Friday, May 31, 2013

BeansTalk Visits With Bethany Joy Lenz

'One Tree Hill' Vet Back in the Action

Bethany Joy Lenz

by Lizzy Buczak
BeansTalk Biz Contributor

Bethany Joy Lenz, best known for her role as Hailey James Scott on One Tree Hill, is returning to TV after a year-long hiatus. When One Tree Hill ended in mid 2012, Joy took a break from acting to spend time with her daughter. The legal debate around her divorce put her career on hold, but when everything subsided she was able to get back into the groove of things.

One Tree Hill lasted nine seasons, which required Joy to dedicate nine years of her life to The CW drama. During her “comeback” Joy decided to concentrate on projects that were “strategically designed to move her career in a direction that was not quite the same thing as she was doing on One Tree Hill.”

Auditions for the show came up and Joy told her manager she wanted to jump into sitcom work and get her feet wet, to see if she still enjoyed it. “Lucky me, I won the job” she exclaimed. Cue in her first comedy sitcom in about eleven years.

Joy appeared on Men at Work, starring Danny Masterson of That 70’s Show. The episode, The Pioneer, aired on May 9, 2013 where Joy played Meg, a single mother and love interest for Tyler (played by Michael Cassidy).

“The first three days, the first two and a half days, were really difficult for me because I haven’t done comedy in a really long time.” In addition, Joy had to face the difficulty of appearing on an unfamiliar set as a guest star.

“Walking back onto a completely new set which didn’t feel like home and I didn’t feel the comforts that you feel after you’ve been on a series for ten years and you know everyone there. I was walking on a brand new set desperately hoping to contribute something to this great show that I really respected”

So what did help Joy during the filming?  All the cute guys, she joked. In reality she admitted it was all about loosening up and finding energy from the audience. “I have a tendency to hold back a little at first, to be respectful to the environment and figure out where I fit in. Maybe I should talk to my therapist about that. Maybe I need to be more present and bring more to the table. ”

One of Joy’s weakest points as an artist is comedy improv, she admitted. “I could do drama improv with no problem. When people expect me to be funny, and their looking at me like boom make a joke! I kind of freeze up like Ah, I can’t handle the pressure. So that was challenging for me, which is another reason I really wanted to do it.”

Joy admits that on the set of One Tree Hill there wasn’t much improv, but she joked that the writers would probably disagree with her as she never stuck to the script and was always changing the lines. “I was probably the bane of their existence for ten years.”

At first the situation was stressful but than Joy admitted, feeling the audience’s energy and hearing the immediate laugh was really helpful.  Just like anyone else, Joy recalls coaching herself through the process. “Thank God they like me.  I was funny. Oh good. It’s working.” Joy exclaimed.  I

She might be trying to break out of the mold, but that doesn’t mean she’s changing her career to comedy. After her appearance on Men At Work, Joy will continue honing her drama skills on the final season (8) of Dexter. She explains the decision to be on the show was a very rash, but obvious one. “Will you be on Dexter” they asked, to which Joy replied, “Uh yes, I will.”

Thursday, May 30, 2013



The look is everywhere, from the wear-about-once mall boutiques to higher-end department stores, like Bloomingdales and Neiman Marcus. Skirt, dress or top, the high-low look, we think, may be on its way out. We figure if there's a garment we really like, we'll be able to "even out" the piece of clothing so it's not so obviously early 2013. Here are looks you can find in shops now (all of the following can be found at Neiman Marcus).
Alexander McQueen, 1945.00

Camilla, 625.00

KAS New York, now 112.00

Tallulah, 320.00 (BeansTalk's favorite)

Tracy Reese, 348.00

Erin Featherstone, 395.00

Jay Godfrey, 328

La Femme Boutique, 345.00

Three Dots, now 60.00

Wednesday, May 29, 2013

Looks Like....

Jonah Bobo of "Crazy. Stupid. Love."

