Forbes' 30 Under 30: Chloe Moretz, Jonah Hill, Jaden Cruz and much more

In October, Moviefone selected our annual 25 Under 25, a listing of up-and-coming, need-to-know stars and stars younger than 25. Today, Forbes launched their 30 Under 30 in 12 different fields, including media, energy, property and entertainment. Based on Forbes, the people about this list "are those who aren't waiting to reinvent the planet,Inch adding it was come up with "around the knowledge of [Forbes'] visitors and also the finest minds running a business.Inch So, which celebrities made the cut? Shailene Woodley (20), Jaden Cruz (13), Chole Moretz (13), Jennifer Lawrence (21) and Jonah Hill (28) are out there, much like 'Martha Marcy May Marlene' director Sean Durkin (29) and 'Like Crazy' director Drake Doremus. You should check out the whole Forbes list here. [via Forbes] [Photo: Getty Images] People's Choice Honours: 25 Under 25 See All Moviefone Art galleries » Follow Moviefone on Twitter Like Moviefone on Facebook

Roush Review: Homeland, Dexter Finales

Dexter They visited. Showtime's signature thrillers Homeland and Dexter each turned the metaphoric switch - in Homeland's situation, literally with Dexter, wearing down a wall we'd been waiting to occur for a while - in pivotal finales that leave a large void every sunday.Conserving the very best for last, let us begin with Dexter. The finale was 95 % routine, electric power charge that may be targeted in the season in general, assigned through the uninspired finish from the Doomsday story. After getting away dying around the ocean of fire a week ago, Dexter (Michael C. Hall) - apparently instantly healed from his contact with that Wormwood contaminant - next faces Doomsday (Colin Hanks' restless Travis) on the skyscraper roof throughout a photo voltaic eclipse, where Travis is likely to get rid of the small lion-switched-sacrificial lamb, Harrison, "the boy from the Animal." Inside a extremely unconvincing reversal, Dexter talks Travis into delivering the adorable tyke and putting him with an elevator (?), while Travis demands Dex inject themself together with his usual animal tranquilizer. That they pretends to complete. And Travis warrants that are awesome not simply because fake-out coming.Business as always. But all this is going on while a really terrifying subplot is unfolding: Deb's skin-moving epiphany that she's deeply in love with her adoptive brother. "Is just horribly wrong?" she hysterically asks her shrink. Who rather than reacting, "Yes, Yes, Yes!!! Run from the light!" basically solutions, as TV practitioners do, "Will it appear wrong?" N stays the entire episode walking on emotional eggshells around Dexter, embracing her shirtless brother to have an irritatingly very long time after his ocean save, then proclaiming, "I really like you." He responds in kind, rotely, as robot serial murders - and siblings - do. Dex is completely unaware what lengths Deb's "love" goes, and that we wish i was, too. (As icky as all this is, Jennifer Contractor rose towards the occasion, projecting despair, confusion and clumsiness in most the best measures.)But where this leads may be the level fans have lengthy been itchiness for. As Dexter provides the killer blow to Travis, who's strapped onto a dying table back in the chapel, N walks in and lastly sees the sunshine. Her loving bro is really a killer of murderers. She gasps, like a shocked Dex states, "Oh God," repeating the season's religious theme one further time. Finish scene. Finish season.This is actually the kind of game-altering twist a lengthy-running show like Dexter must propel it into its final finish game, that will occupy the following two seasons. We assume N no more really wants to sleep together with her non-bloodstream-related bro. (Again, eww.) And can she would now like to arrest him? Or do they really in some way interact for that greater good? As Dex crows right before he dispatches Travis towards the afterlife, "Maybe things are just as it ought to be.Inch Which obviously is tempting fate, and that's why N chose that moment just to walk in and harsh his killer buzz. Should alllow for a fascinating Season 7.Homeland's dilemma in ending its sensational first season -my No. 1 pick for that TV year - was far various and way more difficult: Namely, how you can defuse the climactic threat