Exclusive First Look: Terrell Owens Is Ready to Score on Necessary Roughness Season Finale

Terrell Owens T.K. (Mehcad Brooks) and The New York Hawks have been fighting to make it to the Super Bowl all season long on Necessary Roughness. But when the team makes it to the playoffs in the season finale, the temperamental wide receiver will not only have to battle his own demons, he'll have to go up against his arch rival: Kevin "The Mine-Field" Minnifield (Terrell Owens). In this exclusive first look, Owens plays a superstar defensive back from the Chicago Warriors who's not only good with the pigskin, but also excels at getting in T.K.'s head. And just like his enemy, "The Mine-Field" shares T.K.'s sense of flair, judging from the looks of his pre-game news conference and that "explosive" tattoo of his signature catchphrase, "Boom!" What's on your Watchlist? Create one and add your favorites, like Necessary Roughness So who will foul and who will score the touchdown? Fans will have to wait and see when the Necessary Roughness season finale airs Wednesday, Sept. 14 at 10/9c on USA. Are you excited to see Terrell Owens hit the field?

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Keira Knightley in 'A Dangerous Method' -- Oscar-Worthy or Laughable?

Keira Knightley's bold performance in David Cronenberg's 'A Dangerous Method' is splitting critics at the Venice Film Festival, who are finding her role as an uninhibited mental patient "fabulous" or laughable. Either way, those who've seen the film agree that her approach is extreme. The film, which stars Viggo Mortensen and Michael Fassbender as, respectively, Sigmund Freud and Carl Jung, premiered Friday in Venice, and Knightley quickly became the most debated aspect. Variety calls her performance "problematic," saying that her "brave but unskilled depiction of hysteria at times leaves itself open to easy laughs." Meanwhile, the Guardian's reviewer disliked the film overall, but wrote, "Knightley provides the Oscar bait." Likewise, Britain's Telegraph says Cronenberg "has coaxed a performance from Knightley so ferocious in these early scenes that it seems likely to become the film's main talking point. It's also a risky strategy, as Sabina's behavior is extreme to the point of being alienating." The Hollywood Reporter's Todd McCarthy agrees that Knightley starts off at a high pitch, but praises her "excellent work as a character with a very long emotional arc" and that by film's end, "the performance modulates into something fully felt and genuinely impressive." Movieline sums up Knightley's hysterics: "It's a lot of acting - maybe not good acting - but it sure gets the point across" and adds as her character gets better under psychoanalysis, "Knightley gets better scene by scene." Will Canada prove kinder to Knightley? The film hits the Toronto Film Festival next week in advance of a November 23 U.S. release. See the trailer here. [via LA Times]

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Revelation of the Pyramids

For centuries, the Great Pyramids have fascinated Mankind; every year brings a batch of new theories, from the plausible to the absolutely bizarre. One lone seeker, after more than thirty-seven years of study and research, has at last managed first to understand and then to prove what lies behind this greatest of archaeological mysteries, a message of paramount importance for all mankind, through time and space. Its key and its heart are the Great Pyramids of Egypt. From China to Peru, from Egypt to Mexico, throughout the Middle East - through the world's oldest, most enigmatic and often most beautiful sites the director has spent six years of investigation, guided by his anonymous informant, verifying his discoveries one by one, and meeting the planet's most eminent scientific and technical specialists. The result will shake the history of mankind as it is taught to its very core, and revolutionize Egyptology entirely. A great odyssey along a breathtaking route rich in staggering imagery, an extraordinary scientific leap and finally a revelation as unexpected as it is spectacular. The message bequeathed to future generations by these mysterious builders.

Universal Dumps Another Big Project: 'Wicked Lovely' In Turnaround

Universal has put Wicked Lovely, the adaptation of a series of best-selling Harper Collins novels by Melissa Marr, into turnaound. Mary Harron (American Psycho) was attached to the project which was being produced by Vince Vaughn's Wild West Picture Show Productions. The movie follows the high-profile plug-pulling of the studio's Hasbro board game movie Ouija, which had McG attached to direct and Michael Bay's Platinum Dunes producing. But whlile the latter was due to budgetary concerns, Lovely is being set free due to the studio realizing the project doesn't suit their needs. It wasn't nearly as close to a green light as Ouija was. The book series is a Twilight-esque story set in the secret work of fearies and centers on a teenage girl who can see the hidden faery world. She confronts danger when not only do the faeries discover her ability, but also when one king decides she must be his bride. Caroline Thompson, whose credits include a slew of Tim Burton movies including Edward Scissorhands and Corpse Bride, wrote the script. The producers, who in addition to Vaughn include Valeri Vaughn and Peter Billingsley, will now attempt to find a new home for the project. Vince Vaughn Universal Pictures

Russell Armstrong Laid To Rest In LA

LOS ANGELES, Calif. -- A memorial service was held for Russell Armstrong, the late estranged husband of Real Housewives of Beverly Hills castmember Taylor Armstrong, on Wednesday in Los Angeles. According to People, loved ones of the 47-year-old business man gathered at Forest Lawn in Los Angeles, including Taylors Real Housewives co-stars Lisa Vanderpump, Kim and Kyle Richards, Adrienne Maloof and new cast member Dana Wilkey, along with Real Housewives of Orange Countys Peggy Tanous. The service was not filmed, Us Weekly reported. A second service will also reportedly take place in Russells native Texas. As previously reported on AccessHollywood.com, Russell was found dead last week after committing suicide. Russell had been featured alongside Taylor on the hit Bravo series and their relationship woes were documented on the show. Taylor filed for divorce from Russell last month. The couple tied the knot in 2005 and has one daughter, Kennedy, 5. Bravo plans to re-edit the show in the wake of Russells death. Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

Hanks, Baldwin endorse USAN slate

Tom Hanks and Alec Baldwin have endorsed the slate for the United Screen Actors Nationwide faction for New York reps for the Screen Actors Guild. USAN made the announcement Wednesday and noted that Melissa Leo, S. Epatha Merkerson, James McDaniel, Susie Essman, Priscilla Lopez, Frankie Faison, Tim DeKay, Suzanne Douglas and Stephen Lang have also endorsed the USAN slate.USAN is facing an unaccustomed challenge in New York from the One Strong Union slate led by Sam Robards on a promise of "integrity, transparency and inclusion." The USAN slate which strongly supports a merger with the American Federation of Television & Radio Artists includes incumbent New York president Mike Hodge and national board incumbents Mark Blum, Rebecca Damon and Traci Godfrey along with comedian Lewis Black and Ezra Knight. Other USAN candidates are Manny Alfaro, Dave Bachman, Marc Baron, Jay Potter, John Rothman and Kevin Scullin; all are currently on the New York division board and serve as national board alternates.Hanks said in a statement, "I support the people who have guided SAG during these last months of huge changes in our art and industry. USAN has been vital in leadership positions and has worked ceaselessly to bring SAG and AFTRA together to create one union to serve us all."The merger vote could take place by spring. For the combo to be approved, over 60% of members voting in both SAG and AFTRA will have to approve. Contact Dave McNary at dave.mcnary@variety.com

