Anniversary of Newton Minow’s Vast Wasteland Speech That  Transformed Television

Anniversary of Newton Minow’s Vast Wasteland Speech That Transformed Television

Posted on May 9, 2025 at 1:33 pm

May 9, 1961, my dad, the 35-year-old Chairman of the FCC, Newton Minow, made three significant appearances. In Washington, he gave his famous “vast wasteland” speech to the National Association of Broadcasters, telling them that while “when television is good, nothing is better,” he expected them to do more to uphold their statutory obligation to serve “the public interest, convenience, and necessity.” Then he went back to the FCC office, where he met with Elizabeth Campbell to sign the original license for WETA, the first educational television station in the nation’s capital, now the producer of the Ken Burns documentaries and the nightly Newshour. And then he flew to Chicago to attend the father-daughter dinner for my Brownie troop.

I often thought about how those three events defined his character: inspiring those around him to do better, supporting the visions of people making enriching cultural content and reliable news sources widely available, and always putting his family first. Over the next decades this was reflected in his efforts as a founder and board chair of PBS, a director of CBS, helping to create the Commission on Presidential Debates (CPD), where he served as vice chair until this year, working to require the V-chip and closed captioning, helping to get the start-up funding for “Sesame Street,” and arguing for the rescission of the radio license of a station that broadcast virulently racist and anti-Semitic programming. His countless awards include more than a dozen honorary doctorates, a Peabody, and the highest honor for American civilians, the Presidential Medal of Freedom, awarded by President Barack Obama (who met Michelle when they were both working in my father’s law office). Our family’s favorite “honor” might be the sinking ship on “Gilligan’s Island,” named as an insult to my father for his criticism of television by producer Sherwood Schwartz. They later had a very cordial correspondence.

Last month, I wrote an article for The Atlantic about the time Dad said “no” to President Kennedy.

Mike Leonard’s documentary about my dad has some wonderful stories.

I talked to my dad about some of his formative experiences, including the words from Bobby Kennedy that inspired him to focus on telecommunications, what he will advise the new FCC Chair, and why he told President Kennedy the first telecommunications satellite was more important than putting a man on the moon.

He was the world’s best dad and grandpa. We are so lucky.

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My Best Movie Mothers eBook is Free for Mother’s Day!

My Best Movie Mothers eBook is Free for Mother’s Day!

Posted on May 9, 2025 at 10:04 am

In honor of Mother’s Day, my book, 50 Must-See Movies: Mothers will be free from May 9-14, 2025.

No relationship is more primal, more fraught, more influential, more worried over, more nourishing when good and more devastating when bad that our connection to our mothers. The first eyes to look at us with love, the first arms to hold us, Mom is the one who first keeps us fed and warm, who applauds our first steps and kisses our scrapes and takes our temperature by kissing our forehead.  She’s also the one who keeps people in endless years of psychoanalysis for failing to make her children feel loved and safe.  Mom inspires a lot of movies in every possible category, from comedy to romance to drama to crime to animation to horror, from the lowest-budget indie to the biggest-budget prestige film.  A lot of women have been nominated for Oscars for playing mothers and just about every actress over age 20 has appeared as a mother in at least one movie.

Copyright Miniver Press 2015

There are innumerable ways of mothering and all of them show up in the movies.  There are cookie-baking, apron-wearing mothers who always know just the right comforting thing to say.  There are stylish, sophisticated, wealthy mothers and mothers who do not have enough money to feed their children.  There are mothers with PhDs and mothers who cannot read.  There are mothers of every race and religion and many species on earth and in outer space (remember “Alien”). 

There are terrifying mothers who abuse or abandon their children or coldly deploy them like weapons of mass destruction. There are mothers who give good advice and endless support and mothers who try to push their children to take the wrong jobs and marry the wrong people.  There are super-strict mothers and super-lax mothers, mothers who want to know every detail of their children’s lives even when they are grown up and mothers who barely remember that they have any children at all even when they are young.  There are mothers of children with special needs who fight fiercely to make sure they have the fullest and most independent lives they can.  There are children who love and support their mothers and children who break their mothers’ hearts with their selfishness and cruelty.

And there are those very special souls who remind us that motherhood does not require a biological connection.  Stepmothers and adoptive mothers are as vitally important on screen as they are in the lives of those lucky enough to be mothered by them.

“A boy’s best friend is his mother,” says a character whose mother is central to the story even though she never appears in the film.  (Spoiler alert: the quote comes from Norman Bates in “Psycho.”)  In “Stop or My Mom Will Shoot,” tough guy Sylvester Stallone plays a cop who mother comes along on his investigation whether he wants her to or not.  In “Oedipus Wrecks,” one of three short films that make up the compilation “New York Stories,” Woody Allen plays a lawyer whose mother finds the ultimate way to embarrass him.  And don’t get me started on Jason’s mother in the “Friday the 13th” movies.  

I have selected 50 of my favorite movie mothers, including classic films like “The Sound of Music” and “Little Women” along with forgotten or overlooked films like “Stella Dallas,” “Claudia and David,” and “Dear Frankie.”  Actresses like Anne Revere and Spring Byington made careers out of wonderful performances as mothers and I have included some of their best.  I have a special affection for those based on real-life mothers, especially those based on the mothers of the writers who told their stories, like Sally Field’s Oscar-winning performance in “Places in the Heart.”  But it is clear that in some way each of the mothers in these movies is inspired by the unique joys and frustrations of the woman we love first.

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The Wedding Banquet

The Wedding Banquet

Posted on April 17, 2025 at 5:16 pm

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language, some sexual material, and nudity
Profanity: Constant f-words, strong language
Alcohol/ Drugs: Drinking and drunkenness
Violence/ Scariness: Family issues
Diversity Issues: A theme of the movie
Date Released to Theaters: April 18, 2025

“The Wedding Banquet,” more an adaptation than a direct remake of the Ang Lee film of the same name, may appear from the marketing to be a comedy, even an outright farce. But it is a bittersweet, tender-hearted story about the families we are born into and the ones we find for ourselves. Of course, both kinds of families can hurt our feelings and drive us crazy.

Lee (“Killers of the Flower Moon’s” Lily Gladstone) and Angela (Kelly Marie Tran from “The Last Jedi”) live in Seattle, in a home Lee inherited from her father, on land that was once the home of the indigenous Duwamish people who were her ancestors. Their closest friends Min (Han Gi-Chan) and Chris (“SNL’s” Bowen Yang live in a guest house on the property.

Both couples are devoted and very much in love, but each has a difficult problem. Lee and Angela have just had a second very expensive failed attempt at IVF and are struggling emotionally and financially about taking a chance on one more try. Angela’s mother May Chen (the always-ravishing Joan Chen) is very supportive but also intrusive and self-centered, enjoying her involvement in a Pride group for Asian-Americans and their families.

Min is Korean. His student visa has run out and he is under a lot of pressure from his wealthy grandmother (Youn Yuh-Jung as Ja-Young) to return home and take a job in the family business. He proposes to Chris, but Chris does not want to feel that Min only wants to get married so he can stay in the US.

Min thinks he can solve everyone’s problems by marrying Angela so he won’t have to leave the country and in return paying for the next IVF treatment for Lee. But he will learn what Sir Walter Scott said so accurately: “Oh what a tangled web we weave/When first we practice to deceive.” Every lie leads to another complication, including the arrival of Ja-Young and her insistence that they have a full-on Korean ceremony, which includes many photographs and a banquet.

There is at least one plot development that may be convenient but stretches credulity a few steps too far. But it avoids being predictable and sit-com-ish, with the four characters racing around to prevent Ja-Young from learning the truth and overly predictable twists. It is a much gentler film, and as appealing as the actors playing the two couples are, the heart of the film is the two women in the older generations. Yuh-Jung is spectacularly moving as the grandmother who wants for her grandson what she never had, a loving marriage. It turns out she is enmeshed in her own performative effort and that she is wiser and more compassionate than Min allowed himself to see. Chen gets a chance to show off some crack comic timing as well as a touching scene with her daughter. It is the performances that carry the day here, with everyone involved clearly having a wonderful time revisiting a film that meant a lot to them.

Parents should know that this film includes strong language, drinking and drunkenness, and a non-explicit sexual situation with brief nudity.

Family discussion: Why did Angela’s mother annoy her so much? Were you surprised by Ja-Young’s reaction to meeting Angela? The story reflects many changes in society since the 1993 original that inspired it. What changes do you think we will see if they do another version in 30 years?

