Breaking Dawn's Half-Billion, and 6 Other Stories You'll Be Talking About Today

Happy Wednesday! Also in today’s edition of The Broadsheet: Another Hollywood hack bellies up to the Natalie Wood-mystery gravy train… Gary Busey uncorks one of his better one-liners… The Raid is coming to America… The growing cult of Shame… and more. · Fact: The Twilight Saga: Breaking Dawn - Part 1 broke $500 million in worldwide grosses in 12 days. I know what you’re thinking: “This is not a story I’ll be talking about today. What makes you think that, Movieline?” Honestly, I don’t know. I just figured since I’m citing it in my suicide note that you might mention it in yours as well. [Deadline] · The director of an unreleased movie co-starring Robert Wagner and Christopher Walken — Natalie Wood’s shipmates the night she mysteriously drowned 30 years ago — says it’s nearing a distribution deal after years in the can. But never mind those guys (who don’t even share a scene together) — Life’s a Beach also features Morgan Fairchild and Rutger Hauer! I’ll bet you can see my hard-on from space. [FishbowlLA via THR] · The Raid, director Gareth Evans’s punishingly violent action-thriller that was the toast of Toronto’s Midnight Madness section this year, has settled at Sony Pictures Classics. It will likely come to American theaters some time early next year. [Deadline] · Gary Busey of all people really knows how to put the UK in its place: “You guys don’t have guns — you have sticks and dragons.” Well, and knives. And broken glasses, I guess. [Empire] · Glenn Kenny on Michael Fassbender: “I’ve said it before, but I think he’s the best lead actor to emerge in English-language cinema in the past ten years, and I can’t wait to see what he’ll do next.” [Some Came Running] · And not to be outdone, Ray Pride on Fassbender’s character in Shame: “Every social grace, every touch toward intimacy, alarms Brandon. His date asks, ‘What’s your longest relationship’ as we hear the suck sound of a wine cork as it’s pulled, she pulls a face, wrinkles her nose, we hear the wine slop into a glass: it’s the contortions of Brandon’s insides, as well.” [Newcity] · Is Hugo “fundamentally dishonest about how World War I and the traumas of modern reality overrode audience’s capacity for ‘magic,’ thus ruining [Georges] Melies’ career”? Maybe! Discuss! [The eXiled]

'Men in Black 3' Poster: Is That Josh Brolin?

Apparently, the studio behind 'Men in Black 3' spent all their energy on Will Smith's massive trailer. Over the weekend, the first posters for the alien sequel were spotted by Collider, and they are very ... abstract. The two images (one of Will Smith, one of Josh Brolin -- maybe? It could also be Tommy Lee Jones, who will reprise his role as Agent K) -- are made up of tiny MIB logos. The effect is a bit dizzying, but perhaps that's the point -- especially when you consider the plot details. The storyline is still a bit sketchy, but we do know the film will involve some time traveling to the 1960s, with Brolin playing the younger version of Jones' character. The duo will apparently be fighting a badass evil biker named Yaz (Jermaine Clement). 'Men in Black III' will hit theaters May 25, 2012. [via Collider and First Showing] Follow Moviefone on Twitter Like Moviefone on Facebook

OSCAR: Hugo Helmer Martin Scorsese Ponders 3D Future And How Taxi Driver Would Have Benefitted

Martin Scorsese long ago established himself as one of the pillars of contemporary films, an auteur steeped in the history and culture of cinema who makes movies that are usually brutal, visceral and, quite often, Oscar-nominated too. His 2006 release, The Departed, finally brought him his best director Oscar, after five previous nominations left him just short, and the film also won best picture and two more awards that night. But anyone who thinks they have Scorsese pegged will be in for a shock with his latest, Hugo. Its a childrens story, based on the best-selling novel The Invention of Hugo Cabret, and its the filmmakers first foray into 3D. Less surprising is that Hugo revolves around the early days of cinema, with pioneering French filmmaker Georges Mlis (Ben Kingsley) playing a prominent role. And its figuring regularly in Oscar buzz. So, Hugo isnt entirely out of character for Scorsese. The director took a few minutes recently to talk to me about the influence of his young daughter on his latest film, his new-found embrace of 3-D technology, and what his Oscar wins in 2007 meant for his family. AWARDSLINE: What were you looking for that made Hugo fit so well as your first family film? MARTIN SCORSESE: The book by Brian Selznick is so compelling and beautifully done, particularly the illustrations. But the story, the mystery of it, really became interesting and I felt an affinity with the 12-year old boy, his isolation and ultimately his trying to find a reason for his life and its tragedies. Ultimately all of that gets resolved through the invention of cinema. AWARDSLINE: Youd found a personal frame of reference? There are also themes of film preservation, a passion of yours, and the origins of cinema. SCORSESE: That seemed to be like a natural. But really, it was mainly the young children that first got me involved with it. And the fact that it resolves itself with Melies and early cinema was something that kept drawing me back. Well, apparently it must have been that but I didnt quite realize it until I was shooting and friends in my life would say This is very much you. [Laughs] While I didnt think of that, all my close friends felt it was totally natural. AWARDSLINE: How long had you wanted to work in 3D? SCORSESE: Since I saw my first 3D film back in 1953, House of Wax. AWARDSLINE: As you watched 3D develop through the years, its gone from something that jumps out at you to an immersive feel. How have you felt about the evolution? SCORSESE: I have always been fascinated by it. Even before I saw 3D films, I remember getting a packet of 10 postcards that were stereoscopic from the late 19th century and looking at them through a little device. Then theres the wonderful View-Master which had beautiful stereo images. Not only did it immerse you in the picture, but was like a story. I was fascinated by depth and I placed such moments carefully in Hugo. There are a number of things that do pop out at you, but we tried to have our cake and eat it too. Ideally you dont realize the effect occurred. By the time its over, youre onto something else. It was about placing you inside this boys world; the memory of a child. If you think back at your childhood, you think about where you grew up and if you ever go back there, its different. It has a different feel to it from what a child sees and perceives. I thought that would be amazing in 3D plus the fact that he lives in the walls of a train station with the mechanisms of the clocks which always fascinated me. I remember a little glass ball of a clock that my grandfather had. He gave it to me. I was always fascinated because on the back of it, you can actually see magnified; the workings of a clock and since I was a child I was fascinated by that. AWARDSLINE: The technology certainly allowed you to see the inner workings of the clocks that are prevalent in the film. SCORSESE: I go back to that old clock my grandfather had and I still have in the house now and I was fascinated by that. Im not mechanically inclined but Im fascinated by the mechanisms, and what they suggest. The stories that come out of them. The measurement of time itself. Movies being the illusion of motion, and then it is seen and it is an experience that disappears–into time. And in many cases, it has strong, profound, powerful reactions that can change your life. It certainly did mine. AWARDSLINE: Theres a wonderful moment where an audience watching a moving picture for the first time scatters as a train rushes through the camera. In your life and career, what film innovation compares to that? SCORSESE: Well, two things really. It was the use of 3D back in 53. Obviously, there are two or three films better than all the others House of Wax, Phantom of the Rue Morgue and Hitchcocks use of it in Dial M for Murder. AWARDSLINE: What was the other? SCORSESE: Im going back to theatrical experiences for this one. It was the first use of wide screen and the Cinemascope image on a wide screen at the NY Roxy theater which was really very thrilling. But the 3D I preferred, because in the first use of Cinemascope, it was rather static, but the 3D was not for some reason, particularly in House of Wax. I was always fascinated by these technical innovations and never thought I would get to make one. It was only 2 years ago that I was talking to some filmmakers in Cairo of all places, saying 3D is going to be amazing, but that it has to be in the script. I said, Ill never get to make one but thats the nature of where everything is going anyway. Ever since storytelling started, whether it was rock paintings or campfires, or the Shaman, its been about telling stories with motion, color, sound and depth, which leaves you what? Holograms. AWARDSLINE: And just two years after saying you wouldnt make one, were talking about your first 3D film. What changed for you? SCORSESE: Well, the story of Hugo. The climate of what Jim Cameron did with Avatar and 3D seemed right and the subject matter was just perfect for it. And it was time to take a chance with it. AWARDSLINE: How did you feel after watching Avatar? SCORSESE: There was extraordinary visual storytelling in that picture. Cameron is a great innovator and leader in cinema. It made it (3D) very welcoming. If you suggest 3D, from that point on, it was taken seriously. But I just think 3D is open to any kind of storytelling. It shouldnt be limited to fantasy or sci-fi. Look at (Werner) Herzogs use of it (in Cave of Forgotten Dreams), Wim Wenders with Pina. It should be considered a serious narrative element and tool, especially when telling a story with depth as narrative. AWARDSLINE: Which of your movies might have most benefited from being shot in 3D? SCORSESE: Thats an interesting question. Lets seeAviator, maybe? Maybe Taxi Driver because of the intimidation of the main character , his presence is everywhere, a frightening kind of presence. AWARDSLINE: What was the hardest part about getting use to shooting with this format? There must have been a learning curve, figuring out how to frame shots to take advantage of that dimension. SCORSESE: The