Archive for July, 2011

TRENTON, N.J. (AP) — Johnson & Johnson said Thursday that it’s reducing the maximum daily dose of its Extra Strength Tylenolpain reliever to lower risk of accidental overdose fromacetaminophen, its active ingredient and the top cause of liver failure.


The company’s McNeil Consumer Healthcare Division said the change affects Extra Strength Tylenol sold in the U.S. — one of many products in short supply in stores due to a string of recalls.

Starting sometime this fall, labels on Extra Strength Tylenol packages will now list the maximum daily dose as six pills, or a total of 3,000 milligrams, down from eight pills a day, or 4,000 milligrams. Beginning next year, McNeil will also reduce the maximum daily dose for its Regular Strength Tylenol and other adult pain relievers containing acetaminophen, the most widely used pain killer in the country.

Besides Tylenol, acetaminophen is the active ingredient in the prescription painkillers Percocet and Vicodin and in some nonprescription pain relievers, including NyQuil and some Sudafed products. It’s found in thousands of medicines taken for headaches, fever, sore throats and chronic pain.

But people taking multiple medicines at once don’t always realize how much acetaminophen they are ingesting, partly because prescription drug labels often list it under the abbreviation “APAP.”

Two years ago, a panel of advisers to the Food and Drug Administration called for sweeping restrictions to prevent accidental fatal overdoses of acetaminophen.

Then in January, the FDA said it would cap the amount of acetaminophen in Vicodin, Percocet and other prescription pain killers at 325 milligrams per capsule — just under half the 700 milligram maximum of some products on the market then. The agency also said it was working with pharmacies and other medical groups to develop standard labeling for acetaminophen.

“Acetaminophen is safe when used as directed,” Dr. Edwin Kuffner, McNeil’s head of over-the-counter medical affairs, said in a statement. “McNeil is revising its labels for products containing acetaminophen in an attempt to decrease the likelihood of accidental overdosing.”

Excessive use of acetaminophen can cause liver damage. In the U.S., it’s blamed for about 200 fatal overdoses and sends 56,000 people to the emergency room each year.

McNeil spokeswoman Bonnie Jacobs said other makers of pain relievers are likely to make similar changes to their product labels.

Extra Strength Tylenol is manufactured at a J&J factory in Las Piedras, Puerto Rico, where production has been decreased for months because the FDA, concerned about manufacturing and quality problems, is requiring additional reviews and approvals before medicines can be shipped. J&J said shipments of Extra Strength Tylenol should ramp up in the latter part of this year and throughout next year.

Las Piedras is one of three factories implicated in most of the 25 Johnson & Johnson recalls since September 2009, involving tens of millions of bottles of Tylenol and other nonprescription drugs made by McNeil. Several prescription drugs, hip implants and contact lenses made by other J&J subsidiaries also have been recalled.

The recalls, for quality problems ranging from metal shavings and improper levels of active ingredients in some medicines to packaging with a nauseating odor, resulted in a consent decree between McNeil and the FDA this spring.

As a result, Las Piedras and a second factory, in Lancaster, Pa., are under additional scrutiny. The third factory, in Fort Washington, Pa., made children’s medicines such as liquid Tylenol. It has been closed since April 2010 and is being gutted and completely rebuilt.

Jacobs said the label changes are not related to the recalls.



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I’m back from Comic-Con and have resumed my recapping duties. Last week, the Top 10 paired up with all-stars for the first time and the next night bid adieu to Clarice and Mitchell, he of the floppy hands.

It’s down to the Top 8 tonight, and they have a tough road ahead. Not only do they have to perform two routines, butLady Gaga is sitting in as a guest judge. How distracting is that? Oh, and Rob Marshall, director of Chicago, is also on the panel. But really, it’s all about Gaga.

