New York AG's office filed the civil lawsuit
Settlement does not affect criminal case
https://www.cnn.com/2019/05/24/us/harvey-weinstein-settlement-deal/index.html
2019-05-24 07:45:00Z
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CNN's Evan Simko-Bednarski and Athena Jones contributed to this report.
There was a bittersweet quality to ABC's triumphant two-hour live sitcom special on Wednesday night. At least, for me there was.
On the sweet side, watching talented stars like Jamie Foxx and Woody Harrelson re-create classic scripts from All in the Family and The Jeffersons was a shot of pure, uncut nostalgia. There are few spectacles as entertaining as these guys mugging their ways through impressions of classic characters like George Jefferson and Archie Bunker — in live performance.
For those of us raised on the original stuff — the inspired swagger of Sherman Hemsley as self-made success George; Carroll O'Connor's vividly authentic, Queens patois as Archie — even the distant echoes evoked by Foxx and Harrelson on ABC's live special were entertaining. And, of course, Foxx stole the show by improvising his way through an inevitable line flub. ("It's live," he said, turning to the audience while his costars struggled to keep straight faces. "Everyone sitting at home ... think they TV just messed up.")
Harrelson actually struggled a bit as Archie; I never quite bought him as a cluelessly bigoted (yet somehow lovable) working-class schlub from Queens. And his labored efforts to make those old-school punch lines sing revealed just how much O'Connor's grounded performance helped sell the material back in the day.
Marisa Tomei fared much better as well-meaning wife Edith Bunker, smoothing over Archie's barbs with a manic earnestness very close to the magic Jean Stapleton once managed weekly. Wanda Sykes was earnest, but uncharacteristically subdued as Louise "Weezy" Jefferson.
They, along with a cast of fellow stars, re-created two actual, unchanged scripts from All in the Family and The Jeffersons that originally aired in the 1970s, on sets painstakingly copied from the originals, directed by the great sitcom craftsman James Burrows. Hosted by late-night talker Jimmy Kimmel, who dreamed up this revival, the live event also had the blessing of the TV legend who helped develop both shows: 96-year-old executive producer Norman Lear.
Lear's benediction came before it all started, delivered while sitting in Archie's legendary living room chair: "The language and themes from almost 50 years ago can still be jarring today," he said, as a bit of a warning. "And we are still grappling with many of these same issues."
It was a loving tribute presented like a Broadway play. So why did watching it make me feel so, well, odd?
The two episodes they re-created, "Henry's Farewell" from All in the Family and "A Friend in Need" from The Jeffersons, centered on a farewell party for George's brother held at the Bunker home, and an argument between the Jeffersons over whether they should hire a maid.
Part of the problem was the rigidness of the setup. With no changes to the scripts, actors had a tough time delivering a fresh take on their characters. When Archie, Edith, George and Weezy first burst onto TV screens in the early 1970s, no one had seen characters like them on network television. This time, we saw pale imitations through the haze of fond memories.
Frankly, I'm way more interested in seeing Jamie Foxx play a George Jefferson in today's world than I am in seeing him recreate another actor's signature character in a way that feels a little too much like an old In Living Color skit.
Also, much as we might despair that the country hasn't moved far enough on issues of racial equality and fighting prejudice, the fact is: We have changed. As evidence, note that ABC felt the need to insert a lengthy bleep over George Jefferson's use of the n-word in a scene on Wednesday; that same scene was unbleeped when it originally aired in 1975.
You can grouse that networks are too politically correct these days to air a word contained in quite a few hit rap singles. But back in the 1970s, network TV — the medium of the masses — didn't seem to care much whether anyone was put off by one of the worst racial slurs in our nation's history. Changing that attitude sounds like a good thing.
I don't usually find fulfillment in straight-up TV nostalgia. I prefer the reboots and reinventions of old TV shows that take classic programs in new directions, like Star Trek: Discovery or the new Latinx-centered Party of Five. So even while I was impressed by the scope of ABC's revival, I was also a bit disappointed. Is the future of network television really going to be so focused on recreating its past?
Still, there were amazing moments Wednesday. Jennifer Hudson was her usual incandescent self, belting out a voice-and-piano version of The Jeffersons' theme "Movin' On Up" to help transition between the two different episodes. Kerry Washington and Will Ferrell were inspired choices to play the interracial couple Helen and Tom Willis. And bringing in Marla Gibbs to reprise her role as the Jeffersons' maid Florence was a nice touch.
Given that the special was Wednesday's most-watched show with more than 10 million viewers, and all the goodwill generated by this experiment, I'm sure there will be more classic sitcom revivals in network TV's future. But I hope there's also some energy expended on making the new renditions unique and fresh in their own ways, rather than just recreating shows we originally fell in love with because they were so original in the first place.
Patrick Jarenwattananon and Nina Gregory produced and edited this story.
EXCLUSIVE
Psalm West is already part of the Kardashian empire, because he's about to fire up his own business ... and he's just 14 days old.
Kim Kardashian filed for trademark protection under her company so Psalm's name can be used for hair accessories, including barrettes, bands, bows, clips, ties, ornaments, pins, scrunchies, chopsticks, twisters and wraps.
The legal docs also include hair extensions and ornamental novelty pins.
And, it goes on ... entertainment services, personal appearances, skin care, probiotic supplements, toy figures and doll accessories, computer software, clothing, baby bottles, furniture, strollers, beverageware, swaddling blankets ... and on and on.
As long as we're talking ... skin moisturizers, lotions, creams, bubble bath, fragrances, body powders, shower gels, body oils, skin serums, nail polish, nail polish remover, nail care preparations ... and on and on.
Okay ... there's more -- puppets, puzzles, toy jewelry, toy cameras, toy food, bath toys, baby gyms, playground balls, electronic action toys, baby bouncers, baby changing tables, baby walkers, pillows, mirrors, cushions, picture frames and playpens.
We forgot to mention baby carriers, cosmetic bags, toiletry cases, duffle bags, umbrellas, clocks, watches, key chains, calendars, books, photo albums, stationery, stickers, writing utensils and collectible trading cards.
Now, this is sort of interesting ... it seems every time a Kardashian/Jenner has a baby, they file the trademark protections for their newborns, yet rarely do they actually launch businesses with their names. Two possibilities -- one, that they are blocking others from using their kids' names, and 2 -- that at some point in the future the kids may start businesses and they don't want to be blocked out.
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Kris Jenner is delving into the religious significance behind the first name of her new grandson, Psalm West.
“The inspiration was the Book of Psalms in the Bible,” Jenner, 63, told “Entertainment Tonight.”
Of Psalm’s parents, Kim Kardashian, 38, and Kanye West, 41, Jenner added: “I think it’s just a wonderful way to celebrate how they feel. And he’s such a blessing, so it’s perfect.”
A psalm is defined as “a sacred song or poem used in worship, especially one of the biblical hymns collected in the Book of Psalms” — fitting, considering the rapper is at the helm of the popular Sunday Service, a spiritual celebration filled with gospel music that even took over Coachella on Easter.
Kardashian described her hubby’s most recent Sunday Service as “magical,” reportedly saying on social media: “The rain forced us inside but it was magical. No mics, no band, no speakers but it was perfect. Not a dry eye in the room today. The choir sang Sia’s ‘Elastic Heart’ song and changed the words to a gospel song.”
Kardashian and West welcomed Psalm — their fourth child — via surrogate on May 9. The little boy joins big sisters North, 5, and Chicago, 1, as well as brother Saint, 3. Kardashian previously said that Psalm resembles Chicago.
Can James Cameron turn back time on The Terminator franchise? That question adds major intrigue to this morning’s teaser release for Terminator: Dark Fate (Nov. 1), from Skydance Media and Paramount Pictures, which reunites Cameron with Arnold Schwarzenegger and Linda Hamilton and resets the franchise that minted the filmmaker’s blockbuster reputation in Hollywood.
Cameron is back with the R-rated sci-fi series for the first time since 1991 and while he’s not directing (that job belongs to Tim Miller of Deadpool success) he did write the story treatment and took a hands-on producer role. That has stirred the hearts and hopes of disillusioned Terminator fans – and it’s a good bet both their pulse rate and their faith will soar while watching Miller’s evocative teaser.
The teaser shows Hamilton back in action as bad-ass Sarah Connor but she’s not the only powerful female figure in the film. She’s joined by Grace (Mackenzie Davis) as a glowering protagonist from the future who holds her own against a shape-shifting Terminator model in a high-speed highway showdown. Hamilton shows up to lend a high-caliber assist but it’s clear that she doesn’t know what to make of Grace. “Never seen one that looks like you,” Conner mutters after the smoke clears. “Almost human.” The newcomer, who doesn’t recognize the mother of John Connor, rejects the appraisal: “I am human.”
The nature of Grace’s humanity and the origins of her more-than-human capabilities are mysterious (maybe she’s Alita!) but she’s not the only walking riddle presented in the teaser. Schwarzenegger himself appears in the closing moments of the preview montage but he’s silent and sporting a salt-and-pepper beard that makes for a scruffy departure from his android’s traditionally sleek visage. Unless the actor plays more than one role in the film, his appearance raises a philosophical question: When androids sleep do they grow electric whiskers?
