Snark alert. I’m having a hard time getting excited about shiny new broadcast tech.
Sadly, Seattle have many homeless at nearly every highway underpass and it becomes one of the first cities to adopt ATSC 3.0 brining over the air 4K programming.
ATSC 3.0 is now live in Seattle, with seven stations broadcasting with the NextGen TV transmission standard.
The local stations that are now transmitting with ATSC 3.0 include KOMO-TV (ABC), KIRO-TV (CBS), KCPQ (Fox), KING-TV (NBC), KONG (Ind.), KZJO (MyNet) and KUNS-TV (Univision). The list includes all of Seattle’s major broadcasters.
If you’re wondering what ATSC 3.0 is, it’s basically the newest version of cabling specs, allowing higher speeds and increased quality for all these new 4K and soon 8K televisions.
It’s great to know Seattle — the hotbed of COVID-19 in our state — wants to focus on improving technology, keeping our flagship city on the cutting edge of tech, but, seriously, who is pushing for this ATSC 3.0 standard right now?
Priorities, priorities. Maybe I’ve got this wrong, feel free to vent in the comments if you’re ecstatic that TV stations are upgrading to ATSC 3.0.
I’ve sat on this for a couple weeks, mulling over if this even was worth posting, but it does give me a chance to point out that if you’re visiting Seattle any time soon, you’ll see homeless people everywhere in addition to enjoying ATSC 3.0, if you even want to watch our local TV channels.
Turns out there has already been an answer to this question involving a different actress: Debra Messing.
Lucy Arnaz, Lucy’s daughter saw Messing in makeup on the tribute episode of “Will & Grace” and here’s what happened.
In the same Variety interview, Messing recalled that Ball’s daughter, Lucie Arnaz, gave her a stamp of approval behind the scenes of the special “I Love Lucy” tribute episode of “Will & Grace.”
“I was in the green dress. We were about to shoot the song and dance [number] and she walked in and she just looked at me and didn’t say anything.” Messing recalled. “Then she hugged me and she said, ‘This feels really good. It’s been a long time since I’ve hugged you,’ and everyone started to cry.”
Here’s a clip of Messing playing a famous I Love Lucy reenactment:
Now compare this to the real Lucy:
Messing really doesn’t have the voice, but she does very good with Lucy’s facial expressions. Sure, the look is there, but without the voice, that semi-whiny gritty Lucy voice it just doesn’t have the flavor. Lucille Ball’s voice is vital to her comedy. It’s not just the facial expressions, although those, again, are covered well by Messing.
Wish we could see Nicole Kidman doing the same scene for comparison purposes. Maybe we’ll get to when/if she officially signs up for the part. Based on what I watched here, I’m not on board for Messing either. No disrespect intended, you can look like Lucy, but you have to sound like her, too. Messing just doesn’t in my opinion.
The slap was accidental, but we all wanted it to be real, didn’t we?
Oh, that slap, we need to talk about it.
Cobra Kai fans have probably seen it by now. Maybe some non-fans, so I don’t think this is a super-SPOILER, but if you haven’t seen Amanda Larusso, Daniel’s dealership partner wife in Cobra Kai slap Cobra Kai dojo sensei John Kreese, then it’s one of the must watch moments of Season 3. I’m not going to get into the story reasons why she slapped Kreese. You’ll have to watch the show to learn the context, but it’s a juicy dramatic moment.
There are so many must-watch moments in all three seasons of Cobra Kai, but in this post, we’re just going to focus on stunts gone wrong. It happens.
The slap was absolutely intended to be a stunt. Henggeler — who has one of the most difficult to spell last names in show business — was excited that she got to perform a stunt in Season 3. She worked with a stunt coordinator. She was supposed to miss.
Eventually, Henggeler prepared for the slapping scene with both Kove and a stunt coordinator and said things went just fine until the very last take when she missed her mark. “They say if you do [a stunt] and if you make contact with the person you’re doing the stunt with, just to keep going because if you stop, then not only have you just hurt somebody, but you’ve ruined the shot,” she remembered. So when her hand actually connected to Kove’s face, she tried to play it off. “I hit him in the face, hard — not intentionally, obviously — and I was like, ‘Don’t make a face!’ And I think it’s the take they used,” Henggeler said.
The fact that they used the real slap is a statement on stunts being dangerous. Not that a slap couldn’t injure somebody, but let’s remember that Martin Kove is in his 70s. Bones get more brittle. You don’t recover as easily and speedily from bumps and bruises . Stunts gone wrong can kill people. This stunt would not have killed Kove, most likely, but it’s interesting that the real slap is the stunt they used. It’s the one that looked most realistic … because it was.
This made me wonder about other stunts gone wrong that were used in films. Probably one of the most tragic stunts that comes to mind — and the footage of course was NOT used — is on the set of The Twilight Zone movie (see: SXSW 2020 REVIEW: Cursed Films Season 1 – All 5 Episodes Rated and Reviewed) with John Landis where Vic Morrow and two child actors were killed when a helicopter literally fell on them, rotor blades spinning and chopping. There’s some chilling real footage on YouTube if you poke around, but I’m not going to link or embed it here. Argh, it chills me in a Faces of Death way thinking about that footage.
Jackie Chan does a lot of his own stunts. He’s had plenty of accidents and been hurt. Go watch Rumble in the Bronx and then stay with it as the closing credits roll. You’ll see him break a leg — really — and more.
Sarah Connor in T2, played by Linda Hamilton, is almost permanently deaf in one ear because that weapon she wasn’t wearing hearing protection when she fired that gun inside the elevator.
Not that I want to glamorize actors being hurt in stunts in this post in any way, but we need to remember that for all that actors are paid, and some are paid really well (lead actors, particularly), when they’re doing stuntwork there can be real world danger involved. There are safety protocols in place on sets, but they don’t always get followed like they should, just like any other job.
That slap, though? Viewers wanted, needed it to be real. We can be happy that it was because Martin Kove never got hurt. There’s something kind of cool about that stunt gone wrong.
Do you have a favorite stunt gone wrong that made it into the movie or TV show?
Some quotes from actors make me laugh. When I read why Denzel Washington passed on a role in T2, it shows that actors can limit themselves based on the character portrayal in a script, even great actors like Denzel.
So, here’s a fast fact I didn’t know: that James Cameron wanted Denzel to play Miles Dyson in T2. Washington passed on the role, saying the followingL
“No offense to Jim Cameron, but when I read the script, I thought, ‘All he does is look scared and sweat,’” Washington told the magazine. “I had to pass. I don’t know if I have room to embarrass myself, or people, through my work. A script comes to you. You make a decision on it.”
Joe Morton ended up playing Miles Dyson in T2. Come to think of it, he did sweat a lot in the movie, but there was more to the role than sweating. Denzel fixated on that role, but can you imagine if he had played Dyson? I’m thinking about his work in The Equalizer and then imagining him as Miles Dyson. Would he have brought more to the role than Joe Morton? We’ll never know.
I think it’s fascinating that he passed based solely on the script. That he didn’t think he could add more to the role than sweating and fear. Joe Morton surely did, and with all due respect, Morton isn’t half the actor as Denzel Washington.
Actors pass on scripts all the time. I wonder if he regrets not working with James Cameron? It’s easy to say after a film is a great success that you wish you’d been in it and I didn’t see Denzel say that.
Maybe they make a TV show about Miles Dyson? Denzel probably wouldn’t play him, but it would be a chance to do a lot more with this pivotal character in Skynet history than be scared and sweat.
Margot Robbie is fast becoming one of my favorite actresses. She’s played Harley Quinn in the DC movies, Tonya Harding in I, Tonya and tackling beautiful plastic Barbie along with Greta Gerwig and her hubby, Noah Baumbach.
Margot Robbie has really delivered as of late and the idea of her being behind the scenes with some seriously impressive filmmakers providing the central voice of the project makes for one exciting package. Barbie is just a blonde plastic doll on the surface, but provided the filmmaking team has a distinct vision it could be something great.
Seriously, Gerwig did a phenomenal job on Little Women and Baumbach killed it with Marriage Story, this Barbie film is getting a triple threat. Could it suck? Sure. Something tells me, though, they will take this somewhere we aren’t expecting it to go.
The creative possibilities are there. Are you looking forward to seeing what they do with Barbie?
The newest target in Hollywood’s ongoing fixation on diversity: Cobra Kai. Yeah, the show based on a movie that included one of the more famous 80s Asian-American lead characters: Mr. Miyagi, played by Pat Morita.
“Except for the Latino character of Miguel, all the other people of color are outside of that main cast, so it actually doesn’t show as a diverse show in a sense,” said Ana-Christina Ramón, coauthor of UCLA’s annual Hollywood Diversity Report, which designates leads as the top eight credited regular actors. (Across the industry, the report found that white characters made up 75.9% of the leads in digital scripted series like “Cobra Kai” in the 2018-2019 season, while 5.9% of leads were Latinx, 4.7% were Black and just 1.8% were Asian.)
Have said this repeatedly at this site that the key to more diversity isn’t imposing quotas on casting.
Season three, without spoilers, includes a pretty juicy subplot about Daniel returning to Okinawa. That involved several non-white actors. The show continues to harken back to the teachings of Mr. Miagi. If Pat Morita was still alive he would be front and center in this show. They did the smart thing by not trying to recast him. Instead, viewers are constantly reminded of his influence.
