them after all that time. We are, after all, talking about starting with 48 acts this season. Footage has been filmed, but maybe we do more than four battles per hour-long episode? Can we hear less about the tweeting? Stop taking away valuable minutes from showing us how the coaches mold their singers just to prove that the show is interactive. What show isn't these days? And because The X Factor allowed people to tweet their votes, Twitter-capable shows are a lot less impressive now. Do viewers really care that @SheltonFan98 thinks one of his contestants did a rockin' job? If you're going to keep the social media lounge around, and we assume you will, make it a real part of the show. Maybe let viewers vote on song choice, or pick better fan questions for the contestants and coaches to answer? Adam and Carson should no longer share a wardrobe. Or, at the very least, they can't share the same stylist. Our suggestion? Carson, go ahead and keep doing the T-shirt-black leather jacket combo you like so well. Adam, you don't need to wear a jacket ever. The Voice names Christina Milian as new social media correspondent No more second chances. Last season, producers were forced to let several rejected hopefuls sing again when the show ran out of potential contestants during the blind auditions. This strikes us as unfair. If a singer can't push the coaches' buttons the first time - see what we did there? - then do they really have a shot at winning? Adam should have taken Casey her first time. We realize that the blind auditions have been shot, but we're optimistic that the show's popularity last season made this a non-issue the second time around. Cool it with the come-ons, Christina. Unlike those other overly supportive female judges, Christina has never been afraid to speak her mind, even if it means cutting off the other coaches. And that's A-OK with us, but could you please stop trying to pick up every young thing that hits the stage? X-Tina, we know you like to flaunt what you've got, but let's let grandpa Steven over at Idol enjoy the title of TV's sleaziest singing judge. What are your hopes and dreams for the new season of The Voice? Tell us in the comments below and check out a preview from the premiere, which airs Sunday after the Super Bowl on NBC: