It's not the first time one of the Turner networks rescued a network series from the scrap heap - TNT picked up "Southland" when NBC dumped it.
It's not even the first time a Bill Lawrence created series jumped networks - "Scrubs" leapt from NBC to ABC for its eighth and ninth seasons.
But this is the first time one of the Turner networks rescued a Bill Lawrence-created network series from certain doom.
The program, which series creator Bill Lawrence admits is woefully mistitled, faces a few serious challenges on very funny TBS, which must:
1) ...let series fans know the show has crossed over to basic cable.
2) ...educate viewers about the show's premise - group of wine-swilling, penny-can playing, middle-aged, chatty-Cathy (ahem) friends hang out and say clever things.
3) ...make sure everyone knows that the show has nothing to do with cougars.
To that end, TBS has been applying the full court press with a series of television spots, magazine ads, articles, and viral videos:
Here is a spot that looks like it was crafted by the "Conan" folks:
In honor of Atlanta's Annual New Year's Eve Peach Drop, let's take a look at some other dropping fruits:
Honeydew Drop, and more as David Letterman drops some science:
Other than Divine's cha-cha heels tantrum on Christmas morning in John Waters' Female Trouble, the best Christmas scene in cinema is this R. Lee Ermey sequence from Full Metal Jacket:
Aside from its satirical brilliance, it is the first time in my life I recall the song Happy Birthday being associated with Christmas.
The following stars share Christmas Birthdays:
Rod Serling (December 25, 1924), whose "Twilight Zone" Christmas episode starring Art Carney is something special:
Every time I hear the term "doorbuster" I don't think of Black Friday sales, I think of this:
Consistently one of WWE's most popular performers, Ghana's Kofi Kingston has grown accustomed to defending championships in high-pressure situations. And even though the main event at this Sunday's Hell in a Cell pay-per-view at Philips Arena features CM Punk (Kingston's one-time tag team partner) defending the WWE Championship against the wrestling machine known as Ryback inside the the gigantic steel cage, Kingston's Intercontinental Championship defense against former WWE Champion the Miz has quickly become one of the event's marquee match-ups. Considering that the happy-go-lucky Kingston spent his formative WWE stages at the now-defunct McDonough-based developmental promotion known as Deep South Wrestling, Hell in a Cell is also an odd sort of homecoming for the high-flying superstar. As he prepares for a match that could help push him into the main event picture, Kingston discusses his Deep South training, his history with the Miz and the unpredictable nature of WWE that led to this renewed rivalry.
On October 17, thousands of cinemas around the world, including a bunch in the greater Atlanta area, will be honoring "Led Zeppelin's Celebration Day" with a screening of a film of the epic band's landmark 2007 reunion concert.
The band's Web site's cool widget allows you to watch the trailer, share information, and search for theatres participating in the celebration:
Think of it like The Song Remains the Same, only different...
The recent story of a well-intentioned parishioner's ill-fated attempt to restore a damaged 120-year-old fresco of Jesus in a Spanish Church tore through the internet, and traded up the news scale becoming a Web-sation and the target of ridicule from art historical neophytes and experts alike.
The final painting, though abstract and decidedly incomplete, bears a striking resemblance to late period Michael Jackson. (Is this what Jesus would look like after plastic surgery?)
Rather than cop to the bungled touch-up, amateur restorer Cecilia Giménez should have claimed that the visage of MJ just appeared—like a Festivus Miracle!
While far from doing irreparable to a one-of-a-kind site specific painting like a fresco, digital restoration of classic films have the ability to threaten the artistic vision of the creator
A few weeks back, NPR ran a terrific piece about film restoration which includes the following:
Take Blue Velvet. Lynch's film, which explores the dark underbelly of a small town, opens with Bobby Vinton's sweet song "Blue Velvet" and bright shots of blue sky, manicured lawns and picket fences. Then its colors darken and actually get murky as the hero discovers the town's seedy underbelly.
"If they brightened up the scenes and the colors seemed sort of cheerier," Sweeney argues, the changes would affect the whole film.
"These are ways in which spectators just aren't conscious of how they are influenced by sound or color. But a filmmaker of David's caliber is very aware of that, very intentional in the way he uses it."
Blue Velvet has been re-released in high definition, but Lynch and members of the film crew were involved in the process. What worries Sweeney is that after Lynch is gone, and the technology keeps changing, the studio is likely to look for new ways to re-release his films using the latest technology
"Someone sitting in an office in a studio thinking, 'How can I exploit our library' — those people are interested in the financial well-being of the studio," Sweeney says. They won't necessarily be interested in David Lynch's artistic vision.
On the Arthouse Convergence chat boards, an inside baseball forum for theatre managers and the like, scholar David Bordwell conveyed the following anecdote regarding restoration:
There's a story, I hope not apocryphal, about Jack Clayton called in to supervise digital restoration on one of the films he shot. He stopped the playback and pointed: "That yellow is wrong." So the colorist fiddled with it. Every day Clayton would come in, look at the new results, and say, "Still not right." Finally, after several days, the colorist confessed, "I'm sorry, Mr. Clayton, I just can't get it."
"Yeah," Clayton says. "Neither could I."
With the race for the White House just beginning to kick into gear, we can all expect President Obama and Mitt Romney's respective campaigns (as well as their PACs and Super PACs) to unleash hell on our television viewing, internet browsing and even our Social Media pages, with each candidate attempting to define the other, pouncing on a gaffe, or distorting the others' record to bolster themselves.