high depth was very helpful and beautiful to work with. The rigs we had at the time were big, and that was problematic, though we were luckily shooting in a studio so we could keep it on a crane and move it around. Now, the rigs are smaller and more flexible. As I lined up each shot, we had to rethink how to tell a story with pictures. And so each shot was a separate surprise, a separate journey, even though I designed a lot of the 3D effects in the movie way before shooting started. I just didnt want to waste the depth, even if it was a medium shot of a person speaking . This was something that [cinematographer Robert] Richardson, myself, my AD Chris Surgent, my second unit director Rob Legato. We all worked on it heavily, every day, adding to the frame, try things, making mistakes. Pull back, go forward, try something we werent supposed to do. This was the key. AWARDSLINE: Is it that much more challenging than shooting a 2D film? SCORSESE: Eliminating the idea of the heavier equipment which is now getting smaller and flexible, I dont think theres very much of a difference. It shouldnt frighten the filmmaker, it shouldnt be an obstacle or an impediment. Break through it. Think differently about it. Dont let people tell you what can and cannot be done. I shot the film in the way Im used to shooting. Its designed with editing, its a montage at times, but imagine somebody doing one long take in two hours in 3D, where the element of space really becomes part of the very fabric of the narrative, as we tried to accomplish here in our editing? Its so unlimited. So yes, there are certain technical issues to deal with as you go ahead and work on a picture, but those are choices you make and you work it through. I wouldnt be intimidated by it. You should really try and be bold. AWARDSLINE: Recently, 3D has been knocked as an excuse for studios to charge higher ticket prices. Now were seeing more filmmakers like you, Spielberg, Peter Jackson and Ridley Scott shooting in it. Would you prefer to shoot all your movies in 3D going forward? SCORSESE: Quite honestly, I would. I dont think theres a subject matter that cant absorb 3D; that cant tolerate the addition of depth as a storytelling technique. We view everyday life with depth. I think certain subject matters arent meant for 3D but you have to go back to Technicolor; when it was used in 1935 with Becky Sharp. For about 10-15 years, Technicolor was relegated to musicals, comedies and westerns. It wasnt intended for the serious genres, but now everything is in color. And so its just a different mindset. Granted once the technology advances and you can eliminates glasses that are hindrances to some moviegoers, so why not? Its just a natural progression. AWARDSLINE: This is a family film with a sophisticated message. What concessions did you make so that kids would be engaged in Hugo? SCORSESE: I have a young daughter whos going to be 12 in a few weeks. By living with her everyday, I began to see things differently. So I was always checking on how a child would perceive this, every frame, including the station inspector, all these tricks, his sense of authority which is subverted by his, at times, his ridiculousness. It was always about what would a child think about this scene? How would they see it? Thats why we had to heighten the look of the picture and the train station. We designed the picture to call back to a very special kind of dream-like palace that Ren Clair used or designed in 1930, to give a feeling of a fairy tale world, but yet to speak to a reality. The station inspector [Sacha Baron Cohen] might be funny at times, but he still has the authority to put children in the orphanage. So I always tried to see it through a childs eyes. AWARDSLINE: Your films always factor in the discussion during Oscar season. Youve been nominated five times as director before you won with The Departed. What was the most gratifying part of getting the Oscar? SCORSESE: I made Departed as an attempt at a gangster thriller. It was really remarkable that of all the films I made, that picture was singled out. And I think I was most happy for my family. Everybody always gets up and thanks their family, but the reality is that they were so excited, including a few of my aunts. One of my aunts just passed away, she was the last of my father and my mothers world. She was excited. She was in tears. It meant a great deal to them. Its not that (the award) doesnt mean a great deal for me, but it fulfilled a long journey that many were on with me. And it was very sweet. AWARDSLINE: Youve tried to adapt the Shusaku Endo novel Silence, about 17th Century Jesuits who risk their lives to bring Christianity to Japan. It isnt commercial, it has been hard to finance, but it looks like youll finally get your chance to make it. Why has it been so important to you? SCORSESE: My initial interests in life were very strongly formed by what I took seriously at that time, and 45-50 years ago I was steeped in the Roman Catholic religion. As you get older, ideas go and come. Questions, answers, loss of the answer again and more questions, and this is what really interests me. Yes, the Cinema and the people in my life and my family are most important, but ultimately as you get older, theres got to be more. Much, much more. The very nature of secularism right now is really fascinating to me, but at the same time do you wipe away what could be more enriching in your life, which is an appreciation or some sort of search for that which is spiritual and transcends? Thats one of the reasons why I made the George Harrison documentary. Silence is just something that Im drawn to in that way. Its been an obsession, it has to be done and now is the time to do it. Its a strong, wonderful true story, a thriller in a way, but it deals with those questions. AWARDSLINE: Are the questions youre asking here similar to the questions that drew you to Last Temptation of Christ? SCORSESE: Yes, but this is a different line of questioning. AWARDSLINE: We Catholics are always struggling for answers. SCORSESE: There are no answers. We all know that. You try to live in the grace that you can. But there are no answers, but the point is, you keep looking. Because people tell you science tells us everything. Science doesnt! They just have discovered these Neutrinos that go faster than the speed of light. And there is this idea that once we got to a point in the mid-20th century and now the 21st century where everything is known in a sense, right? Well, we dont! We dont really know everything. I mean, yes, we dont know what happened in the Big Bang, but we understand the idea of progress. But have we really progressed? Weve progressed on the outside, but what about inside? What about the soul and the heart? Without trying to sound pompous and ridiculous, I can tell you this is where my interest is. AWARDSLINE: When a director with your accomplishments keeps challenging his beliefs and asking questions like this, does that show youve still got the capacity for growth? SCORSESE: I hope! [laughs] I hope! Thats what Im trying for!

