Parks and Rec: Kathryn Hahn to Recur; Louis C.K. Returning

Kathryn Hahn Kathryn Hahn is a free agent no longer. Less than two months after NBC axed her freshman comedy, Free Agents, Hahn has nabbed a recurring role on Parks and Recreation as a political operative, TVLine reports. NBC cancels Free Agents Hahn's character works for another candidate in the race for City Council, which includesLeslie (Amy Poehler).In addition, Parks and Recreation is also bringing backLeslie's cop ex-boyfriend, Dave, played by Louis C.K. The Louie star appeared in several episodes early in Season 2 before his character was transferred to San Diego. Watch full episodes of Parks and Recreation Hahn's first episode will air in early 2012, as will Louis C.K.'s return. Are you excited to see Hahn and Amy Poehler go head to head? Are you glad Louis C.K. is coming back?

The Toughest Oscar Category to hack... Is Better Original Score?!

As many of us prepare to provide thanks, some in our midst -- particularly youthful or more-and-coming film composers -- say please, as with, "Please Academy, provide us with an opportunity!Inchour editor recommendsFEINBERG FORECAST: 'The Artist,' 'The Descendants,' 'The Help' Atop Best Pic FieldTo Be An Academy awards Champion, Dress Like One in the GlobesTHR Poll: Oscar Audiences Prefer Eddie Murphy Over Billy Very as Show Host Why? Since the Academy permits one person to become nominated in excess of one film in the best original score category -- unlike its acting groups, but like its pointing along with other technical groups -- and also the Academy's music branch, which determines the course's nominees, has proven because a inclination every branch to make the most of that option. The end result, during the last couple of decades, continues to be that veteran large-title composers have ended up with multiple nods on the fairly consistent basis, while lesser-known emerging talent have battled to have their moment under the sun. PHOTOS: Backstage in the 83rd Oscars This season could end up being a tipping point for things, with numerous established veterans each within the running for multiple scores opposite numerous very worthy beginners. John Williams, perhaps the finest living film composer -- he's obtained a fantastic 40 best original score nominations, nine which have led to Academy awards -- has both War Equine and also the Adventures of Tintin within the running this season, and can almost surely be nominated for. He alone has already established two nods in a single year on eight previous occasions that arrived four different decades: 1969 (The Reivers and Goodbye, Mr. Chips), 1972 (Images and also the Poseidon Adventure), 1977 (Close Encounters from the Third Kind and The Exorcist), 1984 (Indiana Johnson and also the Temple of Disaster and also the River), 1987 (Empire from the Sun and also the Ghouls of Eastwick), 1989 (Born around the 4th of This summer and Indiana Johnson and also the Last Campaign), and 2001 (A.I.: Artifical Intelligence and Harry Potter and also the Wizard's Stone), and 2005 (Memoirs of the Geisha and Munich). Then, there's Alexandre Desplat, that has been nominated four occasions within the last 5 years (but has yet to win), that has produced four major scores this season, Very Noisy and extremely Close, The Ides of March, Harry Potter and also the Deathly Hallows: Part 2, along with a Better Existence Howard Shoreline, that has been nominated and won two times previously decade, that has both Hugo along with a Harmful Method and Alberto Iglesias, that has been nominated two times previously decade (but has yet to win), that has both Mess Tailor Soldier Spy and also the Skin My Home Is. PHOTOS: Oscar Show Moments After individuals four composers alone are paid for for, there might not be any space left within the category for other people! Nobody says that Williams or even the others must do what The famous host oprah Winfrey did in 2000 -- after accumulating 39 Emmys, along with a lifetime achievement award, she withdrew her title from future consideration -- even though it's worth observing that that's just what composer Hendes Zimmer, an eight-time nominee who won for that Lion King (1994), did this season, despite the fact that he'd have experienced at nods for four films, Rango, Pirates from the Caribbean: On Stranger Tides, Kung Fu Panda 2, and A Virtual Detective: A Game Title of Shadows. However, many youthful composers and publicists with whom I've spoken do believe it might be more proper -- making it more likely that more recent and/or never-before-nominated talent like Ludovic Bource (The Artist), High cliff Martinez (Drive, Contagion, The Lincoln subsequently Lawyer), Radiohead's Johnny Greenwood (We have to Discuss Kevin), John Byrne (Albert Nobbs), David Wingo (Take Shelter), Jonsi (We Purchased a Zoo), and Nathan Larson (Margin Call) would receive some attention -- when the Academy adopted exactly the same rule for the best original score along with other technical groups it is applicable towards the acting branches. Academy awards 2012

