‘Star Trek’ — Biggest Movie of 2009?

Posted on October 16, 2008 at 8:15 am

star trek ew.JPGEntertainment Weekly has the latest on what could be next summer’s biggest box office smash, the rebooted “Star Trek” from J.J. Abrams (creator of Alias and Lost).
After 10 often dismal movies, Star Trek had turned into a pop culture punchline. Even people who’d built their entire careers around Trek could see the writing on the wall. “Star Trek,” says Leonard Nimoy, “had run its course.” But director J.J. Abrams believes he can make the franchise cool again….
Abrams says he was also drawn to the project because he believed in–and wanted to evangelize–Trek’s unabashed ideal­ism. “I think a movie that shows people of various races working together and surviving hundreds of years from now is not a bad message to put out right now,” says Abrams. That ethos may seem cornball to an America darkened by a decade’s worth of catastrophe, but after an election season that has seen both presidential nomi­nees run on “hope” and “change,” Star Trek just may find itself on the leading wave of a zeitgeist shift–away from bleak, brood­ing blockbusters and toward the light. “In a world where a movie as incredibly produced as The Dark Knight is raking in gazillions of dollars, Star Trek stands in stark contrast,” Abrams says. “It was important to me that optimism be cool again.”
That sounds like something to please the fanboys and bring in a whole new audience. I can’t wait!

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Trailers, Previews, and Clips

Why is TV So White? (Entertainment Weekly)

Posted on June 22, 2008 at 2:00 pm

Entertainment Weekly has a very important article that asks a very important question. Why is it that the only minority character to anchor a new series is Cleveland Brown — an animated character voiced by a white guy?
The show is a Family Guy spin-off called “The Cleveland Show.”
After a period of making a public effort to focus on diversity in their casting — kickstarted by an NAACP outcry over the white TV landscape in 1999 — the networks have clearly started to lose that focus, and not just when it comes to African-Americans. Today the current prime-time lineup, including fall’s 14 new scripted shows, is looking alarmingly pale. According to an Entertainment Weekly study of scripted-programming casts for the upcoming fall 2008 season, each of the five major broadcast networks is whiter than the Caucasian percentage (66.2 percent) of the United States population, as per the 2007 census estimate. And all of the networks are representing considerably lower than the Latino population percentage of 15.2 percent, with The CW — whose only lead Latina star, JoAnna Garcia, will be playing a white character named Megan Smith on Surviving the Filthy Rich — registering just 3.8 percent. After the quiet and unceremonious departure this winter of eight-season hit Girlfriends (the No. 15 show in all prime time among African-American audiences), The CW’s black comedy block (inherited from predecessor UPN) has shrunk to just two sitcoms: critical darling Everybody Hates Chris (No. 29 among African-Americans) and The Game (No. 7 among African-Americans), which have both been relegated to the dead zone known as Friday nights this fall.
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“Grey’s Anatomy” creator Shonda Rhimes sees progress in her diverse cast and those of other established hits — namely Lost and Heroes. But she still cites room for improvement: ”Do I want to see any more shows where someone has a sassy black friend? No, because I’m nobody’s sassy black friend. I just want to see shows in which people get to be people and that look like the world we live in. The world is changing, and television will have to follow.” True enough: It feels downright regressive to have to point out that minorities can be stars too, at a time when Will Smith continues to dominate box offices, Oprah is the most powerful woman on television, and Barack Obama is running for the ultimate leading role (you know, of the free world).
The article ends on a note of hope:
olor-blind casting is something teen-focused networks seem to have down pat: Nary a show has passed through ABC Family or The N without an interracial coupling or a naturally integrated cast. (ABC Family’s Greek even has an interracial gay couple.) Those networks’ execs say it’s a simple matter of economics, that their Gen-Y viewers accept — nay, expect and demand — such a reflection of their multi-cultural lives. ”They’re completely color-blind,” ABC Family president Paul Lee says of younger viewers. ”We’ve done a lot of things wrong as a nation, but we’ve clearly done something right here. They embrace other cultures.”

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Television

‘Get Smart’ Then and Now

Posted on June 17, 2008 at 2:00 pm

The New York Times has a great feature on adapting the 1960’s television show “Get Smart” for the big screen, staying true to the spirit of the original and with in-jokes for the fans but updating it and making it appeal to new audiences.
This page has some scene by-scene comparisons — take a look.

