Category: Pop Culture Page 20 of 74

Any trends or popular fads may be described, whether it would be something like the hula hoop or the pet rock or simply new slang.

“Spin Me Round” at SXSW 2022 Falls Flat

By Connie Wilson

On March 14, 2022

In Humor and Weird Wilson-isms, Movies, Pop Culture, Reviews

“Spin Me Round” at SXSW, 2022 on March 12/13, with Allison Brie and Aubrey Plaza.

Mark and Jay Duplass executive produced a film at SXSW that seems to be a comedy that might have been a romance, that considers becoming a thriller (briefly) and also works in a plug for female empowerment. It Is pretty meandering and difficult to categorize. The script (Allison Brie and Director Jeff Baena) needed work and focus.

I met the Duplass Brothers at the Chicago International Film Festival many years ago (2011), when “Jeff, Who Lives At Home” was hitting the festival circuit, and, since then, have enjoyed their individual appearances in “The Morning Show” as Jennifer Aniston’s director Chip Black (Mark) or in “Tully” and Jay’s breakout role as Bill Dobson in “The Chair,” the loopy widowed professor. I also enjoyed “Jeff, Who Lives At Home.” but other Duplass outings seemed low-budget (“Creep”) and poorly crafted. But this one had some truly funny people in it, so I gambled and lost.

This effort seems not to know what it is going for. The cast tells us that it is going to be a comedy. Why do I say that? We have, as its lead, Allison Brie (of “G.L.O.W.”), Fred Armisen (“Portlandia”) and Molly Shannon, “SNL” alums; Zach Woods (“Veep”) as Dana and Aubrey Plaza (“Parks & Rec”) as Kat. All-in-all, it’s a cast that should scream comedy, but the difficult-to-determine-what-it-is screenplay, co-written by Allison Brie (who also produced) and Jeff Baena, the writer/director, doesn’t seem to make up its mind what it’s going for, even by film’s end. It was a film that started out being about Italian pasta. I honestly felt as though those in charge just threw everything against the wall and hoped something would stick.

The tag line for the film is: “A woman wins an all-expenses trip to a company’s gorgeous “institute” outside of Florence and also the chance to meet the restaurant chain’s wealthy and charismatic owner. She finds a different adventure than the one she imagined.”

Shooting began in Italy in June of 2021; the Italian countryside is beautiful.

Her co-star in what seems to be trying to become a romance instead of a comedy is Alessandro Nivola, who we saw in “The Many Saints of Newark,” the “Sopranos” prequel.

As mentioned in the tag line, a young girl (Allison Brie), who works in an Italian chain restaurant, the Tuscan Grove in Bakersfield, California, fashioned on The Olive Garden or Biaggi’s, is sent off to Tuscany in what is touted as the Tuscan Grove Exemplary Managers’ Institute. There, she joins a group of other such selected employees from around the United States, some of them wacky (Molly Shannon as Deb) and some of them other pretty young girls or random weird males. The founder of the chain, a handsome wealthy fellow (Alessandro Nivola) stops by and the plot takes off, more-or-less (mostly less).

From the outset, we get the impression that Aubrey Plaza as Kat is mainly employed by the chain’s founder (Alessandro Nivola as Nick) to pimp for him, separating the more desirable female attendees from the group and herding them out to Nick’s yacht, where he comes on strong as a romantic suitor. The character of Kat also allows the film to include today’s obligatory lesbian vibe, despite the fact that it seems totally unsuitable to moving this plot forward (which seems to be a heterosexual romance, at that point).

Alessandro Nivola looked too old for Allison Brie’s character, (and somewhat out-of-shape), but rich men always get a pass, so that I could deal with. (He is 10 years older than Ms. Brie, in real life.) Things seem to be heading in the direction of a romantic comedy (some of the other attendees, like Molly Shannon, are wacky, and her outfits are over-the-top) but then the plot take a darker turn, as visions of Epstein’s island activities crowd our consciousness and a murder is even suggested.

Fred Armison, portraying a wealthy artist with a villa who hosts large orgies where wild boars (there is an actual boar handler listed in the credits) ramble through is not “funny,” and the entire enterprise teetered on the brink of “Who killed Dana?” for a moment until—wonder of wonders—-Dana (Zach Woods of “Veep”) isn’t really dead after all.

In short, the script is a mess and the message of the script seems lost in the many mis-steps of tone.

At the very end of this Cinema-by-committee offering, the wealthy suitor (Alessandro Navolo, who has completely embarrassed himself with a crying scene that is more comic than dramatic, but never convincing) shows up in person to pitch Allison Brie’s character back in Bakersfield, California, at her franchise outlet, bringing with him a baby turtle ( turtle wrangler on set). She tells Nick to get lost, which, given the events that have occurred prior to his Grand Finale appearance, seems like too little, too late. So there’s our “Be gone, toxic masculinity!” moment.

I’ve been burned by some Duplass Brothers low-budget horror flicks before, but this potential comedy had people in it who can be genuinely funny. I was suckered in by that, alone.

Don’t bother.

You won’t make much sense out of the film, either, but I’m sure that Alessandro and Allison will have better roles in better films in the future.

“DMZ” Series Has World Premiere at SXSW on March 13, 2022

By Connie Wilson

On March 14, 2022

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews

https://www.youtube.com/watch?v=aDsrZk9yxwk

The riveting drama “DMZ” was premiered at SXSW 2022 on Sunday, March 13^th, 2022, at the Paramount Theater in downtown Austin. Prior to the showing of this first of four episodes of the limited series (which will air on HBO Max beginning on March 17^th), Dawson and Bratt and others met the press on the rooftop of the Riley Building. The cast continued answering questions at a Q&A following the screening of the first of the four-part series.

Cast of “DMZ” (Warner Media) on Sunday, March 13, at the Paramount Theater in Austin at SXSW 2022.

Producer/Writer Roberto Patino (“Westworld”), taking the stage with the cast in Austin (far right), described how he had taken the Vertigo graphic novel (comic), which ran from 2005 to 2021, and selected Rosario Dawson’s character of Alma Ortega to develop more fully. Because of the pandemic, the series was pared down to only 4 episodes

Premise: A Civil War has decimated the United States. This is particularly relevant at a time when we are closer to Civil War than at any time since the 1861-1865 North/South conflagration. The story focuses on the DMZ (Demilitarized zone), a ravaged Manhattan Island with 300,000 souls trapped inside.The various parts of Manhattan have been taken over by various gangs. We are taken to the Village, the Upper East Side, Midtown, Central Park, Chinatown and all other parts of the city.

One power-broker within the warring factions is portrayed beautifully by Benjamin Bratt, as a whip-thin political gang leader radiating ruthless charisma. Onscreen, he explains, “People don’t want leaders. They want spectacle.” Imagine a good-looking, taller, younger, articulate Hispanic Putin. He’s a power-hungry leader who will stop at nothing to consolidate his reach and is running for Governor of the DMZ, telling the enthusiastic crowd that the DMZ will become its own state. Bratt is outstanding in the role, menacing and believable.

Rosario Dawson and Benjamin Bratt at the Premiere of “DMZ,” a 4-part episodic WarnerMedia presentation at the Paramount Theater in Austin on March 13, 2022, at SXSW Film Festival.

Alma (Rosario Dawson) portrays a medic, a single mother desperate to find her missing son, Christian They were separated while fleeing the city six years prior, in a scene straight out of the train stations in Ukraine occurring right now. In Episode #1, Rosario interacts with another medic, portrayed by Mamie Gummer, daughter of Meryl Streep and a look-alike for her talented mother. It’s an intense exchange as the medic trapped within the DMZ (Gummer) takes Dawson’s Alma under her wing in helping her search for her missing son. Show-runner/writer Patino paid tribute to Dawson’s work telling her, “You inhabited this woman so thoroughly and made her your own.” True that.

Everyone in Episode #1 was very credible, but another outstanding performance is turned in by Jordan Preston Carter, who portrays the young Odi Peerlis. The actor has eleven credits since 2016 and, while his exact age is not mentioned in his bio, he appears to be roughly ten years old and holds his own against a talented adult cast. He is a natural. The character of Odi conveys the trauma and pathos of children caught in the midst of war. The parallels with current real life are obvious.

One line from the film explains the film’s themes/conflict this way: “Even when we’re here, surrounded by two armies with guns firing on one another, people can’t see past killing each other to better themselves.” Later, the line is: “People won’t hesitate to kill you for whatever you’ve got.” A lot of truth in those scripted lines.

Dawson’s character represents hope and a better way of dealing with life than through never-ending violence. In her remarks to the audience, she mentioned her own hard-scrabble upbringing on New York’s lower East side and described the entire four-episode series as “real” and “poignant.” Dawson decried “patriarchal toxic masculinity”and said that she hopes her character is a catalyst to help eliminate it.

Benjamin Bratt at SXSW with “DMZ.”

Bratt, too, described a change of heart in portraying his character as he began work on the series based on a comic book. He said that, at first, he thought it would be fun to portray a kick-ass comic book character. As the series went on, he began to see Parco Delgado (his character) as “a real person suffering from habituation learned as a young man; might makes right. Clearly he is someone who recognized the opportunity to seize power.”

The Ava Duvernay directed series, judging from the showing today, is dynamite. Don’t miss it! (HBO Max on Thursday, March 17, 2022).

Deb’s Drive-In Artwork: WHO HAS AN ORIGINAL OF THIS POSTER?

By Connie Wilson

On March 11, 2022

In Local, Of Local (Quad Cities') Interest, Pop Culture

As a favor to a friend, I am posting this picture of Deb’s Drive-in (Milan, Illinois), which, as you can see, was originally painted by a [now–deceased] artist, Kenneth L. Prestley. Yes, we’ve tried using the phone number given. If you want a phone number to discuss this, try 309-737-2225.

My friend would like to purchase an original poster. If you know where she can secure the original artwork that matches this photo (which appeared in a Quad Cities cookbook many years ago) please contact me at Einnoc9876@gmail or [email protected].

Thank you very much. If you DO have a print of this in your attic or closet, do so promptly, as there is a time limit on this search. (Tempis fugit!) Just put Deb’s Drive-In in the subject line.

I now return you to our regular programming, which, for the next several days (March 11-20) will be filled with reviews of new films, new television series, and a host of other on-the-spot accounts of what is going on here in Austin, Texas during SXSW.

Deb’s Drive-In Poster Art

“Dog” Marks Channing Tatum’s Directorial Debut

By Connie Wilson

On February 21, 2022

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews

Channing Tatum stars in and co-directed the film “Dog,” out now in theaters. His co-director on the project was fellow first-time director Reid Carolin, who also co-wrote the screenplay in collaboration with Brett Rodriguez. The movie clocks in at an hour and 41 minutes and follows the adventures of a Belgian Malinois service dog named Lulu who is being transported to her handler’s funeral in Arizona by Channing Tatum.

Lulu’s previous handler in Afghanistan, Riley Rodriguez, committed suicide-by-car-accident back home in Arizona; the grieving family would like the dog transported to the cemetery, so Channing Tatum, as Jackson Briggs, is elected to drive the dog to the funeral. Briggs hopes to get a pass to deploy for battle once again, but his many tours of duty have left him with some heavy-duty head problems.

In other words, the owner of the dog obviously suffered from PTSD after serving in a combat zone and had a death wish. It would appear that Jackson Briggs (Tatum’s character) shares that death wish, as he is eager to return to a war that will probably kill him. The Ranger brass are reluctant to authorize another deployment. If Briggs will undertake this picaresque journey to Camposanto Cemetery, Briggs might get his wish, foolish though it seems.

Channing Tatum and Reid Carolin do a nice job of keeping the focus on Briggs and the dog (Lulu, as portrayed by three different dogs, named Zuza, Bula and Lana 5). Since his co-star has a non-speaking part, Channing Tatum must suck it up and handle the interaction with his non-human co-star; he has a nice and easy rapport with the animal.

While driving the Pacific highway to their destination, Briggs feels they should also try to have some fun. The clips we see where Briggs pretends he is blind to get a free suite at a posh hotel provide one such detour. Another happens when Lulu gets free and Briggs has to chase the dog through rugged mountain terrain. He stumbles upon an undercover pot operation run by someone even larger and more muscled than himself, which is something. That character (Gus) is played by the heavily tattooed Kevin Nash, and his hippie soul mate in the boonies is the recognizable character actress Jane Adams, portraying Tamara.

There is an attempt by Channing Tatum to find a willing sexual partner for the night in a bar, which fizzles. A decision is made to revisit Lulu’s litter mate brother, who is being trained to re-enter polite society by a former Ranger buddy. There is also a detour during a frightful storm, where Briggs and the dog take shelter in a barn to wait it out.

Finally, as it must, the film gets us to the church on time. Or, in this case, to the cemetery just in time.

Anyone who stays through five minutes of the movie can predict that the ex-Ranger who seemed to be nursing a death wish before meeting the dog now has a reason to live, and, if it isn’t spelled out clearly enough for you in scene after scene, we have the line, “Thanks for saving my life,” with beautiful cinematography by Newton Thomas Segel, coupled with great song selections from Season Kent (music supervisor), with old Kenny Rogers lyrics like “Know When to Hold ‘Em.” The original music by Thomas Newman is also quite good.

So, mission accomplished for both Channing Tatum, Reid Carolin and the audience.

The movie was enjoyable and heart-warming and the dog(s) do a great job of ingratiating themselves to the audience, (as cute canines will.) Since this dog is also a hero, we like Lulu very much. It was one of two new films released on February 18^th (the other was the Mark Wahlberg/Tom Holland opus “Uncharted”) and we selected it over the carefully scripted adventure yarn of buried treasure (Haven’t we had enough of buried treasure ?).

SPOILER REMARK:

One comment regarding a slight reservation about the film. We learn that Jackson Briggs has a three-year-old daughter. He visits her house and mother and is in and out of that house in under five minutes with no dialogue. He spends no time talking about his daughter, nor does he seem particularly intent on seeing her again. Yet, by the film’s end, we know that Jackson Briggs is such a caring individual that he will adopt the combat dog in order to save its life.

