Tag Archives: film

Real-Life "Lone Survivor" Marcus Luttrell Really Hates the Liberal Media

Mother Jones

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Journalist Jake Tapper has taken some heat for an interview that aired on CNN last Friday. The segment focused on the new war film Lone Survivor, and Tapper, who was interviewing actor Mark Wahlberg and former Navy SEAL Marcus Luttrell (the real-life lone survivor who co-wrote the movie’s source material), raised serious questions about the planning and command-level decisions that led to the failed mission in Afghanistan depicted in the movie. At one point, when Tapper asked about the “senseless” deaths of American military personnel during the 2005 operation, Luttrell got mad at Tapper and accused him of implying that his brothers-in-arms “died for nothing.”

Subsequently, Tapper, who is well-known for his support for US servicemembers, met with the expected conservative outrage. Fox News personality Megyn Kelly hosted a segment that ran with the chyron, “some in media suggesting Navy SEALs in ‘Lone Survivor’ died for nothing.” The right-wing crusade to portray MSMers as liberal Blame-America Firsters who don’t appreciate or back the US military is nothing new. But perhaps one reason Tapper’s interview with Luttrell was so tense is that Luttrell has an intense distrust of the media and seems to view them, as is common in certain quarters, as the liberal media.

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Real-Life "Lone Survivor" Marcus Luttrell Really Hates the Liberal Media

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GOP Senate Candidate Complained of Lack of Muslim Movie Villains

Mother Jones

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Political correctness is keeping Hollywood from properly stigmatizing Muslims—so said Mississippi Republican Senate candidate Chris McDaniel. He issued this complaint during a 2006 episode of Right Side Radio, a syndicated show McDaniel hosted for three years before being elected to the state Senate in 2007.

“It’s funny how the movies have portrayed themselves lately and how the video games have portrayed themselves lately,” McDaniel said in the segment. “There’s one person that cannot be a villain in Hollywood, ever. One group that cannot be villains. Who is that? Cohost: The Muslims. Yeah, isn’t that neat? They’ll go out of their way to find some Russian white guy that’s just nuts, and he’s the terrorist, which I’ve never seen that. But the Muslims, they’ve just disappeared from Hollywood’s radar.”

“I think the true enemy is Ron Howard and Andy Griffith,” he joked. (The remarks were first reported by a local politics blog, Dark Horse Mississippi.)

McDaniel didn’t have it quite right. Islamic extremists played the roles of terrorists in seasons two, four, and five of the television show 24; the Showtime series Sleeper Cell; and a variety of movies, including Syriana, The Kingdom, Rules of Engagement, The Siege, True Lies, and Zero Dark Thirty. The Muslim-as-villain has been such a long-standing stereotype that a 1998 New York Times story reported on the difficulties Arab American actors faced in obtaining roles beyond that as hijackers.

Other audio clips unearthed by Dark Horse Mississippi feature McDaniel warning about the dangers of the “homosexual agenda” and describing a grand plan by Democrats to make “homosexual marriage and polygamy completely legal in all 50 states.” Speaking before the 2006 election, McDaniel rattled off a “parade of horribles” that would come to pass if Democrats (“the party of sex on demand”) took control of Congress; these included “new social taxes, new social programs,” and “new hate crime laws for homosexuals.”

In another episode of his radio show, McDaniel mocked San Francisco lawmakers who had decried an ad campaign depicting a white woman wrestling a black woman, under the slogan “White is coming.”

“They’re elite,” he said of the city’s residents, before taking a shot at the city’s LGBT community. “Right next to gender misidentification is IQ, I suppose. That’s gonna get me in trouble.”

Last week, Mother Jones reported on a promotional clip from Right Side Radio in which McDaniel blamed rising gun violence on hip-hop. As he put it, “It’s a problem of a culture that values prison more than college; a culture that values rap and destruction of community values more than it does poetry; a culture that can’t stand education.”

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GOP Senate Candidate Complained of Lack of Muslim Movie Villains

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How the Artists of "The Square" Fueled Egypt’s Revolution

Mother Jones

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Jehane Noujaim’s The Square, which won an audience award at the 2013 Sundance Film Festival and is on the shortlist for an Oscar this year, delivers a fierce and frenetic portrait of life on the Cairo streets during two years of Egypt’s ongoing political unrest. Based on more than 1,600 hours of footage, the film tags along with several revolutionaries—among them Ahmed, a fiery grassroots activist, Magdy, a member of the Muslim Brotherhood, and Khalid, a foreign-born actor—as they struggle against a suffocating regime and attempt to breathe new life into Egypt’s governance.

The Square made headlines when it became Netflix’s first major film acquisition—it will stream exclusively through the service starting January 17—and also because its only scheduled public screening in Egypt was canceled at the last minute. The country’s censorship board still hasn’t give Noujaim, whose past work includes Control Room and Rafea: Solar Mama, permission to screen the film in public.

The doc’s narrative arc initially hinged on the deposition of Hosni Mubarak and subsequent election of Mohamed Morsi as president. But history is often messier than we would wish to tell it. In January 2013, as Noujaim scrambled to meet her Sundance deadlines, she learned that her main characters “were back in the streets again saying, ‘Morsi is using the tools of democracy to create another dictatorship.'” The story wasn’t over.

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How the Artists of "The Square" Fueled Egypt’s Revolution

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Movies, Movies Everywhere, But Not a Drop to Watch

Mother Jones

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Netflix has developed an awesomely sophisticated stockpile of data about what kind of movies people want to watch. This sounds like a huge advantage for them—and it is—but Felix Salmon argues that it’s also a sign of weakness. Netflix has to mine this information because its streaming service has such a paltry collection of titles:

If you give Netflix a list of all the movies you want to watch, the proportion available for streaming is going to be so embarrassingly low that the company decided not to even give you that option any more….So Netflix has been forced to attempt a distant second-best: scouring its own limited library for the films it thinks you’ll like, rather than simply looking for the specific movies which it knows (because you told it) that you definitely want to watch. This, from a consumer perspective, is not an improvement.

I figure there are two basic kinds of customers here. The first has specific movies she wants to watch, and tries to find them. The second just wants to watch something decent, and will browse around looking for something that fits the bill. I gave up on Netflix streaming years ago because I’m the first kind of person, and I almost always came up blank when I searched for something specific. Netflix, as Salmon says, has pretty much gone all-in on the second type:

The original Netflix prediction algorithm — the one which guessed how much you’d like a movie based on your ratings of other movies — was an amazing piece of computer technology, precisely because it managed to find things you didn’t know that you’d love. More than once I would order a movie based on a high predicted rating, and despite the fact that I would never normally think to watch it — and every time it turned out to be great. The next generation of Netflix personalization, by contrast, ratchets the sophistication down a few dozen notches: at this point, it’s just saying “well, you watched one of these Period Pieces About Royalty Based on Real Life, here’s a bunch more”.

Netflix, then, no longer wants to show me the things I want to watch, and it doesn’t even particularly want to show me the stuff I didn’t know I’d love. Instead, it just wants to feed me more and more and more of the same, drawing mainly from a library of second-tier movies and TV shows.

Yep. What I wonder is what happens when Netflix eventually drops the disc-by-mail service that gave it its start. That’s inevitable, isn’t it? And when it happens, it will mean there’s really no place left to find a large selection of older movies to watch. The old brick-and-mortar stores will be gone, driven out of business by Netflix, and thanks to licensing wars, no streaming service will be available with a broad selection. People like me will actually be worse off than we were a decade ago.

Eventually that will change. I hope. But in the meantime, it’s slim pickings.

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Movies, Movies Everywhere, But Not a Drop to Watch

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"Community’s" Gillian Jacobs: TV’s Coolest Feminist?

Mother Jones

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Nowadays, Gillian Jacobs (pronounced with a hard G) is famous for her role on NBC’s acclaimed comedy Community, which returns for its fifth season on January 2. The series has brought her many fans and accolades, and she has since appeared in 2012’s Seeking a Friend for the End of the World and 2013’s Bad Milo! The Pittsburgh-born actress will also star in the 2014 comedy Walk of Shame (alongside one of her personal heroes, Elizabeth Banks), as well as the sequel to Hot Tub Time Machine, in which she plays the female lead.

