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[VIDEO] Universal Studios Releases First Trailer for Aaron Sorkin’s Steve Jobs Biopic

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Universal Studios has just released the first trailer for the upcoming Steve Jobs biopic. The trailer gives us our first on-screen look at star Michael Fassbender as the Apple co-founder, along with Seth Rogen as Steve Wozniak, Kate Winslet as Mac engineer Joanna Hoffman, and Jeff Daniels as John Sculley….(read more)

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Sorkin Movie Quotes Steve Jobs: ‘If a fire causes a stampede to the unmarked exits, it will have been worth it to those who survive’

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Mike Beasley reports on Aaron Sorkin’s upcoming Steve Jobs biopic:

While we haven’t gotten many details about the Aaron Sorkin-penned screenplay based on Walter Isaacson’s Steve Jobs biography, we have previously learned that it will focus on three separate days in the life of the Apple co-founder, with each 30-minute act taking place just before a major product announcement. We also know that Michael Fassbender will star alongside Seth RogenMichael Stuhlbarg, Kate Winslet, Perla Haney-Jardine, and Jeff Daniels.

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Today we got our hands on a copy of the screenplay (or at least a February 2014 draft of it) which reveals what many already may have already suspected based on previous reports: the three products Jobs will unveil during the biopic are the original Macintosh, the NeXT Cube, and the iMac.

[The movie hits theaters on October 9th]

The film opens with the launch of the Macintosh and a key scene in which Andy Hertzfeld and Joanna Hoffman attempt to convince Steve Jobs to cut the iconic “Hello, I am Macintosh” moment from the computer’s demo due to a voice synthesizer problem. “The first rule of a launch is nothing can crash,” Hoffman says.

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That’s followed up by a humorous moment in which Jobs tries to convince his team to turn off the exit signs above the doors to totally darken the room during the event. He even offers to pay whatever fines the fire marshal imposes. “If a fire causes a stampede to the unmarked exits, it will have been worth it to those who survive,” Jobs quips. Read the rest of this entry »


‘Mad Men’: The Uncensored, Epic, Never-Told Story Behind AMC’s Critical Darling

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In 2001, Matthew Weiner writes his first Mad Men script, which goes nowhere until 2005, when AMC decides to shop for its first original scripted series.

Matthew Weiner (creator) I finished the script and sent it to my agents. They didn’t read it for three or four months. (They’re not my agents anymore.) I was advised not to send it anywhere because that was at a time when there were big overall deals for comedy writers. People would pay for the anticipation of what your project would be, and actually having one was going to hurt you. I kept trying to get into HBO, but I never got a meeting. And I met with FX, which Kevin Reilly was running at that time. He talked to me about making it into a half‑hour. Then people started talking to me about a feature. It was my manager’s assistant who gave AMC the script. That’s who they were pawned off on.

Rob Sorcher (former executive vp programming and production, AMC) I’d relocated to the East Coast, and I’m working at this network, AMC, that has a collection of shit-ass movies. It’s like the lesser TCM, and I’m supposed to turn it into something. [What the network needed was] a show for cable operator retention. You want something that can’t be replicated elsewhere — like a Sopranos — because if you have a signature show, then you won’t be dropped [by cable operators]. So your strategy becomes: Let’s go for quality. But we have no money. So I hire Christina Wayne, who’s never done a thing in her life in terms of an executive.

Christina Wayne (former senior vp scripted programming, AMC) Years earlier, I’d wanted to option Revolutionary Road [Richard Yates‘ novel about suburbia in the 1960s]. But I was a nobody screenwriter, and [Yates’ estate] held out for bigger fish, which they got with Sam Mendes. So when I read [the Mad Men script], it resonated with me. This was a way to do Revolutionary Road, week in, week out. When we had lunch with Matt for the first time, I gave him the book. He called me after and said, “Thank God I’d never read this because I never would have written Mad Men.”

Weiner [My agents] were like, “You’re going to be coming off The Sopranos. I know you love this project, but don’t go [to AMC]. It’s really low status, no money, and even if they do it, they’ve never made a show before, and you don’t want to be their first one.”

Sorcher Every possible reason on paper why this should not work was cited: It’s super slow, it’s [about] advertising, everybody smokes, everybody’s unlikable and it’s period. We couldn’t sell it.

Jeremy Elice (former vp original programming, AMC) We sent it out looking for potential partners and got some nice responses, but generally speaking it was, “Yeah, not for us,” and “Who the f— is AMC?”

Wayne So we self-financed the whole thing ourselves. The pilot cost $3.3 million, and we did it in New York in the downtime when Sopranos was [on hiatus]. We used all of their crew.

JANUARY JONES AS … PEGGY?
Casting for the pilot begins in 2006. Weiner and AMC agree on hiring unknown actors.

Weiner There were famous people who came in to read. The guys from That ’70s Show came in — not Ashton, but the other guys. I’m still impressed by Danny Masterson. But at a certain point, it was working against them. My theory was that The Sopranos casting was great because you didn’t know who any of those people were.

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Jon Hamm (Don Draper) Some people went in once and got cast; there was a little more reticence with me. I was on the bottom of everyone’s list. The one person who was an early champion of mine was Matthew.

Weiner Back in [2006], there were no handsome leading men. It was not the style. Not that Jim Gandolfini‘s not handsome, but he’s not Jon Hamm. There are moments in time when it’s Dustin Hoffman and moments in time when it’s Robert Redford. It was a Dustin Hoffman era. People like me or Seth Rogen got the girl, and people likeBradley Cooper were standing on the side of the street being like, “Come on!”

Wayne Matt sent us two actors: Jon Hamm and Mariska Hargitay‘s husband,Peter Hermann. The quality of the that we were using sucked, and you couldn’t see how good-looking Jon Hamm was. We were like, “Really, this is who you think?” And Matt said, “Absolutely.” He’d been in the room, and he felt something with Jon. We had him come in again. We had to be sold, so we flew Jon to New York and took him for a drink at the Gansevoort hotel. He was nervous, but I knew that he had star potential. I whispered in his ear before he left, “You got the job.”

Elisabeth Moss (Peggy Olson) I was the first person to audition for Peggy. Matt showed us all our audition tapes at a gathering, and it’s hilarious because I don’t look anything like Peggy [in the tape]. I’m 23, blond, tan. I look like I just walked off of the beach.

John Slattery (Roger Sterling) I went in to read for Don; they wanted me to play Roger. Matt Weiner claims I was in a bad mood the whole [pilot]. I had a couple of scenes, but I wasn’t as emotionally invested as some of the people because there wasn’t that much of Roger in evidence yet. Being a selfish actor, I didn’t necessarily see the full potential in the beginning.

Christina Hendricks (Joan Holloway) I was up for another pilot, and I chose Mad Men. The [agency I was with] was like, “It’s on AMC, it’s a period piece, it’s never going to go. Are you crazy? You’re not going to make money for us …” I thought it was a little impatient of them. So I moved on.

January Jones (Betty Draper) I came in for Peggy twice. Matt said, “Well, there’s another role, but I don’t really know what’s going to happen with her.” He didn’t have any scenes for me, so he quickly wrote a couple.

Weiner It had been years since I wrote anything in the pilot. And all of sudden, I need a scene by tomorrow for a character who only has three lines.

Vincent Kartheiser (Pete Campbell) I only auditioned for Pete. My agents aren’t delusional enough to think that I’m a Don Draper.

Alison Brie (Trudy Campbell) I looked up a picture of Vincent Kartheiser and was like, “Oh my God. We kind of look like brother and sister. I could totally be his 1960s wife.” Couples kind of looked alike then.

Weiner Alison Brie was a big lesson because we couldn’t afford to make her a series regular. And we gambled [Community] wouldn’t happen. We were wrong.

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HOW DICK BECAME DON
Weiner shoots the pilot on location in New York in 2006, but AMC struggles initially to line up financing.

Sorcher Matt had an extremely clear vision for the show. We had only one or two notes that were key.

Wayne We said to Matt, “OK, this is a great show about advertising, but what are people going to talk about week in, week out? What’s the bigger story for Don?” He went off, and a few months later he came back and pitched the entire Dick Whitman/Don Draper story. We were mesmerized. Read the rest of this entry »


The Truth About American Sniper

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‘I lost track of how many soldiers and Marines told me of their frustration with an American media that so often describes them as either nuts or victims’

Michael J. Totten writes: Clint Eastwood’s new film, American Sniper, is a blisteringly accurate portrayal of the American war in Iraq. Unlike most films in the genre, it sidesteps the politics and focuses on an individual: the late, small-town Texan, Chris Kyle, who joined thekyle-tall Navy SEALs after 9/11 and did four tours of duty in Fallujah, Ramadi, and Baghdad. He is formally recognized as the deadliest sniper in American history, and the film, based on his bestselling memoir, dramatizes the war he felt duty-bound to fight and his emotionally wrenching return home, with post-traumatic stress.

“All psychologically normal people feel at least some hatred for the enemy in a war zone. It’s not humanly possible to like or feel neutral toward people who are trying to kill you. Race hasn’t the faintest thing to do with it.”

The movie has become a flashpoint for liberal critics. Documentary filmmaker Michael Moore dismissed the film out-of-hand because snipers, he says, are “cowards.” “American Sniper kind of reminds me of the movie that’s showing in the third act of Inglorious Basterds,” comic actor Seth Rogen tweeted, referring to a fake Hitler propaganda film about a Nazi sniper, though he backtracked and said he actually liked the film, that it only reminded him of Nazi propaganda. Writing for the Guardian, Lindy West is fair to Eastwood and the film but cruel to its subject. Kyle, she says, was “a hate-filled killer” and “a racist who took pleasure in dehumanizing and killing brown people.”51yLU7NDvOL._SL250_

[Order Michael J. Totten’s book “Tower of the Sun: Stories from the Middle East and North Africa from Amazon]

The Navy confirms that Kyle shot and killed 160 combatants, most of whom indeed had brown skin. While he was alive, he said that he enjoyed his job. In one scene in the movie, Kyle, played by a bulked-up Bradley Cooper, refers to “savages,” and it’s not clear if he means Iraqis in general or just the enemies he’s fighting.

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“What would you think of a man who kills a kid with a power drill right in front of you? Would you moderate your language so that no one at a Manhattan dinner party would gasp? Maybe you would, but Kyle wasn’t at a Manhattan dinner party.”

But let’s take a step back and leave the politics aside. All psychologically normal people feel at least some hatred for the enemy in a war zone. This is true whether they’re on the “right” side or the “wrong” side. It’s not humanly possible to like or feel neutral toward people who are trying to kill you. Race hasn’t the faintest thing to do with it.

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“Here’s a medical fact: psychopaths don’t suffer from post-traumatic stress or any other kind of anxiety disorder. And cowards don’t volunteer for four tours of duty in war-torn Iraq.”

Does anyone seriously believe Kyle would have felt differently if white Russians or Serbs, rather than “brown” Arabs, were shooting at him? How many residents of New York’s Upper West Side had a sympathetic or nuanced view of al-Qaida on September 11, 2001? Some did—inappropriately, in my view—but how many would have been able to keep it up if bombs exploded in New York City every day, year after year?

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Kyle had other reasons to hate his enemies, aside from their desire to kill him. In American Sniper, we see him in Fallujah and Ramadi fighting Abu Musab al-Zarqawi’s Al Qaeda in Iraq, the bloody precursor to ISIS. Read the rest of this entry »


Matthew Braun: ‘Unlike the War Films of Generations Past, ‘American Sniper’ Actually Has to Explain Onscreen That al Qaeda Insurgents Were (and Still Are) Bad’

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What ‘American Sniper’ Tells You About Its Critics

A veteran reviews ‘American Sniper

 writes:  I am not at all surprised that Michael Moore and Seth Rogen don’t like American Sniper . For them, the idea of military sacrifice is absurd. We get an idea of how badly they understand the motivation of the modern American fighting man and woman when they can’t tell the difference between someone like me, with 15 years of experience in law enforcement, military intelligence, and counterterrorism, and a Nazi. No. Seriously.

That movie is “Nation’s Pride,” the faux Nazi propaganda film-within-a-film directed by Eli Roth that plays during the film’s climactic theater scene. Moore, for his part, offered these thoughts:

“The American Left has never been able to find the line between patriotism and jingoism.”

He later said, implausibly, he just happened to tweet this while “American Sniper ” was pulling in a massive $105 million opening weekend box-office haul and wasn’t talking at all about “American Sniper .”

An Oscar statuette earned by Frank Capra's 1942 documentary "Prelude to War," the first film in the United States Army Special Services' seven-picture "Why We Fight" series, has been removed from the auction block and was returned to the care of the U.S. Army.  Pictured: Frank Capra and John Ford during World War  Two

An Oscar statuette earned by Frank Capra’s 1942 documentary “Prelude to War,” the first film in the United States Army Special Services’ seven-picture “Why We Fight” series, has been removed from the auction block and was returned to the care of the U.S. Army.  Pictured: Frank Capra and John Ford

“Where John Ford and Frank Capra once did propaganda films during World War II, Hollywood today is irredeemably corrupted by a worldview that blames America for all the ills of the world.”

Moore’s experience with martial matters is exactly zero, and his understanding of snipers is based on a tragic anecdote from World War II. Moore never allows for the possibility that Nazi snipers might have been cowards, and that American snipers might be saving lives.

Newsflash: Like the Nazis, Al Qaeda Is Bad

War movies have changed a lot since the 1940s. War movies in the 1940s didn’t have to explain that the Nazis were bad. We take Nazis as evil for granted now; with 65 years of hindsight there are far more people around now who were never alive for Hitler’s Reich, but all of us understand that Nazis are bad.

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“The American Left can’t imagine a person who actually fights to protect other Americans, who actually believes America is the greatest country on Earth, and who does it all with a Bible in his pocket. That’s a farce to them.”

Film has been, perhaps, the best teacher of this simple truth. Nazis were just Nazis in movies, even when their evil was supernatural or no longer based in reality.

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“…It’s too far off from the people they have known and deal with every day to be real, so they think it’s propaganda for the Right, for America, for war.”

Unlike the war films of generations past, ‘American Sniper’ actually has to explain onscreen that al Qaeda insurgents were (and still are) bad.

The Left continues to think of the American military and foreign illegal fighters as basically being two sides of the same coin. Worse, they can’t seem to tell the difference between American service members and al Qaeda. Unlike the war films of generations past, “American Sniper” actually has to explain onscreen that al Qaeda insurgents were (and still are) bad. In explaining, and in depicting, Kyle’s firm and unflinching lack of remorse or understanding for the plight of the torturing, ambushing, child-murdering insurgent, we see a fun word on Twitter: Jingoistic.

The American Left has never been able to find the line between patriotism and jingoism. Read the rest of this entry »


Rorke Denver: ‘Liberals’ Criticism of My SEAL Teammate Chris Kyle Has Had the Ironic Effect of Honoring Him’

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The United States of ‘American Sniper

Rorke Denver writes: ‘American Sniper,” the new movie about Navy SEAL Chris Kyle, has opened to staggering box-office success and garnered multiple Academy Award nominations. But not all the attention has been positive. The most vocal criticism came in the form of disparaging quotes and tweets from actor-director Seth Rogen and documentary-maker Michael Moore . Both have since attempted to qualify their ugly comments, but similarly nasty observations continue to emanate from the left.

“The very term ‘sniper’ seems to stir passionate reactions on the left. The criticism misses the fundamental value that snipers add to the battlefield. Snipers engage individual threats. Rarely, if ever, do their actions cause collateral damage.”

The bulk of Chris Kyle’s remarkable exploits took place in the Al Anbar province of Iraq in the summer of 2006. He and I were teammates at SEAL Team Three. Chris had always been a 51hQkHyqjDL._SL250_large figure in the SEAL teams. He became a legend before our eyes in Ramadi.

[Check out Rorke Denver’s book “Damn Few: Making the Modern SEAL Warrior” at Amazon]

My fellow special-operations brothers might be shocked, but I think the comments by Messrs. Rogen and Moore have had the ironic effect of honoring Chris Kyle’s memory. They inadvertently paid Chris a tribute that joins the Texas funeral procession and “American Sniper” book sales and box office in testifying to the power of his story. I’ll get to the punch line shortly, but first please let me lay the groundwork.

“Snipers may be the most humane of weapons in the military arsenal. The job also takes a huge emotional toll on the man behind the scope. The intimate connection between the shooter and the target can be hard to overcome for even the most emotionally mature warrior. The value of a sniper in warfare is beyond calculation.”

The very term “sniper” seems to stir passionate reactions on the left. The criticism misses the fundamental value that snipers add to the battlefield. Snipers engage individual threats. Rarely, if ever, do their actions cause collateral damage. Snipers may be the most humane of weapons in the military arsenal. The job also takes a huge emotional toll on the man behind the scope. The intimate connection between the shooter and the target can be hard to overcome for even the most emotionally mature warrior. The value of a sniper in warfare is beyond calculation.

“My fellow special-operations brothers might be shocked, but I think the comments by Messrs. Rogen and Moore have had the ironic effect of honoring Chris Kyle’s memory. “

I witnessed the exceptional performance of SEAL, Army and Marine snipers on the battlefields of Iraq and Afghanistan. They struck psychological fear in our enemies and protected countless lives. Chris Kyle and the sniper teams I led made a habit of infiltrating dangerous areas of enemy-controlled ground, established shooting positions and coordinated security for large conventional-unit movement. Read the rest of this entry »


Here’s One Way to Turn the Cyberattack on Sony Back on North Korea

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Drop ‘The Interview’ on Pyongyang

Sony might fear retribution if it did this, but an alternative would be for the U.S. government to buy the movie rights from Sony and release it into the public domain. 

