Sofia Vergara and Derek Hough gave everyone a treat at HBO's post-Emmys party by dancing to Footloosebut feet weren't the only thing getting loose on the dance floor.

Derek is a professional dancer and Sofia is sex personified so naturally their moves got a little, shall we say, heated. In the midst of all the leaping and whirling and dipping and twirling, Sofia's gorgeous dress came down juuuust enough to suffer a nip slip and give the partygoers a glimpse of the goodies—and Popdust has video.

Knowing Sofia, something like that won't bother her for a second - just like it doesn't bother her that there was considerable backlash against her "sexist" standing-on-a-pedestal thing earlier in the night.

"I think it's absolutely the opposite," she told reporters. "It means someone can be hot and also be funny and make fun of herself and enjoy and work and make money, so I absolutely think it's ridiculous."

Watch the video below!

It's the end of the day; here's a light spritz of anecdotes. Kenny Wormald had plenty of musical connections, because that's what happens when you're a backup dancer for Madonna and Justin Timberlake. Starring in the Footloose remake, though, has taken him from "a few tenuous connections, at least one of whom is only tenuously a musician right now" to "fount of stories interesting even if brief."

The Los Angeles Times did a profile on him, and you should read it. This is a print newspaper article, so it's gonna say things like "I’m not gonna be like, ‘I’m famous,’” he said, interjecting a synonym for a female dog." (This is not exactly what most newspaper style guides recommend.) But that doesn't mean it's not illuminating--or anything else in newspapers, seriously--on him and on the constellations of stars around him, some of which are a tad brighter right now. For instance:

Kenny Wormald was upstaged once by Selena Gomez.

Here's how:

"This summer, I was at an MTV award show, and Selena Gomez was in front of me on the red carpet. "Everyone’s like, ‘Selena! Selena!’ I wait a couple of minutes until she moves over, and then I get on the stage and all of the camera guys just have their lenses follow her. It was a great, humbling moment.”

Man. That's like being in a relay race, except that when it's your turn to take the baton, the last runner conks you on the head with it instead and then tosses it over the field's fence into the woods. The previous was not at all any kind of field-day memory.

He dated Pussycat Doll Ashley Roberts (you knew that part), and it was kind of a sham.

The dating part, possibly; the circumstances, well, here's a typical outing:

I wish she and I didn’t do that. It was so awkward. They had me drop her off at an apartment that wasn’t even hers — it was, like, the sound lady’s house.

So! Reality TV is contrived and not exactly real. We hope you knew that part. If not, well, it's an opportunity to hone your critical eye a bit. (The producers also conveniently lit the rendezvous rooms and undoubtably did more that's not in this interview.)

Mariah Carey is a diva, and Justin Timberlake is not.

Timberlake looks people in the eye, caterers and everyone! This is essentially (for Timberlake) the complete opposite of his SNL skit, so maybe there is hope for Justin Timberlake-associated bandmates, groupies and charities after all.

As for Mariah, let's just hand this off to the reporter: "Mariah Carey, he recalled, had her assistant hold her straw while she was drinking."

Out with the old, in with the new! Out with Kenny Loggins--off to Funny or Die, at least--and in with Blake Shelton and his egg-wash production. Out with Julianna Hough and Kenny Wormald doing a subdued dance to "Holding Out for a Hero" while the stage holds out for something more than a bare spotlight; in with neon and colorful flashing lights and cuts to dances that put the "kick" in "kick off your Sunday shoes." Out with just one couple, alone on stage; in with lots and lots of people wilding out in a big group number. Out with unchallenging dancing, in with dancing so rowdy and ruckus so great that people have to fan themselves afterward. Livening up drive-ins and now talent shows--Blake Shelton truly is a one-man blithe spirit, bringing pizzazz and guitars to all.

The great thing about being inextricably associated with a number of cheesy '80s movies is that you get to be back in the headlines when one of those flicks invariably gets remade for no real reason. So now that they're doing another Footloose Kenny Loggins, who three decades ago was the lord of the over-the-top (as well as the Over the Top) movie theme, gets to have a "Funny or Die" bit keyed around his past success. The bit features Paul Scheer reprising his Clueless Record Exec role, trying to coerce Loggins and his new band to resume their blockbuster-soundtracking ways by presenting them performing new themes to The Help ("Highway to the Emma Stone Zone"), The Girl With the Dragon Tattoo ("Girl / You know who / One with the dragon tattoo") and Twilight ("Twi-i-light / Vampires botherin' me").