So, does this mean that our hero would choose mentoring and adopting a dog over taking care of his own flesh and blood? If so, it does diminish somewhat the likeability and appeal and charisma of our lead character. I’m wondering if this entire sub-plot of the almost non-existent and clearly forgotten daughter would have been better left on the cutting room floor? It did not make me like Briggs more, While applauding his dedication to the lead dog of the story (Lulu), totally ignoring his daughter for a period of years did not come off as admirable or understandable.

“Station Eleven:” Futuristic Series Set in Chicago

By Connie Wilson

On February 2, 2022

In Pop Culture, Reviews, Television

We’re watching “Station Eleven,” a 10-part mini series that Patrick Somerville adapted for the screen. Somerville was the show runner (and writer) for “The Bridge,” (2013-2014) followed by two years on “The Leftovers” (2015-2017) and “Maniac” in 2018.

When I first obtained my condo in Chicago in 2003, I took an evening class in Writing the Novel at the University of Chicago. Patrick Somerville was the instructor. He was, at that time, a noted “metrosexual” serious fiction writer.

The class had been meeting for some time, so I had to have permission to join the already-assembled group. When I entered, I was asked to tell the group something about myself. The group was largely female and consisted of very highly-educated women— doctors and lawyers who, apparently, wanted to write a novel. (I had already written a novel at that time, “Out of Time,” so I had a bit of an idea what I was in for.)

Looking around at the assembled group, I decided to hit them with my best shot. I told them that I was “an active, voting member of the HWA,” which stands for the Horror Writers’ Association. I figured that would get their attention, although not necessarily in a good way. It was true at that time, although I have moved on to ITW (International Thriller Writers) since then.

Patrick Somerville was very interested in hearing about HWA. I think that, even then, he was planning his escape to L.A. to write for Hollywood. He was never very chummy with me. He would hang out with the women who were always smoking and, sometimes, someone would bring a bottle of wine to class. I still remember there was a woman doctor in the class who was writing a novel set in a nudist colony in pre World War I. Odd. We would have to read parts of our writing to the class and there did not seem to be any “real” writers in the class—unless you count me, and I’ll leave that up to you. We read and discussed “The Plague” by Albert Camus and it was a totally worthless exercise in learning (or teaching) someone how to write a novel.

Now, Patrick Somerville is involved in a partnership with David Eisenberg called Tractor Beam productions for film and TV production.

Right now I’m watching actors act out a scene in a high rise that could well be the Hancock Building in Chicago. “We gotta make moves. Never, ever, ever can we fake moves.” Rapping. This sudden deterioration into rap music is but one of many signs that this series has jumped the shark for me. I think the vast array of writers responsible may be part of the issue, but the biggest crime is the jumping around in time that leaves you wondering if the dead character is supposed to be a “flashback” or “imaginary” (see the new “Dexter”) or what, exactly, is going on. (Where is Ridley Scott’s linear approach when you need him?)

It was going along swimmingly with this log line:“A post apocalyptic saga spanning multiple timelines, telling the stories of survivors of a devastating flu as they attempt to rebuild and reimagine the world anew, while holding onto the best of what’s been lost.”

Well, class, I think we can all relate to that theme, at this point, 3 years into Covid-19.

The early episodes of the series, sketching the arriving pandemic were good. “What would you have done, if you knew the flu was coming?” asks the small girl. The character says he would have come home earlier and spent time with his mother, who died from the flu. “I would have made the choice I wanted to make—you know?”

The little girl who asked the question said she would have said good bye to Arthur Leander, (portrayed by Gael Garcia Bernal, who appears in only 4 episodes) and notes, “I didn’t get to say good-bye to anyone.”

I had a passing ships-that-pass-in-the-night relationship with Gael Garcia Bernal, who showed up at the premiere of a film he had directed and starred in. I had never seen such a huge crowd for any celebrity in Chicago before or since! The largely Spanish-speaking audience packed the theater to the point that they were seated on the steps leading down to the stage. I finally got up and left so that the audience would have an extra “real” seat.

Himish Patel, who was so good in “Yesterday,” plays Jeevan Chaudry in “Station Eleven.” He and his brother Nabhaan Rizwan as Frank Chaudry, and a young woman (Mackenzie Davis as Kirsten Raymonde) and a small girl (Matilda Lawler as Young Kirsten) are fighting for the apartment in what may be the Hancock Building. The group was re-enacting a play written by Young Kirsten, before going out to see if there is anything left of Chicago. They are either going to starve to death in 90 days or freeze to death in what looks like a very cold Chicago winter.

I wonder if the Chicago location was chosen by Patrick Somerville because of his past association with the Windy City? I’m even more surprised to read in the credits that principal shooting was in New York City, but there definitely are some real Chicago exteriors, as well.

Like most of the things I’ve mentioned, there was a lot of jumping around in time, which made it very difficult to figure out what was going on. Still, the use of the Cubs stocking hat and the exterior Chicago locations is welcome to a Chicago quasi-native.

Frank has just been dispatched in the plot by an intruder. But young Kirsten is being told to go forth with Jeevan and that look like what is going to happen. They are leaving the high rise for the first time in a long time.The music is ponderous and moody, but the exterior shots of Chicago, with “The Present” typed on the screen, are what remains in my mind. The female lead has apparently stayed behind (Kim Steele wrote this episode based, as all episodes are, on the book by Emily St. John Mandeville).

The biggest thing about the future after the Apocalypse is preserving respect for the Bard, apparently. Odd that Shakespeare is so cherished when it is possible to graduate from a Big Ten university these days with an English degree, but without having taken a single Shakespeare class, I’m told.

“I stood looking over the damage, trying to remember the sweetness of life on Earth, but I couldn’t remember.” (oft repeated in several episodes)

“We don’t even know if it’s like it was before.”

“There is no before. Or after. The past is safe; everything else changes.”

And from that post-Apocalyptic scene, the dead character Arthur Leander (as King Lear) enters the dressing room to be with Clark (David Wilmot). This makes it really difficult to know where we are in time, since Arthur has been dead.

“You say I only hear what I want to” by Alanis Morrissette is playing in the background. This is part of a traveling troupe of actors who keep culture alive by traveling the countryside performing Shakespeare (and other plays).

Sarah, as portrayed by a truly ravaged-looking Lori Petty, is a composer.

Elizabeth Colton, as portrayed by Caitlin Fitzgerald, is one of the better-known actresses in the series, as she played Libby Masters in “Masters of Sex” (2013-2016).

“Ghostbusters: Afterlife:” First 3/4 = Enjoyable; Ending? Flawed

By Connie Wilson

On January 26, 2022

In Movies, Pop Culture, Reviews

We were looking for a movie we had not seen to take in at our local Cineplex. We discovered that most of the offerings that were good had come and gone right at Christmas time, but “Ghostbusters: Afterlife” was still playing, so we took it in.

The first thing I’d like to say about this Jason Reitman-directed film is that the appearances of the “old” Ghostbusters gang (Bill Murray, Dan Akroyd, Ernie Hudson), as seen on various late-night television shows, is quite misleading. The trio appears for less than 20 minutes onscreen and they do literally nothing. It was a nice tribute to have the holographic participation of the fouth “Ghostbuster,” Harold Ramis, but he did not speak.

The movie began at 4:10 p.m. Up until 5:45 p.m.—things were going quite well. Carrie Coons as the mother was good and People’s “sexiest man alive, “Paul Rudd was the love interest. It was far better than I had anticipated for the first (roughly) 100 minutes of the 120 minute film.

The young talent were quite good, especially Finn Wolfhard (“Stranger Things”) and McKenna Grace as Phoebe, a bespectacled science nerd. They were very effective in their lead roles. Able support was provided by Asian youth Logan Kim as Podcast and Celeste O’Connor as Lucky.

McKenna Grace was born in 2006, which means that, IRL, she was 15 when the film was shot, but was playing a 12-year-old. She has previously appeared in “The Handmaid’s Tale.”

The film had real promise until 20 minutes from the end, when it totally jumped the shark. CGI special effects took over any semblance of a plot at that point.

I cannot recommend the ultimate denouement, but I think that my 13-year-old granddaughters will like the movie.

Katie Couric’s “Going There” Autobiography Entertains

By Connie Wilson

On January 16, 2022

In Books, Politics, Pop Culture, Reviews, Television

Katie Couric autobiography.

I just finished reading Katie Couric’s autobiography, “Going There.”

I had read that she “burned a lot of bridges” but now, at 64, maybe that doesn’t matter to her.

The NBC “Today” show years with co-anchor Matt Lauer come off as her “best” times, and the move to CBS to become the first solo female anchor of an evening newscast seems to have been a mistake. She was not welcomed with open arms and the deal for her to do pieces on “Sixty Minutes” was especially problematic. Oprah Winfrey came and went in a nano-second on “Sixty Minutes.” You can sort of figure out why when you hear about the lack of a warm, collegial feeling amongst the staff. A direct quote from Lesley Stahl to the Hollywood Reporter is, “I just wanted to be a survivor.”

Couric’s stint as the global news anchor of Yahoo News sounds the least productive, among those jobs where she was employed by a large organization. When Yahoo hired Katie for a pretty penny, they fired the staff of veteran journalists around the country, of which I was one. We didn’t make a lot of money reporting on the news in our local areas, but many of the journalists nationwide, like me, were as well-qualified as Ms. Couric to report on our particular neck of the woods. Our money went to Katie, so we were all summarily fired, without even enough time to get our stories down from the Associated Content website. I must admit that this impacted my opinion of Katie Couric, at the time.

I’ve mellowed some since that abrupt uprooting, and it did lead to two books on the 2008 Obama campaign (“Obama’s Odyssey: The 2008 Race for the White House”), which, otherwise, would have remained blog ramblings from the field that took place over 24 months of time. After I learned, unexpectedly and with no warning, that none of our writing would be preserved, I hired two teachers who were off for the summer and we split up the areas by topic.

Katie Couric’s current “job,” supported/organized by her second husband John Molner, is something known as Katie Couric Media. She admits, in the book’s closing chapter that, “It’s an adjustment when the white-hot spotlight moves on.” That seems to be true. She founded KCM in 2017, after a short-lived stint with Yahoo, usurping local reporters.

She also wrote this autobiography. Katie’s second husband, John Molner, told her, “If you’re not going to be honest, don’t write a book.”

That certainly seems like sound advice. Katie seems to have been honest even past the point of no return. She shares that she had breast reduction surgery, and she endured a colonoscopy on live TV, following the death of her husband Jay Monahan from colon cancer at the age of 43. She was certainly giving viewers an in-depth look into Katie Couric.

Katie is also very up front about her dating life before and after Jay. We learn how Larry King hit on her when she was an unknown. (He accepted her rejection of him in a gentlemanly fashion.) She talks about her cougar romance with a young swain, Brooks Perlin. One admirer who got away (and broke up with her) was Tom Werner, one-half of the powerhouse producing team Carsey-Werner, responsible for such hits as “The Cosby Show” and “Roseanne.” Werner comes off as a moneyed narcissist with all the sensitivity of Donald Trump.

Speaking of which DJT does make an appearance in the book, in ways both positive and negative. She is able to secure permission for filming in Central Park from Trump, but they have a falling out and he bad-mouths her to the press as a “third-rate journalist.” Even though she had attended the Donald’s marriage to Melania, when their paths cross in a restaurant, he pointedly ignores her.

She mentions an attempt to fix her up with Michael Jackson, an ill-fated attempt that goes nowhere. Her 50^th birthday bash is described in some detail, as is the going away party when Katie leaves NBC. We should all be so lucky as to have Tony Bennett serenading us on our birthday(s).

The plot of Jennifer Anniston’s “The Morning Show” is pretty much limned in Katie’s many remarks about her on-air partnership with Matt Lauer. You definitely get the feeling that she liked the Matt she knew and—-just like Jennifer Anniston’s character on the television show—-she says she never saw the seamy side of Matt Lauer. After his fall from grace, sadly, they basically never speak again in any meaningful fashion.

The name-dropping of journalistic names is non-stop—Charlie Rose, Sarah Palin, Tom Brokaw, Bob Schieffer, Scott Pelley— but the down-to-earth tributes to her mom and dad and two sisters are just as omnipresent. We learn of her brave struggle alongside husband Jay Monahan, who died at only 43, leaving Couric as the single mother of two little girls. Later, as she explores her husband’s Southern roots and his love of Civil War re-enactments, Couric gets in a plug for racial equality as revealed by her now-grown daughters’ insights. (They are horrified by what their father’s obsession with the Old South represented.)

It’s a snapshot of the historic times that Couric covered as a reporter and, while her profile as a broadcaster doesn’t seem to be extending as far into the senior years with as much pizzazz as Barbara Walters’ career did, she still has had one hell of a ride.

“Being the Ricardos” on Amazon Explores Lucille Ball’s Storied Career

By Connie Wilson

On January 14, 2022

In Movies, Pop Culture, Reviews, Uncategorized

“Being the Ricardos” was scripted and directed by wunderkind Aaron Sorkin. It won screenplay awards and acting kudos from SAG for its leads: Nicole Kidman as Lucille Ball and Javier Bardem as Desi Arnaz. Beyond those top-notch talents, you have J.K. Simmons as William Frawley, Tony Hale as Jess Oppenheimer, and Nina Arianda as Vivian Vance. The Screen Actor Guild awards are considered a good indicator of Oscar nominations and have achieved even more prominence since the demise of the Golden Globes.

Lucie Arnaz and Desi Arnaz, Jr., are listed as Executive Producers and Lucie Arnaz’s reaction to the film was as follows:

Lucie Arnaz released a video on her YouTube Channel on 17 October 2021, in which she called the movie “freaking amazing.” She complimented Aaron Sorkin for making a great movie that really captured the time period and had wonderful casting. She also said that Nicole Kidman “became my mother’s soul.” Little Lucie said that Javier Bardem didn’t look like her dad but, “he has everything that dad had. He has Dad’s wit, his charm, his dimples, his musicality.”

Besides A Few Good Men (1992), Sorkin wrote The American President (1995) and Malice (1993), as well as cooperating on Enemy of the State (1998), The Rock (1996) and Excess Baggage (1997). He was invited by Steven Spielberg to “polish” the script of Schindler’s List (1993). Sorkin’s TV credits include the Golden Globe-nominated The West Wing (1999) and Sports Night (1998).As of 2021, has written three films that were nominated for the Best Picture Oscar: A Few Good Men (1992), The Social Network (2010), Moneyball (2011), and The Trial of the Chicago 7 (2020). His screenplays are often noted for the long speeches the actors must master, and he has done uncredited rewrites on some other major Hollywood pictures.

Despite his list of acclaimed scripts, Sorkin has only directed three films: 2017’s “Molly’s Game;” 2020’s “The Trial of the Chicago Seven;” and 2021’s “Being the Ricardos.” It looks like he is finally coming into his own with this behind-the-scenes look at the tumultuous marriage/love story/career of Lucille Ball. I had read much of the source material, which explored her desire for a home and family, which was in conflict with the womanizing reputation of Desi Arnaz, whom she met when he was only 22. A Cuban singer and bandleader, the chemistry between them was undeniable but Desi’s free-spirited high-rolling life proved to be too much for the woman who was the first actress to portray a pregnant woman on television, as she gave birth to Desi while also filming the popular television series “I Love Lucy,” watched by as many as 60 million viewers weekly.

It is while they are dating that Desi—whose father was once Mayor of Cuba’s second-largest city—tells her that she “has a way with kinetic comedy,” meaning that Lucy—like Chevy Chase later on “Saturday Night Live”—had a genius for pratfalls and physical comedy. The script explores Lucille Ball’s journey through the studio system, ultimately being cut by studios even though she had just had a successful appearance opposite Henry Fonda in 1942’s “The Big Street.” Lucy’s path through radio (“My Favorite Husband” radio show in 1948), which was ultimately turned into the TV show “I Love Lucy” in 1953, showcases the redhead (who was not a redhead for her entire career) as a smart, savvy woman who understood physical comedy and went to the wall to insist that her on-air television husband would be played by her real-life husband, Desi Arnaz.

Desi, at the time, was leading a band that played at Ciro’s night club and singing such songs as “Babaloo” and “Cuban Pete.” His free-wheeling lifestyle was out-of-synch with what Lucy wanted for her children. At the end of her life, Lucille Ball was married to Gary Morton. Her tumultuous marriage to Desi lasted for 20 years (with a nearly-filed divorce affidavit only 2 years in), while her marriage to Morton lasted for 28 years, until her death in 1989 at the age of 77 from a ruptured aneurysm. On March 3, 1960, a day after Desi’s 43rd birthday (and one day after the filming the final episode of The Lucy-Desi Comedy Hour), Ball filed papers in Santa Monica Superior Court, claiming married life with Desi was “a nightmare” and nothing at all as it appeared on I Love Lucy. On May 4, 1960, the couple divorced; however, until his death in 1986, Arnaz and Ball remained friends and often spoke very fondly of each other.

Much of the drama of this version of Lucille Ball’s life hinges on how Arnaz skillfully defused accusations against Ball that she was a Communist. One interesting bit of trivia: Ball was being considered for the lead female role as the mother in “The Manchurian Candidate,” but director John Frankenheimer insisted on Angela Lansbury for the pivotal role of Laurence Harvey’s scheming power-mad mother.

The film treatment by Sorkin, with music by Daniel Pemberton and music supervisor Mary Ramos features Javier Bardem doing his own singing and conga drum playing as Arnaz. The film is playing on Amazon Prime.

“Take Shelter:” Jeff Nichols-written-and-directed 2011 Drama (Another Jessica Chastain Film)

By Connie Wilson

On January 12, 2022

In Movies, Pop Culture, Reviews

Jessica Chastain, with co-star (“Nick) on latest film “355.”

Last night, browsing through late-night offerings on television, Michael Shannon’s performance as a mentally-ill husband in “Take Shelter” (2011) caught my eye. If you’re a Michael Shannon fan, as I am, you’ll want to see it.

We turned over to watch it, and I was reminded that Shannon’s co-star in this intense psychological study was (drum roll, please): Jessica Chastain. It seemed only fitting that I re-watch this film, which I thoroughly enjoyed when it was new eleven years ago (when Jessica was 33).

In fact, when I had the opportunity to speak with Michael Shannon in Chicago at the premiere of Guillermo del Toro’s “The Shape of Water,” I asked Michael Shannon what his favorite film role had been. Rather than dodging the question (a question which is a little like asking, “Which of your children is your favorite?”) he immediately said “Take Shelter.”

In the film, Shannon’s character had a mother who was diagnosed as a paranoid schizophrenic at about the same age that he is, in the film. His character is obsessed with the thought that a tornado is going to devastate the town, his house, and his family, and he is taking steps to put in a below-ground storm shelter. There is a climactic scene at a school cafeteria when Shannon mesmerizes as he erupts with emotion, warning the townsfolk that they are totally unprepared for what he sees as a coming apocalypse.

