Neil Patrick Harris, Jason Segel and the rest of the “How I Met Your Mother” crew will say goodbye to their popular CBS sitcom soon — but not before dropping in on James Lipton for an episode of “Inside the Actors Studio.”
The cast will appear on the Bravo series March 27 at 8 p.m., just a few days before the “Mother” March 31 series finale.
During the episode, the cast will discuss their favorite scenes, and two of the cast members get a little more tight-knit than usual by locking lips. (Sorry; Bravo didn't name names.)
“I've always loved [that] it's not a cynical show,” Josh Radnor — who plays mother-meeter Ted Mosby on the series — notes during the episode. “It's a show that lets people love each other, and express that love. The whole point of the show is about love and the search for love … and it's also about family … a kind of modern family.”
Watch a preview of the “How I Met Your Mother” episode of “Inside the Actors Studio” below.
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The parents of Trayvon Martin's shooter, George Zimmerman, are suing Roseanne Barr for tweeting their home address in what they say was an attempt to send vigilantes after them.
Robert Zimmerman and Gladys Zimmerman's lawsuit says the actress and comedian also said she herself might go to their home herself. They said she posted their private information in violation of Twitter's privacy policies.
“Roseanne Barr knew at the time of her tweets and her threat to personally come to the Zimmerman's home that it was an open and obvious call for vigilante justice… intended by Roseanne Barr to cause a lynch mob to descend on Robert Zimmerman and Gladys Zimmerman's home,” according to the lawsuit, filed in Seminole County, Fla.
A spokesman for Barr did not immediately respond to a request for comment from TheWrap.
The Zimmermans say Barr tweeted their address on March 29, 2012, later adding, “At first I thought it was good to let ppl know that no one can hide anymore.” She added, “If Zimmerman isn't arrested I'll rt his address again – maybe go to his house myself.”
But she also wrote, “vigilante-ism is what killed Trayvon. I don't support that,” according to The Smoking Gun website. She also admitted to “not fully understanding that it was private not public.”
Zimmerman's parents said their son had not lived at the home for more than six years.
The couple said they had no problems related to his case in the month before Barr tweeted their address, but that news media began arriving at their home almost as soon as she did. They said they were forced to flee and have not returned to their home in the nearly two years since. They do not claim that any lynch mob ever materialized — only that they had to leave to avoid potential vigilantes.
But the timeline in their lawsuit conflicts with one Robert Zimmerman gave the Orlando Sentinel in an interview, the paper reported. He said on March 15, 2012 – two weeks before Barr tweeted the address – that he and his wife had already moved out of their home because of death threats, the Sentinel said.
Barr is the second celebrity to be accused of overzealous tweeting involving the Zimmerman case. Another Florida couple has sued Spike Lee for retweeting their address and mistakenly identifying it as Zimmerman's. He later apologized.
George Zimmerman, who said he shot Martin in self-defense, was acquitted in July 2013.
Pamela Chelin contributed to this story.
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“Bates Motel” actress Olivia Cooke is in talks to star in the Indian Paintbrush movie “Me & Earl & the Dying Girl,” an individual familiar with the project has told TheWrap.
Alfonso Gomez-Rejon (“The Town That Dreaded Sundown”) will direct, while Dan Fogelman (“Imagine”) will produce. Jesse Andrews adapted his own debut novel, and the screenplay was voted to the Top 10 of the 2012 Black List.
A coming-of-age tale in the vein of classic John Hughes movies, “Me & Earl” follows a quirky high school student in Pittsburgh who is forced by his mother to befriend a sick girl he once knew when they attended Hebrew school together. Well-liked by every clique in school without actually belonging to any of them, the young man's commitment to the new friendship changes his life.
While her deal has not closed, Cooke is negotiating to accept an offer to play the female lead, who battles leukemia in the novel.
A representative for Indian Paintbrush told TheWrap that no actors have been cast yet, as the company is still searching for the movie's male star, who will obviously need to have chemistry with his leading lady.
The 20 year-old actress has been in high demand among genre producers of late, as she has Focus’ “The Signal” and Lionsgate's “The Quiet Ones” on the horizon, as well as Universal's “Ouija.”
While “Me & Earl” will represent an entirely different acting challenge than that trio of films, Cooke has experience playing illness on screen, as her “Bates Motel” character Emma Decody suffers from cystic fibrosis.
Cooke is represented by the Gersh Agency, Luber Roklin Entertainment and UK-based Shepherd Management.
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Season 6 of NBC's “The Voice” has been a whirlwind so far, culminating in this week's final blind auditions. There was a little heartbreak, a little joy and a lot of Shevine PDA, so let's talk about my highlights below.
1. Panda hugs for everyone!
This week's Blinds started off with yet another singing nanny (this one yodels)! Kat Perkins has a voice reminiscent of Pat Benatar or Ann Wilson of Heart. Her “Gold Dust Woman” started slowly but burned into a compelling performance that earned three chair turns. Naturally, the rocker chose coach Adam Levine and he reacted by picking her up off the ground while she clung to him panda style.
2. Burn, Usher. Burn.
“Best Burn” goes to coach Usher this week. After Jake Barker's lovely performance of “When I Was Your Man” yielded three chair turns (pretty falsetto alert!), Jake admitted he struggled with stage fright. Shakira responded to this reveal by saying he could be vulnerable and come to her for support. Usher retorted “Do you want a mom or a mentor?” Ooh, solid burn, Usher. How could Jake resist? This round went to “Team Burn” (Usher).
3. So many questions
Luke Cooper's “Radiactive” may not have inspired any chair turns, but his background package inspired many questions like do they live on a farm? Do they manhandle chickens daily? Was that a miniature horse his son was riding, and can it carry the weight of adult? I need to know. For a friend.
4. The peanut gallery
Ria Eaton's voice is fascinating – at times soulful and raspy and at times delightfully oddball. Her performance of “Cups (When I'm Gone)” started wobbly but improved as the song continued, earning eleventh hour button pushes from Shakira and coach Blake Shelton. Usher and Adam stepped to the sidelines to critique coach sales pitches – calling out Blake's compliments for sounding “canned,” clapping for Shakira's “You're like a pearl in an oyster” speech and wreaking general havoc (inadvertently sending Ria into the arms of Team Blake).
5.”Girl Talk” with Shakira
Cierra Mickens's commanding voice and performance of “Crazy” earned her three chair turns, but the other coaches didn't stand a chance once Shakira walked onstage to have some “girl talk.” After painting each other's nails and talking about their hopes and dreams, Cierra chose Team Shakira.
6. This Kiss, this kiss!
Shevine's PDA was out of control this week – from Blake sitting on Adam's lap after Cierra Mickens to Adam planting a surprise kiss on Blake's cheek after Paula Deanda's “The Way.” Get a room already! OK, don't, because I'm loving it.
7. Is this “The Voice” or “Law & Order”?
The most shocking moment this week occurred during Tyler Montgomery's background package. It started jauntily enough with pictures of him dressed as a mini-Elvis and quickly shifted into dark territory when he hauntingly recounted seeing his father's body after a deadly house fire…wait, what just happened? Did I drift into an episode of “Law and Order”? Of course, because viewers were rooting for Tyler, he got no chair turns after his version of “I Wish.” Thanks for expanding our hearts and then trampling all over them, “The Voice.”
8. Smartest song choice
Best song choice of the week goes to Alaska and Maddy's “Barton Hollow.” While their individual voices weren't always outstanding, the duo's harmonies were tight, the performance was strong and the song itself elevated it from good to great. Despite intense lobbying by two coaches (Adam and Blake), the girls went with Team Blake because Oklahoma Kids and a picture of Blake with a mullet!
9. Guilty of passion in the third degree
Do I see a NEW bromance blooming? Josh Kaufman's electric “One More Try” was my favorite performance this week, inspiring four chair turns. The father of two is eminently likeable, but more importantly his voice is wonderful – distinctive and lived in with a surprisingly strong falsetto. When Blake mocked Adam for being overly excited (jealous much??), Adam replied he was “guilty of passion in the third degree.” That passion won Josh to Adam's team.
Watch his audition again above.
10. Welcome to the gun show
While Kaleigh Glanton's voice is unique, what's more unique is the show's choice to feature both performance footage and a Crossfit workout in her background segment. While it was fun, this is mind-boggling considering the amount of montaging they've done so far. If I made a team and my audition was cut in favor of moments like this? I'd want to start lifting myself. That being said, her quirky “Have You Ever Seen the Rain” turned four chairs and generated some lively coach bickering. Despite Shakira's adorable offer to “quirk up” with her, she went with Team Blake. I hope “Dimples” is ready for the gun show!
11. The Donut King
Donut shop cashier Caleb Elder's ballsy, joyful performance of “Groove Me” demonstrated just how essential donuts are to cultivating great performance skills. His voice was surprisingly gritty and pliable, but his frenetic showmanship was what truly stole the show. It was even more charming when Adam turned around, shocking Caleb so much Adam had to wave him on to keep singing. This was the perfect way to wrap up this season's blind auditions (and a great final addition to Team Adam).
“The Voice” airs Mondays and Tuesdays at 8/7c on NBC.