Basically, the entire thing is an excuse to remind audiences just what an improbable, historic soundtrack run Loggins had back in the '80s—and to allow him to say the word "fuck" a lot. But we ask you, is that so wrong?

[Vulture]

Coupon-clippers can be clickers instead

The Boston Globe (Boston, MA) January 14, 2008 CINCINNATI - Some coupon users are clicking instead of clipping to get their grocery discounts.

Supermarket chains are trying out paperless digital coupons to help the thrifty-minded save time and money. Shoppers load the online discounts onto their store loyalty cards, receiving the credit at the checkout.

Grocers see it as a way to build customer loyalty, drawing consumers who are increasingly spending time online to their websites and ultimately to their stores. The move could increase coupon use by attracting shoppers who don't bother with paper coupons. It offers convenience for the companies in reducing the handling, tallying, and shipping of coupons, as well as cutting the use of paper. freecouponsforgroceriesnow.com free coupons for groceries

Kroger Co., the nation's largest traditional grocery chain, and Procter & Gamble Co., the largest consumer products company, are partners in a digital coupon trial that began last month. Other supermarket companies have been trying out ways to offer digital discounts in addition to the traditional clip-outs from newspapers.

Although online coupons for ordering everything from DVDs to laptops on the Internet have been around for several years, couponing, especially for groceries, is still dominated by paper.

Some early users like the convenience of paperless coupons.

"You don't have to waste your time going through all those little pieces of paper in your purse," said Carol Hoffman, of Covington, Ky.

The digital coupons can't be doubled, but expiration dates still apply. Selections are limited during the initial trials, but companies expect to expand digital offerings soon.

Coupons for groceries date to the late 19th century, and industry experts say the majority of American households still regularly use them. Combing through Sunday newspaper coupons is still a ritual in some homes.

Annual savings are estimated at $3 billion, but that's a small percentage of potential savings from unused coupons, according to industry estimates of redemption rates as low as 1 percent.

"It's great to see the innovation, and I'm happy to see two big players taking a lead in that," Peter Meyers, vice president of the Toronto-based marketing firm ICOM Information & Communications LP, said of the Kroger-P&G trial. But he said it might take awhile for digital coupons to take off among grocery shoppers. in our site free coupons for groceries

"If you're very computer savvy, this is probably a plus," he said. "But if you're more of a traditionalist, paper is familiar, and this is not." Ken Fenyo, Kroger's vice president for corporate loyalty, said Kroger means to complement traditional paper coupons but expects to expand its current pilot program as part of its recently overhauled Web site.

Some grocers also offer in-store paperless coupons. Chicago- based Unicous Marketing Inc. said regional chains, such as Springfield, Mass.-based Big Y, are trying its EZ-PIC program in which "instant coupons" are advertised on store shelves and cut the item price electronically at checkout.

Let us describe to you the drudgery and ennui that is the modern drive-in experience. All you can do is watch a movie, giving your technology-trashed brain cells nothing with which to distract themselves. Something in the stale car and/or concession-stand air makes every single extra look exactly the same (pasty, bland). You moulder in silence; the only thing atop your cars is pollen. There's certainly no beefy Blake Shelton cover of "Footloose" to entertain you.

These are the circumstances Blake Shelton comes across and interrupts, like some kind of burly, benevolent spirit. He doesn't disrupt the dancers, merely watching and shouting from a nearby car as the crowd cavorts provocatively at his feet. Eventually he summons confetti, because nothing's apparently more evocative of an earthy country stomper than glitter in the air. There's also footage from the film, because on some level this is supposed to be a Footloose trailer. We'd just like to point out here that you probably will not receive a free Blake Shelton concert at your local cinema. Some things only exist in fiction.

Watch the video here.

Why are they remaking Footloose, you ask? We have a better question: Why the hell not? Footloose is the kind of movie that should be remade every so often, a movie so iconically ridiculous that it's only fair that a new generation be saddled with it as well. Now of course, you can't have a new Footloose without a new "Footloose," the Kenny Loggins-performed theme that topped the charts in the spring of 1984 and got the King of the Movie Soundtrack his first ever Oscar nomination—and who better to give the twangy titlte tune a whirl than country star Blake Shelton?

Blake's version is fairly faithful to the original, adding a slightly more bombastic intro and bigger production sound (lots of backing "woah-oh-oh"s) but basically keeping the Loggins version in tact. We hope that this sets the tone for the entire remake—maybe a little bigger, a little shinier, a little more contemporary than the original, but basically the same ol' goofy mess that we've known and loved for so long. Take a listen over at The Boot, and if you somehow need a refresher on the Loggins standard: