Exclusive: Bridesmaids' Ben Falcone Heads to Happy Being

Ben Falcone Bridesmaids' Ben Falcone will guest-star within an approaching episode of Happy Being, TVGuide.com has learned solely. The actual-existence husband of Oscar nominee Melissa McCarthy, who described John the environment marshal within the hit comedy, will have Darren, Max and Dave's lonely, yet angry landlord. His episode is slated to air at the end of March or early April. Browse the relaxation of present day news Falcone next seems on Up Through The Night. His credits include NBC's Joey and also the approaching feature comedy What to anticipate When You are Expecting, where he'll play Elizabeth Banks' husband. Happy Being airs Wednesdays at 9:30/8:30c on ABC.

Rumour: Harrison Ford in talks for completely new Edge Runner movie?

What is this great story includes a hefty rumour warning attached, but with different study by Twitch, Harrison Ford is at early predicts star in Ridley Scott's new Edge Runner movie.The report doesn't title any sources or offer any verifiable evidence, but this is exactly what they have to say:"Twitch finds that Harrison Ford has became a member of into early predicts join the completely new Edge Runner. Even though this is still very first stages that is quite simple that things won't exercise the apparent implication is always that that which you want at is not a reboot but an instantaneous follow-up for the original."It's tough to visualize Ford returning for the Edge Runner world, even if Scott reaches the helm. Which quote does appear awfully non-committal.Nonetheless, it's tough to consider something which could easily get hardcore sci-fi fans more excited in comparison to reunion from the pair, so you will notice that this story has spread round like the internet like digital wild-fire.That is in line with Scott's previous assertion the film is "liable to become follow-up."If Ford was involved, are you able to expect him to reprise his role in the straightforward follow-up set-up? Or you think Deckard's replicant status will probably be confirmed getting an electronic cameo different color leaves as Arnie's in Terminator Salvation?Expect Mister Ridley being avalanched with queries about the completely new Edge Runner film because he gears up for marketing duties on Alien-sister Prometheus.Prometheus opens on 1 June 2012.[brightcove]1431135008001[/brightcove]

Exclusive Video: Extreme Couponing: Midnight Madness Takes On Black Friday

Extreme Couponing: Midnight Madness And you thought the girl who pepper-sprayed people on Black Friday was intense... TLC's new special Extreme Couponing: Midnight Madness, will follow four super savers who navigate the biggest shopping day of the year: Black Friday. In the exclusive sneak peek below, Washington shopper Angelique lines up hours early... despite being three months pregnant. Now that's intense. Check out the video of Midnight Madness, airing Sunday, January 29 at 10/9c.

Sony's 'Awakening' poised for weekend B.O. win

The new sony Screen Gems' 4th "Underworld" installment, "Awakening," is poised to win the weekend box office by having an believed domestic take of $23 million to $25 million. B.O. experts base time from early Friday grosses, which indicate the film will probably consume $9 million-$ten million today. Last Century Fox's "Red-colored Tails" is angling in the future in second, with B.O. viewers pegging the film within the mid-to-high teens through Sunday. While matinees for that pic have held strong, experts caution the pic continues to be tough to estimate, simply because of the unknown volume of group sales in front of the pic's release. Relativity's "Haywire" also opens a few days ago, with experts putting the pic's weekend earnings within the $8 million-$9 million range. That's based from estimations that Steven Soderbergh's female-driven action pic will gross about $3 million during the day. Meanwhile Warner Bros.' "Very Noisy and extremely Close" grows a few days ago to two,630 theaters. Early estimations indicate a Friday take of $3.5 million-$4 million, at the forefront for any three-day gross of $9 million-$11 million. U's "Contraband," now in the sophomore sesh, is searching to carry well. Box office experts the pic will probably earn between $3.5 million and $4 million today and $11.5 million-$13 million for that weekend. Contact Rachel Abrams at Rachel.Abrams@variety.com

Khloe Jams Claims She's not Biological Daughter of Robert Kardashian

Khloe Kardashian Khloe Kardashian - well-known for speaking her mind - isn't holding if this involves her late father Robert Kardashian's other partners in addition to their claims they isn't a real Kardashian.Jan Ashley, the woman who married Robert Kardashian after he split from Kris Jenner, recently told Star Magazine that Khloe wasn't Robert's biological daughter.Kardashian brothers and sisters will probably be Barbies - real Barbies"Khloe is not his kid -- he described any time we have marry,Inch mentioned Ashley, 63. "He just kind of examined me and mentioned [it] appreciate it was determined by fact. He mentioned, 'Well, you will be aware Khloe's not only a Kardashian, not?A Which I mentioned...'OK,' which could it have been.InchEllen Kardashian, 63, who was simply married to Robert throughout time of his dying in 2003, supported Ashley's claims. "Khloe introduced up constantly,Inch she states. "She looked nothing can beat the comfort. She was tall, stood a different shape, light hair, wild hair. Didn't look anything like the other three children."Have a look at photos of Khloe KardashianKhloe fired in the ladies on Twitter Wednesday, writing, "The audacity you have to mention my father's title similar to this! Needs to be embarrassed about urself! I let a number of things slide but that certain is really low. You are DISGUSTING! (you really know what you're)."Khloe's mother, Kris Jenner, condemned the gossips on Thursday's Hello America, calling the claims "garbage." She what Jenner required to say here: video platformvideo managementvideo solutionsvideo playerWhat can you consider Jan Ashley and Ellen Kardashian's claims?