'Rampart' Star Woodsy Harrelson Around The 'Marvelous Movie' That Almost Wasn't

A week ago, reviews appeared that Woodsy Harrelson didn't such as the film that's generating him Best Actor buzz, "Rampart." The film, a re-joining for him and the "Messenger" director Oren Moverman, follows among the filthiest cops the LAPD has seen and was one which Harrelson felt incredibly enthusiastic about while focusing on it. "I'd such high wants this movie. I truly felt it would do great. Did not enjoy it,Inch Harrelson stated. "It veered substantially from what we should shot, also it was substantially not the same as the script, the ending, several figures dropped out. Plenty of things transformed." Harrelson's dissatisfy led to a several weeks-lengthy rift between him and Moverman, somebody that the actor views "a brother." It had not been before the Toronto Worldwide Film Festival that Harrelson revisited the film. "I am thinking, 'Do you would like me to express just how much I personally don't like this movie?' Saw the film. I wallow in it, watching 5, 10, fifteen minutes, and I am like, 'God d***, this really is very good,AInch he Harrelson stated. "20 minutes, an hour or so. 'This is nice.A I Quickly sitting with the whole factor. I stored waiting for this to visit south, also it never did. I believe it is a wonderful movie, totally original movie." For Harrelson, finally taking pleasure in the film meant a lot more than liking a film he done it meant a reconciliation with Moverman. "I walked as much as [Moverman] and that i stated, 'Well, it requires a guy to confess he's wrong, and that i really was wrong on that one.' We hugged one another, and really, both of us wept since the rift am a hardship on the two of us,Inch he stated. The 2 remain close, and Harrelson stated he'd focus on anything Moverman approaches him with. "I do not even have to browse the script. I simply say, 'Yes.'" Inform us what you believe within the comments section as well as on Twitter!