Let’s see how the dancers did:

Sasha and Pasha, quickstep
 Jonathan Roberts
 “Puttin’ on the Ritz,” Terry Snyder
After last week’s stellar hip-hop number, Sasha really has to maintain momentum, and quickstep is an intriguing departure. Overall, she’s impressive, light on her feet and does the reverses and backward moves well. Her topline isn’t quite natural yet, but she brings her signature energy and attitude to the piece, which makes up for any technical imperfections. And is that a slip at the end? 
The judges say:
 Rob likes to see her in heels, classy and elegant. She’s one of his favorites, but he thinks ballroom constrains her natural dancing abandon. Mary says she pulled it off with an amazing promenade and reverse turn that’s the best of the season. Sasha probably should soften her knees a bit though. Nigel flat-out declares Sasha is his favorite dancer (by a hair’s breadth) but says her upper body was a tad stiff. Lady Gaga says Sasha is shiny inside and out, and (gasp) disagrees with Nigel. She says that Sasha’s “stiffness” is really an odd but artistic interpretation of the choreographer’s routine.

Caitlyn and Ivan, lyrical hip-hop
 Marty Kudelka
 “Let Me Love You,” Mario
Anything has to be better than Caitlyn’s other hip-hop routine about Ugandan slavery. And this is. Although she has some soul and sexiness, it’s obvious that this genre is not her forte. She doesn’t hit the beats quite right, doesn’t play off her partner enough and definitely doesn’t get low enough in the movement.
The judges say:
 Mary goes on about the all-star, which is good, since Caitlyn wasn’t “brilliant,” but did a good job. Nigel starts with a critique: She needs to get down a little bit more, sit in that pocket. He thought she stayed in character though. The Lady says Caitlyn is “extremely sexy” and felt the connection, but she relied on her center too much, pausing too much. Rob says it’s a beautiful style for her and suggests she lose herself more in the routine. Who’s a good example? Rob points to Gaga. Well, sure. Just be like Gaga. Easy.

Jordan and Ade, jazz
 Tyce Diorio (sporting a new, shorter ‘do!)
 “Nutbush City Limits,” Tina Turner
It’s supposed to be a naughty routine, and it’s actually a bit more cheeky and stars Jordan’s legs. Seriously, was Ade even on stage? Jordan has crazy extension, and all the lifts really showcase them. It’s a fun and athletic routine.
The judges say:
 Nigel can’t get over her pliable legs and says they go on forever. Gaga says Jordan gives her hope since it’s no secret she has short legs and then goes on to show the gigantic platform shoes she’s wearing. “They’re a fashion catheter, so I don’t have to go to the bathroom during the show.” That’s right, catheter. Thanks for that visual. Rob says Jordan shows abandon and he’d scream like Mary if he could. Mary helps him out and screams.

Melanie and Neil, contemporary
 Mandy Moore
 “Total Eclipse of the Heart,” Bonnie Tyler
First of all, this is Melanie, so it’s going to be good. Second, it’s contemporary, so it’s going to be breathtaking and elegant. Neil partners her well, which is essential since there are so many timing issues and a killer lift when she runs and then leaps into his arms from a mile away.
The judges say:
 Gaga takes her hat off to Melanie (literally and shows off her blue hair) and says she’s her favorite. Rob says, “It’s so poetic what you do. It’s like magic.” Mary rightfully points out that ridiculously “fearless” leap into Neil’s arms. Nigel admits he’s fickle because Melanie is now his favorite dancer again. (Sorry, Sasha!) And then he quotes Ellen DeGeneres, “You are a carpenter … you nailed it!”

Ricky and Anya, jive
 Jason Gilkison
 “River Deep, Mountain High,” Celine Dion
Since he’s such a good technician, he can handle the dance pretty well, but I wasn’t feeling the proper strong male energy from him. I’m too aware of the work he’s putting in and there’s a horrible lift that looks labored. I wasn’t feeling their connection either.
The judges say:
 Rob says Ricky’s smile lights up the room and praises his technique, even though he needs to get a bit more grounded in his movements. Mary acknowledges his problems (that lift, lack of proper bounce). Nigel says Ricky’s too tall and the lift looked as if he were slinging a slab of meat over his shoulder. At that point, Gaga tries to distance herself from Nigel physically. She says that she has a sweet spot for Ricky and that he gave the dance a modern feel.