NBC topper acknowledges net's 'bad fall'

GreenblattDespite coming out of a fall in which NBC generated little, if any, must-see viewing, network topper Bob Greenblatt said he will continue to spend vigorously in order to mine hits. Following the NBCUniversal-Comcast merger, Greenblatt was given open purse strings by NBCU CEO Steve Burke to spend whatever it takes to generate hits. "If we had come up with 'Modern Family,' it would have been worth it," said Greenblatt on the disappointing fall. He acknowledged that NBC spent more on programming than in year's past but didn't have much to show for it yet. "It's like gambling," he told scribes at NBC's portion of the Television Critics Assn. tour in Pasadena on Friday. "You don't have any idea what is going to work and what isn't. He later continued: "It's a bit of a crapshoot, but it makes logical sense for us to spend to spend more money than Fox, CBS and ABC. But will we spend less in the future? I hope so." On Burke's ability to keep spending coin after a fallow fall and far from any sure things ahead, Greenblatt said, "He's the calmest most unflappable CEO in this entertainment business. Sure, he'd like to have it happen faster and ahead of schedule, but he's been very patient." Greenblatt also announced "Community," which had been pulled from the midseason sked, would return in the spring. He added that when it comes back, however, the laffer may not be in the difficult 8 p.m. timeslot. "I don't know if it makes sense for it to start off a night again, but we have a tight schedule for comedies and not a lot of place to put them. We have to see where 'Community' makes the most sense," he said. The exec earned points with scribes by not sugarcoating NBC's tough start to the season, opening the Q&A period with a candid admission: "It was a really bad fall and worse than I hoped for but about what I expected." His biggest disappointment was the Maria Bello starrer "Prime Suspect," which Greenblatt felt was a winner creatively but never generated any momentum in the ratings, even after moving it around the schedule. "Was she too (much of a) cable character? Was it too abrasive? Maybe it was the hat? I don't know," he said. "Maybe a hard-hitting cop show with a dead body in the first scene wasn't the best idea." Looking forward, NBC is betting heavily on rookie drama "Smash," which Greenblatt developed when he was running Showtime and took with him to NBC, and the return of musical competition series "The Voice." "I think 'Smash' is going to be very important to us, but I don't believe it's a make-or-break show for us," said Greenblatt of the Debra Messing and Katharine McPhee starrer that will launch Feb. 6, the day after NBC's telecast of the Super Bowl. "It only takes one show (to turn things around) and 'Smash' could be one of those shows." "The Voice" was clearly's NBC's biggest hit last season and much is riding on a successful second season, but Greenblatt was hedging a bit about the possibility of "The Voice" and "Smash" not doing well as some anticipate. "It's not like we'll go into receivership," he joked about the possibility both series not reaching lofty set goals. One topic of discussion was the future of Ryan Seacrest, who has been rumored to take over hosting duties for ayem news program "Today," a big profit center for NBC. Seacrest is already in the corporate family as a host on E! programming and producer of the cabler's hit reality "Kardashian" skeins as well as other shows. His moving over to "Today" has been rumored for months as a possible replacement for Matt Lauer, whose current contract expires at the end of 2012. Greenblatt called the Seacrest transition to "Today" a bit premature. "Our hope and belief is that Matt will stay though end of his contract," said Greenblatt, "We need to figure out how to take Ryan and keep him in the family." Greenblatt said he could see a day when broadcast networks will follow the cable model of 13 episodes per season rather than the traditional 22. "I don't know if every show benefits for having 22 episodes stretched across nine months with repeats," he said. "What cable does well is give you a burst of episodes. The audience is fine watching from January to May and then coming back to January (for a new season)." The benefits of cable's business model came up often at the panel, with Greenblatt -- having turned Showtime into both an awards magnet and profit center for CBS -- saying there were lessons that could be transferred to broadcast. "The beauty of cable is that the ratings don't really correlate to the bottom line," he said "At Showtime, 'Prime Suspect' would have been picked up after the third episode, called a hit and run for four or five seasons." Greenblatt also addressed the changes implemented during the past few months on the production side at the renamed Universal Television production wing. Greenblatt said the studio, which is on a mission to produce shows not only for NBC but outside networks, "could yield nothing but could yield hundreds of millions of dollars" if it generates hits down the road. One of Universal TV's longest-running shows is Fox's "House." Ratings for the Hugh Laurie drama have been on the downtrend in recent years. If the net decides not to renew the show for the 2012-13 season, Greenblatt said it was doubtful he would pick it up for the Peacock because of the high production cost on a show that's already in its eighth season. Contact Stuart Levine at stuart.levine@variety.com

