This year things were really looking up for the world’s most famous Latino husband and wife team. First, Jennifer Lopez and Marc Anthony were invited to Barack Obama’s intimate Super Bowl Party, and then Jennifer joined Randy ‘Big Dawg’ Jackson as one of two new American Idol judges, the other of whom was Steven Tyler of Aerosmith.

In April Jennifer talked to People magazine about her beauty regimen and used the occasion to effusively gush that she is the “happiest” when she’s “home with husband Marc Anthony and their 3-year-old twins, Max and Emme.”

On the American Idol finale, Marc Anthony, who played Hector LaVoe, and JLo, who played Puchi in the movie “El Cantante” treated the public to a steamy exhibition of marital affection. Marc, accompanied by Shelia E, performed the vocals and music from the lively “Aguanile.” As an added attraction, Mrs. Anthony emerged in a fringed Dancing with the Stars outfit and proceeded to do a bootylicious salsa.

Just 90 days after Jennifer’s “happiest at home” interview and two months after she whispered what appeared to be a naughty remark in her husband’s ear on the stage of the Kodak Theatre, the pair announced their seven-year marriage is over.

Between the two of them, the Anthonys have managed to rack up five official marriages, six children, and a long list of ex-lovers. Jennifer was once married to restaurateur Ojani Noa, who’s presently shopping around a steamy “home video” starring a conjugally-preoccupied Lopez and Noa. Jenny’s split-second-long second marriage was to Chris Judd, her Love Don’t Cost a Thing backup dancer.

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Well after its phenomenal success of eight Oscars, four Golden Globes, seven BAFTA’s, and $350 million at the boxoffice, “Slumdog Millionaire” has managed to stay alive. As much an amazing longshot victor as its hero, an urchin from the Mumbai slums cum tea server at a phone call center who wins a fortune in an Indian version of “Who Wants to Be a Millionaire?,” “Slumdog” has kept making news in ways deeply rooted in its own depiction of the world.

Recently the film’s British director Danny Boyle, serving as jury president of the 12th Shanghai Film Festival, confided during a panel discussion that on “Slumdog” he had shed the patronizing, “imperialist” mentality, relying heavily on a local Indian crew. Boyle also observed that while it was “regrettable” that Beijing imposed censorship restrictions on its filmmakers, he’d nonetheless love to work in China, as it would be a “challenge learning Mandarin.” Boyle neglected to mention that on “Slumdog” he’d skipped the challenge of learning Hindi, necessitating an Indian co-director, and also skipped the patronizing practice of paying Western wages, and the low pay for local child actors would fuel most of the subsequent controversies. (more…)