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After co-starring in Warner Bros.’ Oscar-nominated drama “Her,” Rooney Mara is in negotiations to play Tiger Lily in the studio's big-budget tentpole “Pan,” an individual familiar with the project has told TheWrap.
Joe Wright is directing from a script by Jason Fuchs, and Greg Berlanti is producing with Paul Webster and former WB exec Sarah Schechter, who now runs Berlanti's production company.
“Pan” tells the untold story of how a young orphan boy from London is spirited away to the magical Neverland where he finds grand adventures that shape him into the hero known to generations as Peter Pan.
The film is expected to star Hugh Jackman as Blackbeard and Garrett Hedlund as Captain Hook.
Wright is planning to create a world that very international and multi-racial, effectively challenging audiences’ preconceived notions of Neverland and reimagining the environment.
Warners executive Courtenay Valenti will oversee the project for the studio, which will release the 3D movie on July 17, 2015.
Mara, who previously starred in “The Girl With the Dragon Tattoo,” next stars in Stephen Daldry's “Trash” and a Terrence Malick movie. She's represented by WME and Management 360.
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Don Draper is a man in changing times, and so is his creator, Matthew Weiner.
The “Mad Men” mastermind is part of the first wave of TV writers to have their shows scrutinized and interpreted from the moment they air. Weiner realized what a fascinating counter-world the internet can be when fans created intricate conspiracies last season around a relatively minor character, Bob Benson.
With the intense investment in a show comes a demand for instant gratification. Weiner recalls an underwhelmed initial reaction to the “carousel speech” now considered one of the show's greatest moments. But he'll take the bad with the good.
“I don't really pay attention to it anymore, but there were people writing reviews of the show while they were watching it,” Weiner said. “How can you have any experience of what's going on here if you're talking while the characters are talking? But that all sounds super critical. All I can say, and I'm not pandering: What a great problem to have, if people are so into it that they're reading into everything and they have their own theories.”
We talked to Weiner as the show prepares to enter its seventh and final season about how he watches TV, whether everything in “Mad Men” pays off, and why you can't give people what they want.
TheWrap: With the mythology around Bob Benson last season, and the mythology around “True Detective” this year, are we over-analyzing our TV shows?
Matthew Weiner: Probably. I don't know that that's bad. I think the group conversation has never been possible before, and I applaud that. As someone in the entertainment business, having that kind of interaction with your audience is extremely exciting. But there's a big difference between the way you feel about a piece of work that's taken months, sometimes years to prepare — how you feel about it in the first 30 seconds after you've finished it… and how you feel about it in the context of an episode in a whole story. Even if you're binge-watching. Those are two different things. And the noise that happens immediately afterwards is very different from the resonance of the work. Good or bad.
So if it gives people pleasure, I'm all for it. Any ancillary aspect of appreciating the show is a miracle to anyone who makes the show. … The interesting thing to me is that the good/bad critique, that scale immediately, is often a disappointment to the people who make the show. I'm not just talking about “Mad Men.” I mean any show. …But I do think it's a product of the isolation that technology has brought into our lives. And anything that breaks through that, I applaud.
There are so many episodic criticisms along the lines of “Nothing happens this episode” and “This was so boring,” and then you realize it was setting something up. We don't review novels a chapter at a time, but we do review TV shows an episode at a time.
People do review novels a chapter at a time. [Laughs.] And they can always put them down. To me, it's always about plot. Plot to me is very important. I admire people who can do it. We try to do it here in an organic way. But plot is not the definition of entertainment. And that's the thing that you kind of see people passing by the wayside. Often when something's really successful, you can't even put it into words. But I applaud the compulsion to talk about it. No one who is in my position is not grateful for that.
Do you see “Mad Men” as a show where everything has to pay off down the line, Chekhov's-gun style?
No. Plot's really important. We talk about it all the time. The shows have very, very intricate plots. They're elaborately plotted. The season is elaborately plotted. It's just that what happens to be defined by the audience as a significant event or a twist is up for debate.
I used to watch every “Sopranos” episode twice. First, with the tension of, “Is somebody going to get killed? Is there going to be some explosive violence? Is there something I need to be prepared for?” I'd be biting my nails with the constant tension of the way suspense worked on that show. And then I'd watch it again and realize what it was about. Once the story had been exposed, you could sort of see what it's about. And one of the things that gets lost in the gut reaction that comes out in such a short period is what the show is about.
I can tell you right now that for whatever reason, the carousel speech at the end of the first season is considered to be sort of a benchmark for the show in terms of its success and evoking feelings for people, and a payoff to a 13-episode story. At the time, I would not say that the reaction was positive at all. The episode was greeted with, “Nothing happened,” “What the hell happened?” “Is he going home or not?” “So he missed Thanksgiving vacation.”
That's what happened in the activity. But the plot was this man came to this realization that he was missing his life. And that is plot also. Character is plot.
There's a predictability to the fact that people have no interest in what they just saw, and have this rosy recollection of what there was. So without fail, every season of “Mad Men” was the worst to come out, and the last one was so much better. And then you're like, “Well, last season — I thought that was the worst one.”
I can't get involved in that conversation. It's hard enough for me to just tell the story here every day. All I can tell you is we don't phone it in. There's no filler. There are episodes that are digressions to the audience that are supposed to have some greater meaning sometimes. I'm always looking for meaning. And I don't work from a thematic context. I work from a story context. Story is about what's happening to the people, and then we look for the broader theme. I want every episode to be a complete story that you can watch without knowing what happened before. You do get more if you know what happened before.
… When I heard about this Bob Benson theory last year, I thought, Oh my God, they're going to be so disappointed. Their version of it was so much more exciting that the reality that we were living in.
We wanted it to be good. I just didn't know it would — it's like Megan wearing that T-shirt. It's flattering that there's a whole parallel universe. I don't look at it and say, “Why didn't we think of it?” The show is definitely heightened reality, but it is closer to reality than a lot of shows are. That means not making the story too extreme. When something that's big in our lives happens — like getting a divorce or losing your job — it feels catastrophic. But that is not the same as shooting someone or stealing a car or robbing a bank. If you're outside of that world, people are always going to be sort of tough on the plot. To hear their imagination of how we would do that to this show was totally intimidating. [Laughs.]
And if you'd done what people wanted, they would have said it was ridiculous.
I get in trouble for saying this, but you cannot give people what they want. They hate it. Many people in every field of cinema, theater, everywhere, have tried to nail that down, and it always fails. The audience will not tell you what it wants. You have to think about what you want.
When you have an idea that everybody tells you is crazy, do you tend to follow it, or listen?
I have to say…I am proud of the fact that we do everything we think of here. I don't look at the extremes. I'm not usually the person who has the most extreme idea. I might have the perverse idea. That sometimes is something that I have to sort of fight for. But I go with my gut. I don't want to be sorry the next day. But the really extreme moves in the story are things that I have to be talked into, usually. Even if I thought of them, I might abandon them by the time I get there. And they're like, “You said that Don was going to get fired by the end of the season,” and I'm like, “Okay. Well, we're gonna do that. I don't know, but we're gonna do it.”
“Mad Men” returns April 13 on AMC. Here's that carousel scene:
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TLC is taking a look at predators on the internet with two new specials: “Cyber Stalkers” airing on Wednesday, April 9 at 1o p.m. and “Web of Deceit,” which will air on Wednesday, April 16 at 10 p.m.
TheWrap has the exclusive first look at the specials.
Produced by Megalomedia Inc., “Cyber Stalkers” is a one-hour special that uses dramatic reenactments to tell true stories of online connections gone wrong.
“Web of Deceit,” which is produced by Cineflix Productions, focuses on how Sandy's online romantic relationship went awry and how private investigators Dawn Ricci and Tony DeLorenzo piece together the truth.
Watch the preview for “Cyber Stalkers” above and “Web of Deceit” below.
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Sony Pictures Animation is overhauling its “Smurfs” franchise and pushing forward on a sequel to 2012 hit “Hotel Transylvania,” the studio division said Wedneday.
It also announced plans for computer animated version of “Popeye” and an original animated film “Genndy Tartakovsky's Can You Imagine?” Plot details on the latter project were kept under wraps.
The studio had great success with 2011's “Smurfs,” with the live action and computer graphic hybrid racking up more than $560 million at the box office. Last year's sequel still made $347.5 million globally, but that was less than some box office prognosticators had expected and was deemed a disappointment.
This new version will be entirely animated and Sony is swapping Raja Gosnell, the director of the first two movies, for Kelly Asbury, whose work on “Shrek 2″ and “Gnomeo & Juliet” gives him a deeper understanding of animation. It hits theaters in August 2015 and there are hints it will be an origins story.
Also read: Sony to Cut More Than $100M in Coming Months
“I'm really excited about taking the Smurfs in a completely new fresh direction,” Asbury said in a statement. “We're not making a Smurfs 3 film. Our character designs and environments will be stylistically closer to the original artwork created by Peyo. Our story will explore the beginnings of the beloved little blue creatures.”
The studio will also keep animation veteran Genndy Tartakovsky busy. He will retain the director's chair for “Hotel Transylvania 2,” scheduled for September 2015. Adam Sandler will return as the voice of Dracula and will co-write the script with Robert Smigel (“SNL”).
Tartakovsky will also oversee “Popeye” and “Genndy Tartakovsky's Can You Imagine?” The studio did not offer up release dates for those films.
Like other studios, Sony has moved more heavily into animation in recent years, where it has achieved some notable successes such as its “Cloudy with a Chance of Meatballs” films.
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Ricky Gervais saw Louis CK naked while playing a doctor on FX's “Louie” — and it was not a particularly pleasant sight.
The British comedian and “Muppets Most Wanted” star recalled the scene to Conan O'Brien on Tuesday as “horrendous,” “horrible,” “awful,” “disgusting,” and “hot and clammy,” among other unflattering adjectives.
Gervais went on to describe CK's fair skin as “like an undercooked chicken,” and the scene's stench as one of “sweat and shame.”
Eventually, Gervais and Conan got to talking “Muppets,” which the actor was on the TBS late night talk show to plug. The conversation, however, did not become much more sophisticated.
Gervais, who has had a lifelong obsession with the puppets, wants to see them in more films: “You can make any movie better with Muppets,” Gervais said. “‘Schindler's List’ … that would be amazing, wouldn't it? '12 Years a Slave’ … let's try it at least.”
Watch the clip:
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TLC's “Little Couple, Big World” stars Matt and Amy Roloff have announced a trial separation, which will be documented in a special, titled “New Year, Big Changes,” airing on Tuesday, March 25 at 9 p.m. PST
Fans of the series may have expected this outcome, as the couple's 26-year marriage has shown some cracks over the seasons — from sharing different life goals to dealing with empty nest syndrome on the most recent season of the show.
Matt and Amy released the following statement:
Though we have weathered many storms together, we recently made the tough decision to engage in a trial separation. Matt remains living on the farm in our guesthouse and we work together everyday on the farm, on our business endeavors and most importantly, raising our amazing children.
We sincerely appreciate the unwavering support, understanding and prayers from our family, friends and many fans. May God Bless you.
Filmed over the final weeks of 2013, the special finds the couple dealing with a new arrangement as a result of the separation. As revealed in the above statement, Matt has moved out of the main house and into a guest house on their Oregon farm. The couple will contemplate the repercussions of the trial separation on their marriage and whether or not it was a good idea.
Meanwhile, they still want to make New Years a great time for the kids. So, they continue planning for a big party with family and friends.
Produced by Gay Rosenthal Productions, “Little People, Big World” debuted on TLC in 2006.
Watch a preview of the special above.
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“Growing Pains” patriarch Alan Thicke is heading back to the small screen in the new hybrid reality sitcom “Unusually Thicke” on TVGN.
“Unusually Thicke” — a reality-based series blended with situational comedy that Thicke describes as a “real life ‘Modern Family'” — will premiere on Wednesday, April 16 at 10 PM.
The show stars his Bolivian-born wife Tanya, and his 16-year-old wise-cracking son Carter. Thicke's pop singer son Robin, who is best known for last summer's R&B hit, “Blurred Lines,” will also make an appearance.
“We see this as falling somewhere between Larry David and the Kardashians,” Thicke explains. “We have some fun with real life and embellish it with plot.”
Watch the trailer for the show below:
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The Showtime drama “Masters of Sex” has cast Keke Palmer for its second season, which begins production in mid-March in Los Angeles.
Palmer, star of the Nickelodeon series “True Jackson, VP,” will recur as Coral, the nanny hired by the Masters to care for their new baby.
Palmer's acting credits include the upcoming Drew Barrymore-produced horror thriller “Animal,” as well as the Lifetime TV movie “A Trip to Bountiful,” which premiered earlier this month. A singer as well as an actress, Palmer is currently working on her next album.
“Masters of Sex” stars Michael Sheen and Lizzy Caplan as sex-research pioneers William Masters and Virginia Johnson.
Neil Young wants to change your digital music listening experience, and now he has the money to do it.
The rock legend and founder of Pono Music (“Pono” is Hawaiian for righteous) shattered his new music player's Kickstarter crowdfunding goal in all of one day. Young needed $800,000 to fund his April 15 project; at the time of this writing, Pono Music's Kickstarter had amassed nearly $1.5 million. It still has 34 days to go.
“Pono is about the music, it's about the people who make the music, and the way it sounds to us when we're in the studio making it,” Young said in a near-12 minute promo video, embedded below. “It's about you hearing what we hear.”
In the clip, Young refers to his new technology as a “music ecosystem,” and the “Rockin’ in the Free World” singer utilizes an underwater-to-surface ocean graphic to explain the differences between his player and the competition.
Most people listen to MP3s, which compresses files to the point of what the rocker calls “underwater listening.” CD listening does not give as deep an underwater sound, Young says, but is still “not quite in air.”
“When you make it to 192[kHz], you actually break through the surface and you're breathing air,” Young says of his format. “It's actually a visceral release and you feel good, your body feels good.”
Young was not the only music legend touting the sound quality in the promo. Sting, Bruce Springsteen, Kid Rock, Dave Grohl, T Bone Burnett, Rick Rubin, Eddie Vedder, and many more also weighed in. The list — and clip — goes on for a while.
Watch the video:
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Will “Noah” float with the faithful? That's the $130 million question for Paramount and New Regency.
TheWrap obtained a draft of the script by Darren Aronofsky and provided it to Dr. Daniel L. Smith-Christopher, professor of Old Testament studies at at Loyola Marymount University in Los Angeles, who read it and shared his thoughts (below). His conclusion? The story is almost an “anti-human, pro-environmental polemic,” though it hardly violates what he understands to be a biblical moral story — and not necessarily a historical narrative to begin with.
Christopher critiques the script for making Noah into a man of violence and an “Earth-First activist.” Instead of approaching the Biblical story with compassion toward humanity, he says, the script makes Noah, played by Russell Crowe, into a violent man himself.
The notion that God was angry over mankind's violence “is powerful political theology, and any telling of the Noah story that overlooks this is, I believe, deficient,” he wrote. As for veracity, he'll leave that to others: “Although I do believe that the Bible contains ideas that are inspired by people's understanding of God … I also believe that this story is not historical, and it is questionable whether it was ever understood to be so.”
(It should be noted that this version of the script, by director Aronofsky and Ari Handel, may not be the final draft — and that Christopher has not seen the film.)
We open with imagery from the Book of Genesis, including man's descent into chaos and warfare. A passage appears: “The Creator saw that the wickedness of man was great on the earth, and it grieved His heart.”
Christopher: “Wickedness” omits the “violence” as a specific reason for God's disappointment. The script generally emphasizes the “angry vengeance” of the Creator, rather than the deep regret and disappointment! That is a rather different view — but the writers give in to stereotypes about the “angry God.”
Noah engages in brutal hand-to-hand combat to stop a gang of poachers attacking a bison herd. Described as a “master of military arts” and armed with mysterious exploding “packets,” Noah “carves through a half-dozen men without breaking a sweat.”
Christopher: I deeply resent Noah presented as a military fighter rather than as a man of peace. Come on! Here is a story where God regrets how violent humanity is, and they have to make Noah a martial-arts expert?
In the aftermath, Noah laments that the hunters kill the bison only for their horns — then tends to an injured juvenile bison.
Christopher: I do like the creative idea of Noah's concern for animals. But why does this have to be in the context of so much violence even from our “hero?” The notion that modern films need such violent “action sequences” is itself part of the problem, now, isn't it?
Noah tells an authority figure that the Creator mourns the “poisoned husk” that the Earth has become at the hands of men. “We must change,” he says, “we must treat the world with mercy.”
Christopher: Noah is made into an “Earth-First” activist here. I like the environmental message, but not turned into an anti-human message! It is the privilege of the well-to-do to regret so many people on the earth, and overlook how their own wealth and privilege created a great deal of the environmental crisis! Are the masses of poor on the earth, struggling to survive, really the problem? Or is it the greedy corporations and states whose notions of “economic development” led directly to our current crisis?
Noah meets “The Watchers,” 18-foot giants with skulls the size of “beach balls.” Text from Genesis appears onscreen, explaining that giants “walked the Earth in those days.”
Christopher: The writers are borrowing heavily from the Book of Enoch here. [Ed's note: The Book of Enoch is an ancient Jewish religious work ascribed to Noah's great-grandfather that is not part of biblical canon.] That is a creative decision, but it should probably have been indicated as such. The way (the giants) are portrayed here sounds a bit silly, but I like CGI as much as the next guy, so I will see how they are portrayed!
The Watchers and Noah witness a miracle — a forest sprouting from the Earth. One of the giants says: “Maybe God will forgive us … “
Christopher: But for what? In Enoch, the (giants) who “fell” taught humans how to make the weapons of war! Once again — the writers omit an opportunity to highlight the ancient texts’ own criticism of human violence, and replacing it with … naturally … MORE violence!
Noah wonders out loud whether “a world without men would be a better world,” suggesting that they may not be meant to survive.
Christopher: This is another example of extremist environmentalism at the cost of humanity.
The rains begin, and as Noah prepares to seal the Ark, the horde panics: “Mayhem reigns … 10,000 souls rushing for the safety of the ship.”
Christopher: Isn't it interesting that the biblical version of the story does not mention other humans trying to get in? It does not dwell on violence and suffering. But the script writers seem to insist on making this a major aspect of the story.
Safely aboard the floating sanctuary after a terrible battle, Noah tells his frightened family the story of creation, including a fleeting reference to Adam and Eve.