REVIEW: Angelina Jolie Makes a Bleak Bosnian War Romance with In the Land of Blood and Honey

In the Land of Blood and Honey isn’t actually Angelina Jolie’s first film as a director — that distinction goes to A Place in Time, a little-seen 2007 documentary showcasing life in different locations around the globe at the same moment, shot with the help of some of her famous friends, including Djimon Hounsou and Anne Hathaway. But like that film, Jolie’s narrative debut arrives surrounded by a halo of good intentions and the sense that celebrity is being used as the spoonful of sugar to make the didacticism go down. Per the activist and star’s own statement in the press notes, with this new feature she “wanted to make a film that would express, in an artistic way, [her] frustrations with the international community’s failure to intervene in conflicts in a timely and effective manner.” The conflict on-screen is the Bosnian War of the ’90s, which puts new lovers Ajla (Zana Marjanovi) and Danijel (Goran Kosti) on opposite sides of a clash that left 100,000 dead and led to accusations of genocide. Despite those austere intentions, In the Land of Blood and Honey is gratifyingly short on lectures and, interestingly, on history lessons. The drama, which was also written by Jolie, is set very specifically during the Bosnian War without delving deeply into the complications of the reasons for the bloodshed. Ajla is a Bosnian Muslim, an aspiring painter who lives with her sister; Danijel is a Bosnian Serb, a policeman whose family has a tradition of going into law enforcement. But neither is a fervent believer in the war, at least not in the beginning. They’re just shuffled off into the parts already assigned to them, Danijel taking a place as a commander in the Serbian army under his father, General Nebojsa Vukojevich (Rade erbedija, who often plays Eastern European baddies in Hollywood fare), Ajla forced into a detention center with other women who are made to wait on the Serb troops. Upon their arrival, one of the soldiers pulls a woman to the front of the group and rapes her, just to make a point, her fellow prisoners looking away as she weeps, her face shoved into the table. It’s here that Danijel and Ajla are reunited and the most compelling part of In the Land of Blood and Honey unfolds, a squirmy, dark romance in which Danijel is at once Ajla’s wooer, protector and persecutor. He tries to shield her from the abuses of the other soldiers without appearing as if he’s too attached to a Muslim woman in their eyes, and he attempts to convince her he’s not like the others when he goes out on campaigns to kill her fellow Bosniaks. “One of your Muslim friends was in my scope, and I’m thinking of you,” he tells her after choosing not to shoot a man and his child on a bridge earlier that day, and it’s unclear whether he wants gratitude or an apology. Marjanovi and Kosti have a potent on-screen chemistry together, when taken with the power dynamics at play, and they present an uncomfortable developing relationship that you can’t turn away from — when we first see it consummated, it’s immediately after another soldier has stepped on Ajla’s hand to punish her for dropping a dish, with Danijel unable to intervene on her behalf. In their desperate coupling it’s clear that Ajla has been reminded of how she needs him on her side as much as she might actually want him there. And yet, given an opportunity to escape, Alja stays. As a director, Jolie sometimes jumbles her visual construction (a firefight late in the film is difficult to follow). But she’s unfailingly generous with her leads, who are both charismatic and watchable — Kosti is handsome but sinister, while Marjanovi’s beauty is centered around her wise, steady gaze. Still, she leaves so much unsaid that we often have no idea what’s going on in the heads of the characters. As their The Night Porter-esque relationship takes new turns and encounters growing complications — Danijel is assigned elsewhere for a while, and things get worse for Alja at the compound until she runs away, though later Danijel has her brought back — it becomes less and less clear, in ways that don’t all seem intentional, what either is thinking and how sincere each is in the faux domesticity they’ve carved out for themselves in an ever-more devastated landscape. “Am I your prisoner?” she asks him once, and he responds, astoundingly, “You’re a prisoner only if you don’t want to be here.” Between engagements with Alja and Danijel the film provides images of the awfulness of the war — the murder of a baby, the use of women as human shields, a mass grave — as well as its surreal quality, as one man reflects that 40 minutes away in Italy tourists are sitting out in the sun. These are haunting scenes, but along with the growing muddiness of our understanding of our two leads they seem disconnected. If In the Land of Blood and Honey aims to be a film about the madness of war, it’s not clear whose madness it is, as war is depicted as descending out of the sky like a contagion. It fits with Jolie’s insistence that there should have been early outside intervention in the conflict, but also seems too facile an explanation for the atrocities committed. As the love between Danijel and Alja curdles in an impossible environment, we mourn for them but don’t feel we understand them. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.