of Brody and the suicide vest without feeling just like a cop-out. Homeland without Damian Lewis live training with Claire Danes in year two is unthinkable - in my experience, also to Showtime - and that's why Brody could not ultimately trigger the explosive device and blow his ginger root mind off. If the have been a miniseries rather than a ongoing series, maybe. However the rules of TV, even on the network like Showtime, prevail. And I am sure you will see some reluctant to forgive Homeland for tugging its punches in the last second therefore the show may go on. Many people will never be satisfied.But made it happen blink, really? Brody, in the end, did trigger the vest, fulfilling his mission. It simply happened to malfunction. As well as for me, if Carrie's meltdown a week ago made certain Danes is definitely an Emmy front-runner, then your moments of Brody within the bunker did exactly the same for Lewis. The intensity and suspense are intolerable as Brody is rushed into an subterranean holding area using the v . p ., the secretary of defense, along with other government/military VIP's after Walker's murder of decoy target Elizabeth Gaines (whose bloodstream spatter eventually ends up all around the VP's face and suit, a highly effective symbol from the bloodstream on his hands in the drone attack and cover-up).Brody is proven in worked up extreme close-up throughout his ordeal within the bunker: sweat beading on his brow - everybody assumes he's sick, and the justification that he isn't a fan to be secured makes ironic sense - eyes gleaming with purpose. Lewis is incredible here. Following the vest does not detonate, a desperate Brody adopts the restroom to repair it. That they does. Along with the eco-friendly light blinking, the martyr is another from ignition, bathed within an sacred light, when he will get the phone call. Not from God (which was Dexter's domain this year), but from his daughter Dana, the one that knows him best, the one that knows of his conversion to Islam, you never know something's up and something's wrong. She's convinced to achieve to her father with a frighteningly frantic Barbara, who's caught up by cops after she confronts Dana and Jessica on their own home turf."The planet is going to finish and we are waiting for speaking!" Barbara shrieks prior to the cops take her into custody of the children. But it is Dana's persistent speaking, and nagging at her father over the telephone in the future home, that breaks through. This will probably be Homeland's most questionable moment, which is contrived and awfully convenient, less satisfying a twist as we are accustomed to out of this taut thriller. However it does reflect Homeland's abnormally emotional context, which grounds its anti-hero/hero inside a real and tangible family existence and marriage, a existence which has drawn him back in the edge. For the time being.And that is just the second act. The conclusion provides for us lots of reason for you to that things is going to be just like tense and twisty the next time around. As a direct consequence from the attack, Brody once more convinces Barbara that "I'm not what you believe I'm,Inch and her despair at their farewell (very well and wrenchingly performed by Danes) transmits her towards the hospital for shock treatment, while Brody lays the footwork for his next phase of government infiltration for Abu Nazir. "At the minimum, I'd have the ability to influence guidelines in the greatest levels," he promises his terrorist mentor, killing his fellow soldier/sleeper agent Master to prove his resolve for the reason. Even though we ponder individuals implications, Saul - who's charged up again his loose-cannon batteries back in the CIA - attempts to rally Carrie's spirits in the hospital ("You had been wrong about Brody, however, you were right about Nazir"), but she informs him she's only getting worse.Within the wickedly effective cliffhanger, Carrie's addled brain finally helps make the crucial connection that Brody understood Nazir's boy - whose title he blurted out throughout a evening terror throughout their weekend within the cabin - before she will tell anybody, the shock treatment takes over.Night, Barbara. Help you next season, Homeland. Even when you did not inflate the federal government, you rocked my world.Sign up for TV Guide Magazine now!

Sean 'P. Diddy' Combs, Aaron Paul and Frank Vincent Channel the Rat Pack for Ciroc Vodka Ad

Sean Combs -- better known as either P. Diddy, Diddy, Puff Daddy or Puffy -- has been in love with Rat Pack-style culture for nearly a decade. "I was watching 'Ocean's 11' and I just couldn't relate to it," Diddy told the NY Daily News back in 2005 about the George Clooney-fronted remake. "You have all these black icons, Chris Rock or Chris Tucker in comedy, Denzel Washington and Jamie Foxx in acting, me and Jay-Z in music, what about us? It's about time to put the greatest black icons in a film together. We're not running around in 'do-rags and low riders anymore." Six years later, Diddy finally has his own 'Ocean's 11' -- though it's just a 30 second vodka commercial, seems partially inspired by 'The Hangover' and doesn't include any of those big names mentioned by the rapper/actor previously. Released this week is a new ad for CIROC vodka -- the alcohol label Diddy owns -- that stars Aaron Paul ('Breaking Bad'), Michael K. Williams ('Boardwalk Empire,' 'The Wire'), Jesse Williams ('Grey's Anatomy'), Frank Vincent ('Goodfellas,' 'The Sopranos') and Puffy himself as a faux Rat Pack tearing through Las Vegas. That means "Luck Be a Lady" as sung by Frank Sinatra, and a bevy of girls in cocktail dresses, led by 'Entourage' co-star Dania Ramirez. Exciting! Anthony Mandler does the directing honors -- he's filmed videos for everyone from The Killers to Eminem -- but this one certainly could have used the glossy touch of Brett Ratner. Maybe producer Ben Silverman too. Needs more white tigers and decadence. Watch the video above. Drink responsibly, y'all! Follow Moviefone on Twitter Like Moviefone on Facebook

Fests get kicks from kudos

'Pina''Beauty''Where Do We Go Now''Footnote''Once Upon A Time in Anatolia'This year's list of foreign-language film Oscar contenders includes a goodly number of pics that world preemed at major Europe-based international film festivals.While the Academy's choices sometimes confuse or irritate fest programmers, getting the Oscar seal of approval remains a validation they made the right decisions.For Dieter Kosslick, Berlin Film Festival topper, seeing three pics that opened at his fest -- "Pina," "The Turin Horse" and "A Separation" -- contending for an Oscar nom is a positive signal in itself."An Oscar is not only the highest film award in the U.S., it's one of the biggest prizes the international film community has; and it has a real commercial impact on a film," he says. "This year's Berlin selection had drawn some criticism and I'm happy to see that nine months later we're getting some confirmation that we actually had a great lineup."But considering the difference in taste between Europeans and the American (foreign-language Oscar) voters, it's a tough task for national committees to second-guess the film that has the best chance to win, says Olivier Pere, Locarno Film Festival director.The Cannes Film Festival has often screened films that went on to become Oscar entries and this year is no exception: Lebanon and South Africa are repped by Un Certain Regard players "Where Do We Go Now" and "Beauty," respectively. Turkey's "Once Upon a Time in Anatolia," Israel's "Footnote" and Finland's "Le Havre" all bowed in competition at Cannes.But Cannes' penchant for pure auteur films doesn't always mesh well with foreign-language Oscar voters' tastes. Last year, for instance, Gaul's selection committee, which includes the fest's topper Thierry Fremaux, had chosen the fest's Grand Prize winner, Xavier Beauvois' "Of Gods and Men," to represent France at the Oscars, but pic failed to make it into the short list, in spite of being a critics' darling. However, a French majority co-production, Algerian entry "Outside the Law," which opened at Cannes in competition and had a more mainstream streak than "Men," made the cut.This year, Gaul's committee picked "Declaration of War," an uplifting drama from thesp-turned-helmer Valerie Donzelli that didn't open at the festival but instead bowed at Cannes Critics' Week, which runs concurrently with the fest.Jean-Christophe Berjon, former topper of Critics' Week, who had picked "Declaration of War," says the film might be too unconventional and audacious to seduce Academy voters."The designated committee that votes for foreign-language films is mostly made up of aging or retired Hollywood folks who favor features that aren't necessarily the most daring and tends to go for films that have a big emotional or narrative component and a significant crossover appeal," says Berjon, who is now the audiovisual attache at the French Embassy in Mexico.Yet, as Giorgio Gosetti, artistic director of Venice Days, the independently run section of the Venice Film Festival, points out, "in recent years, the foreign film Oscar has been a real lottery, totally unpredictable, based on so many variables.""When Japanese film 'Departures' won in 2009, the feeling I had was that they were trying to surprise us, to show us that they, too could be intellectual snobs, or at least exotic, in the face of all our European prejudices that the foreign Oscar committee just went for the world's more mainstream quality movies," says Gosetti, who had selected Canadian helmer Denis Villeneuve's "Incendies." It scored a foreign Oscar nom last year, for Venice Days.While most fest programmers claim the Oscar is the last thing on their minds when they choose films, Pere says he thinks differently."Maybe in Europe we have a different perception and are less concerned or obsessed about the Oscars. But at Locarno we are very careful about selecting a certain number of films that can get international attention, and especially that are able to be appreciated by critics, audiences, and other festivals around the world."Pere notes that the Piazza Grande programming is geared toward quality mainstream arthouse films that can have a career overseas and, especially, in America.According to Tribeca Film Festival artistic director Frederic Boyer, who tapped Karl Markovics' debut feature "Breathing" (Austria's Oscar race entry this year) for the Directors' Fortnight when he headed that org, whether it's the festival, Critics' Week or Directors' Fortnight, each is a crucial launchpad for auteur films.Kosslick, however, says premiering a film in an international festival such as Berlin (or Cannes, Venice, Locarno, San Sebastian and Sundance) certainly underscores its potential. "But I can't say I'm responsible for positioning films for Oscar attention -- the directors, producers and distributors deserve all the credit for that."Per Jean-Charles Tesson, a film journo who has replaced Berjon as topper of Critics' Week, the Oscar voters undoubtedly pay attention to what Cannes and other top European film festivals do because over the years, these festivals have introduced and celebrated international filmmakers and thesps, including American newcomers, who went on to gain recognition in their homeland."The Academy wants to make sure it honors films and auteurs who go on to mark history, alongside the more mainstream pics," says Tesson.In recent years, Kosslick, for instance, has selected "Monster's Ball" and "Monster," both of which earned their respective leading actresses, Halle Berry and Charlize Theron, Oscar nods.And it works both ways, says Tesson. "The Academy can sometimes make choices that can been perceived as too academic or consensual but its judgment matters enormously because it reflects the way Hollywood sees foreign cinema."As Gosetti points out, "With perhaps more films segueing from festivals to Oscar prospects I think we all need to realize that festivals need to make the most of this opportunity."EYE ON THE OSCARS: FOREIGN LANGUAGE Fests get kicks from kudos | Programmed for greater success | Pix playing for national pride | Message sent via special delivery Contact the Variety newsroom at news@variety.com

Braodway's in publish-holiday stupor

Broadway box office descended from Thanksgiving levels in Week 27 (November. 28-12 ,. 4), but sales remained as healthy -- a minimum of in the more in-demand choices, which saw some struggling one of the people from the millionaires' club.Within the equine race for that lead place, "The Lion King" ($1,682,555) unseated "Wicked" ($1,656,955). Meanwhile, "Hugh Jackman, Back on Broadway" ($1,520,929) handled the unpredicted task of topping the stellar sum it drenched throughout the Poultry Day sesh, competing with "It of Mormon" ($1,374,003) when it comes to packed-house attendance (both reported earnings of 102% capacity) and average cost compensated per ticket ($158.50 for "Jackman," $157 for "Mormon").Total Broadway cume fell by $4.3 million to $23.8 million for 33 shows. Not surprisingly, attendance slowed down substantially, falling some 25,000 to 245,483 and filling theaters to around 75% of overall capacity.The 24 musicals made $19,552,706 for 82.2% from the Broadway total, with attendance of 194,702 as well as an average compensated admission of $100.42.The nine plays made $4,242,979 for 17.8% from the Broadway total, with attendance of 50,781 as well as an average compensated admission of $83.55. Contact Gordon Cox at gordon.cox@variety.com

Kino Lorber nabs 'Putin's Kiss'