U.S. officials are saying they think North Korea is responsible for the hacking of Sony Pictures, and perhaps also the threats that led the studio to cancel release of “The Interview.” Outsiders aren’t so sure, but the U.S. presumably has evidence others don’t. If the Obama Administration believes the evidence, the question is what it will do about it.

“Chinese netizens love to mock Kim, and North Koreans like to watch movies smuggled across the border from China. Perhaps the CIA could dub the movie into Korean to make sure it gets to its target audience.”

Park Sang Hak, a North Korean defector now living in the South, has an idea. Mr. Park, whom we profiled last year, puts information about the outside world along with movies and television programs on USB drives, which he floats into the North on balloons. The Kim Jong Un regime has labeled him “enemy zero” and sent an assassin to kill him with a poison-tipped pen. For real.

Mr. Park wants to include “The Interview” on future balloon launches. But there is another way to make sure that the movie gets the giant audience that Kim fears, even in North Korea: Make it free. Read the rest of this entry »


[VIDEO] Former Anonymous Hacker: ‘North Korea Doesn’t Have Capability’ For Sony Attack

“For something like this to happen, it had to happen over a long period of time. You cannot just exfiltrate one terabyte or 100 terabytes of data in a matter of weeks.”

WASHINGTON (CBSDC/AP) — A former hacker for Anonymous doesn’t believe North Korea has the infrastructure to be behind the Sony hack attack.

“Do you really think a bunch of nerds from North Korea are going to fly to New York and start blowing up movie theaters? No. It’s not realistic. It’s not about ‘The Interview.’ It’s about money. It’s a professional job.”

Hector Monsegur told CBS This Morning that the communist regime doesn’t have the technical capabilities to pull off the hack.

This undated picture released from North Korea's official Korean Central News Agency (KCNA) on April 26, 2014 shows North Korean leader Kim Jong-Un (C) inspecting a shelling drill of an artillery sub-unit under Korean People's Army (KPA) Unit 681 at undisclosed place in North Korea. AFP

This undated picture released from North Korea’s official Korean Central News Agency (KCNA) on April 26, 2014 shows North Korean leader Kim Jong-Un (C) inspecting a shelling drill of an artillery sub-unit under Korean People’s Army (KPA) Unit 681 at undisclosed place in North Korea. AFP

“In my personal opinion, it’s not. Look at the bandwidth going into North Korea. I mean, the pipelines, the pipes going in, handling data, they only have one major ISP across their entire nation. That kind of information flowing at one time would have shut down North Korean Internet completely…They don’t have the technical capabilities.”

— Hector Monsegur

He continued, “They do have state-sponsored hackers very similar to China, very similar to Russia and very similar to our good, old USA.”

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Sony Pictures Entertainment took the unprecedented step of canceling the Dec. 25 release of the Seth Rogen comedy “The Interview.”

A former CIA official, though, believes that North Korea could pull of this type of cyberattack.

“North Korea has significant cyber capabilities. They use them quite frequently against South Korea. For a backwards state that might be a little surprising but they also have a nuclear weapon. They are capable of achieving things when they focus on them.”

— Mike Morell, a former deputy director of the CIA

The cancellation announced Wednesday was a startling blow to the Hollywood studio that has been shaken by hacker leaks and intimidations over the last several weeks by an anonymous group calling itself Guardians of Peace.

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“This attack went to the heart and core of Sony’s business — and succeeded. We haven’t seen any attack like this in the annals of U.S. breach history.”

— Avivah Litan, a cybersecurity analyst at research firm Gartner

A U.S. official said Wednesday that federal investigators have now connected the Sony hacking to North Korea and may make an announcement in the near future. The official spoke on condition of anonymity because the official was not authorized to openly discuss an ongoing criminal case.

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“It doesn’t tell me much. I’ve seen Russian hackers pretending to be Indian. I’ve seen Ukrainian hackers pretending to be Peruvian. There’s hackers that pretend they’re little girls. They do this for misinformation, disinformation, covering their tracks.” 

Monsegur stated that Sony’s hacking had to have happened over a long period of time. Read the rest of this entry »


Analysis: A Kinder, Gentler Turn to the Gender Wars?

Men and women need to discuss gender issues. One can’t hear what the other doesn’t say.

For USA Today, Glenn Reynolds writes: Are we coming to a truce in the gender wars? Or just opening a second front? Or, perhaps, actually starting to talk to each other?

The First International Conference on Men’s Issues touched on many topics, including the treatment of men in the media. Dads are often depicted as bumbling losers, such as the one portrayed by Seth Rogen in the movie “Knocked Up” with Katherine Heigl. (Photo: AFP/Getty Images)

In the media, dads are often depicted as bumbling losers, such as the one portrayed by Seth Rogen in the movie “Knocked Up” with Katherine Heigl.  (Photo: AFP/Getty Images)

Those are the questions I was asking myself as I attended the First International Conference on Men’s Issues in Detroit last weekend. And, to be honest, I’m still not sure. But it’s certainly true that the discussion is expanding, and I’m enough of a believer in discussion and engagement to think that’s a good thing.men-on-strike

[Check out “Men on Strike: Why Men Are Boycotting Marriage, Fatherhood, and the American Dream – and Why It Matters” at Amazon.com]

The first thing that struck me about the conference — both the speakers and the attendees — was how diverse the crowd was. (Full disclosure: I was there as a tag-along spouse while my wife spoke about her gender relations book, Men on Strike.) There were plenty of women there, which I suppose should be no surprise, as there are plenty of men at conferences on new-schoolwomen’s issues. There’s even a women’s group called The Honey Badger Brigade that supports men’s rights.

[Glenn Reynolds‘ book The New School: How the Information Age Will Save American Education from Itself is available at Amazon]

There were also a lot of African-Americans — or, in the case of Canadian Sen. Anne Cools, African-Canadians. But it turns out, as we heard from speakers like Fred Jones, the victims of the gender war are disproportionately black, because black men are more likely to be jailed for failure to pay child support, or on charges of domestic violence. Read the rest of this entry »


Film Legend Harold Ramis dead at 69

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The Chicago Tribunes Mark Caro writes:

Ramis’ serious health struggles began in May 2010 with an infection that led to complications related to the autoimmune disease, his wife said. Ramis had to relearn to walk but suffered a relapse of the vaculitis in late 2011, said Laurel Ward, vice president of development at Ramis’ Ocean Pictures production company.

Ramis leaves behind a formidable body of work, with writing credits on such enduring comedies as “National Lampoon’s Animal House” (which upon its 1978 release catapulted the film career of John Belushi, with whom Ramis acted at Second City), “Stripes” (1981) and “Ghostbusters” (in which Ramis also co-starred) plus such directing efforts as”Caddyshack” (1980), “National Lampoon’s Vacation” (1983), “Groundhog Day” and “Analyze This.”

Previously he was the first head writer (and a performer) on Second City’s groundbreaking television series “Second City Television (SCTV)” (1976-79). More recently he directed episodes of NBC’s “The Office.”

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NPR has highlights of the Tribune story, plus a link to a Ramis interview with Terry Gross::

His wife, Erica Mann Ramis, tells the Chicago Tribune that her husband, who lived in Chicago, “was surrounded by family when he died at 12:53 a.m. [Monday] from complications of autoimmune inflammatory vasculitis, a rare disease that involves swelling of the blood vessels.”

The Associated Press also confirmed the news with Ramis’ attorney, Fred Toczek.

As the Tribune says:

“Ramis leaves behind a formidable body of work, with writing credits on such enduring comedies as National Lampoon’s Animal House (which upon its 1978 release catapulted the film career of John Belushi, with whom Ramis acted at Second City), Stripes (1981) and Ghostbusters (in which Ramis also co-starred) plus such directing efforts as Caddyshack(1980), National Lampoon’s Vacation (1983), Groundhog Day andAnalyze This….

“Ramis’ comedies were often wild, silly and tilting toward anarchy, but they also were cerebral and iconoclastic, with the filmmaker heeding the Second City edict to work at the top of one’s intelligence.”

He influenced may younger actors and directors, the Tribune adds, including Judd Apatow, Jay Roach and Adam Sandler.

In 2005, Ramis talked with Fresh Air‘s Terry Gross about his work. Of Caddyshack, he said, “I had this notion of [it] being like a Marx Brothers movie and Rodney [Dangerfield] was the Groucho of the team.”

TribuneRamis’ comedies were often wild, silly and tilting toward anarchy, but they also were cerebral and iconoclastic, with the filmmaker heeding the Second City edict to work at the top of one’s intelligence.

Read the rest of this entry »


Sony Cancels Theatrical Release for ‘The Interview’ on Christmas

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‘The Interview’ New York Premiere Canceled

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