Michael d'Addario of "People Like Us"

It's Not the Same Kid

Nearly every actor profiled on IMBD has the following post "Looks like..." on his/her message board. We are often noting how someone reminds us of another actor, but we've rarely been in the situation where we're watching a movie and assume, and say out loud, "Oh, look who it is..." We completely thought that the young boy in the Elizabeth Banks/Chris Banks film, "People Like Us," was the same actor who played Robbie in "Crazy. Stupid. Love." But he's not! We wondered if "People's" released was delayed because he seemed so much younger. At any rate, it's not just looks with these two young actors, there's something about the way they speak, their acting style that is similar.

Tuesday, May 28, 2013

"Before Midnight"

Ethan Hawke and Julie Delpy in "Before Midnight"

Before Midnight
by N.F. Mendoza

Director Richard Linklatter, and his stars and co-writers, Ethan Hawke and Julie Delpy, have, at last, answered their fans' pleas: they finally made the third film of their popular "Before" series of films. It seemed utterly inconceivable that the film, shown at Sundance in January, did not have distribution.

The web is ripe with fan fiction, virtual love letters, supposing on that proverbial "what happened??" Where the first two films ended without conventional conclusions, "Before Midnight" does. End, that is. It may not end with a pretty package and a bow, but the eventual outcome, what will happen to lovers Jesse and Celine, is certainly clear. And that clarity may differ between the optimist and the not.

The trilogy of films consists of the nearly two-decade relationship between a French girl-turned-woman and an American boy-turned man. Each film spans the course of one day.

The film that started it all, 1995's "Before Sunrise."

"Before Sunrise," set in 1994 (the film was released in 1995), presented the ultimate in "meet cute" -- two students spark up a conversation on the Eurorail. The boy, Jesse (Hawke), has spent two weeks riding the train aimlessly, after being unceremoniously dumped by his college girlfriend, who is now studying in Madrid, and clearly favoring her sophisticated entourage of European friends over her visiting American soon-to-be-ex boyfriend. He's found the cheapest returning flight to the U.S., and that plane leaves out of Vienna. The girl, Celine (the luminous July Delpy), is on her way back to school, to the Sorbonne; she's been visiting her beloved grandmother in Budapest.

Attempting to get out of earshot of a feuding German couple on the bench seat next to her, Celine gathers her scant belongings and providentially ends up sitting across the aisle from Jesse (she will, much later, infer that she purposely sat next to him). Jesse's clearly taken with her and (this will prove to be more than ironic two films later) seeing an opening for conversation, asks what was going on with disgruntled couple.

Jesse and Celine talk, take their conversation to the dining car, clearly enjoying each other's company, when the train stops in Vienna -- this is where Jesse's catching his plane, the next morning. It's only a stopover, however, for Celine. He charms her into getting off the train and  spending the afternoon and evening with him.

Celine and Jesse sampling the sounds the sweetly melodic "Come Here" by Kath Bloom

As they engage further in conversation, they're drawn to each other, clearly attracted. They share their first kiss in a carousel car, as the lights of the city twinkle beneath them. It's magical, romantic, sweet and touching. They constantly make reference to his departure the next morning, but they still fall in love. As they're bidding adieu -- she's getting back on the train, and he's heading to the airport, they break their pact to not see each other again, and agree to meet, at the train station, in six months, in December. The film ends with loving images of all the places the couple walked and talked.

Nine years later, Jesse and Celine are in Paris, "Before Sunset."

Nine years later, it's "Before Sunset." At Paris' legendary Shakespeare and Company book shop, the now successful novelist Jesse is on the final leg of his book tour. His novel, it is quickly revealed, chronicles his incredible time with Celine. As his visit is winding down, he catches a glimpse of an elegant blonde between the bookshelves: it is Celine. The audience soon learns the couple haven't seen each other since that Viennese night.