Of course, by then, he has been fired from his job for having taken equipment from the construction sites he worked on to build his underground tornado shelter. His wife’s patience, what with coping with her husband’s obsession and with their young deaf daughter, seems about to collapse.

The film has a somewhat ambiguous ending, but Shannon’s performance was dynamite, and it is safe to say that Jessica Chastain’s performance as his long-suffering but devoted wife helped. (I met Chastain at the premiere of Liv Ullman’s directorial debut of the film “Miss Julie.” Her co-star in that film was Colin Farrell.)

Jessica Chastain is now 44 years old. She seems to be moving towards directing, as articles suggest that it was her idea to put together the concept for her latest film “355.” Unfortunately, the female buddy genre, which seemed fresh, creative and new when suggested in 2018, had been co-opted by 2022. “355” is currently playing theaters, only.

Jessica Chastain Having Banner Year in Two New Movies

By Connie Wilson

On January 12, 2022

In Local, Movies, Pop Culture, Reviews

We journeyed out to the theater to see Jessica Chastain’s newest movie, “355,”directed by Simon Kinberg.

The log-line says: “When a top-secret weapon falls into mercenary hands, a wild card CIA agent joins forces with three international agents on a lethal mission to retrieve it, while staying a step ahead of a mysterious woman who’s tracking their every move.”

The star power for the film, aside from Chastain who plays Mace, is provided by stars Penelope Cruz (Graciela Rivera), Diane Kruger (Marie Schmidt), Lupita N’yongo (Khadijah Adiyemi) and Chinese star Bingbing Fan (Lin Mi Cheng). The male lead of Nick Fowler is portrayed by Sebastian Stan and Edgar Ramirez has a small role as Luis Rojas.

The settings for the outing are glamorous. The film opens at a location described as 150 miles south of Bogota, Columbia. Before the tale about the totally untraceable master key cyber disrupter, which will allow the nation that possesses it to wreak havoc, winds down, we will have visited Berlin, Langley (Va) CIA headquarters, London, Marrakesh (Morocco), Shanghai, and many other exotic ports of call.

There is lots of fighting, with slight girls always besting the guys every time. What is the significance of the title?

“So the woman I played in Zero Dark Thirty talked to me a lot about espionage and I think when I was preparing for that she started talking about 355 and I asked her what it meant. And 355 was the secret code name for the first female spy during the American Revolution. And her name still remains a mystery to this day,”Jessica said at the virtual New York Comic-Con in 2020.

Lines like “When you live a life of lies, it’s hard to know what is true and what isn’t” made me think of Donald J. Trump, but it didn’t make me marvel at the screenplay, (courtesy of Theresa Rebeck).

https://www.youtube.com/watch?v=eMMLRnXPPJk

I can’t recommend “355,” but “The Eyes of Tammy Faye,” available on HBO Max, is pretty good.

Portraying Tammy Faye Bakker has garnered some talk of an Oscar nomination for Jessica, who plays airhead Tammy Fay Bakker, the partner of Jim Bakker in the PTL Club they founded in 1974. Tammy Faye is portrayed quite sympathetically in this film. The film is based on a documentary of the same name that was narrated by Ru Paul, a consequence of the gay community’s embrace of Tammy Faye, just as she had embraced the homosexual community during the AIDS crises of the 70s and 80s. Everything came crashing down in 1989.

In reading about the film, I learned that the scene involving Tammy Faye and a Nashville music producer, who was supposedly interested in her when she was 9 months pregnant, was not accurate. In fact, the producer in question was quite incensed at the suggestion. He did not give Tammy Faye a ride to the hospital to deliver baby number two, as the film depicts.

The way in which the couple met Jerry Falwell (portrayed by Vincent D’Onofrio) was also incorrect. It is portrayed as a chance meeting occurring when the couple’s car is stolen outside a motel, but the truth is that the couple had actually crashed their car and trailer earlier.

I looked up some information on Jim Bakker’s sins and misdeeds. He got 45 years, originally, but it was reduced to 8 on appeal and he even has been appearing on the television air waves again, hawking a silver substance that supposedly “cures” many diseases and various Covid cures, until he was told to knock it off by the authorities, One of the things that Bakker and his second wife were also selling on TV recently was survivalist food that would save the day in the event of the end of the world. During his days with Tammy Faye Jim kept a second set of ‘fake” books and also used church funds to underwrite a face lift for himself. The pay-off to Jessica Hahn for sexual services rendered, which Roe Messner mis-represented as charges for the building of Heritage USA, an evangelical theme park.

Tammy Faye, after her divorce from Jim Bakker in 1992, married Roe Messner, the character shown in the film as the developer of Heritage USA. A theme park that Jim Bakker was proposing. Tammy Faye made several appearances on Larry King’s TV show during her 11-year battle with colon cancer, which ultimately took her life at the age of 65 on July 20, 2007.