Global 3D biz looks blurry

The latest Transformers (above), Harry Potter and Pirates of the Caribbean pics saw lower 3D shares in the U.S. than abroad. 'Harry Potter and the Deathly Hallows: Part 2''Pirates of the Caribbean: On Stranger Tides'From "Transformers: Dark of the Moon" to this past weekend's "Conan the Barbarian" and "Fright Night," Hollywood has spent the summer debating the aesthetic gains of 3D. But in the more crucial barometer -- how much of a boost 3D upcharges bring to the bottom lines of studios and exhibs -- the summer has provided mixed messages. In 2010, 3D's contribution to a pic's overall B.O. ranged from about 50% to as high as 80%. This year, the domestic figure is down to roughly 45%. But pics are still seeing more formidable 3D returns overseas, with the format accounting for about 60%-70% of a film's international take, even in territories where the upcharge is a bigger percentage of ticket prices than domestically. To some degree, the divergence can be chalked up to a matter of preference -- some cultures just like 3D more than others for reasons that can't be quantified, and big-budget f/x spectacles continue to draw big auds overseas -- but there are also some subtle differences in local pricing models that provide insight to studios and exhibitors eager to see 3D pay off on its promise of enhanced B.O. takings. Some notable factors: Many international markets temper 3D upcharges with discount play periods. China has half-price Tuesdays. In Germany, "Cinema Day" brings a steep midweek price drop to matinees. And some territories even charge less for 3D pics that have shorter running times. In many countries, premium ticket prices for 3D are further mitigated because moviegoers are encouraged to buy their own reusable glasses. Domestically, studios have had to lower their expectations as to how much 3D can boost grosses. This summer, for instance, "Pirates of the Caribbean: On Stranger Tides" saw 3D account for 46% of its U.S. grosses. "Harry Potter and the Deathly Hallows: Part 2" -- the first installment in the franchise to be released in 3D -- tallied 43% of its grosses in 3D. In Mexico, a higher-than-average 3D upcharge and high rate of family filmgoing have eroded the format's performance. Pics in 3D cost Mexican auds on average an extra $2.40 vs. 2D tickets, which cost around $3.52, according to an IHS Screen Digest report. The country's largest circuits, Cinepolis, Cinemex and Cinemark, charge between $2.20 and $2.77 more for 3D than 2D. Though Mexico has the lowest average ticket price for 3D films, recent 3D titles like "On Stranger Tides" and "Transformers" tallied some of their lowest 3D shares (42% and 55%, respectively) in the territory. But elsewhere abroad, the percentage of upcharge seems to have little effect on the format's popularity. In mainland China, 3D tickets cost between $12 and $18 compared to the country's average 2D ticket price of $9.39. But Chinese moviegoers rarely pay full fare: Besides half-price Tuesdays, online group purchases can cut 3D ticket prices in half, and some theaters discount purchases by certain credit-card holders. An aggressive 3D rollout has made China one of the biggest boosters of the format, as 3D accounted for the majority of B.O. for "Transformers," "On Stranger Tides" and "Harry Potter," with 82%, 64% and 70%, respectively, in the market. Established territories Japan and Germany continue to post topnotch results for 3D, and developing markets such as Brazil and Russia also turn out well for the format. Moviegoers in Brazil boosted first-quarter 2011 3D totals 58% over the same period in 2010, helped primarily by local 3D expansion. (Each new Brazilian plex has at least one 3D screen.) Going to a 3D show in the big theater is more of an event destination," said Paramount Intl. prexy Andrew Cripps, referring to 3D turnout in territories such as Japan and Russia. Indeed, total Japanese 3D box office in 2010 ranked second only to the U.S., with $471 million, according to the IHS report, while Russia rounded out the top five with $336.5 million from the format. This year's highest-grossing titles, "Harry Potter" and "Transformers," delivered some of their highest 3D results in Japan and Russia. Despite a much higher 3D premium by percentage for Russian moviegoers vs. 2D prices (at around 36%, according to St. Petersburg-based firm NevaFilm), 3D still rakes in considerable coin there. Japanese filmgoers pay an average 3D upcharge of $3.79, or 27% over the $15.68 average ticket price. And it can be much higher in some locales: In Tokyo's downtown Roppongi Hill theater, for instance, 3D tickets cost as much as $5.11 more than 2D. Some Japanese exhibs ease 3D ticket prices by charging less to those who bring their own glasses. Dolby controls most of the Japanese 3D market, and in March, the company started offering reusable 3D glasses for $12 per pair. In Europe, RealD sells its reusable glasses at concession stands or the ticket window for about E1, saving auds the repeated expense. Every country is in different stages with the glasses," said Par's Cripps. "(But) in most countries, the glasses are bought by the consumers." Elsewhere in Europe, both Germany and France generally charge more for 3D pics than in the States -- but are turning in higher 3D shares. In Germany, the average uptick for 3D vs. 2D runs around 43% ($3.85 more in 3D); French auds pay $3.10 more per 3D ticket for a 35% difference. At the high end in Gaul, 3D can run up to $30 per ticket (as it did for the "Harry Potter" premiere at Paris' Bercy stadium), while at Cinemaxx in Berlin, "Potter" in 3D cost almost $20. Neither extreme hurt the film's opening weekend: "Potter" debuted with 70% from 3D in Germany and 65% in France, which currently boasts Europe's highest 3D screen count at 1,606. What's more, German auds sometimes have the option to pay less for shorter, lower-profile 3D films. For example, at Cinemaxx on the opening Saturday, "Potter" tickets cost $19.40 in 3D, while "Green Lantern," with a 15-minute shorter run time, cost $17.95 during its comparable showing. According to Cripps, different pricing on 3D films with run times shorter than 2 1/2 hours may be a way to alleviate resistance to higher prices for family pics. In general, event movies are going to hold up better than family films," Cripps said, adding that most toons have incredibly long legs -- but not necessarily for their 3D runs. 3D isn't working everywhere overseas, however. Spain is seeing the format's biggest downslide (at least in Europe), crippled by a 22% unemployment rate and rampant piracy. The country's 3D premium at 37%, or $3.05 more than 2D, also is contributing to the format's decline. "Transformers" grossed 49% locally from 3D, while "Pirates of the Caribbean" earned 41% and "The Smurfs" earned 39%. (Clifford Coonan, James Young, Mark Schilling, Ed Meza, Nick Holdsworth, Marcelo Cajueiro and Elsa Keslassy contributed to this report.) Contact Andrew Stewart at andrew.stewart@variety.com