Is it a fair concern that more of the new youths aren’t more diverse? Perhaps. They could have cast that differently. Would Hawk have been a more engaging character if he was non-white.
Don’t look now, but season four will possibly see the return of two other white characters: Terry Silver and Mike Barnes.
But if Cobra Kai continues to harkening back to The Next Karate Kid or the reboot, we’ll have even more diversity in casting. No idea if that’s where it’s headed, but all signs seem to point that direction … eventually.
As a fan of several animated TV series — and we are currently reviewing an animated TV show every Saturday morning — including those based on familiar IP, I’d very much be interested in an Indiana Jones animated series.
Good to see there’s a rumor that one is under development for Disney+.
…in the eyes of most fans, there’s no Indy without Harrison Ford, which presents a pretty sizable roadblock for the Mouse House to try and work around. However, insider Daniel Richtman now claims that an animated series is in development for Disney Plus, which is arguably the smartest way to carry on the franchise.
Why does this last week reading internet articles seem like seeing a bunch of gossip rag magazine titles near the grocery store checkout stand?
Then again, sometimes even those rags get the riches right.
Have never been much of a Shia LaBeouf fan, sort of believing he was overrated. The Transformer movies, let’s be honest, aren’t exactly actor range-stretching roles, but he surprised me in Peanut Butter Falcon. I liked what he did in that film. I tried (briefly) to get into Honeyboy but it wasn’t really my type of movie. Not saying that was a good or bad film, it just didn’t click with me. No harm, no foul there.
Alas, I’ve come across several recent articles citing some serious problems LaBeouf has had off screen leading to him allegedly being blacklisted in Hollywood. He was also fired from Olivia Wilde’s second movie, Don’t Worry Darling before much filming even began, for being difficult to work with — allegedly. Wilde reportedly has a “no asshole” policy on set.
But this stuff with stray dogs? WTH?!?
I suspect, rightly or not, that audiences are able to eventually forgive racism, violence and domestic abuse – but killing dogs for kicks is another matter altogether. As such, scooper Daniel Richtman is reporting that LaBeouf is now fully blacklisted in Hollywood. He’s been dropped from every part he was cast in, isn’t attached to any upcoming projects and won’t be considered for any further high profile roles. At least, not for a long, long time.
Animal cruelty, seriously? Got to hope this is all BS and not true.
Then there’s Charlie Sheen, Mr. Tiger Blood himself. Apparently he’s living in a van down by the river, er, he is/was/might be major league behind on child support and went to live with his parents for a time being.
At one point, when he moved out of the famed Mulholland Estates, Sheen, 55, moved in with his parents, the source says — Martin Sheen is 80, and Janet Sheen is 76. “Think how inglorious that is: he’s gone from the highest paid person on television to living in Malibu with his father and mother. He could be the oldest son in Malibu living with his parents!” says the insider.
Like the title of that post, “From Baller to Squalor” — it just doesn’t make any sense for a guy that was once clearing millions from his TV gig. Clearly a sign that excess can destroy anyone.
Will we ever see Shia LeBeaouf or Charlie Sheen in any significant acting roles again? My guess is yes. They both are too talented to keep out of films, but it sounds like whomever takes a chance on a project involving them is going to be taking on some very high risk.
Are you interested in seeing new movies by either or both of these actors?
Older movies on streaming services — all of the major services, not just Netflix — are very poorly represented in their archives. It’s like the licensing started in the late 70s and newer, increasing in volume after 2000.
As streaming subscription prices increase, subscribers will rightly analyze if the service they’re paying for has content they want to watch.
The back catalog of movies is thin if you enjoy the classics — someone should tell Netflix that there’s an entire century of movies that were made prior to the 2000s — and the number of films that are there seem to be shrinking at the expense of the Netflix originals the streaming service wants to put front and center.
Is this a wise strategy for subscriber longevity and reducing retention? Yes. At the same time, their back catalog of movies is shrinking and as their prices increase, subscribers will need to ask the question the Tom’s Guide writer and his family asked: do they have enough of what we want to watch to stay subscribed?
Was it enough to keep you subscribed? Was for us. Would we like to see them add more classic movies to their back catalog? Yes. Will they? Probably not. Will having less of these movies make us more likely to unsubscribe? Probably not. What about you?
Predictably, many are focused on Wonder Woman 1984 underperforming. This is something that has bothered me since diving into the world of movies in greater depth> That these big budget movies have way too much pressure to make money. It’s all about making money instead of telling a good story.
Now many filmmakers will tell you otherwise. They need the big budgets so they have the “freedom” to tell their stories the way they want, so they can secure the biggest name actors, shoot in exotic locales, hire the best crew, pay for the fanciest CGI and effects, and so on.
