So mechanical soul-stealing conglomerate Kodak offered $5,000 to anyone who could track down Megan Fox's scorned wooer. The bounty worked. A reader realized she was friends with the lad on Facebook and she's getting the big prize. Young Harvii was flown from London to New York yesterday and scheduled to appear at the Today Show this morning to meet Ms. Fox live in person. But then the Michael Jackson death happened and so Fox was bumped and has flown back to LA. A sad thing. We have a chance to talk to the lad, so we can at least hear his side of the story. Stay tuned for that hard-hitting interview this afternoon.

In the meantime, let's meet the lucky lady!

What's your name, young lady?

My name is Kim Falardeau, 20 yo, from montreal canada. that makes me a french canadian. i like movies travelling, music concerts, i started tattoing, play ps3 psn games  LOL
im a big geek who can beat my bf at w.o.w
hope thats enough

French Canadian! So now that you're a millionaire in Canadian Dollars, what will you do with your riches?

Probably gonna pay off my bills n buy myself a nice imac to match my bfs macbookpro! loll I work in a comunication place but right now im off work cuz im sick
sooooooo ill spend good time on my new computer lol

How terribly practical (read: Canadian) of you!

They toss out horrifying figures, just to show how indestructible this Megalon truly is:

In the 2003-4 season, the first in which "Idol" was the top-rated prime-time series, its lead over the second place show was about 7 percent. That margin has grown every year since and this year is 66 percent.

Including revenue from "Idol" programming in other countries, from music sales related to all the "Idol" shows and from "So You Think You Can Dance," also on Fox, 19 Entertainment produced revenue of $223 million last year, up from $151 million two years earlier.

Worst of all:

"We have learned the lessons of the sports leagues in that they have all these ancillary revenue streams," said Robert F. X. Sillerman, chief executive of CKX Inc., the parent of 19 Entertainment. "And frankly, we're just beginning."

Aieeeee!!

The thing, though, that reporter Edward Wyatt might be overlooking is that when something begins to get so top heavy—when the core product beings to dwindle and the ancillary revenue star begins to burn dangerously white hot—it's usually an indication that the whole thing is soon to collapse terribly (terrifically?) on top of itself. (See: NBC) These sort of hollow beings may seem pretty looming, but they're mostly hot air. They're blowfish, basically.

Looking at the swirling menace from that angle, maybe there's light at the end of the shimmer-tunnel after all. And it's pink.

It'll take some sorting through to figure out exactly what went wrong with Watchmen, but we suspect it was a case of a tower being built too tall and collapsing in on itself. Not that many people were Watchmen fans, but the economy-plagued country needed something big and flashy and money-making to wave around as a symbol that we can still carry on and some of us can still get rich. A few months ago that movie was Twilight, which performed as hoped. But that was a wayyy smaller movie, and the books were read by millions of people, just recently. Watchmen is 25 years old and is far more niche than chaste vampire love teen novels. To pin the coming blockbuster season's early hopes on that top-heavy of a movie was reckless optimism.

One of the film's screenwriters, David Hayter, has sent an open letter to the science fiction/superhero/furtively masturbating to a well-worn photo of Deana Troi fan community, pleading with them to come and see the movie a second (or third! or fourth! or infinity!) time, because if this movie doesn't do a strong second weekend, then no movie like it will ever be made again. It's all or nothing:

If the film made you think. Or argue with your friends. If it inspired a debate about the nature of man, or vigilante justice, or the horror of Nixon abolishing term limits. If you laughed at Bowie hanging with Adrian at Studio 54, or the Silhouette kissing that nurse.

Please go see the movie again next weekend.

You have to understand, everyone is watching to see how the film will do in its second week. If you care about movies that have a brain, or balls, (and this film's got both, literally), or true adaptations — And if you're thinking of seeing it again anyway, please go back this weekend, Friday or Saturday night. Demonstrate the power of the fans, because it'll help let the people who pay for these movies know what we'd like to see. Because if it drops off the radar after the first weekend, they will never allow a film like this to be made again.

So, oh dear, that is sad! You owe it to all of comic books and superheroes and kickass movies, everyone! Trouble is, the pervading speculation is that pretty much everyone who wanted to see the movie already has, and that its bouquet of bad reviews won't encourage the timid or uninitiated to take a chance an unknown kid.

In the end I guess the question is, do you owe the filmmakers, dear nerds? They slavishly adapted this heady, impenetrable graphic novel just for you, enraging a crazy bearded man in the process, and all you can muster for them is $92 million dollars worldwide to date? For shame. They spent some 200 clams just serving the damn thing to you on a real-life vintage platter from alternate history 1985. So, c'mon. Do these millionaires a favor. Pony up the $11 a few more times, and let these nice, innocent Hollywood people creak on with their little cottage industry for another day.

So very, very much of the entertainment industry's money has been spent on appeasing stars—actors, producers, directors, to a lesser extent writers—because, you know, that's the way it's always been and once someone reaches the pinnacle of success, they must deserve it. But the recession makes for a handy excuse to say no to things like a star's demand that their favoritest hairdresser fly first class to London and stay for a week in top-flight hotels. With even superdirector, ultraproducer Steven Spielberg tin-cupping through Hollywood, all the other ants marching beneath him ought to brace themselves for a wicked belt tightening.