David Oyelowo Joins Steven Spielbergs Lincoln subsequently

EXCLUSIVE: David Oyelowo has became a member of the cast of Steven Spielberg’s Lincoln subsequently. He's headed to Virginia and can act as a cavalryman. Oyelowo takes the task as they’s at the same time shooting the Christopher McQuarrie-directed One Shot with Tom Cruise starring as Jack Reacher within the Lee Child novel series. Oyelowo plays charge detective looking into a sniper massacre in Pittsburgh. Oyelowo, last seen inRise from the Planet from the Apes and also the Help, lately wrapped the Lee Daniels-directed The Paperboy, playing a Pulitzer Prize-winning journalist who teams with another reporter to research the potential wrongful conviction of the killer. Matthew McConaughey, John Cusack and Nicole Kidman also star. Oyelowo will next be viewed starring in Red-colored Tails, the George Lucas-hatched drama in regards to a crew of Black aircraft pilots within the Tuskegee training course who persevered through segregation to have their opportunity to show their stuff up underneath the guidance of Col. A.J. Bullard. Oyelowo is repped by ICM, Inphenate and United kingdom-based Hamilton Hodell.

Channing Tatum, 'The Guy From U.N.C.L.E.'? Actor Latest Rumored for Steven Soderbergh's Reboot

Maybe 'The Guy From U.N.C.L.E.' is really a mans version of 'Pride & Prejudice & Zombies.' Just days after Bradley Cooper dropped from discussions to star within the Steven Soderbergh-directed reboot comes word that Channing Tatum is incorporated in the driver's chair for that role of Napoleon Solo. There is no offer yet, so don't beginning holding your breath or anything, but apparently Soderbergh and Tatum have struck up quite the connection around the group of 'Magic Mike,' a mans stripper drama the director according to Tatum's existence like a dancer. If Tatum occurs, he'll function as the third high-profile male connected to the project in certain capacity, following Cooper and original star George Clooney. (Clooney managed to move on due to a back injuries.) Vulture reported Joel Edgerton was involved with 'U.N.C.L.E.' too, but possibly for any different role. Expect farmville of musical chairs to finish shortly. [via Deadline] [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook

Ask Matt: Big Bang, Grey's, Glee, Terra Nova and More!

