HOUSE OF CARDS: Will Frank Underwood be the Next Captain Kirk?

HOUSE OF CARDS: Will Frank Underwood be the Next Captain Kirk?

I’m aware that this blog might make it seem that I’m out to get Beau Willimon, and for that appearance I apologize in advance. I’m not. My only reason for taking apart House of Cards, Season 3, in such detail is that it has been hyped as a prestige television production and I think that the reality is otherwise. It is a missed opportunity that requires attention from that part of entertainment journalism that seriously delves into what is really going on in the American media, which is such an important part of our culture. That said…….

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I’m Mad as Hell at Kevin Spacey and (Maybe) I’m Not Going to Take it Any More

I’m Mad as Hell at Kevin Spacey and (Maybe) I’m Not Going to Take it Any More

After watching the second episode of Season 3 of Beau Willimon’s House of Cards, a horrible thought occurred to me. I began to wonder if Willimon was doing to me, that is to say to the audience, what Frank Underwood, played perhaps too well by Kevin Spacey, was doing to his colleagues in Willimon’s fictional Washington, D. C.: hitting me/us with dishonest, manipulative plots, for his own self-promotion. And Spacey, that talented, idealistic actor was LETTING HIS TALENT BE CO-OPTED IN THIS WAY? I’d been having suspicions about this series since Season 2. But Season 3 is starting off in way that more than justifies them, and not only because the first two eps have left me actually feeling queasy.

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Provocation To Thought: MAD MEN Are Sad Men

Provocation To Thought: MAD MEN Are Sad Men

During my recent marathon re-watch of Matthew Weiner’s smartly conceived and beutifully realized Mad Men, I became increasingly aware that the AMC/Lionsgate television series is very clever in the way it portrays a society of disconnection, a society in which manipulation and thinking only of yourself is mandatory for success and which leaves everyone, in a million different ways, craving the loyalty and empathy that is missing. Read on…

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THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Four

THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Four

WHAT PENNY VOZNIAK SAW is the fourth chapter in an eight part exploration of the failure of the American-East Indian co-production of >Hisss (2010), filmmaker Jennifer Lynch’s greatly anticipated third feature film. Despite Lynch’s previous cinematic successes, Hisss, a tale about the Indian snake goddess Nagin, turned into an artistic and box office disaster that derailed its talented director. The making of Hisss and the aftermath for Lynch are the subject of Despite the Gods, an intimate documentary by Penny Vozniak, whose feminist perspective offers rare insight about the troubled production and its outcome.

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THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Three

THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Three

HOW PENNY VOZNIAK GOT INTO IT is the third chapter in an eight part exploration of the failure of the American-East Indian co-production of Hisss (2010), filmmaker Jennifer Lynch’s greatly anticipated third feature film. Despite Lynch’s previous cinematic successes, Hisss, a tale about the Indian snake goddess Nagin, turned into an artistic and box office disaster that derailed its talented director. The making of Hiss and the aftermath for Lynch are the subject of Despite the Gods, an intimate documentary by Penny Vozniak, whose feminist perspective offers rare insight about the troubled production and its outcome.

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THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Two

THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter Two

WHAT JENNIFER LYNCH SAW is the second chapter in an eight part exploration of the failure of the American-East Indian co-production of >Hisss (2010), filmmaker Jennifer Lynch’s greatly anticipated third feature film. Despite Lynch’s previous cinematic successes, Hisss, a tale about the Indian snake goddess Nagin, turned into an artistic and box office disaster that derailed its talented director. The making of Hisss and the aftermath for Lynch are the subject of Despite the Gods, an intimate documentary by Penny Vozniak, whose feminist perspective offers rare insight about the troubled production and its outcome.

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Movie Review: TWO DAYS, ONE NIGHT

Movie Review: TWO DAYS, ONE NIGHT

Speaking of Two Days, One Night, the new film by the brothers Jean-Pierre and Luc Dardennes that was part of the Main Slate offerings at this year’s New York Film Festival, “purity” is the word that comes to mind. The legendary brothers have produced a film in the tradition of Post World War II Italian neo-realism, the French New Wave of the 1950′s and 1960′s, and the Danish Dogme 95 movement—started, of course, in 1995–the more recent inheritors of the burning desire to push narrative film as far as possible away from the glamorization, fetishism and manipulations of Hollywood.

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THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter One

THE JENNIFER-PENNY CHRONICLES: MAKING HISSS – Chapter One

HOW MANY OBSERVERS DOES IT TAKE TO SEE AN EVENT? is the first installment of an eight part exploration of the failure of the American-East Indian co-production of >Hisss (2010), filmmaker Jennifer Lynch’s greatly anticipated third feature film. Despite Lynch’s previous cinematic successes, Hisss, a tale about the Indian snake goddess Nagin, turned into an artistic and box office disaster that derailed its talented director. The making of Hisss and the aftermath for Lynch are the subject of Despite the Gods, an intimate documentary by Penny Vozniak, whose feminist perspective offers rare insight about the troubled production and its outcome.

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