Mainstay trades Variety and The Hollywood Reporter have already felt the early gut-punch of showbiz's fiscal spring cleaning, as the studios' usually long, protracted, and ad-lucrative Oscar campaigns were a pale imitation of years past. And you know, the entire awards season is used as simply a really, really expensive way of keeping stars happy and in line.

It's a part of a large celebrity rewards system that has, in recent years, ballooned monstrously out of control. As all of us, stars and civilians alike, head closer and closer toward Mt. Doom, the celebrities are starting to seem more like the civilians. And so a story about Jennifer Aniston ferrying her expensive hairstylist to and fro London for a premiere, almost certainly on the studio's dime—that would have once been met with "Oh my, those movie stars! So fancy!"—is now greeted with a "That's fucking disgusting."

We for one welcome our new fiscal responsibility overlords, and hope a new era of penny-pinching studio execs slapping entitled stars upside the head can be ushered in swiftly and mercilessly. Unless, you know, we get invited to the gifting suites. Then it's see you in hell, civilians.

Image via AP

Portfolio estimates that Fey has earned at least $17 million in her career so far, and predicts there will be "tens of millions — if not hundreds of millions" in her future. In addition to money from her years as head writer on Saturday Night Live, her films Mean Girls and Baby Mama, and 30 Rock, the new Fey brand is bolstered by new advertising deals and her resemblance to a certain vice presidential nominee. It is estimated that Fey earned about $1 million for her American Express ads with Martin Scorsese and her appearance as Sarah Palin on Saturday Night Live two weeks ago has also proven to be profitable: The much-hyped opening skit gave SNL its best season premiere numbers in seven years.

Though you may not care that NBC found a cash cow in Tina Fey, it's very good news for fans of 30 Rock because it ensures our favorite geeky girl a place on their lineup, even though the show's ratings still aren't fantastic. 30 Rock only averaged 6.5 million viewers last season, but it is still considered a hit by NBC because its young and affluent audience is attractive to advertisers and NBC executives have said publicly that the show's popularity on DVD and online downloads are valuable to the future of the company.

The Portfolio article speculates that there may be a limit to Tina Fey's brand appeal, raising the question, "Is anyone going to buy a Tina Fey fragrance?" As Fey-natics, we may be the wrong people to ask, but we could definitely see Tina marketing her own line of "Tina Fey spectacles" and would rather find Ms. Fey's Frozen "Sandwich Day" Sandwiches on the shelf next to our Hot Pockets than anything with Rachael Ray's face on the box.

Fey Day [Portfolio.com]

Clinton Supporter Pressures Pelosi Over White House Battle [CNN via TPM]

Childless divinity Oprah Winfrey, of course, sits atop this list as she sits atop all the others, having added another $260 million to her estimated $1.5 billion fortune. But today we single out Judge Judy Sheindlin, who managed to parlay a modest living as a fire-breathing Manhattan Family Court judge into a television empire, converting us along the way into a nation of ardent Judyites who wouldn't hesitate to use the always-effective, "Bup! Bup! Bup! I do the talking here, not you!" as a practical means to conflict resolution.

• TV's Top Earners [Forbes.com]

· OPRAH: $260 million per year (includes what she earns from Rachael Ray, Dr. Phil, and other programs) · SIMON COWELL: $45 million per year (for American Idol and other projects) · JUDGE JUDY: $30 million per year · KATIE COURIC: $15 million per year · ZACH BRAFF: $6.3 million (for 18 episodes of Scrubs next season)

After the jump, more lists of the staggering sums being lavished upon the stars of popular sitcoms, widely franchised police procedurals, and daytime perversions of small-claims-court justice. Enjoy:

NETWORK PRIME TIME (all salaries are per episode) William Petersen (CSI): $500,000 Charlie Sheen (Two and a Half Men): $350,000 Mariska Hargitay (Law & Order: SVU): $350,000 Chris Meloni (Law & Order: SVU): $350,000 Hugh Laurie (House): $300,000 Julia Louis-Dreyfus (New Adventures of Old Christine): $225,000 Ellen Pompeo (Grey's Anatomy): $200,000 Eva Longoria (Desperate Housewives): $200,000 Jeff Foxworthy (Are You Smarter Than...): $150,000 T.R. Knight (Grey's Anatomy): $125,000 Chandra Wilson (Grey's Anatomy): $125,000 Sally Field (Brothers & Sisters): $100,000

CABLE (all salaries are per episode)
Kyra Sedgwick (The Closer): $250,000
Julian McMahon (Nip/Tuck): $125,000
Dylan Walsh (Nip/Tuck): $125,000
Joely Richardson (Nip/Tuck): $90,000
James Roday (Psych): $60,000

DAYTIME
Judge Judy (per year): $30 million
Bob Barker (per year): $10 million
Maury Povich (per year plus profit participation): $7 million
Ellen DeGeneres (per year): $5 million
Jerry Springer (per year): $3 million - 4 million
Tyra Banks (per year): $3.5 million

• TVGuide.com