The teaser shows Miller’s gift for intense action scenes with both narrative clarity and screen velocity, attributes that often don’t coexist. Cameron wrote the story treatment that guided a writers room that teamed Josh Friedman (creator of Terminator: The Sarah Connor Chronicles) with David S. Goyer (co-writer of the Dark Knight trilogy), Justin Rhodes, and Billy Ray. (The story is credited to James Cameron & Charles Eglee & Josh Friedman and David Goyer & Justin Rhodes. David Goyer & Justin Rhodes and Billy Ray share the screen play credit. Cameron and David Ellison are producers. The film also stars Gabriel Luna, Brett Azar, Diego Boneta, and Natalie Reyes.
The teaser suggests that, like Mad Max, Alien and Blade Runner, another venerable R-rated sci-fi brand name is getting new life with a 21st century revisitation that directly involves the franchise’s original auteur.
This December marks the 35th anniversary of The Terminator, which established writer-director Cameron as an elite sci-fi storyteller and a spectacle specialist of lofty cinematic ambition. The Orion Pictures film opened in 1984 in a holiday season flooded with sci-fi releases (among them Dune, Starman, 2010, Supergirl, and Runaway) that all boasted bigger names or brand-name source material. It was The Terminator, however, that stood the test of time – that’s the appraisal, at least, of the Library of Congress, which in 2008 added The Terminator to the National Film Registry.
The 1984 movie’s title character was an implacable T-800 android assassin sent back through time with dark purpose – a role that catapulted Austrian-born bodybuilder Schwarzenegger to a new level of stardom (following two Conan movies) despite less than 20 lines and fewer than a 100 words of dialogue. Hamilton also found her signature career role as the flinty and resilient Sarah Connor, the unsuspecting Reagan Era target of the time-tossed T-800.
The first film grossed $78.3 million in worldwide box office and then became a fan-favorite title in the booming home video marketplace, which set the stage for the sequel, T2: Judgment Day, and its massive next-level success as the top-grossing release of 1991. To that point, the sequel’s $32 million opening weekend was the second-largest in history (it trailed only Tim Burton’s Batman). The worldwide box office of T2 went on to surpass $520 million thanks in large part to Cameron’s exacting quest for truly game-changing digital effects. That same quest would later propel Titanic (1997) and Avatar (2009) to the very top reaches of Hollywood’s all-time box office chart.
Cameron moved on after T2 but the franchise continued its march without its resident visionary. Three sequels of debatable merit and diminishing returns followed: Terminator 3: Rise of the Machines in 2003, Terminator Salvation in 2009 and Terminator Genisys in 2015. Now, in the producer role, Cameron has returned with Terminator: Dark Fate, which resets the franchise by picking up the narrative after the events of Terminator 2: Judgment Day.
Time travel is all the rage these days but that wasn’t the case in 1984 when The Terminator was ahead of its time, so to speak. The 1984 movie didn’t introduce time travel (it had been around for decades as a plot device) but Cameron’s success gave Hollywood a newfound comfort with the sci-fi trope as a mainstream play. Universal’s Back to the Future opened nine months later.
This year’s biggest film and television happenings, Avengers: Endgame and Game of Thrones, have each incorporated time travel in prominent fashion and with poignant effect during the course of their respective sagas. Paramount’s Star Trek and Fox’s X-Men have used time travel to hit the reset button on their screen mythology, effectively wiping the slate clean on franchise canon. The presumption is that Terminator: Dark Fate will nullify the post-Cameron mythology in much the same way. If the movie clicks, a plan is ready to widen the story out into a full trilogy, which would carry the brand toward its 40th anniversary with new energy…and time to spare.
The first trailer for the third attempt at rebooting the Terminator franchise is here and, appropriately enough, the new Terminator power is in line with that.
Directed by Tim Miller and produced by James Cameron for the first time since Terminator 2: Judgement Day, Terminator: Dark Fate acts as if the last three Terminator films don’t exist. This is acting as a sequel to Terminator and Terminator 2, which makes what you’re about to see in this sixth film even more confusing. Check out the trailer.
Here’s a link to the tweet in case this is not viewable.
In there, much like the footage we saw at CinemaCon, you see the new Terminator, played by Gabriel Luna, whose power is to create a carbon copy doppelgänger of himself. A reboot, as it were. And he’s hot on the trail of a new character, played by Natalia Reyes, who is being protected by yet another terminator, this one played by Mackenzie Davis. That basically makes Davis the Arnold Schwarzenegger of Dark Fate, even though Schwarzenegger himself is in this movie too. How he came back after melting himself in T2, we don’t know.
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Oh, right, and Sarah Fucking Connor is back played by none other than Linda Hamilton. She’s there kicking all kinds of ass after, she thought, stopping Judgement Day. We’re dying to know her story too.
All in all a cool, albeit it very mysterious, trailer. Where’s John? Did Skynet win again? What’s so important about this girl? There are so many questions but, the most important one is do you think Dark Fate will be the reboot Salvation and Genisys couldn’t be?
Terminator: Dark Fate opens November 1.
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