There's catching up -- but all is not revealed immediately, despite the short amount of time they have to visit -- his flight leaves for New York that evening. Eventually, the couple finally reveal to each other what happened. Celine's grandmother died and the funeral was December 16, the day they agreed to meet. Jesse awkwardly says he didn't show up either, only to admit he actually did. Even though he is understanding and sympathetic, Jesse later speculates it was at that moment, that he may have given up on romantic love. They are both successful in their professional lives and have had what is the equivalent of a distraction in partners.

Celine shows Jesse the sights of Paris.

But it's more serious for Jesse. When his on-off girlfriend got pregnant, he married her. He has a son, Hank, who he adores, but a wife who he can't love the way she should be loved. Jesse is not disparaging of his wife -- but he doesn't have that deep connection he had with Celine. Celine fights the admission, but eventually, albeit angrily, tells him she "was fine," until she read his book, which "stirred shit up."

Celine tests if Jesse will dissolve into molecules at a touch.

Jesse's driver drops Celine off at her apartment, and Jesse walks her to the door, when he's inspired to beg her to sing one of her songs for him (she tells him she loves to write songs and play guitar). She plays him the beautiful, catchy and very romantic "A Waltz," serves him a cup of tea, reminisces about a Nina Simone concert and tells him, "You are gonna miss that plane," to which he replies, "I know." The screen fades to black.

Celine and Jesse, on the way back to their Greek host's home, after dropping Hank off at the airport. 

And, now at last, it's "Before Midnight." There's no explanatory voice over or title cards. The audience knows this much as the film begins: Jess now lives in Europe, and his teenage son Hank has spent a glorious summer with him, and they're now at an airport in Greece. Hank's going home. In the brief time Hank spends on screen, it is clear that he is a thoughtful, sensitive, and bright child. He may even be well adjusted, despite the long separations from his father. As Jesse parts with Hank at the gate, Jesse's longing and despair is palpable. He is clearly pained when Hank casually mentions that his mother hates Jesse, and it's not alleviated when Hank adds, "but she hates Daniel more." His mother, the jilted woman, has evidently had at least two unsuccessful relationships with men. A credible,  and lovely touch is the ease and fondness Celine and Hank have for each other. It is Celine who Hank calls to check in with; not his irked father.

"Before Midnight" was worth the wait. In the intervening years, Hawke intimated that if there was to be a third film, it would depict what would likely be a volatile relationship. He was prescient (although that's probably not fair, since he is a co-writer of "Midnight").

The couple's twin girls, Ella and Nina, help pick veggies for lunch. (Fans of  "Before Sunset" may recognize, and assume, the girls are named for Nina Simone and Ella Fitzgerald)

The film is beautifully constructed, maintaining the "single day" trope. The danger would be for the film to be too expository -- fans want to know what happened in those intervening years. Nearly every question or curiosity is answered, but brilliantly executed, in an organic way. The characters, thankfully, remain true to who they were when they were first introduced.

The couple's interactions with other people (the friends who've invited them for this six-week vacation in Greece) feel real. And, the way that Jesse and Celine interact is wholly credible for what they've been through, and how they have been shown to the audience. They are now a couple, and parents to a set of ethereal blonde twin girls. The way the girls' look (they spend the first part of the film asleep in the backseat, while Jesse and Celine ruminate with each other) may be in direct opposition of how they are. When they describe them, it's clear they only look angelic. They behave as any other children might.

Grecian beauty

There are running threads throughout the film that are very subtle, but very effective. In "Sunrise," Jesse asks Celine if she believes in reincarnation. She quickly responds, "Yes." In "Sunset," he asks her the same question. Her response, nine years later, "No." But Celine continues to be contradictory. She talks about picturing them as ashy bodies in Pompei. She imagines what Jesse will look like and wear to her funeral. If it's possible, the mature, maternal Celine may be even more dramatic than she was at 21.

Despite the fact Celine is highly intelligent, beautiful, and beloved (their primary host in Greece notes it is the first time a visiting writer's partner was more interesting than the writer), she is still profoundly insecure, and that insecurity appears to have grown through the years. In "Sunrise," she's completely distressed that she's going to become some random "French girl," if she capitulates to her own desires, and has sex with Jesse. In "Sunset," when she asks how she's different, he tells her she's skinnier, and she laments, "you wrote a book about a fat French girl!" In "Midnight," she refers to herself as matronly and "balding."

On the way to a boutique hotel for a romantic, childless evening -- a gift from their Greek friends.

And while Celine is beyond bitter for the ill way they've been treated by Hank's mother, she actually  set the seeds for why a mother might be given a proverbial "free pass" in "Sunrise." As they're leaving the "tourist" boat on the Seine, Celine laments how Jesse's wife can't be everything to him, because she has to "take care of the little one." In "Midnight," while it's clear they are both devoted and doting parents, Celine demands more "credit" and acknowledgement for the efforts she's endured (which include the challenges of giving birth to twins while contending with Jesse's furious, and bitter ex-wife).

It will be no surprise to fans of the first two films: "Midnight" is very dialogue heavy. These are characters who love to talk, and love to talk to each other. But they know each other intimately now, and make frequent  and easy references to behaviors and preferences; they assumed a lot more about each other in "Sunrise" and "Sunset." Now, they know. And, like any couple who are so intensely bonded, a fight brings out the ugliest in each. An inevitable discussion escalates into a scathing argument and, finally erupts into a fight. Celine has never liked what she perceives as Jesse's cavalier attitude.This time, she actually mocks him, and articulates her annoyance with his "rational way."

The Celine of "Midnight" is purposely obtuse, prone to exaggeration, and provocative in her declarations. Jesse has, a viewer can easily imagine, "managed" her all these years. But when they are finally alone with each other, at the end of the day, they're now talking, arguing, fighting over a very serious issue, to which there is no easy solution. Both of them "have a point." In the course of this argument, previous capituations (replete with the associated resentment) are revealed. And they are each, and on both sides, big concessions.

The hotel room confrontation. Intended by well-meaning friends as a signature romantic setting, Celine and Jesse let it all hang out.

Celine is shocking, stunningly mean in the last third of the film. But there always was, in younger, and even younger Celine, shades of the defeatist. That was something that set Celine and Jesse apart. Celine in her (at least verbalized) "realism" was always a little Eeyore and Jesse, a little Pooh. Theirs was never going to be an "easy" relationship, no matter how strong the "thing"  between them was and is (as "Sunrise's" Jesse described it, as he was talking Celine off the train). And viewers who imagined an idealized relationship based on their evident attraction, connection and bond, are residing in the realm of the blockbuster, not the sharp, witty, poignant, painful, gritty and beautiful world of the independent film, where subtleties and nuances wreak havoc with romantic notions.

Friday, May 24, 2013

Summer Sandals

BeansTalk's getting ready for summer with these Tory Burch Nora sandals. More comfortable than the conventional Thora (and we know of what we speak; we have the Thora in metallic pink and turquoise, gold glitter, brushed sliver), Nora doesn't have the "puzzle" inner sole (as our Endodontist described it). We also love the Miller and have that in smooth chocolate brown and tumbled pink leather. 

We also just got these, Kate Spade's Theodora, in pink patent. We have the Kate Spade Becca, which has the same cork wedge platform, but with braided matte gold leather; those are very comfortable so we're hoping for the same with these.

Thursday, May 23, 2013

Stuart Weitzman Raffia Sandals

It's no secret that one of BeansTalk's favorite brands is Stuart Weitzman. If you're looking for summer sandals, consider raffia -- it's immediately conjures up light, summer, tropical. Check out these, all from Weitzman and all featuring raffia (and we have two pairs of the 10-- can you guess which ones?).

Wednesday, May 22, 2013

Ellen Honored

Celebrate the work of Ellen DeGeneres, who was awarded the 15th recipient of The Kennedy Center Mark Twain Prize for American Humor. Airs on PBS, Friday, 31 May 2013.

Tuesday, May 21, 2013

Young Hollywood Awards

Previous winner, Ashley Greene

As it celebrates its 15th Year, The Young Hollywood Awards, long regarded as the “Oscars of Young Hollywood,” will partner with The CW Network to broadcast this year’s star-studded red-carpet event on Thursday, August 1 (8:00-10:00p.m. ET/PT).  The announcement was made today by Jay Penske, Founder, Chairman and CEO of Penske Media Corporation (PMC), owner and Executive Producer of the award show, and Mark Pedowitz, President, The CW.

“I’m so pleased PMC and The CW will partner for our biggest year yet of the Young Hollywood Awards, spotlighting our show’s proven evolution in honoring and celebrating the accomplishments of the entertainment industry’s rising stars,” said Penske. “YHA celebrates emerging young talent, and The CW Network has established the careers of some of the brightest young stars – making this alliance all the more perfect for the significant 15th anniversary of this eminent event.”

“The CW is thrilled to be able to join forces with Jay and PMC to broadcast young Hollywood’s premier award show, as we continue to eventize our summer schedule,” said Mark Pedowitz, President, The CW.  “Not only does this allow us to celebrate the year’s best emerging talent in film, music and television, but it perfectly fits with The CW’s brand and further establishes us as the place to find many of today and tomorrow’s up-and-coming stars.”

Since its inception, this vibrant red carpet show has served as a launch pad for the future careers of many of today’s top actors, directors, and entertainers. A must-attend for Hollywood's A-list talent, industry executives, and fans, the annual Young Hollywood Awards draws extensive media coverage from national and international press. The list of previous Young Hollywood Awards recipients and presenters is a who’s who of Young Hollywood with names such as Scarlett Johansson, Armie Hammer, Kristen Stewart, Taylor Swift, Ryan Gosling, Zac Efron, Justin Bieber, Jake Gyllenhaal, Dakota Fanning, Jessica Alba, Liam Hemsworth, Ashley Greene, Emma Stone, Nick Jonas, Mila Kunis, and Shia LaBeouf, among many others.

The 15th Annual Young Hollywood Awards will be held in Los Angeles and the host and nominees will be unveiled in June 2013.

Monday, May 20, 2013

Thigh Way or No Way

Stuart Weitzman jumps ahead to fall -- here what they're offering:

Friday, May 10, 2013

The Best Shows You're Not Watching

What to Watch

BeansTalk takes the trouble out of wha-to-watch when you're scrolling the massive library that is Netflix. Unlike watching TV series On Demand, you can watch these shows on Netflix, commercial free (we'll tell you right here, we watched "Top of the Lake" on Sundance and it's incomparable what kind of difference HD and no interruptions make).

Here are two shows we recommend:

Top of the Lake
Jane Campion's absolutely amazing Sundance series, "Top of the Lake." It may be one of the best things ever aired on TV -- it's certainly one of the best produced for television. It is beautifully shot in New Zealand, layers story upon story, is perplexingly frightening and compelling and stunning to watch. "Mad Men's" Elisabeth Moss plays Robin, an Aussie detective who's returned to her hometown to spend time with her dying mother. During the visit, a precocious and pregnant 12-year-old goes missing and Robin's engaged to help find her. The relationships are startling an the story will keep you guessing; it may make you both gasp and cry, but you will be enthralled you had the experience, which stays with you long after the last scene airs.

There are more reasons to watch BBC America's "Copper" than the fact that it's from Tom Fontana and you miss "Deadwood." This is a far more intimate (i.e. lower budget) than the ill-fated HBO series, and while the cast isn't nearly as experienced as the "Deadwood's" (Anastasia Griffth is truly awful), it's still a very gritty and engaging story. The leads -- younger than the talent were in the Martin Scorsese production -- are easy-on-the-eyes, too, which doesn't hurt. We started to watch this series when "Ripper" ended for the season, so we were in the mood for it, and it didn't disappoint. It's both violent and disturbing, but addictive and nuanced.