Christopher: Nothing about the creation in the Image of God, indicating something important about humanity? No, I don't suppose this would fit the anti-human, pro-environmental polemic being constructed here. In other words — this “Earth-first” version of the Noah story conveniently omits God's compassion and care for humanity is something special. Humans are a disappointment because they failed their responsibilities, which were significant, not because they simply exist!
Noah reveals to his family that the plan isn't to procreate once the waters subside — it's to make sure man does not carry on in the new world.
Christopher: The entire sub-story, with Noah wanting to kill the last female to make sure all of humanity is wiped out, is contrary to the pro-human narrative of having humans survive in the first place! If the animals were to survive — so, too, were the humans! Also, it is interesting that the writers seem to be carrying on an implicit dialogue with Abraham's near sacrifice of Isaac … where they wish Abraham would have said, “I can't do it,” they seem to be pleased to present Noah, in the end, with having to say, “I can't do it.” The Abraham narrative, of course, is a matter of huge debate for literally hundreds of years, but the writer's dialogue with it is an interesting decision. But in the end … just which Bible story is being told here?
Christopher: I believe that film and TV producers have the right to take creative decisions — even with the Bible. All “re-tellings,” whether in a film or in a sermon, are viewpoints — they are all “interpretations.” It would be silly to talk about “accuracy” in a film about Noah, because it is a short moral story with a powerful message, not a historical narrative and description.
However, I think we can take issue with implied messages and implications — and my main concern about the Noah film is its ambiguity with regard to human violence when that seems to be a major element of the original narrative. Why can't Noah have been a peacemaker in direct contrast to human violence? Isn't that implied by saving him, when the rest of humanity grieved God because of its violence?
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As many may have expected, Republican Texas Gov. Rick Perry was booed by Jimmy Kimmel's South by Southwest festival audience in Austin on Tuesday.
“I thought maybe here in Austin that you'd get a favorable response,” Kimmel said after boos overtook the cheers welcoming the politician on stage for the interview (above). “But what have you done to make these people dislike you so intensely?”
Perry didn't speculate, but did describe the liberal Texas city as “the blueberry in the Tomato soup in the state.”
“That's a weird analogy,” Kimmel noted.
While Perry did not receive the warmest of welcomes, he was able to get audience support when Kimmel brought up the agenda to move Texas toward the decriminalization of marijuana.
“We're trying to be smart about it. You don't want to ruin a kid's life for having a joint, and that was historically what you saw,” Perry said. “We put drug courts into place, I think making some really smart decisions about dealing with people — particularly when it comes to the small amounts of drugs. We've been able to shut down a prison in the state of Texas. That's conservative, man.”
Perry has been the state's longest-serving governor to date, with three terms under his belt, but has stated he will not seek re-election for a fourth. Instead, there has been speculation that he will once again run for President of the United States. However, he wouldn't confirm his intentions of campaigning for the Oval Office.
“This is not the crowd that I want to make this announcement,” the politician joked.
“Why would you run for President?” Kimmel asked. “I mean, it didn't go that great last time.”
“America is a great place for second chances,” Perry countered. “Let's just leave it at that.”
Watch part two of Perry's interview with Kimmel below:
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The CW pilot “iZombie,” from Veronica Mars creator Rob Thomas and Warner Bros. Television, has finally found its lead.
Rose McIver will play the role of Liv, a med student-turned-zombie who takes a job in the coroner's office to gain access to the brains she must reluctantly eat to maintain her humanity. But with each brain she consumes, she inherits the corpse's memories. With the help of her medical examiner boss and a police detective, she solves homicide cases in order to quiet the disturbing voices in her head.
The New Zealand native most recently played Tinker Bell on ABC's “Once Upon a Time.” She also appeared on Showtime's “Masters of Sex”, Peter Jackson's “The Lovely Bones”and children may recognize her as the Yellow Power Ranger on ABC's “Power Rangers R.P.M.” McIver was recently cast on Lifetime's upcoming sequel to “Flowers in the Attic,” “Petals on the Wind.”
McIver joins Robert Buckley, Malcolm Goodwin, Alexandra Krosney and David Anders on the pilot's cast.
“iZombie” is based on the comic book characters created by Chris Roberson and Michael Allred, and published by DC Comics’ Vertigo imprint.
The project is executive-produced and written by Thomas and Diane Ruggiero with Danielle Stokdyk and Dan Etheridge also serving as executive producers.
WME, Sue Barnett and Associates (Australia), Johnson and Laird Management (New Zealand) and Principato-Young Entertainment represent McIver.
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Small businesses, ostensibly the biggest losers via rampant runaway production, will rally this weekend to support for California's TV and film tax credit program near Los Angeles.