Jess and Lauren Gottlieb, lyrical hip hop
 Tabitha and Napoleon
 “Take a Bow,” Rihanna
He’s shown that he can handle hip-hop, and he performs the movements adequately. He doesn’t really own the staccato movements though. I wanted him to break free and really emote.
The judges say:
 Mary says that he shows progress every week and this felt like his most honest performance. Nigel agrees that Jess has matured significantly, especially taking Neil Patrick Harris’ advice from last week and not mugging too much.”You did not overplay it.”  Gaga also has a theater school background and appreciated his acting. Rob’s known Jess since he was a little boy (well, he’s still little, so let’s say, “younger” boy) and says he’s matured on the show. The routine was “simple and pure and beautiful.”

Tadd and Lauren Froderman, jazz
 Mandy Moore
 “Another One Bites the Dust,” Queen
It’s “Smooth Criminal”-esque as Tadd breaks out Michael Jackson moves and ‘tude. At one point, he loses his fedora, which means he has to just gesture all the hat movements, but he doesn’t let it faze him. Overall, he’s good and convincing, but it wasn’t amazing.
The judges say:
 Nigel says this style suits him since apparently he can absorb every style like a sponge. Gaga says it’s inspiring that he’s such a dance chameleon. Rob gives props to Tadd for recouping after losing his hat and getting socked in the face by Lauren. “You keep surprising us. You’re very, very special.” Mary says he was strutting his stuff and has swag “nobody else on this show has.” She predicts he’ll land in the finale.

Marko and Allison, contemporary
 Sonya Tayeh
 “I Know It’s Over,” Jeff Buckley
I think this routine has something to do with making amends with your mother, but it really doesn’t matter. It’s full of pain and love and anguish, which we know Marko can do after that “left at the altar” routine. You can’t take Allison out of the number, and her unique articulation is part of the success, but he doesn’t get lost in her brilliance; he magnifies it.
The judges say:
 Lady Gaga has tears on her face and says she regrets some things she did growing up. “You really love to dance, and I know your mom’s here.” At this point, he’s sobbing on stage and says, “I love you” to his mom, who flew in from Guam to watch him dance. Rob says his technical expertise is “ridiculous.” Mary says that beyond the technical, he adds volume and finishing to the dance and that he is her favorite dancer on the show. Nigel points out that Marko accomplished something remarkable: He made it about more than a competition and made it about the message.

Caitlyn and Tadd, foxtrot
 Jonathan Roberts
 “Top Hat, White Tie and Tails,” Ella Fitzgerald
When Tadd must perform outside of his genre, he seems to really do the most surprisingly well in the ballroom dances. His Viennese waltz was impressive, and so this very old-school foxtrot really echoed Fred Astaire and Ginger Rogers. Caitlyn showed last week that she had ballroom chops as well with her Argentine tango, so both of them worked really well together and had great posture and arms. It’s graceful and sweet.
The judges say:
 Rob says that was “sparkling from beginning and end.” Mary says it wasn’t memorable and wanted more power and adds lots of technical things that I don’t understand, but hey, she’s the ballroom expert. Nigel says that the “b” in b-boy stands for “ballroom” and that he was just in heaven. Gaga gives Caitlyn a compliment about being a star but then kind of slaps her down, saying that it’s a bit too apparent that she had won a lot of trophies. What? I don’t get it either. Caitlyn has never struck us as over-danced or anything but humble. It’s sad to see her force a smile there. Ouch.

Marko and Ricky, hip hop
 Tabitha and Napoleon
 “Bad Boy for Life,” Diddy featuring Black Rob and Mark Curry
They’re waste management technicians so they have brooms, rags and caps. They handle the athletic portions with a great aerial) but it’s not Alex Wong and tWitch. I cannot feel their swagger. In fact, it’s not nearly “dirty” enough. They’re too clean. My favorite part, however, is at the end when the tempo picks up. Their fast footwork is impressive and gives them the grounding they were lacking before.
The judges say:
 Mary loved it and says the vibe was “right and tight” throughout. Nigel acknowledges how fun it was, says Marko was nasty (in a good way) but that he has reservations about Ricky. Gaga says they were both fabulous even though she didn’t like the props and choreography. Rob is all into the NappyTabs though and calls the choreography “exquisite” (he really needs a thesaurus).