Sandra Oh Send questions to askmatt@tvguidemagazine.com and follow me on Twitter!Question: Why do successful shows tinker with what is already working? Rules of Engagement has become "The Timmy Show," and The Big Bang Theory has become a show about Penny, Bernadette and Amy. What gives? - KellyMatt Roush: The easiest way to answer this question is to state a pretty obvious fact of TV life: If you don't tinker, you risk growing stale. In this case, tinkering means adding new characters along the way and expanding the world of a show, which is essential for most series, including sitcoms, especially when it's clear they're in it for the long run. You may be exaggerating where Rules is concerned - it's not a show I watch regularly - but it's not unusual for a breakout character to get more prominence as time goes on. Call it scene stealer-itis. But I do think you're misrepresenting the role of the girls' club within Big Bang. Penny has always been an essential element of the show, but adding Amy as a female foil for Sheldon and Bernadette as a love interest for Howard - and then having the three gals bond in a way that surprises themselves as well as the geek squad across the hall - has given the show many more comic avenues to explore. For me, this new blood enhances rather than diminishes the show. I find Amy hilarious, and the scenes where Bernadette channels Howard's mother, belying her meek demeanor, brings back fond memories for me of Georgia Engel on The Mary Tyler Moore Show. The fact that the females might even get an "A" story once in a while only shows how much they've grown on the audience and on the writers. If Big Bang was only going to deal with the four science nerds, it would risk burning itself out a lot more quickly. Thankfully, that's not going to happen.Question: How amazing were Sandra Oh and Kevin McKidd in that scrub room scene on Grey's Anatomy's fall finale? I'd be surprised if there's not an Emmy nomination for one or the other. - Maya (via Twitter)Matt Roush: That was a very effective and moving scene. Watching her meltdown from the other side of the window just added to the emotion of the moment. I thought McKidd was equally strong conveying the pain as he talked Teddy through her surgery while she babbled on about her husband, not knowing he'd just died. Moments like these are welcome reminders that Grey's Anatomy, despite its flaws and excesses, hasn't run out of gas (unlike Desperate Housewives, which is limping to the finish line this year). But expecting Emmy nods is only going to set you up for disappointment, I fear. While it's possible Oh in particular could get nominated again - she has five nominations already, but not since 2009 (and she won a Golden Globe in 2006) - the show has pretty much fallen off the Emmy radar over the last few seasons. But then, Loretta Devine won a guest-acting Emmy last year, so you never know. Cable shows have tended to upstage network dramas in the awards races lately, with only CBS' The Good Wife being a major contender from the broadcast side. And once a show falls out of favor, the real surprise is for it to be welcomed back to the party. Which is a roundabout way of saying that if Oh or her co-stars were to be nominated again, I'd be surprised, but not unpleasantly.Want more Matt Roush? Subscribe to TV Guide Magazine now!Question: Of course the Parents Television Council has gotten upset over the sex-centric Glee episode that aired last week. I'm not so concerned about that. What I do want to talk about is another area of the episode. I long ago realized that I should not expect Glee to adhere to any sort of realistic standard, and that's fine. But I do take issue with Artie's director's note to Rachel and Blaine, essentially saying that they can't play characters who have a sexual awakening because they haven't had one.I wrote to you two years ago this month when Glee aired its "Wheels" episode, focused on Artie's challenges relative to using a wheelchair and praised the show for its sensitive depiction of the issue. "Disability advocates" were making news talking about how an actor who is not actually disabled should not play a character with a disability because (I'm paraphrasing here) the role should be offered to a chair user who has that firsthand experience. As both a wheelchair user and a theater student, I believe saying that actors have to have the same experiences as their characters cheapens the whole concept of acting. Of course actors should find some way to connect emotionally to the journey of the character, but that doesn't have to be because they've lived the same thing. Glee has never been a realistic show, but it stunned me to watch Glee use Artie to make the very argument that Kevin McHale's impressive performance on the show defeats. Do the writers really not understand that it is the same argument?I know that the show had them go through with the West Side Story performance in spite of not having sex first, which proves they could do it, but still, this was a shockingly disappointing turn for a series I have always supported for its belief in the value of telling stories about anyone and by any means available. For the record, I have weathered the storm of Glee from the beginning and it's not always easy to come back to the show, but every time I think about giving it up, they have a lovely moment like the intercutting of "One Hand, One Heart" with the sexual material at the end of the episode or "Somewhere" reconceived as a mother-daughter duet a few episodes back. I just hate times like this when they destroy their own credibility because it makes it harder for me to trust that the show is going somewhere. - JakeMatt Roush: Even in the better episodes of Glee, which I felt last week's very much was, there's bound to be something to aggravate you, and you make an excellent point that Artie of all characters was the wrong person to send that misguided and ultimately meaningless direction. (For me, one of the biggest question marks this season is why they put the school musical in the hands of non-musical supervisors in the first place, when Idina Menzel's character had just come on staff to oversee that absurd rival glee club and must have had time on her hands. Oh well.) I'm with you, though, on how the special moments of Glee tend to get me past all the inconsistencies and foolishness. There's still no other show quite like it, and for that I forgive it a lot. But as you're about to read, not everyone is so generous.Question: I've finally gone and removed Glee from my DVR. The kicker was the Nov. 8 episode. When will audiences sit up and realize this show is an empty suit? It's barely progressive - when it isn't ramming stereotypes down our throats - and it gave up on any pretense to subversion with the second season. It's preachy and shrill. Characters are nonsensical, contradicting themselves from one episode to the next, and behave at the whim of the theme assigned to the episode. The development of story on this show is recycled at best, a joke at worst. On the sex episode, Mike Chang's plot was reduced to two scenes; one overwrought, one treacly, both painfully obvious. His story would be better served not featured at all until there's adequate time to address it. As produced, those scenes were shoehorned in and lacked any impact. This is typical of any story that does not directly involve Kurt or Rachel - and even those give me whiplash. About the only thing last week's episode got right was the insulated, dimly lit and sadness-tinged qualities common to so many of the small-town gay bars I've had occasion to visit over the years. I'm disappointed, as the show had heart and a ton of promise when it first debuted. But the smattering of great moments is not enough to keep me hanging on. Where are you on this, Matt? Am I out there on this limb by myself? - ChrisMatt Roush: As I noted earlier, I'm not ready to give up on Glee yet, though I am thinking twice about watching this week's Sue-centric episode, because ... well, Sue. But you're hardly alone. And we do agree on one thing, since I used the term "whiplash" in last Tuesday's review/overview to describe the experience of watching Glee this year. The ratings have cooled considerably, indicating last season's glaring flaws tested many fans' patience. And you're right that if those few moments in last week's episode were meant to be a payoff to Mike Chang's story, which began so memorably in the "Asian F" episode (the best of the season, along with "First Time"), it's too maudlin and not enough. (Though I imagine there will be more to come.) But when you complain that the show isn't "progressive" or "subversive" enough, I can't help thinking how far TV has come in the years I've been covering the beat. Back when I was writing about a cultural milestone like thirtysomething, and the industry went into convulsions over two men being shown in bed, if you'd told me someday two gay teens were going to have their first moment of (very discreet) intimacy played out against a "West Side Story" romantic classic, I'd have scoffed. Glee has pushed plenty of boundaries to do honor to its misfits and outcasts. It's far from a perfect show, but even if it never regains its initial mojo, it's still a significant one.Question: I'm wondering what your thoughts are on the new show Person of Interest. If I recall correctly, this is a show you enjoyed because it was a different kind of CBS crime procedural. As a big fan of Lost, I checked out the show because I couldn't wait to see Michael Emerson again. However, I was disappointed after the first episode and haven't watched an episode since. Now, I am not (and probably never will be) a big fan of CBS-like procedural dramas; I'm much more into serialized dramas like Lost, Friday Night Lights, Parenthood, etc. My question for you is this: Would it be worth my time to go back and catch up on Person of Interest? For me to truly enjoy a show, I need some sort of overarching storyline going on, even if it is sometimes overshadowed by case-of-the-week plotlines. I do enjoy shows like Chuck and Glee, that although there may be a new "mission" or "lesson" for each episode, there are certain things that must be caught up on in order to fully know what's going. I'd appreciate your thoughts on this. - BrandonMatt Roush: If you're expecting Person of Interest to be the next Lost, or more to the point the next Alias (given its pedigree), you're bound to be disappointed. There are some arc-like threads to the show, including the detective's pursuit of Reese and the murky back stories of Finch and Reese. I get a sense that some characters, like Paige Turco's "fixer" from a few weeks ago, could recur and become part of the show's fabric. But by and large, it is a self-contained procedural, though what sets it apart for me is the sense of urgency and mystery in each week's episode that goes beyond a standard crime drama. And I really enjoy watching Emerson and Jim Caviezel. To give you some perspective on why I would single a show like this out of the fall roster, I need to be able to appreciate the good, bad and in-between in all genres, and being this dismissive of the better procedurals wouldn't make sense. So my specific advice to you is to check out the listings and promos and wait for an episode that sounds particularly intriguing and give it another chance. It's very likely it