Kino Lorber has acquired all United States privileges to transitional phase story ''Putin's Hug.'' Kino Lorber stated Friday the film, by Lise Birk Pedersen and Monday Production, was acquired in the Intl. Documentary Film Festival, where it had its world premiere within the IDFA Feature Documentary competition. The purchase was discussed by Kino Lorber V . P . Elizabeth Sheldon and Helle Faber of Produced in Copenhagen. ''Kiss'' is going to be launched theatrically after its United States premiere in the Sundance Film Festival on the planet Cinema Documentary competition and can broadcast on ITVS at the end of 2012. ''Putin's Kiss'' shows contemporary existence in Russia via a middle-class, 19-year-old Russian girl and part of Nashi, a political youth organization that's associated with the Kremlin. She rapidly ascends up of Nashi, which enables her being the protege from the Minister of Youth and it is compensated on her loyalty by having an apartment while attending Moscow Condition College -- however discovers that the radical faction inside the organization is allegedly accountable for attacks against anybody who criticizes Putin. Contact Dork McNary at dork.mcnary@variety.com

Mission: Impossible -- Ghost Protocol

'Mission: Impossible -- Ghost Protocol'A Vital release given Skydance Prods. from the Tom Cruise, Bad Robot production. Produced by Cruise, J.J. Abrams, Bryan Burk. Executive producers, Jeffrey Chernov, David Ellison, Paul Schwake, Dana Goldberg. Co-producers, Josh Appelbaum, Andre Nemec, Tom Peitzman, Tommy Harper. Directed by Kaira Bird. Script, Josh Appelbaum, Andre Nemec, using the television series created by Bruce Geller.Ethan Search - Tom Cruise Brandt - Jeremy Renner Benji - Simon Pegg Jane - Paula Patton Hendricks - Michael Nyqvist Sidorov - Vladimir MashkovThe fantastic products keep degeneration in "Mission: Impossible -- Ghost Protocol," along with, this ornately produced fourth entry inside the Tom Cruise action franchise supplies a significant early hurry of pleasure prior to running into engine trouble. Pixar wizard Kaira Bird's live-action debut provides sights and setpieces of frequently jaw-losing ingenuity and visual flair, but it's a movie of dazzling individual parts that don't meet up to totally satisfying effect inside the final stretch. Nonetheless, a powerful marketing push, Imax showings plus an ample if intermittent sense of creative revival should spell strong, sustained B.O. for Paramount's holiday tentpole. For experts in those days, the relative disappointment of 2006's "Mission: Impossible III" (which designed a set-low $398 million worldwide) suggested not essentially franchise fatigue but a qualification of mass-audience disenchantment with Cruise inside the wake of his broadly mocked PR worries. Because the actor hasn't toplined a substantial hit ever since then, sufficient time has happened to advise an over-all readiness to re-embrace the star-producer which durable property. It surely won't hurt that "Ghost Protocol," though unable to sustain its virtuosity over an abnormally extended 132 minutes, still handles enough sheer fun being qualified because the series' most effective entry since John P Palma's stylish 1996 original. Because respect, it absolutely was wise of Cruise and also the fellow producers (including J.J. Abrams, who directed the next pic) to place Bird within the helm. Detrimental though a choice of an Oscar-winning animator might have made an appearance, there's every reason to visualise, due to the helmer's string of creative triumphs with "The Iron Giant," "The Incredibles" and "Ratatouille," that his storytelling verve and formidable action inteligence would translate greater than readily with a live-action canvas. Too for a amazing stretch, they're doing, as Bird and also the ace crew intensely apply themselves to realizing a globe-trotting scenario (by co-producers Josh Appelbaum and Andre Nemec, vets of Abrams' spy series "Alias") that provides, the first time inside the series, a sense of narrative continuity while using prior pic. Although it is not immediately apparent within the start how Impossible Mission Pressure agent Ethan Search (Cruise) wound up in the Moscow prison, you will discover enough mentions of Julia, whom Ethan married in "Mission: Impossible III," to orient the viewer and offer the intriguing possibility this adventure is most likely not entirely self-contained. Mere several hours after an IMF team busts him from jail, Ethan infiltrates the Kremlin expecting taking Russian nuclear extremist Hendricks (Michael Nyqvist), yet only eventually ends up unconsciously improving the fanatic escape. Clever sequence utilizes eye-popping gadgetry (one great device functions just like a massive invisibility cloak) and culminates in the stunning