Chris Golightly has become this year’s first American Idol casualty. After making it through to the final 24 contestants and getting set for the live shows, producers axed Chris because he couldn’t prove that he had been released from a previous management contract.
Ryan Seacrest confirmed the news on his Twitter page writing:
been determined that Chris Golightly is ineligible to continue on Idol, contestant Tim Urban has replaced Golightly as part of the Top 24
In an interview with JoesPlaceBlog, Chris claimed that while he had previously signed a boyband contract, it expired back in June 2009. JoesPlace reports:
“Chris had an old contract with a Boy Band. That contract expired in June on 2009. Chris then auditioned in July for American Idol. After the contract had expired. When Chris made it to Hollywood, he had to sign the standard AI contract. It asks if he had any current contracts. Chris answered No.
Ryan Seacrest confirmed the news on his Twitter page writing:
been determined that Chris Golightly is ineligible to continue on Idol, contestant Tim Urban has replaced Golightly as part of the Top 24
In an interview with JoesPlaceBlog, Chris claimed that while he had previously signed a boyband contract, it expired back in June 2009. JoesPlace reports:
“Chris had an old contract with a Boy Band. That contract expired in June on 2009. Chris then auditioned in July for American Idol. After the contract had expired. When Chris made it to Hollywood, he had to sign the standard AI contract. It asks if he had any current contracts. Chris answered No.
- 2/18/2010
- by Lisa McGarry
- Unreality
In a decade defined by fatalism and impotence, film-makers and writers have been quick to tap into our sense of impending doom
Just to make sure filmgoers leave the present decade on a high, this month brings two suitably upbeat blockbusters. The first is 2012, which topped box office takings in the Us and Britain at the weekend, and is directed by Roland Emmerich – who also brought us the aliens-blitz-Earth delight Independence Day and the eco-disaster movie The Day After Tomorrow. This time humanity's demise seems to be traceable to the horrors foretold in an ancient Mayan prophecy, though the standard plotline quickly materialises: John Cusack and on-screen family attempting to escape tsunamis, landslides and those obligatory aesthetic disasters whereby iconic global landmarks are ground into dust.
For those who want something that bit more cerebral, there is also the film version of Cormac McCarthy's The Road, out in the Us later this month.
Just to make sure filmgoers leave the present decade on a high, this month brings two suitably upbeat blockbusters. The first is 2012, which topped box office takings in the Us and Britain at the weekend, and is directed by Roland Emmerich – who also brought us the aliens-blitz-Earth delight Independence Day and the eco-disaster movie The Day After Tomorrow. This time humanity's demise seems to be traceable to the horrors foretold in an ancient Mayan prophecy, though the standard plotline quickly materialises: John Cusack and on-screen family attempting to escape tsunamis, landslides and those obligatory aesthetic disasters whereby iconic global landmarks are ground into dust.
For those who want something that bit more cerebral, there is also the film version of Cormac McCarthy's The Road, out in the Us later this month.
- 11/16/2009
- by John Harris
- The Guardian - Film News
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