still won't satisfy you, because of the preferences you've so clearly defined. But you could do far worse.Question: Like so many readers, I really enjoy your perspective on the ever-wacky world of television. I have a question - maybe more of a comment - about Terra Nova. I don't know that I had particularly high expectations for the show, but I did rather hope that it would make internal sense on some level. I can suspend disbelief as well as the next person, but I don't know how many more of those moments where I smack my head in frustration at the sheer stupidity I can endure. As an example: In last week's episode, Jim Shannon takes little Zoey to a super-secret private room containing all the knowledge of the universe (more or less). Okay, if these people had such an astonishing resource available to them, how come it's super secret? Wouldn't it be housed in some "museum of humanity" or "library of mankind" or something? Like little Zoey isn't going to go tell all her friends about the awesome day she spent with her dad in the secret room containing all knowledge? Also, if the super secret massive brain machine has its own separate power source such that the blackout of everything electronic in the compound wouldn't affect it, doesn't it make sense that the, I don't know, perimeter gate protecting the entire community might have a separate power source too so that everyone doesn't die from some random attack?And why would settlers in a hostile, primitive environment rely so extensively on technology in the first place, especially given that technology was the original reason for the ruination of the modern world? It seems like they might keep a few old-fashioned guns of some kind lying around in case of emergency. Anyway, I'm sure you see what I'm getting at. I don't seek perfection in a program like this, but neither am I dull-witted enough that throwing a few semi-cool special effects at me will make me forget the sheer illogic of everything taking place on screen. I'm getting really close to giving up on this show, frankly; I had expected something more from the creative minds behind this program. What say you, Matt? - AndrewMatt Roush: I say you're being a bit nitpicky, which is not the way to be watching Terra Nova, a show that pretty much demands you relax the critical part of the brain to sit back and enjoy a harmless hour of fantasy adventure. Although you make an excellent point about the colony being so tech-dependent, which is exactly the sort of observation someone should be making in this prehistoric world. (Which is why I think the Sixers may not entirely be the bad guys here.) Yes, I do wish Terra Nova were more sophisticated, less cartoonishly written and acted and way less pandering to the supposed adorability of the Shannon kids. But if I let myself dwell on things like the puzzle of that underground library for too long - and I may be wrong, but I didn't pick up on it being super-secret, just that Jim was introducing little Zoey to it for the first time - I probably would start to hate the show. Which I don't. It's fair to say that Terra Nova isn't yet living up to expectations, but it's far from a disaster, and I hope Fox gives it a second season in hopes of sharpening its act if not its brain.Question: I'm anxiously awaiting the start of The Firm since I love Josh Lucas and lawyer shows. Do you have any idea when it will begin airing? Also, is it true that 22 episodes have already been ordered for the first season? That doesn't sound right for a midseason replacement. - MaryMatt Roush: NBC originally announced The Firm would be part of the Sunday lineup (10/9c) after football season is over. But given how rocky NBC's fall has been, there's a chance (just speculating here) that we could see it airing on another night, such as Thursday, if/when they pull Prime Suspect. In any case, wherever it turns up, it won't be until January, and we won't have a specific airdate until NBC confirms its midseason plans. About the 22-episode order: That appears to be true, but wasn't really NBC's choice. From what I gather, the show was already pre-sold with a 22-episode commitment and foreign financing, designed by Sony to air on the company's international AXN service. So this brings down the cost of NBC's license fee, making it more attractive to the network regardless of how it performs. And it's hard to imagine The Firm doing any worse than what we've seen on the network so far this fall.Question: I was wondering if you have any insight into the programmers at The CW. I thought for sure they would cancel H8R early on and was hoping they might move a better show into that timeslot. But instead they have been re-airing Ringer. Would a fresh Nikita or Supernatural not be a better option in a prime-time midweek timeslot? Ringer repeats could easily fill the Friday slots. I am hoping that the ratings will improve if they move Nikita and Supernatural to a new night. I'd hate for either of those shows to be canceled because they are on a terrible night against so much similar sci-fi/action competition. - GeraldMatt Roush: This falls under the be-careful-what-you-wish-for heading. As we've often discussed in this column, expectations are mercifully low on Fridays, not that anyone expects much of anything on any night of the CW schedule. But moving Nikita to a midweek slot could prove even more damaging to the show if it were forced to face even stiffer competition on the big networks and be paired with something as incompatible as America's Next Top Model. Where Supernatural is concerned, it's one of those shows that just keeps chugging on, and at this point, I believe it will be up to the show's powers-that-be to decide when that ride is over. For The CW, the priority this fall is to get exposure for a new show like Ringer, which is why it was the most likely candidate to get a double-run in the H8R slot. I would like to see the network do more on behalf of Nikita, but I've always seen that show as meaning more to the parent company (Warner Bros.) than the network, and keeping it going so it can be sold to the international marketplace and eventually syndication/cable may be the reason it exists at all.Question: I read your latest Ask Matt column, when someone wrote in to talk about AMC and The Killing. I remember the big uproar over how Fringe and The Killing ended their seasons. Two of my favorite shows, and the latter was such a refreshing new take on a police drama. I thought The Killing ended perfectly. I guess I missed where the producers promised us at one time that the story would be resolved at the end of the season. My response: "So what?" Has the TV audience forgot what a cliffhanger is? I mean seriously. The creators of the show do this on purpose to build the buzz between seasons and to make the viewer excited for the show to start back up. Like with Fringe, when Peter suddenly did not exist anymore, people went crazy assuming that Joshua Jackson would no longer be on the show and other bizarre rationales. It is a cliffhanger, people! Let the shows' creators follow their vision so we can all go on a fun ride. Don't panic. I don't get it. I'm not sure what ruined the TV viewing audience, as they now need everything spelled out for them. I for one like shows that intrigue me every week, make for good discussion and conversations, etc.And I love the pacing of Homeland and The Walking Dead. I would love to have a conversation with someone who has thought Dead has been slow the last few episodes. Are they high? Some of the most gut-wrenching moments have happened and I'm blown away. Especially the episode with Shane and revealing how he survived. Also slowing the pace of the show gives the writers time to give us character development that I thought was badly lacking, as that was my majorgripe last season. With Homeland, I love the pacing of that show. And if the characters spin themselves around a few times, I have faith that it is a part of their planned story line and "gulp" could give us a nice cliffhanger to end the season. I guess we are dumb enough that we should only watch shows where the season finales are mundane, no questions asked and/or all questions answered. See you next season for the same old boring shows. Say Hi to CBS for me. - MarkMatt Roush: Regarding Homeland, was last night's episode a game changer or what? Even without the climactic reveal about the true identity of the sleeper agent, I can't get over how far they (meaning the writers) let Carrie and Brody carry on their beyond-inappropriate tryst. Wow. Addressing your larger issues: I don't know if the TV audience in general is more impatient and unforgiving when shows do things that throw them for a loop, but I do know they're a lot quicker about voicing their displeasure, frustration, confusion, etc., online. I agree that the weakest argument in the debate over The Killing's finale was that we were somehow promised something (but as previously noted, the producer did herself no favors by bragging about it afterward). But if shows are meant to inspire spirited debate, we need to let both sides be heard without mocking those with whom you disagree. Which is mostly why I find doing this column is such a highlight of any given week.Question: I like the writing and the premise of the CBS show A Gifted Man. How well is the show doing in its time slot, and will it last the rest of the season? - EricMatt Roush: In its time slot, it's winning, but that isn't saying much, given how poorly nearly everything performs on Fridays. Of all the networks, CBS tends to do well on the night, and if A Gifted Man isn't exactly doing gangbusters (especially in the demos), it's also handicapped by having to be a self-starter at the beginning of the night. So while the show isn't generating much buzz, it might not need to, and CBS owns and produces the show, which means the network may be more patient. But in the first rounds of renewals, when Unforgettable and Person of Interest got full-season pickups, A Gifted Man was not mentioned at all. So I'd still consider it very much "on the bubble" for making it through the season and certainly for renewal. But one piece of good news: Margo Martindale finally gets a prominent storyline this Friday, and it's about time.Question: I still think Ashton Kutcher would have been the perfect choice in replacing Charlie Sheen if the Two and a Half Men creators hadn't made his character of Walden into such a sad, pathetic lame brain. If it wasn't for Jon Cryer and the other hilarious co-stars, I doubt it would continue to be on my "must see" list any longer. Do you think Ashton will sign up for another year? The money is good, why not? Right? If so, I hope the writers give him a brain transplant, a hair cut and a clean shave. - EvaMatt Roush: Of all the things you can count on for next season, few are as dead certain as Ashton Kutcher sticking around for a second year of Two and a Half Men. The money is great, and the work clearly isn't all that taxing. I'm actually OK with the writers not making Walden a Charlie Harper clone, although he is an awfully passive vehicle for generating laughs. Couldn't agree more, though, that cleaning up his look might make him more agreeable company.That's all for now. Keep sending your comments and questions to askmatt@tvguidemagazine.com, and in the meantime, follow me on Twitter!Subscribe to TV Guide Magazine now!