single originate from the Kremlin approaching, a try made possibly unintentionally pointed thinking about Russia's election worries, and one of several instances in which the widescreen aspect ratio discloses to aid the whole Imax screen in many its giant glory. In beginning to warm-up the ashes in the Cold War, the script delights with placing its figures inside the most adverse possible conditions, in constantly depriving them from the usual assets: While using U.S. and Russia round the fringe of crisis as well as the American government disavowing all knowledge of IMF (beginning "Ghost Protocol"), the fate around the world rests round the shoulders of Ethan and also the ill-fitted, lower-but-not-out fellow agents: mouthy tech whiz Benji Dunn (Simon Pegg), whose lack of skill provides a lot of comic relief Jane Carter (Paula Patton), a hard-and-tender type bent on avenging another agent's dying and William Brandt (Jeremy Renner), an analyst unwillingly shoved to the area. Pic reaches a literally dizzying peak within the midpoint, since the team commandeers numerous resort rooms in Dubai to be able to intercept the nuclear-launch codes being exchanged to Hendricks having a pouty French assassin (Jum Seydoux), whose faceoff with Jane marks the film's most ferocious hands-to-hands bout. Before that point, audiences are treated towards the look at Ethan scaling the medial side in the Burj Khalifa, our planet's greatest building, with simply some (degeneration) adhesive mitts. The timing in the cutting here's so sharp, caused by Robert Elswit's camera positioning so vertiginous, it genuinely takes the breath away the marvelously light-fingered scene that follows, through which Ethan & Co. must trick two groups of crooks, is nearly as tense. Carrying out a chase by walking, remarkably, in the simulated Dubai sandstorm, the normal agent-hooking up down-time begins, occasioning a precipitous dip in momentum the film never quite rebounds. Despite a logistically staggering sequence in the multitiered parking structure, featuring the altogether heartbreaking destruction of numerous perfectly good Beemers, the Mumbai-set endgame disappoints having its lower-stakes action together with a pileup of wan espionage-thriller tropes. Trenchant geopolitics aren't known for here, but also for a movie that produces the not-so-crazy perils of restored Iron Curtain conflict and nuclear apocalypse, "Ghost Protocol" eventually ends up seeming as switch since it is undeniably awesome. Just beneath 50 too as with excellent physical form, Cruise supplies a typically smooth, professional turn that properly requires little if this involves strenuous emoting. Pegg, Patton and Renner make appealing second-string company, even though periodic stretches of significant, character-building dialogue feel especially leaden as compared to the pic's consummate wit and originality in other departments. Without aping P Palma's and John Woo's feverish operatics or Abrams' more workmanlike approach, Bird favors a fluid, carefully composed style that recognizes that stillness and silences is frequently competitive with kinesis Kremlin bombing aside, there's a welcome avoidance of excess pyrotechnics here. Second unit director Serta Bradley, stunt coordinator Gregg Smrz and fight choreographer Robert Alonzo merit special mention for top-class work, while returning composer Michael Giacchino (who labored with with Abrams and Bird right before his participation while using franchise) once again supplies jazzy, propulsive riffs on Lalo Schifrin's classic theme.Camera (Luxurious color, Panavision widescreen, Imax), Robert Elswit editor, Paul Hirsch music, Michael Giacchino production designer, Jim Bissell supervisory art director, Helen Jarvis art company company directors, Grant Van Der Slagt, Michael Diner set designers, Margot Ready, Bryan Sutton, John Alvarez, Nancy Brown, Serta Hermansen, Doug Higgins set designers, Rosemary oil oil Brandenburg, Elizabeth Wilcox costume designer, Michael Kaplan appear (Dolby Digital/Datasat/SDDS), Michael McGee appear designer, Gary Rydstrom supervisory appear editor, Richard Hymns re-recording mixers, Rydstrom, Andy Nelson effects supervisor, Mike Meinardus visual effects supervisor, John Knoll visual effects and animation, Industrial Light & Miracle stunt coordinator, Gregg Smrz fight choreographer, Robert Alonzo connect producer, Ben Rosenblatt assistant company company directors, Geoffrey Hansen, Thomas Gormley second unit director, Serta Bradley second unit camera, Mitchell Amundsen casting, April Webster, Alyssa Weisberg. Examined at Imax, Santa Monica, 12 ,. 7, 2011. (In Dubai Film Festival -- opener.) MPAA Rating: PG-13. Running time: 132 MIN.With: Josh Holloway, Anil Kapoor, Jum Seydoux. Contact Justin Chang at justin.chang@variety.com

Comcast encourages Neil Smit

Comcast Cable leader Neil Smit is adding Boss to his title, the conglom introduced Wednesday. Smit became a member of Comcast this year after 5 years as Boss of Charter Communications. He reviews to John Roberts, chairman-Boss of Comcast Corp. "Neil has been doing an extraordinary job," Roberts stated. "He's driven innovation, enhanced the client experience, elevated the rate of the development of new items and it has broadened we into new possibilities for lucrative growth." Contact Andrew Wallenstein at andrew.wallenstein@variety.com

Fox Schedules 'American Idol,' 'Alcatraz,' 'The Finder,' 'Touch,' More

FoxKiefer Sutherland in "Touch" Fox has announced its midseason lineup, led by the 11th season of American Idol and freshman series Alcatraz, The Finder, Touch as well as returning series Breaking In and Kitchen Nightmares.our editor recommends'Touch': First Trailer for Kiefer Sutherland Drama Debuts (Video)'Alcatraz' Co-Creator Liz Sarnoff Steps Down as Showrunner Idol will premiere its 11th season with a two-night event set for Wednesday, Jan. 18 and Thursday, Jan. 19 with a special episode airing following the NFC Championship game on Sunday, Jan. 22. 24 star Kiefer Sutherland will return to the network with freshman drama Touch with a special preview on Wednesday, Jan. 25 at 9 p.m., followed by its series premiere Monday, March 10 at 9 p.m. PHOTOS: Fall TV Death Pool: Which New Show Will Be Axed? J.J. Abrams' thriller Alcatraz will premiere Monday, Jan. 16 at 8 p.m. with a two-hour event, returning the following week in its regular time slot at 9 p.m. following a new episode of House. Bones spinoff The Finder will bow Thursday, Jan. 12 at 9 p.m. following an encore of the David Boreanaz series from Hart Hanson. Animated comedy Napoleon Dynamite, featuring a voice cast from the feature film of the same name, will join the Sunday Animation Domination lineup with a pair of episodes starting Sunday, Jan. 15 at 8:30 p.m. Second year animated series Bob's Burgers, meanwhile, will return Sunday, March 11 at 8:30 p.m. Revived and retooled comedy Breaking In will return for its second season on Tuesday, March 6 at 8:30 p.m. when the workplace comedy starring Christian Slater and Megan Mullally will follow encores of New Girl at 8 p.m. Glee will return Tuesday, Jan. 17, with Mobbed returning for new episodes on Wednesday, Jan. 4 through Feb. 8 at 9 p.m., while Kitchen Nightmares will return Friday, Jan. 13 followed by fresh episodes of Fringe. STORY: NBC Sets Midseason Schedule, Moves 'Whitney,' 'Up All Night,' More Cops will return Saturday, Jan. 7 at 8 p.m., and air back-to-back episodes starting Jan. 14 at 9 p.m., while a special edition