Mark Kassen dancing with indie 'Stars'

KassenMark Kassen will uncover why existence might be worth dwelling within the indie "Stars" for LLeju Productions and Storyland Pictures. Kassen, most recently noticed in "Puncture" with Chris Evans, plays the suicidal male lead opposite Vinessa Shaw, Kathryn Hahn, Tom Bower and Illeana Douglas. Derrick Borte directs in the script by Jim Janosky of a guy who determines his birthday to kill themselves, but his disregard for existence takes a turn in order to his demise. William Perkins will produce along with Borte and Scott Lochmus. LLeju is financing the expansion, presently under strategies by New Mexico. Kassen is repped by CAA. Contact Justin Kroll at justin.kroll@variety.com

AMAs 2011: Taylor Swift Wins Entertainer of the Year; Adele Scores Favorite Album; Bruno Mars Upsets Justin Bieber

Taylor Swift topped the 39th annual American Music Awards on Sunday night, winning three awards, including entertainer of the year.our editor recommendsAMAs 2011: The Red Carpet Arrivals2011 American Music Awards: Adele Leads With 4 Nominations (Video)American Music Awards 2011: The NomineesChris Brown, Adam Lambert and a $500,000 Performance: AMAs EP on What to Expect SundayAdam Lambert Returns to 2011 AMAs as Presenter; Producer Says He 'Was Never Banned'AMAs 2011: Nicki Minaj Gives Electric Performance with David GuettaAMAs 2011: Justin Bieber Brings Christmas Spirit (Video)AMAs 2011: Winners and Nominees Complete ListHot Chelle Rae on AMA Win: It's 'The Biggest Milestone of Our Career' (Video)AMAs 2011: Inside Hot Chelle Rae's Red Carpet Style MeetingAMAs 2011: James Durbin's Debut Album Brings 'a Whole Lot of Rock and Roll' (Video)Connor Cruise DJs for Young Hollywood at Kevin Jonas Hosted Pre-AMA Charity EventRelated Topics•American Music Awards She beatAdele, Lady Gaga, Lil WayneandKaty Perryfor the honor at the fan-voted awards show, which took place at theNokia Theatre at L.A. Live in downtown Los Angeles.Her win comes two weeks after shewon her second entertainer of the year trophyat the 45th annual Country Music Association Awards in Nashville. PHOTOS: AMAs Red Carpet Arrivals Swift also beatMiranda LambertandSara Evansin the favorite female country artist category.She also won for favorite country album, beating out The Band Perry andJason Aldean. Adele's 21 won for favorite album over the likes of Lady Gaga and Rihanna. The singer, who isrecuperatingfrom a Nov. 7 surgery to repair a hermorrhaged vocal cord, wasn't present to accept the award, nor did she do a video acceptance. Another big winner was Nicki Minaj,who opened the show with her performance of "Super Bass" and "Turn Me On" alongsideDavid Guetta.She was named favorite rap/hip-hop artist, winning over the likes ofLil WayneandKanye West. PHOTOS: The Best and Worst Moments at the AMAs She also took home the trophy for favorite rap/hip-hop album forPink Friday,again beating out Lil Wayne and West &Jay-Zfor the honor. In accepting the award, Minaj got teary onstage. Meanwhile, in what is likely to be perceived as an upset, the Beliebers apparently didn't provide enough support forJustin Bieber,who lost out on the favorite male artist (pop/rock) award toBruno Mars. Pitbullalso was nominated in the category. Elsewhere,Rihannatook home the trophy for favorite album (soul/R&B) forLoud. The singer, who beat out exChris BrownandBeyonce,accepted via video as she is currently performing on her world tour. However, Beyonce later beat out Rihanna and her former Destiny's Child groupmateKelly Rowlandin the favorite female artist (soul/R&B) category. Like Rihanna, Beyonce also was not present and accepted via video. PHOTOS: 2011 American Music Awards Nominees Maroon 5 took home the first award of the night,for favorite band, duo or group (pop/rock) at the show.They beat out LMFAO and OneRepublic for the honor, presented byQueen Latifah. Lady Antebellum won in the category of favorite band, duo or group, where fellow nominees included The Band Perry and Zac Brown Band. Jennifer Lopez also was a winner Sunday night, beating out Enrique Iglesias and Pitbull to take home the trophy for favorite Latin music artist. For the Sprint new artist of the year award, Hot Chelle Rae won in the pop/rock category. Complete List of 2011 AMA Winners and Nominees Also during the show, Katy Perry was surprised with a special achievement awardfor being the first female pop singer to have five No. 1 singles off one album. In addition to Minaj and Guetta, the night's performers includedJustin Bieber,The Band Perry, OneRepublic, Lopez, Perry Iglesias andBrown. There was no host for this year's show, which aired on ABC. Related Topics Beyonce Justin Bieber Katy Perry Rihanna Taylor Swift Nicki Minaj Bruno Mars Adam Levine Adele Maroon 5 AMAs 2011