Starz Developing Six-Hour Ottoman Empire Series (Exclusive)

Ann Peacock Starz is putting its lens round the Ottoman Empire. A guys-skewing cable network, through its co-production deal with BBC Worldwide Productions, is developing Harem, a potential six-hour series studying the reign of Sultan Suleyman the Magnificent as well as the increase and lower in the Ottoman Empire. The Tales of Narnia: The Lion, the Witch & the Wardrobe scribe Ann Peacock is near a deal to pen the project, which is founded on a geniune idea by Gina Gershon. STORY: Starz Renews 'Spartacus' for Third Season Harem would tell the story of Sultan Suleyman the Magnificent, a lengthy-reigning sultan in the Ottoman Empire who reconstructed its legislation and presided inside the fleet's annexation of a lot of the Middle East. The Starz project would focus on Roxelana, a stylish youthful slave girl whose ambitions understood no bounds and whose marriage to Suleyman started what increased being known to as "Reign of girls.In . STORY: Starz Sets 'Spartacus: Vengeance' Premiere, Releases New Footage The project would mark Peacock's return to television since her Emmy win for just about any Lesson Before Dying. Repped by CAA, Principato-Youthful and attorney Don Steele, Peacock is presently concentrating on Universal's Cinderella. Harem would mark the second project beneath the Starz-BBC co-production deal the cable internet bought David Goyer's eight-episode Da Vinci's Demons historic drama in October. The project would also continue the premium cable's romance while using sword-and-sandals genre. The network finds success with Spartacus which is various incarnations. Starz declined comment. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit Starz! TV Development