If you like this, try: the Ang Lee original film that inspired this one

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Alliance of Women Film Journalists Awards 2025

Alliance of Women Film Journalists Awards 2025

Posted on January 7, 2025 at 4:02 pm

I’m very proud to be a voting member of the Alliance of Women Film Journalists and delighted to announce this year’s awards.

Copyright 2024 Focus

AWFJ Best Of Awards

(These awards are presented to women and/or men without gender consideration.)

Best Film

“The Brutalist”

Best Director

Coralie Fargeat, “The Substance”

Best Original Screenplay

Coralie Fargeat, “The Substance”

Best Adapted Screenplay

Peter Straughan, Robert Harris, “Conclave”

Best Documentary

“Dahomey”

Best Animated Film (tie)

“Flow”

“The Wild Robot”

Best Actress

Marianne Jean-Baptiste, “Hard Truths”

Best Supporting Actress

Isabella Rossellini, “Conclave” 

Best Actor

Colman Domingo, “Sing Sing”

Poster for A Real Pain
Copyright 2024 Searchlight

Best Supporting Actor

Kieran Culkin, “A Real Pain”

Best Ensemble Cast and Casting Director

“Conclave”

Best Cinematography

“Nosferatu”

Best Editing (tie)

“Emilia Pérez”

“The Brutalist”

Best International Film

“The Seed of the Sacred Fig”

EDA Female Focus Awards

(These awards honor women only).

Best Woman Director (tie)

Coralie Fargeat, “The Substance”

Payal Kapadia, “All We Imagine as Light”

Best Female Screenwriter (tie)

Coralie Fargeat, “The Substance”

Payal Kapadia, “All We Imagine as Light”

Copyright 2024 Dreamworks

Best Animated/Voice Performance

Lupita Nyongo’o, “The Wild Robot”

Best Women’s Breakthrough Performance

Mikey Madison, “Anora”

Best Stunt Performance

June Squibb, “Thelma”

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Awards
My Top Ten Films of 2024 (and Some More)

My Top Ten Films of 2024 (and Some More)

Posted on December 14, 2024 at 9:54 pm

Copyright 2024 Universal

In alphabetical order:
“The Brutalist” – Grand in scope but sensitive to the smallest moments, it has thoughtful looks at pride, art, trauma, and the places we create for home, worship, and work.
Conclave” – An arresting combination of visual splendor, thrilling performances, the beats of a door-slamming farce, and serious, dramatic engagement with issues of honor, faith, and leadership.
Inside Out 2”– There is so much wisdom about how even our most painful and fearful emotions can help keep us safe, and of course so much charm, with endearing characters and imaginative settings.
Mountains” – This low-budget indie has sensitive performances, nuanced characters, gorgeous cinematography, and an insightful, layered story about gentrification, assimilation, and family.
My Old Ass” – I was not expecting the emotional wallop at the end of a story about a teenager who meets her future self, but by the time it ended, it felt exactly right.
A Real Pain” – Writer/director/star Jesse Eisenberg gave Kieran Culkin the showier role, and he gives one of the best performance of the year. But what stays with me is Eisenberg’s speech about Culkin’s character that is at the heart of a film about individual and generational pain and the connections that help us bear it.
“September 5” – Mr. Rogers told us to look for the helpers when tragedy strikes. This tightly scripted, superbly acted and edited story of sports journalists who never anticipated they would be covering a terrorist attack at the 1972 Olympics, is a welcome reminder of how lucky we are to have people of courage and integrity to report the news.
Thelma” – The most lovable underdog story of the year is this heartwarming film about an elderly woman who takes on a scammer.
Touch” – This is the tenderest of love stories, stretching over oceans and half a century, beautifully filmed.
Wicked” – The biggest of Hollywood musical extravaganzas is wildly entertaining but keeps the focus where it belongs, on two characters who remind us that no one is all good or all bad.

Other movies I loved this year: “Deadpool and Wolverine,” “Emilia Perez,” “The Fall Guy,” “Flow,” “Fly Me to the Moon,” “Hard Truths,” “The Piano Lesson,” “Sing Sing,” “The Wild Robot,” “Wolfs”

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THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2026, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

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