In honor of her not unexpected casting in “The Hobbit” as Galadriel — along with a number of less well known performers — below is a moment of Cate Blanchett.
Since I’ve been in a Bobish mood today, I’m featuring her BAFTA-winning, Oscar-nominated turn as a sort of Bob Dylan in Todd Haynes’ collage-like “I’m Not There.” Below, she performs my favorite Bob Dylan tune as Bruce Greenwood realizes that something is happening here, but he doesn’t know what it is.
It’s no secret around these parts that I love a good musical. Emphasis on both the “good” and the “musical” part. If you let me, I’ll give you an hour long dissertation on why John Cameron Mitchell’s “Hedvig and the Angry Inch” is way better than “The Sound of Music” which is, however, way better than Pauline Kael said it was and why Rogers & Hart songs are much better than Rogers & Hammerstein songs but that I still like “The King and I” and, yes, “Flower Drum Song.” Then, we’ll move on to MGM and the Freed Unit.
In fact, coincidentally, my last post here last night was also about musicals. I’m also actually angry at the place where I got the picture from above (it’s linked) because it’s from a “10 Musicals That Don’t Suck Piece” which fails to include any movies older than “The Rocky Horror Picture Show” and therefore implies that all musicals made prior to 1974 suck, especially “West Side Story.” So “The Bandwagon” and “Singin’ in the Rain” suck also, I guess. That really sucks.
So, if there was one thing possible to distract me from the current almost-everyone-is-somewhat-or-very-or-incredibly-wrong clusterfrack in our nation’s politics at the moment (and I’m incredibly glad I’m not a political blogger these days), it has arrived. The Hollywood Reporter (via Monika Bartyzel) reports that the “Cloudy With a Chance of Meatballs” duo, Phil Lord and Chris Miller, are in negotiations to direct a project I’d either never heard of before or forgot all about, “Bob: The Musical.” The music will be the very talented composer Marc Shaiman, whose fingerprints are on countless film scores and everything from “Hairspray” to “South Park: Bigger, Longer, and Uncut.”
If you’re wondering what the big deal is and you’re not one of my three known regular readers (for some mysterious reason, all of their initials are “R.R.” — okay, two of them are brothers, so there’s that), look up at those tiny red letters near the title of this post and that’s all you’ll need to know. All I’m saying is, assuming this ever gets made, it’d better be good. Yes, I know “Bob” is a common name, but since I already have to live with “What About Bob?,” this better be at least as good as that decent comedy was. Good or bad, I’m going to have to deal with jokes about it until I die.
And now a great moment from my favorite previously made Bob-themed musical film.
Welcome, my friends, to the season finale of “Boardwalk Empire.” I really haven’t a clue how many of you there actually are, but given how few comments I’ve been getting, I have to figure that it isn’t a huge number. Still, I’ve been trudging ever onward, mostly because HBO has been kind enough to provide me with the episodes far enough in advance that I generally haven’t had to stay awake into the wee hours of Sunday evenings to finish up my blogs. Tonight, however, all of America’s TV critic stand on even footing, watching the finale at the same time as everyone else…or, in my case, slightly later. I was away on a brief vacation – except not really, since it was a trip that I’m going to end up writing about for Bullz-Eye, thereby making it a work-related excursion – and literally walked in the door just as the finale was kicking off, and it’s taken me ’til now (10:50 PM EST) to finally get myself wound down from my flight, grab a snack and a drink, and settle in to write.
When we first see Agent Van Alden this evening, he’s quoting St. Augustine. Moments later, he’s smacking the living shit out of a potential new recruit and lying about Agent Sepso’s cause of death, claiming it was a heart attack rather than, y’know, at Van Alden’s own hand. Clearly, he’s losing it…oh, who are we kidding? He lost it long ago. One presumes, however, that a certain part of him knows he’s losing it, as he’s decided to depart the bureau. I can’t see him getting away with having murdered Sepso, however. Not with all of those witnesses.
Nucky’s pretty pissed off about the current state of affairs in the mayoral race of Atlantic City, with the democratic candidate, Fletcher, poised to take home the victory. In asking his team – which includes Chalky White – to hunt up as many potential voters as possible for his candidate, Bader, Nucky’s seething with anger over the goings-on his personal life is palpable, and it doesn’t help that he’s being constantly told that his decision to remove Eli was a wrong one. Chalky admits, however, that Fletcher’s people have approached him in an attempt to get him to use his sway with his “people” and get them to vote for him. In truth, however, he says he’s only doing it for the money, that he’s really doing it for Nucky…particularly if he can get a little bit more money out of the deal. In addition to the money, Chalky wants a new car and an invitation to the new mayor’s victory party. Nucky said it’s tough to promise the latter, but Chalky calmly suggests it’s probably in both their best interests if he comes through.
Although she’s evacuated from the love nest provided to her by Nucky, Margaret and her kids are still in the general area, hanging out with Nan, mother of Warren Harding’s love child. Nan’s still quite naive, the poor thing, expecting to hear from Harding any day now. (Yeah, right…) As such, she can only offer Margaret a place to stay for a few more days, focusing on her future as a resident of the White House. In the meantime, Margaret keeps her chin up as best she can, baking a barn brack but clearly worrying a bit about her new friend’s state of mind.
There’s been a lot of discussion about the similarities and differences between Robert Kirkman’s comic and Frank Darabont’s television adaptation, but for the most part, I’ve embraced the changes that have been made. For instance, Kirkman would never insert a flashback into his story, but tonight’s season finale opened with one, going back to the early days of the outbreak when Shane attempted to rescue Rick from the hospital. We all know how that turned out, but I was a little surprised to see the military acting so callously – shooting anyone they came in contact with regardless of whether they were infected or not. To be fair to Shane, he had no shot of getting Rick out of their alive with all those machines, but even though he was kind enough to block the door with a hospital bed to keep the walkers out, that doesn’t make up for his adulterous betrayal.
Back in the present, Dr. Jenner welcomes the survivors into the CDC facility, but on one condition: that everyone submits to a blood test, just to make sure no one’s infected. Once everyone checks out, Jenner takes them on a tour of Zone 5, and before long, the survivors are laughing, drinking wine, and generally just enjoying themselves for the first time in a long while. Jenner isn’t impressed, and neither is Shane, who feels like they should be getting the answers they came for instead of getting wasted. But he doesn’t like what Jenner has to tell him – that most of the scientists left to be with their families when the outbreak hit, and others just committed suicide – and so Shane decides to wash his sorrows with a little booze.
Actually, it was probably more like a lot of booze, or he would have been smart enough to walk away after discovering Lori perusing the building’s makeshift library all alone. At first, it seemed like he was just trying to apologize for the way he’s been acting lately, but the more that Lori pushed him away, the more aggressive Shane became. He swears that he didn’t lie about Rick being dead and couldn’t do anything to save him (which is true), but forcing yourself on someone isn’t exactly the way to their heart, and Lori let him know it by scratching his neck. He definitely looked sorry about it the next day after he sobered up, but the damage was already done. Plus, it’s not like his feelings have changed any, and you can bet that Shane is going to become more of a liability the longer he’s around. Just wait until Dale tells Rick about what he saw in the woods.
Most of the survivors were nursing a hangover the next morning, but they still wanted some answers, so Jenner decided to show them what he’s been working on. TS-19 is a test subject who was bitten and then agreed to let the scientists record the infection process to better help their understanding of the virus. Oh yeah, and it just so happens to be Jenner’s wife. He’s still mostly in the dark on what the virus even is, but he does know that resurrection times vary (as quick as three minutes or as long as eight hours), and though it restarts the brain stem, the brain itself remains inactive. Apparently, the French were the closest to figuring out the cause, but they ran out of time when they started losing power in their area.
Everything pretty much is working out at this weekend’s box office as was predicted Thursday night. The exception being that, as a whole, the post-Thanksgiving Day letdown may be slightly bigger than expected. To be specific, as prognosticators prognosticated, Disney’s “Tangled” led the box office derby.
Showing the usual strength of well-received family-animated comedies, the film formerly known as “Rapunzel” earned an estimated $21.5 million over the weekend. The less than thrilling news here is that, as calculated by Box Office Mojo‘s indispensable weekend chart, it suffered a rather larger than usual second weekend drop for its genre of 55.9%. Still, I’m guessing we can attribute some of that to the post-holiday doldrums.
On the sunny side of the equation, the musical action comedy is already very close to the $100 million in its second weekend, and that’s never bad. On the other hand, the typically enormous CGI animation budget of $260 million makes that kind of number seem a hair less impressive. On the other other hand, when you consider not only the the worldwide box office, but the licensing, I think it’s fair to say that “Tangled” will be another profitable feather in the ever-more-humongous Disney cap.
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