Woody Harrelson is a Psychopath, and 5 Other Stories You'll Be Talking About Today

Happy Thursday! Also in today’s edition of The Broadsheet: Remembering new Oscar producer Brian Grazer’s own “gay” controversy… The Criterion Collection comes to iTunes (but not without issues)… Clint Eastwood’s thing for Herman Cain… and more. · Woody Harrelson has joined the cast of Seven Psychopaths, which reunites In Bruges writer/director Martin McDonagh and star Colin Farrell in the story of a screenwriter (Farrell) seeking inspiration for his next script. When that inspiration arrives in the form of a dognapping caper targeting a psycho gangster (Harrelson), all hell breaks loose. Tom Waits, Sam Rockwell and Christopher Walken are signed up as well — should be a hoot and a half. [Deadline] · I hate to bring this up so soon after Brian Grazer landed his new Oscar producing gig, but remember that whole flap that came down last year around the trailer for Grazer and Ron Howard’s film The Dilemma? The one where Vince Vaughn’s character called electric cars “gay”? And which Universal pulled from circulation? It’s like dj vu all over again! Except this time you should shoot me in the face, seriously, just make it stop. [LAT] · There’s good news and bad news for fans of the Criterion Collection: The good news is that you can now rent and/or buy a selection of the distributor’s titles on iTunes. Alas, the selection is woefully small (under 50 films!) to start with, and purchases don’t include the special features that arguably make Criterion what it is in the first place. Oh well! Baby steps, etc. [/film] · As foreseen, remake plans for the Toronto Film Festival sensation The Raid have trickled from rightsholder Sony Worldwide Acquisitions Group to its affiliated genre kingpins Screen Gems. Gareth Evans, who wrote and directed the Indonesian action spectacle, will executive produce. [Deadline] · “I love Cain’s story,” Clint Eastwood has said of the dark horse GOP presidential contender Herman Cain. “He’s a guy who came from nowhere and did well, obviously against heavy odds. He’s a doer and a straight-talker, which I don’t see enough of from either party.” Doer? Cain hardly knew her! Ahem. [LAT] · Speaking of GOP presidential candidates, RIP Rick Perry. Good luck finding a more cringe-inducing self-destruction. Relive the anguish below, and check out Andrew Sullivan’s terrific debate liveblog for a full recap. [The Daily Beast]

Ricky Gervais & NBC Appear Ready For 3rd Golden Globes Stint: But Will HFPA Agree?

As the long courtship and quick departure of Oscar host-to-be Eddie Murphy proved this week, suitable hosts for major awards shows aren’t found easily. So the Hollywood Foreign Press Association may want to hold onto two-time Golden Globes host Ricky Gervais. NBC has always wanted him back and Gervaisin Augustannounced that the network had invited him to return as the Golden Globes host. He confirmed that to Access Hollywood tonight, singling out the HFPA as the holdout. I think NBC wants me to do it, but [the] Hollywood Foreign Press have got to want me as well, he said. Its their event. Its their party. The sides are talking, albeit informally, and Gervais recently dined with reps for both NBC and HFPA in Paris. But with only 2 months to go until the January 12th event, the HFPA has got to make its move soon before Gervais changes his mind again. Or gets invited by the Academy Of Motion Picture Arts & Sciences for the Oscar hosting gig that is also vacant. Gervais tonight said (maybe joking, maybe not) that he could host both awards events at a discount price. There is also the issue of potential celebrity defections if Gervais returns as host, as Hollywood star power has been the Globes biggest draw. I hear that so far there is only one A-lister who is threatening not to attend if Gervais emcees. Of course, the Industry cant forget how much his second stint as Globes host last year stirred the pot with blunt one-liners targeting big-name celebrities attending the event and even the controversial HFPA itself sponsoring the show. Later, the HFPA reps distanced themselves from Gervais, saying that he went too far and crossed the line. That lingering resentment seems to be the obstacle to a formal offer for Gervais to return as a Golden Globes host. The British comedian was originally signed by NBC to a 2-year deal. The network could revert to the Golden Globes longtime no-host format but doesnt want to. That practice came to an end when Gervais was hired. Gervais at first dismissed the possibility of a three-peat immediately after his second time hosting. But he has been gradually warming up to the idea. In all recent interviews, Ricky has shown an eagerness to return as emcee. He confirmed to Access Hollywood tonight that he hasnt been officially offered the job yet but admitted that the idea of going back behind the podium is very tempting.

Joss Whedon Describes His Bleeding Heart, Jolie-Esque Wonder Woman Script

When Joss Whedon first dropped Angelina Jolie’s name while talking up his doomed Wonder Woman project, folks assumed he’d envisioned her in the lead role. Speaking with Rookie Magazine, he clarified: His Diana Prince, Amazon goddess, was merely Angelina-esque in her globe-trotting humanitarian leanings. And in a way, the superheroine would have been saved by love. Whedon explains after the jump. “She was a little bit like Angelina Jolie,” the Avengers director said. “She sort of traveled the world. She was very powerful and very nave about people, and the fact that she was a goddess was how I eventually found my in to her humanity and vulnerability, because she would look at us and the way we kill each other and the way we let people starve and the way the world is run and she’d just be like, None of this makes sense to me. I can’t cope with it, I can’t understand, people are insane.” “And ultimately her romance with Steve was about him getting her to see what it’s like not to be a goddess, what it’s like when you are weak, when you do have all these forces controlling you and there’s nothing you can do about it. That was the sort of central concept of the thing. Him teaching her humanity and her saying, OK, great, but we can still do better.” So, kind of like Leeloo meets Thor meets Angelina the ambassador? Long for what might’ve been all you want, but I’d prefer a take (maybe Nicolas Winding Refn’s?) that doesn’t involve the awesomest Amazonian superheroine that ever was learning vulnerability and weakness from her boyfriend. [Rookie via Cinema Blend]