Among those speaking will be State Assemblyman Raul Bocanegra, who with his Assembly colleague Mike Gatto last month introduced legislation that would renew and expand the program.
The rally is sponsored by the California Film and Television Production Alliance, a coalition of small businesses, studio and network representatives, labor groups, local politicians, film liaisons and vendors.
They see the bill as a critical tool to help California retain the jobs and economic activity generated by the film and television industry. The state's slice of the TV and film production pie has been diminishing for a decade as other states and nations have been offering incentives that outstrip California's.
The event, which will be held at Independent Studio Services in Sunland, is intended to be a call-to-action to help bring jobs and revenue back to the state.
The doors will open at 11 a.m. The Grammy-nominated band Lisa Haley and The Zydekats will perform and a catered lunch will be provided for guests. The studio is located at 9545 Wentworth Street in Sunland. For more information, check the event web site.
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NBC swept each half-hour in the key ratings demographic on Tuesday, as Fox's “Glee” dipped to the series’ low. CBS topped the night in viewers.
NBC was first in ratings with a 2.4 rating/8 share in the advertiser-coveted 18-49 demographic and second in viewers with an average of 9.2 million, according to preliminary numbers. “The Voice” at 8 p.m. topped the night in ratings and audience, with a 3.4/12 — a season low — and 13.1 million viewers. At 9, “About a Boy” earned a 2.1/6 and 7.9 million viewers. “Growing Up Fisher” at 9:30 received a 1.8/5 and 6.5 million viewers. “Chicago Fire” at 10 had a 2.0/6 and 7.3 million viewers.
ABC was second in ratings with a 1.4/4 and third in viewers with 4 million. “Marvel's Agents of SHIELD” at 8 earned a 2.0/7 and 5.8 million viewers. “The Goldbergs” at 9 received a 1.5/5 and 4.3 million viewers. “Trophy Wife” at 9:30 got a 0.9/3 and 2.9 million viewers. “Mind Games” at 10 had a 0.9/3 — up 50 percent from last week — and 2.5 million viewers.
CBS was third in ratings with a 1.3/4 and first in viewers with 9.4 million. It aired entirely reruns.
Fox was fourth in ratings with a 1.1/3 and fifth in viewers with 2.4 million. “Glee” at 8 dipped to a new series low for a regular episode, with a 0.9/3. It had 2.3 million viewers. Previously, a Thanksgiving special also hit a 0.9. “New Girl” at 9 tied a low with a 1.2 and had 2.4 million viewers. “Brooklyn Nine-Nine” at 9:30 got a 1.2/3 and 2.5 million viewers.
Also read: ‘Big Bang Theory’ Renewed Through 2017
Univision was fifth in ratings with a 1.0/3 and fourth in total viewers with 2.6 million.
The CW was sixth in ratings with a 0.7/2 and 1.6 million viewers. “The Originals” at 8 earned a 0.9/3 and 1.9 million viewers.
Telemundo was seventh in ratings with a 0.5/2 and in total viewers with 1.3 million.
“The Big Bang Theory,” TV's top-rated sitcom, will remain on the air through at least 2017, CBS announced.
The highly unusual, three-year renewal represents a major vote of confidence in the show, which is also the top-rated scripted series on broadcast television in the key 18-49 demographic. (Last season, AMC's “The Walking Dead” beat it in the demo, the first time a cable show has led.)
“Comedy is a big part of our schedule, and ‘The Big Bang Theory’ is the biggest comedy force on television,” said CBS entertainment chairman Nina Tassler. “This multi-year deal further strengthens our network's position for future seasons and marks another chapter in the great partnership CBS enjoys with Warner Bros. Television for delivering audiences the best in comedy. We're proud to work with and showcase the incredible talents of Chuck Lorre, Steve Molaro and this amazing cast every week.”
The move brings stability to a network that loves stability. “Big Bang Theory” has powered a Thursday night CBS block that has hit both Fox and NBC hard, cutting deeply into the ratings for “American Idol” and thwarting NBC's attempts to recapture its longstanding place as the Thursday-night destination for comedy.
The show is averaging 19.79 million viewers, up 4 percent from last year, and a 6.1 rating in the key demo.
Series star Jim Parsons has won three Emmy Awards for Outstanding Lead Actor in a Comedy Series. The show also stars Johnny Galecki, Kaley Cuoco-Sweeting, Simon Helberg, Kunal Nayyar, Mayim Bialik and Melissa Rauch.
Chuck Lorre, Steve Molaro and Bill Prady are executive producers. The series comes from Chuck Lorre Productions, Inc., in association with Warner Bros. Television. Lorre and Prady created it.