VIDEO: Emma Stone Hosts British Invasion on Saturday Evening Live

Emma Stone She's American, but Emma Stone performed host to some British invasion when she located Saturday Evening Love the 2nd time. Besides musical guest Coldplay, Andrew Garfield came out throughout her monologue when Stone needed to break this news to Andy Samberg that Garfield, a Brit, is going to be playing the role of Spider-Guy in next year's The Astonishing Spider-Guy film. "America is suffering record unemployment and that we delegate Spider-Guy to England": "Weekend Update" (attempted to) make light from the Penn Condition sex abuse scandal, but the demon - formerly not aware of the items happening while he will get his news from Ashton Kutcher's Twitter feed - was horrified through the particulars. "I am the prince of darkness, but I am not really a monster. .... This really is nfl and college football, not the Catholic Chapel." The particulars pressed the demon (performed by Jason Sudeikis) to return to his old job working customer support sometimes Warner Cable because "evil is not what it was onceInch: Watch more videos from Saturday Evening Live Rather than a maid-matron of honour, Kristen Wiig performed the bride to be-to-maintain a skit about bridal shower gifts. Stone performed her awkward office co-worker, Wallace, who had not visited a bridal shower and only agreed to be grateful to become asked: Stone also shared happens with Wiig for the overall game show Secret Word, playing a dim (and scandalous) Miss America (she thinks the Georgia condition bird is really a peach) by having an interesting assistant in her own British ventriloquist puppet, Mr. Pickles:

Start Searching At Great Expectations' Pip

War Horse's Jeremy Irvine goes DickensNever condition that Empire doens't offer you culture from the Friday. Following this morning's touch of Shakespeare while using Coriolanus poster, here's your start searching at JeremyIrvine as Pip in Mike Newell's adaptation of Charles Dickens' GreatExpectations. How come he holding lots of flowers?We could only supposing he's off a-wooing.Irvine isn't exactly children title at this time around, but since the lead in WarHorse you'll most likely become a little more familiar with him soon. He joins a star-heavy cast, including Helena Bonham Carter as Miss Havisham (who we'd revealed - quite simply veiled - the other day), Take advantage of Fiennes as Magwitch and Robbie Coltrane as Jaggers. The observant among you'll bear in mind that Newell formerly labored wonderful people three on HarryPotter AndTheGoblet Of Fire, nevertheless it seems like solid casting by itself here rather than some try to randomly have the gang altogether again.Anticipation Start Searching At PipThe story sees the orphaned Pip given lots of money having a mysterious benefactor, who he suspects might be the eccentric Miss Havisham. But he's less concerned about who's behind the gift, distributed by lawyer Jaggers (Coltrane) plus much more concerned about wooing Miss Havisham's guy-eating ward Estella (HollidayGrainger).Great Anticipation is due to hit screens next fall, which nearly gives the time to see the book when planning.