'The Hobbit' Behind-the-Moments Video: Jackson Describes 3d

Wow, Brett Ratner. Wow. "We used so far Olivia Munn, I am likely to be honest with everyone here. However, if she was 'Lisa.' She wasn't Asian in individuals days,Inch the 'Tower Heist' director mentioned on 'Attack in the Show.' "She was going out in my number of 'After the Sunset,' I knocked her a few occasions, however did not remember her. Because she changed her title. I didn't understand it was the identical person and therefore when she auditioned personally for just about any Tv program, I did not remember her, she got pissed off, and therefore she composed every one of these tales about me eating shrimp and self pleasuring throughout my trailer. And he or she discussed my flaws.Inch The flaws: in their memoir, 'Suck It, Question Lady: The Misadventures from the Hollywood Geek,' Munn revealed an not named director attracted out his member before her while eating a jumbo shrimp. "A grown guy inside an extra-large t-shirt holding his undersized manhood in hands sparkling with shrimp body body fat," she written. Evocative! You will see the segment from 'Attack in the Show' below. Ratner starts along with his story at 3:45. [Gawker via Movieline] [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

9 Milestones in the Evolution of Eddie Murphy

In this weekend’s Tower Heist, Eddie Murphy stars as as a benevolent crook who helps a few Ponzi scheme victims attempt to recover their money. So how did a Brooklyn-area stand-up transform himself into an ’80s comedic superstar, an unexpected dramatic talent and this February, an Academy Award host? You can always trace a direct line through a few important roles to illustrate what led to an actor’s current success. As such, let’s look at nine pivotal performances that track the evolution of Eddie Murphy. Saturday Night Live (1980) After spending his early years studying the comedy routines of Bill Cosby and Richard Pryor, the Brooklyn-raised stand-up scored his big break at the age of 19 when he was selected as a Saturday Night Live cast member. Because of his hit characters Gumby, Buckwheat and Mr. Robinson — in addition to his impersonations (like that of James Brown below) — Murphy is partially credited for rejuvenating the series after its first slump. 48 Hrs (1982) Two years later, Murphy made his big screen debut opposite Nick Nolte in Walter Hill’s film 48 Hrs, which is regularly cited as the first film in the buddy cop genre. Thanks in part to the chemistry between Nolte and Murphy — who improvised most of their scenes together — the film was a critical and box office success. In his review of the movie, Roger Ebert wrote that “sometimes an actor becomes a star in just one scene. […] And in 48 Hrs., it happens to Eddie Murphy.” The scene he was referencing of course is the one where Eddie’s reformed convict Reggie Hammond impersonates a cop in a bar full of rednecks to force information out of a bartender. Enjoy the star-making moment below. Bonus trivia: Nolte was scheduled to host Saturday Night Live as part of his promotional duties, but when he dropped out unexpectedly, Murphy filled in for him, becoming the first and only cast member to ever host while still a regular cast member. Beverly Hills Cop (1984) After the follow-up success of Trading Places with Dan Aykroyd, Paramount signed the 23-year-old actor for a $25 million, six-picture deal. The first film in that studio deal was Beverly Hills Cop, the Martin Brest comedy which was originally slated to star Sylvester Stallone. After major rewrites, Murphy jumped on board as a Detroit detective who moves to Beverly Hill to solve the murder of his best friend. Already a star in the U.S., Beverly Hills Cop established Murphy as an international star while grossing over $300 million worldwide and inspiring two sequels. Harlem Nights (1989) Following Beverly Hills Cop II and the dud The Golden Child — another comedy that starred Murphy as a wise-cracking detective — Murphy used his studio deal to make his directorial debut with the gangster comedy-drama Harlem Nights, which he also wrote and starred in opposite his comedy idol Richard Pryor. The 1930s crime film chronicled the adventures of a father (Pryor) and son (Murphy) and the gangsters and corrupt badges they regularly contend with as the owners of a Harlem nightclub. Even though Harlem Nights was a box office success, it was ravaged by critics who called the project an expletive-laden ego trip (Murphy’s name was listed five times in the credits as director, executive producer, writer, star and namesake of Eddie Murphy Productions). For his work in Harlem Nights, Murphy earned a Razzie for Worst Screenplay and a Razzie nomination for Worst Director. Murphy never directed again. Boomerang (1992) After a mediocre 48 Hours sequel transitioned Murphy’s career into official “slump” territory, the actor took two years off from film to recharge his batteries. When he returned, it was for his first romantic lead role in Boomerang, the film that helped — for lack of a better word — boomerang the actor’s career back on track. As a chauvinistic ad exec who is humbled by his female equivalent (Robin Givens), Murphy displayed a gentler side of himself that audiences had not seen before while retaining that trademark grinning Murphy charm.