J-Lo: Door-slamming Diva Or Down-right Domino?

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    J-Lo: The diva. This is not the first time we’ve heard this claim. The Selena star burst on the scene in the latter-half of the ‘90s and was an international star by the first-half of the 2000s. But alleged demands over record deals, movie contracts and fashion elitism turned us off. With the recent American Idol hubbub, we’ve merely shook our heads in vain. So, its no wonder why we may (or may not) have a problem with Jennifer Lopez.

    We just don’t get it. What is the deal with celebrities—has-beens or recent upstarts—and their egocentricity? So what? They’re talented! Big deal. Why do artists in the music and movie industry share this infuriating habit of feeling entitled because they share their craft with the world?

    Not long ago, Oscar-winning actress Halle Berry was paid an additional $500,000—or rather $250,000 per breast—to appear topless on camera for her work in the bang-bang ka-boom crime-thriller Swordfish. But, if you’re an actress signed to star in a feature film, often on star power, shouldn’t it be required to create art rather than capitalize on it?

    Not to some. Oscar-winning kilowatt smile film star Julia Roberts achieved superstardom after the box-office success of the über stupid-cupid romantic comedy Pretty Woman. Soon, she became the highest paid actress in Hollywood, setting an outrageous trend of pocket-woofing, money-chomping in-demand actresses that would bank up to $32 million in contracts.

    So, why doesn’t it astonish us that the Latin-pop star that delivered hit-after-hit (“If You Had My Love,”  “Love Don’t Cost A Thing,” “Ain’t That Funny”) wouldn’t demand the big bucks after achieving so many successes?

    She fell off. No longer rolling out the hits like she used to, with her latest single “Louboutins” being critiqued for it’s over usage of the title while reactions to her catchy last album Brave were mixed. Her latest film The Back-Up Plan, opened to mostly negative reviews and was panned by critics like Roger Ebert who gave it 1 out 4 stars.

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    With the show’s flagship judge Simon Cowell walking away and with 80s pop iconic Paula Abdul signed to another company, American Idol is search for a big-time, experienced and seasoned music vet. Mrs. Lopez-Muñiz is a good fit: an articulate, fashion savvy, bombshell with enough hits and box-office sales to convince the public.

    But the she was allegedly let go because of her big-budget demands from the studio according to the E! Online. But according to Examiner.com, showbiz czar Nigel Lythgoe “never saw her act like a diva in her life,” and she’s still in the works to appear on the show.

    Why does this frighten us? Well, naturally it doesn’t. But if she is a diva, it does. It matters because her name is such a big product; bigwig fat cats are foaming at the mouth over the “Get Right” singer because of her brand. It is a pretty big deal; the fact that celebrity trumps professionalism. While the New York Daily News reports that Lythgoe noted that it is chemistry that will trump star power, we can’t help but have seen it all before: the celeb gets what they want.

    It’s all well and good, but we have an inquiry: If J-Lo is allowed on the show, are the tinsel town capitalists that sign her checks banking on a no-holds-barred feel-good time with the AI judges or the feisty, sex panther animal magnetism J-Lo generates?

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