Sweeps Roundup: Nov. 7-13

Nathan Fillion These are the guest stars and events that the networks have planned for the second week of November sweeps: Monday, Nov. 7 8/7cGossip Girl (The CW)Only Blair Waldorf would audition potential bridesmaids for her upcoming royal nuptials. 9/8cHouse (Fox)Battlestar Galactica alum Jamie Bamber is the patient of the week, playing a well-respected man who's hiding dark secrets about his personal and professional life. 9:30/8:30cMike & Molly (CBS)Carl sets his sights high when he tries to date a very attractive woman played by Holly Robinson Peete. 10/9cCastle (ABC)An impromptu case in Atlantic City leads to an impromptu bachelor party for Ryan. What happens in AC stays in AC...Tuesday, Nov. 8 8/7c90210 (The CW)In a real stretch of casting, Jersey Shore's Vinny Guadagnino plays a celebrity that the guys meet in Las Vegas while Billy Ray Cyrus plays, you guessed it, a country superstar. NCIS (CBS)In Part 1 of 2, the team investigates a plane crash that was carrying the caskets of deceased soldiers. 9:30/8:30c (ABC)Raising Hope (Fox)Uh oh! Maw Maw swallows her gold tooth, and Burt and Virginia contemplate retrieving it. 10/9cParenthood (NBC)Adam and Kristina try to restart their sex life after the birth of their daughter. Wednesday, Nov. 9 8/7cCountry Music Awards (ABC)Brad Paisley and Carrie Underwood host the 45th annual awards that celebrates country music's "biggest night." Up All Night (NBC)While babysitting, Ava meets a single dad played by Jason Lee. Too bad Ava already has a boyfriend! 9/8c America's Next Top Model (The CW)The remaining models travel to Greece and in the first photo shoot on location, one of the girls is anxious about posing in her underwear. 10/9cLaw & Order: Special Victims Unit (NBC)Timothy Busfield guest-stars as a man whose mail-order Russian bride is found murdered. To aid in the investigation, Cragen (Dann Florek) goes undercover as a man seeking a bride. Thursday, Nov. 10 8/7cThe Vampire Diaries (The CW)Another day, another celebration in Mystic Falls. On the night of Homecoming, Rebekah opens up to Elena, while Klaus puts his latest plan into action. 9/8cBones (FOX)The team's newest squint identifies the remains of a competitive eating champion (eww!) and links the evidence to a snake. The Office (NBC)Pam prepares to go on maternity leave, but worries that Jim finds the new, and very pretty, temp tempting. 10/9cPrivate Practice (ABC)Amelia hits rock bottom when she writes herself a pill prescription and has a run-in with the cops. Friday, Nov. 118/7cExtreme Makeover: Home Edition (ABC)On a Veteran's Day-themed episode, Jewel and host Ty Pennington look back on some of the memorable military stories featured on the show and the team visits the families for an update. Sunday 8/7c Once Upon a Time (ABC)Cinderella makes a regrettable deal with Rumplestiltskin. 9/8cFamily Guy (FOX)Brian and Stewie travel back in time to the pilot episode of the series where they change history and then change it again. 10/9cDesperate Housewives (ABC)Lynette comes up with a plan to save her marriage to Tom on their 22-year anniversary.

NBC Buys Legal Drama From Outlaw Country Scribes, Producer Michael London

Utilizing their Nashville pilot Outlaw Country starting to warm up for just about any series pickup at Foreign exchange, Josh Goldin and Rachel Abramowitz have offered another drama project to NBC. The legal drama, titled Major Crimes, arises from The brand new the new sony Pictures TV and producer Michael London (Milk), who's executive creating through his Groundswell Prods. Known to as “ER inside the LA da’s office,” Major Crimes is occur the area of youthful ADAs in the La downtown court building. Relocating a bullet pace, the show focuses on an ensemble cast of massively overstressed ADAs falling for one another, fighting their unique demons and ambitions, while seeking out justice abroad. Goldin and Abramowitz are co-writing/executive creating the project, which showed up in this area in the extensive investigate two did within the court docket offices in downtown LA. Major Crimes joins two other recently introduced Groundswell series projects: A Visit Within The Goon Squad at Cinemax and Masters of miracle at Fox through 20th TV. Abramowitz and Goldin are with CAA & Media Talent London is to apply CAA.