Jordan and Jess, rumba
 Jason Gilkison
 “Set Fire to the Rain,” Adele
Oy, this was painful because there was zero connection between the two of them and I was not feeling any of the sensuality of the rumba. There was one good lift though, but that’s about all I can say.
The judges say:
 Nigel also noticed and gives props for the back-reverse-spin lift, but points out the lack of chemistry. Then he critiques Jordan’s swayed back, which he says he could eat off of. Grody. Gaga says there was “nothing wrong with it,” but you can tell this is faint praise. Rob thinks they brought out the best in each other and felt their connection. Mary also bemoans the lack of chemistry and says that they didn’t give the volume and sensuality needed in the dance.

Melanie and Sasha, jazz
 Sonya Tayeh
 “Game On,” District 78
Melanie and Sasha are arguably the best dancers in the competition, so pairing them is just asking for excellence. They’re a couple of Grace Joneses on stage with their spiked hair and sexy bra/hot pants combos.  It’s a visual, strange treat to see them dancing together. Neither has the same body type or energy, but making these strong, weird and beastly moves on stage just works. This isn’t about emotion, but more of a power play. My favorite moments are the funny crabwalk and then almost gorgeously balletic posturing at the end.
The judges say:
 Gaga says that when you want to compliment a dancer, you throw your shoe, so she tosses them one of her huge, pink, platforms on stage. I’m glad she had good aim because one of them could have been brained by that monstrosity. Gaga says their age, sex, race or income doesn’t matter. “All I know is that that was the future. You were born this way and you are absolutely incredible.” Rob says it was unbelievable. Mary says it had strength and power and then praises Sonya for her choreography. “Love, skill, masterpiece.” Nigel doesn’t know who is the best between the two of them. Perhaps she was feeling a bit lopsided, but Gaga then threw her other shoe at Sonya.


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NASHVILLE, Tenn. (AP) — A lesbian couple is asking for changes at Dollywood after an employee asked one of the women to turn her T-shirt reading “marriage is so gay” inside-out to avoid offending others on a recent visit to the Tennessee theme park complex.


Olivier Odom and Jennifer Tipton said Tuesday they want the parkto be more inclusive of lesbian, gay, bisexual and transgender families after Odom was asked to reverse her shirt when they visited Dollywood Splash Country next to the Pigeon Forge amusement park. The story was first reported by WBIR-TV in Knoxville.

Dollywood spokesman Pete Owens said on Tuesday that Dollywood is open to all families, but their dress code policy is to ask people with clothing or tattoos that could be considered offensive to change clothes or cover up.

Owens said the couple was not asked to leave and complied with the rules to reverse the shirt when asked.

“The park is open every day to everybody,” Owens said. “We try to provide an environment for families of all shapes and sizes to enjoy themselves.

Owens said park officials were discussing the matter and would speak with the couple directly.

Odom said that they visited the water park July 9 with friends and their friends’ two children when she was asked by a person at the front gate to turn her shirt inside out because it was a family park.

Odom said she complied so as not to make a scene in front of the children, but felt offended.

“That’s what we found so offensive — that he said it was a family park,” Tipton said. “Families come in a wide range of definitions these days and we were with our family.”

The two said they felt they needed to file a complaint with Dollywood because they believed it was important to stand up for their beliefs in marriage equality.

“If marriage equality is going to happen, it’s not going to happen if people sit at home quietly,” Odom said.

Odom said they understand the park can have dress code policies, but she felt Dollywood needed to make their policies clear and provide better training for employees when determining what is considered offensive.

Odom and Tipton are not legally married, but held a ceremony last year in North Carolina. They wrote an email to the park asking the park “to implement policies that are inclusive of lesbian, gay, bisexual and transgender people; conduct staff sensitivity training; and issue a public statement indicating that the park is inclusive of all families.”

Owens said the couple’s complaints have sparked discussion at the park about the dress code, a policy that park employees deal with frequently because of the thousands of visitors every year.


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Nathan Fillion and the several members of the cast from ABC’sCastle blew the roof off Comic-Con early Sunday afternoon.

Following in line with last year’s panel when the first scene of the Season 3 premiere was shown, a glimpse of the opening from the upcoming season was screened for the crowd.

The big question that was left after the finale was: Is Kate Beckett actually dead? “I know, I know. It hurts right here,” Fillion said of Beckett’s unknown state, placing his hand near his heart.

“It was very emotional the whole day,” actress Tamala Jones said of Season 4’s opening scene. “My friend is dying and I’m trying to help save her. … The whole outcome is really going to be more epic than the season finale, I think.”

“Everyone had blood on their hands and we had to sit there … I couldn’t fix my hair,” Fillion joked, with both elbows propped up. “We’re just sitting there looing like we’re going into surgery or getting out of it. I couldn’t read my book: Game of Thrones.

What can people expect in Season 4? A special Halloween episode, which will be Ghostbusters-themed. In the second episode of the new season, there’s going to be one “with a bit of a superhero theme. I thought that might excite you, it excites me.”

An audience member asked about Beckett and potential replacements. “Did you hear about this? They were looking at Ashton Kutcher for [Beckett’s] replacement,” Jones joked about Beckett. “Guys, too soon but so funny,” Fillion responded.

Here are some other notable soundbites from the entertaining panel:

  • “Typically if you’re going to be on a TV show with me, you can look forward to cancellation,” Fillion joked.
  • The death of Captain Roy was hard on the cast. “To lose this person who was like a mentor was pretty hard,” Jon Huertas said. “It was a pretty sad day when we found out he was getting shot.” Seamus Dever added: “I now have no one to talk theater with … We miss him tremendously. … We had two months to think of what [that] was. … What you saw in the finale wasn’t really acting … We were saying goodbye to Reuben.”
  • Molly Quinn: “She’s going to be voicing a lot of her opinions, how she feels … he’s enjoying chasing down killers … I don’t know if Alexis is too happy about that.”
    Fillion: “You’ve heard about the terrible teens.”
    Quinn: “I’m the adult on this set.”
  • “I was eating that and I got sick,” Fillion said of the s’morelette. “I’m not sure where your tastebuds are located. That wasn’t very good,” Quinn joked.
  • The 3XK storyline will continue in the new season. “This is a nice seed that’s been planted for the future so I think we’re going to see a crime being committed and Ryan’s gun being used,” Dever said. “I think it’s an innocent person getting killed. … We’ll see the return of that storyline and a nemesis for Castle.”
  • In the X-Files episode, Fillion noted that if “you look closely, you will find a giant or small X in nearly every scene.”
  • It was teased that Castle’s dad will finally be seen this season. So who did the cast think was perfect for the role? Some suggions: Ken Howard (Huertas), Christopher Walken (Jones), Dwight Howard (Dever). “I was talking to Susan [Sullivan] and she said, ‘What if I was Castle’s dad?’ “
  • Quinn was dressed up as Captain Mal Reynolds. “Oh my god, I just noticed what Molly was wearing,” Fillion said during the panel.
  • Fillion arrived in style, ascending from the ground up when he was introduced.

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What happens after “I love you”?

Exclusive Castle postmortem: Creator on [SPOILER!]’s death and Castle & Beckett’s future

That’s the question on every Castle fan’s mind after the explosive season 3 finale, which featured Captain Montgomery’s death and Beckett (Stana Katic) being shot just moments before Castle (Nathan Fillion) made a heartfelt confession of love. Assuming the ABC crime drama won’t be killing off its leading lady, will the show’s fourth season bring will-they-won’t-they couple together for more than just a passionate kiss? Is it finally the right time for Castle and Beckett?