Also, a lot has been written about a series of ads overseas featuring Obama look alikes.
This isn't really about that, either.
This is about two ads in current rotation that feature actors who look remarkably like the President, but that are in no way supposed to be the President.
Though subtle, in Alec Baldwin's Capital One campaign, (pictured), the Faux-bama is online in an airport attempting to redeem miles for a flight. Baldwin interjects, "Frustrating, isn't it?"
In the other, for United Health Care, a coach is recovering from prostate cancer, and darned if United Health Care didn't serve as his coach through the ordeal:
Considering the care, cost, and effort that goes into developing an ad campaign (yes, we LOVE AMC's "The Pitch") it is hard to believe that the passing resemblance for the President in both ads is an accident.
A terrific piece on This American Life showcased the story of Louis Ortiz, an out of work competitive pool player who is a dead ringer for the President. In the piece he talks about appearing in a music video for French Montana's "Choppa Choppa Down." But he also discusses a particularly disturbing incident where he was attacked and maligned by inebriated disgruntled firefighters after a St. Patrick's Day parade at paid gig hosted in a NYC bar.
Given the poisonous divisive nature of our current political culture, why would a healthcare company in particular evoke the President? And if the point of the Capital One ad is to show how frustrating it is to deal with a failed broken promise or bureaucratic red tape, we can't help but wonder if Alec Baldwin is so committed to his ironic over-the-top jacked-up über-Donaghy pitch man persona that he didn't catch the deliberate slam to the president he's supporting with his own Twitter commentary.
Or maybe the excitement of the impending political ad-pocalypse has us so razor focused that we're already starting to read too much into everything.
Remember Racquel Bailey? The New Jersey woman who spent $1,500 - her "last money for the year" - to have her handsome visage plastered on a billboard near Tyler Perry Studios because she so badly wants to be in one of his movies?
SOMEONE GET HER ON THE PHONE because Perry just announced on Facebook that he's hosting an online contest to win a walk-on roll in an upcoming film. Granted, the contest appears to be a method of promoting "Madea's Witness Protection," but, hey, a walk-on roll.
Here's what Perry says about it to his "online family":
For a long time now, people have been asking me how they can be in one of my movies, plays or TV shows. Even as I read through my message board, the most popular question I see is, "How can I be in one of your movies?"
So... this one's for YOU! Now's your chance to earn a walk on role in one of my upcoming productions!
Just enter the Tyler Perry Talent Search at http://youtube.com/tylerperrystudios
I've created this competition to give my entire online family a chance to showcase their talent, and I expect to see some future stars. Even better, you'll be responsible for picking the Top 10 finalists. That's right... you get to vote for your favorite videos! Then, I'll personally choose the winner from your Top 10.
The competition starts NOW, so go to http://youtube.com/tylerperrystudios and follow steps 1, 2 & 3 to participate.
Voting closes and the Top 10 will be announced on June 29th the same day MADEA'S WITNESS PROTECTION hits theaters.
Then, I'll personally choose the winner on July 6th.
I CAN'T WAIT TO WATCH THESE AUDITIONS!!!
Alright, alright, stop yelling.
When you go to the You Tube page, there's a trailer for "Madea's Witness Protection," which I very much recommend watching (hell, I'll post it after the jump). The premise is that a man (Eugene Levy) and his family (Denise Richards, Doris Roberts) have to go into hiding from the mob so they go live with Madea. What? I don't know. I wonder what Eugene Levy thinks about things. Life and things.
Words cannot begin to describe the enthusiasm that accompanied the 1991 release of Julie Dash's Daughters of the Dust. In the New York Times review Stephen Holden proclaimed that Dash "emerges as a strikingly original film maker." Even fans who praised the film couldn't help but damn it with such faint praise as calling it "visual poetry, a wedding of imagery and rhythm that connects oral tradition with the music video" "a tone poem of old memories," and "heady swirl [that] is confusing to follow" it set all kinds of records upon it's original release. Roger Ebert sites the key to its initial success: "The movie would seem to have slim commercial prospects, and yet by word of mouth it is attracting steadily growing audiences. At the Film Forum in New York, it has grossed $140,000 in a month. The Film Center of the School of the Art Insti tute of Chicago did standing-room business last January, and brought it back again. It opens commercially today at the Fine Arts in Chicago, and in selected other markets."
The following quote from a viewer is described in New York Magazine: ""It's hard to explain. It makes you feel connected to all those before you that you never knew, to parents and grandparents and great-grandparents. I'm a different person now from seeing this movie. It's a rejuvenation, a catharsis. Whatever color you are, people want to feel that sense of belonging"
Audience had - quite literally - never seen anything like it.
Yet despite the film's break-out success, audiences haven't really seen anything like it since.
From Wikipedia: "In an interview with the Detroit Free Press, Dash states "I'm a very hopeful person and I think we can accomplish a lot through film in the '90s. We're going to see a lot of film work done by black women who have different concerns than our brothers who make films [...] We have strong statements to make because we've been silenced for so long".
In retrospect, we now know that Dash's optimistic vision was never realized.
Wouldn't you like to ask her what she thinks of this?
Julie Dash kicks off the Black Women Film Festival with a Special Screening of Daughters of the Dust at the Landmark Midtown Arts Cinema Thursday, June 14 at 7 PM. Click here for tickets.
For context, here's some food for thought about minorities and women in Hollywood:
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