of America's Most Wanted has been slotted for Saturday, Feb. 11 at 8 p.m. A full schedule follows: MONDAY Monday, Jan. 16: 8-10 p.m. ALCATRAZ (Series Premiere) Mondays, beginning Jan. 23: 8-9 p.m. HOUSE (Time Period Premiere) 9-10 p.m. ALCATRAZ (Time Period Premiere) Monday, March 12: 8-10 p.m. ALCATRAZ (Two-Hour Episode) Mondays, beginning March 19: 8-9 p.m. HOUSE 9-10 p.m. TOUCH (Series Premiere) TUESDAY Tuesdays, beginning Jan. 17: 8-9 p.m. GLEE 9-9:30 p.m. NEW GIRL 9:30-10 p.m. RAISING HOPE Tuesdays, beginning March 6: 8-8:30 p.m. NEW GIRL (encore) 8:30-9 p.m. BREAKING IN (Season Premiere) 9-9:30 p.m. NEW GIRL 9:30-10 p.m. RAISING HOPE WEDNESDAY Wednesday, Jan. 4: 8-9 p.m. GLEE (encore) 9-10 p.m. MOBBED Wednesday, Jan. 11: 8-9 p.m. MOBBED (encore) 9-10 p.m. MOBBED Wednesday, Jan. 18: 8-10 p.m. AMERICAN IDOL (Season Premiere, Part One) Wednesday, Jan. 25: 8-9 p.m. AMERICAN IDOL 9-10 p.m. TOUCH (Special Preview) Wednesdays, beginning Feb. 1: 8-9 p.m. AMERICAN IDOL 9-10 p.m. MOBBED Wednesdays, beginning Feb. 15: 8-10 p.m. AMERICAN IDOL (Two-Hour Episodes) THURSDAY Thursday, Jan. 12: 8-9 p.m. BONES (encore) 9-10 p.m. THE FINDER (Series Premiere) Thursdays, beginning Jan. 19: 8-9 p.m. AMERICAN IDOL (Season Premiere, Part Two) 9-10 p.m. THE FINDER FRIDAY Friday, Jan. 6: 8 p.m. ETFOX SPORTS SPECIAL: 2012 AT&T COTTON BOWL CLASSIC (Live) Fridays, beginning Jan. 13: 8-9 p.m. KITCHEN NIGHTMARES 9-10 p.m. FRINGE SATURDAY Saturdays, beginning Jan. 7: 8-8:30 p.m. COPS 8:30-9 p.m. COPS 9-10 p.m. DRAMA ENCORES 11 p.m.-Midnight ENCORES Midnight-12:30 a.m. ENCORES Saturday, Feb. 11: 8-10 p.m. AMERICA'S MOST WANTED SPECIAL EDITION 11 p.m.-Midnight ENCORES Midnight-12:30 a.m. ENCORES SUNDAY Sunday, Jan. 8: 7-7:30 p.m. BOB'S BURGERS (encore) 7:30-8 p.m. THE CLEVELAND SHOW (encore) 8-8:30 p.m. THE SIMPSONS 8:30-9 p.m. THE CLEVELAND SHOW 9-9:30 p.m. FAMILY GUY 9:30-10 p.m. AMERICAN DAD Sunday, Jan. 15: 8-8:30 p.m. THE SIMPSONS 8:30-9 p.m. NAPOLEON DYNAMITE (Series Premiere) 9-9:30 p.m. FAMILY GUY 9:30-10 p.m. NAPOLEON DYNAMITE (Special Time) Sunday, Jan. 22: 6 p.m. ET FOX SPORTS SPECIAL: NFC CHAMPIONSHIP GAME (Live) 10 p.m. ET/7 p.m. PTAMERICAN IDOL (Special Broadcast; Approximate Start Time) Sundays, beginning Jan. 29: 7-7:30 p.m. BOB'S BURGERS (encore) 7:30-8 p.m. THE CLEVELAND SHOW 8-8:30 p.m. THE SIMPSONS 8:30-9 p.m. NAPOLEON DYNAMITE 9-9:30 p.m. FAMILY GUY 9:30-10 p.m. AMERICAN DAD Sundays, beginning March 11: 7-7:30 p.m. ANIMATION DOMINATION ENCORES 7:30-8 p.m. THE CLEVELAND SHOW 8-8:30 p.m. THE SIMPSONS 8:30-9 p.m. BOB'S BURGERS (Season Premiere) 9-9:30 p.m. FAMILY GUY 9:30-10 p.m. AMERICAN DAD American Idol Kitchen Nightmares Fox Broadcasting Corporation Touch Alcatraz The Finder