The first trailer for Season 4, which just screened at Comic-Con, offers few answers, but it does reflect on many of Castle and Beckett’s best (and most romantic) moments from the past three years. Watch the preview and decide for yourself: Should Castle and Beckett should get together this season?

Castle exclusive: Meet Castle and Beckett’s new boss!

Season 4 of Castle premieres on Monday, Sept. 19 at 10/9c on ABC. Watch the trailer here:


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The original Being Human already has a solid fanbase and when the North American version debuted earlier this year, it was clear the franchise was securing its hold.

Season 2 of Syfy’s Being Human, which launches next January, sees Aidan, Sally and Josh all going through significant characer changes, so what should viewers be expecting? “Werewolf babies!,” joked Sam Huntington, who plays werewolf Josh. “We had this seven-month break and the whole time I was looking forward to picking up where we left off.”

Josh is “stronger and he’s more in tune with who he is. His relationship with Norah has developed in very interesting ways,” Huntington continued.


Sally, played by Meaghan Rath, said her character (a ghost) has learned “more about who she is in her death than she’s ever had in her life. We leave off three weeks after we stopped.”

Sam Witwer’s Aidan, whose “father figure” Bishop is no longer around, “has been strugglign with going clean,” Witwer said. “He had this father figure [for 200-plus years and] at the end of the season, Aidan frees himself from that. If youre trying to get off what is essentially a drug habit,” which means staying away from the vampires, it proves to be difficult.

When asked if Witwer took from other vampire shows or movies to ready himself for Aidan, the actor revealed that he hadn’t “seen True Blood or Vampire Diaries or Twilight.”

“I actually don’t know if it’s actually original or done what a lot of other people have done,” Witwer added of his portrayal of Aidan.

In the upcoming Season 2 premiere, however, the cast revealed some minor spoilers. “I snuck a Star Wars reference in the first episode,” Witwer revealed, citing his work on Star Wars: The Force Unleashed video game as Galen Marek/Starkiller.

Executive producer Jeremy Carver, who along with wife and fellow EP Anna Fricke, developedBeing Human for North America, discussed how they went about adapting the hugely popular BBC version to theirs. “It’s always challenging … the way we sort of blended the BBC version and ours,” Carver said. “This year, we’ll see that we’re striking on a way farly different path. We’re laying down our own framework here.”

Carver teased that there will be “new types of werewolves, vampires and ghosts” in the upcoming season, which just began shooting two weeks ago.

But it was clear throughout the panel the great rapport Rath, Witwer and Huntington have with each other. At several points, Witwer impersonated Arnold Schwarzenegger and poked fun of his own dimple chin. During one of the highlights, Rath and Witwer went on a two-minute run pretending to have high-pitched voices and funny accents, a gag that Huntington shared could go on forever.

As always, things aren’t fine and dandy in the Being Human household. With Aidan in particular, Witwer said, “He always tried to play it like he was on his game [even though he’s not]. He’s completely off the rails this season because Bishop is not around. .. It’s a huge deal for Bishop to be gone.”

Witwer continued: “First episode, he kills a girl, oops. This is a guy who isn’t ready to be on his own yet. He’s trying to be more open with his roommates but we see that that’s not [what he’s used to doing].”

Huntington told the crowd to rewatch Season 1 because his “voice gets a little more husky” as the season progresses.


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If you’re as bummed as we are that the Bones panel at Comic-Con was scrapped at the last minute, take heart: Fox has released a small piece of what fans would have seen at the panel.

Bones Exclusive: Who’s the new gravedigger?

Although the video clip below contains no new footage (shooting on the new season only began earlier this week), it’s a fun little ride through last season. The sizzle reel includes a montage of disgusting skeletons, plenty of squintern playfulness and more than a little talk about babies. In fact, the clip ends with David Boreanaz‘s  Booth yelling, “Bang! Mama Bones!”

In light of last season’s cliff-hanger, we can only imagine the laughs/cheers that line would have gotten inside one of Comic-Con’s packed halls.

Bones returns Thursday, Nov. 2 at 8/7c on Fox.


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