Oceanfront property is available in Phoenix, Arizona, you know. Really, it is 😉
Also, it’s bizarre to suggest that a mere 377 critics can declare a movie that costs $200+ million either good or bad, but that’s how small the Rotten Tomatoes critic pool is these days to judge director and writer Patty Jenkins’ output.
Guess I’m sticking up for Jenkins in this post somewhat. Not because Wonder Woman 1984 is better than the critic reviews — it’s not, I thought the film was average at best, and a major step down from the first film — but because this is just a nightmarishly bad time to release a big budget film. Any film, really, regardless of budget, but those with more modest budgets will always, always, always have less financial pressure.
In these times, don’t you want your project to have less financial pressure?
This doesn’t necessarily mean that Jenkins is personally responsible for the lacking script, much less solely responsible. It also doesn’t mean the only problem with the movie is its writing. The overwhelming majority of complaints about the movie, however, do relate to its writing and structure. For example, the often cartoony tone, the bizarre MacGuffin of the Dreamstone, the inconsistent fluctuation of Diana’s fleeting powers, and most definitely the disturbing logistics of Steve Trevor’s return.
So, I’m not going to pile on Patty Jenkins in this post. Seriously, to have two out of three movies received well isn’t easy for any director. Props to Jenkins. She’s better than her most recent film effort shows.
What does her record mean for Rogue Squadron and Wonder Woman 3? Probably the odds are against both of those films being well received, but we’ll have to wait and see. Honestly, I’m more interested in seeing what Jenkins can do with a Star Wars movie than another Wonder Woman film. What do you think?
Still, the reviews played in Jenkins’ favor for Monster and the first Wonder Woman, plus more importantly than movie reviewer opinions, both were better films. If we look at all three films, two out of three is still an amazing batting average (.667).
The more interesting angle for any new post here, besides talking about Rotten Tomatoes being flawed (again), is looking at the bigger elephant in the room:
Number of audience reviews.
I’m sure in time, the number of audience reviews will increase for WW1984, but my guess is the review score average will continue to trend downward, perhaps the audience being a little more forgiving than most critics.
The fact is that most people who watch movies don’t watch them for the same reasons that critics do. It’s not their profession. Average moviegoers are trying to escape their job, their life, to relax and simply be entertained. The expectations aren’t as high for the average moviegoer as it is for a movie critic, especially a professional who reviews hundreds of movies per year. This means, generally speaking, that audience reviews will be less judgmental for most movies. Therefore, those that audiences reject must be total trash.
Eventually the numbers on Rotten Tomatoes should balance more, but it’s obvious that many moviegoers aren’t reviewing movies in the same numbers they were pre-pandemic.
Like hundreds of thousands more reviews, in fact, if you look at the numbers. Sure, this is only one website, Rotten Tomatoes, and again I’m not suggesting the site is the cat’s meow for movie reviews, but it is often the one that most publications cite as a bellwether for a movie’s reception.
Given it’s only a few weeks since Wonder Woman 1984 was released, but the number of audience reviews emphasizes the much greater problem for the movie industry. At least the movie reviewing part of the business. Fewer people reviewing movies suggests less interest overall among moviegoers. Less movies being watched overall?
We know people aren’t watching movies in theaters, because many are closed and ticket sales domestically dropped 80% in 2020 over what they were in 2019, but are less movies being streamed? My guess is no, the same amount of movies are being watched, perhaps even more. For new movies, however, people don’t have the money lying around to pay $20 for PVOD and/or subscribe to multiple streaming channels, so they’re binging TV seasons on Netflix and rewatching older movies. They might be playing more videogames, too.
This has all the major movie theater chains worried. That people will become apathetic to the cinema experience. That they won’t return to watching movies like they were before. I’ve already debunked that myth.
I do strongly believe that moviegoers will return. Sure, it won’t be this year, and it certainly wasn’t last year, but give it some time once the pandemic fully subsides. Heck, they just pushed back reopening theaters in Washington State again, meaning we can’t see a movie in a theater until at least January 18, 2021, maybe. We’re still deep in the weeds here. Anybody saying differently is drinking, smoking or using something really strong.
None of this is that surprising given many people are out of work and are concerned about much more important priorities in their lives than movies right now.
My only advice for movie studios and filmmakers is the same I’ve been giving since starting this site and before we had any pandemic: keep the budgets down. Don’t make overly expensive movies. Yes, you need to keep creating, but art doesn’t need to be expensive to be good.
On this front, I know Patty Jenkins won’t listen to me. Her next two movies, if they get made, will costs a half a billion dollars or more. If that’s the case, and it probably is, she should be bashed for that. Hey Patty, here’s a real challenge, go make an indie film next. Don’t make Rogue Squadron or another Wonder Woman. Make something with a budget of less than $10 million that is fresh, inventive and entertaining. Call up Jason Blum. He has the recipe.