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Based on a television show

Quiz Show

Posted on December 13, 2002 at 5:17 am

Plot: This true story takes place in the early days of television. One of the most popular and successful program formats was the quiz show, in which contestants competed for huge cash prizes by answering questions. Charles Van Doren (played by Ralph Fiennes) was a member of one of America’s most distinguished literary families, and he became an immensely popular contestant, on “Twenty-One.” When it turned out that the quiz shows were fixed, and that contestants were supplied with the answers by the shows’ producers, Van Doren became the symbol of betrayal.

In this film, Van Doren is contrasted with Herb Stempel (John Turturro), and Congressional staff investigator Dick Goodwin (Rob Morrow). Stempel, a Jewish man from Brooklyn with “a face for radio” is bitter over being pushed aside for the impeccably WASP-y Columbia professor. Goodwin shares the Jewish outsider’s background with Stempel and the Ivy League polish (as he frequently mentions, he was first in his class at Harvard Law School) with Van Doren. Dazzled by Van Doren, Goodwin does not want to believe that he, like Stempel, participated in the fraud. When he finds out that Van Doren did, Goodwin tries to protect him from being discovered. He wants to bring the real culprits, the network executives, to light. But when the hearings are held, the Congressmen’s cozy relationships with the network executives prevent any tough questions from being asked. The producer takes the blame.

Eight years later, the producer was back in television. Stempel became a bureaucrat. Van Doren, forced to leave Columbia, lived very privately, working for Encyclopedia Britannica. Goodwin went to work for President Kennedy and later wrote highly respected books.

Discussion: This is an outstanding drama that provides an excellent opportunity for examining the way that people make moral choices. Stempel cheats because he wants to be accepted and respected, and because he believes that is the way the world works. Nevertheless, he is outraged and bitter when he finds that he has been cheated, that the producer has no intention of living up to his promise to find him a job in television. And it is important to note that his decision to tell the truth was based on vengeance, not on taking responsibility for a moral failure.

When first presented with the option of cheating, Van Doren reflects (“I’m just wondering what Kant would make of this”), and then refuses. Indeed, he concludes this is just a test of his suitability, and one that he has passed. Once on the program, however, he is given a question he had answered correctly in the interview. He knows the answer, but he also knows that it is not a legitimate competition for him to answer it. (He does not know that Stempel has agreed to fail). At that moment, what is he thinking? What moral calculus goes through his mind? Is this the decision to cheat, or is that a separate decision, later? In the movie’s most painful scene, Van Doren must tell his father what he has done. At first, Van Doren makes some distinctions between being given the questions, so he can get the answers on his own, and being given the answers. But he knows that both are equally wrong.

Why, then, did he do it? The movie suggests that it was in part a way to establish himself as independently successful, out of the shadow of his parents and uncle. He enjoyed the fame and the money. He argues that no one is being hurt by it. Goodwin, on the other hand, sees that it is wrong, and never for a moment hesitates when the producer tries to buy him off. Yet, as Goodwin’s wife points out, he makes his own moral compromises when he tries to protect Van Doren. In part, he does it because he is after those he considers the real culprits. But in part he does it because he likes Van Doren, and because as much as he takes pride in being first in his class at Harvard, some part of him still thinks that the Van Dorens are better than he is.

Questions for Kids:

· Why did Stempel agree to cheat? Why did he tell the truth to the investigators? Why did Van Doren cheat?

· What were some of the feelings Van Doren had about his parents? How can you tell?

· In what ways was Goodwin like Stempel? In what ways was he like Van Doren? Why was Goodwin intimidated by the Van Dorens?

· Who was responsible for the “quiz show scandals?” Was the outcome fair? Who should have been punished, and how?

Connections: Goodwin’s account of the story can be found in his book, Remembering America: A Voice from the 60s. “Champagne for Caesar,” a light satiric comedy on the same subject, was produced in 1950, several years before the events portrayed in this movie. It is very funny, with outstanding performances by Ronald Coleman as the professor/contestant and Celeste Holm as the femme fatale brought in to shake his concentration. The question they find to stump him with is a lulu! Van Doren’s father is played by Paul Scofield, who appeared as Sir Thomas More in “A Man for All Seasons.” Goodwin’s wife is played by future Oscar- winner Mira Sorvino.

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Based on a true story Drama
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