But what if Jacobs had never gone into acting? What would she be doing instead? Well, if she had her way, she’d probably be sitting on the highest court in the land.

“I never pursued anything but acting,” Jacobs tells Mother Jones. “But as a kid, I was really interested in the Supreme Court. I wanted to to be a Supreme Court justice, but didn’t want to be a lawyer. I just wanted to go straight to being a justice.”

I ask her to name her all-time favorite justice—the one who might serve as the greatest influence on Associate Justice Gillian Jacobs.

All the ladies,” she answers waggishly. “Like Ginsburg and Sotomayor. We need more of them, but I’m glad we have some.”

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"Community’s" Gillian Jacobs: TV’s Coolest Feminist?

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Surfrider’s top ten in 2013

A list of what we did in the past year. View article:  Surfrider’s top ten in 2013 ; ; ;

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Surfrider’s top ten in 2013

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One of the Films on This Year’s Black List is an Alternate History of Stanley Kubrick Faking the Moon Landing

Mother Jones

On Monday, this year’s Black List—the annual list of the best unproduced scripts in Hollywood as voted on by over 250 studio executives—was announced via Twitter. This list features 72 titles, six fewer than last year’s. Previous Black Lists have included what would become three of the last five Best Picture Academy Award winners: Argo, The King’s Speech, and Slumdog Millionaire. Being on the list gives your script roughly a 120 percent higher chance of getting made into a feature film by a studio than if it were an average unproduced script.

One of the screenplays inducted onto this year’s Black List (check out the complete list here) is by self-described “newbie” Stephany Folsom, and is intriguingly titled, 1969: A Space Odyssey or How Kubrick Learned to Stop Worrying and Land on the Moon (an obvious reference to both the title of Stanley Kubrick’s classic black-comedy satire from 1964, and to the director’s 2001: A Space Odyssey from 1968).

Folsom’s 108-page script (a drama) focuses on “Barbara,” a lone wolf working in the publicity department at NASA’s office in Washington, DC, in 1969. The story is an alternate history of how, as the Cold War rages, Barbara reaches out to and convinces acclaimed director Stanley Kubrick to work with NASA to fake the moon and one-up the Soviets.

“Hijinks ensue,” Folsom says.

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One of the Films on This Year’s Black List is an Alternate History of Stanley Kubrick Faking the Moon Landing

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Dwarf-Tossing, Three-Way with Teen Employee Never Happened, Says Real "Wolf of Wall Street" Exec

Mother Jones

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The Wolf of Wall Street is the stuff that Oscar buzz is made of. Martin Scorsese‘s next film, set to be released on Christmas Day, chronicles the testosterone-soaked saga of Jordan Belfort, co-founder and chairman of Long Island brokerage house Stratton Oakmont, who went down for securities fraud and money laundering in the 1990s. (He served 22 months behind bars.)

The movie is based on Belfort’s 2007 memoir of the same name, which Scorsese and Leonardo DiCaprio—who plays the title character—have been looking to turn into a major motion picture since before copies hit bookstores. With a script by by Terence Winter (The Sopranos, Boardwalk Empire), and performances from Matthew McConaughey, Jonah Hill, Margot Robbie, and Cristin Milioti, there’s little doubt that the film will be a prime Academy Awards contender.

DannyPorush.com

Both the memoir and the film tell an outrageous story, full of white-collar scandal, lust, and drug-fueled mayhem that includes sinking a yacht. And while thousands of the memoir’s readers have enjoyed the ride, some may close the book asking how much of Belfort’s wild tale is true.

Now, in advance of the film’s release, Danny Porush, the co-founder and ex-president of Stratton Oakmont, has a few bones to pick with how his years at the firm have been presented.

“The book…is a distant relative of the truth, and the film is a distant relative of the book,” says Danny Porush, who, between 1988 and 1996, was a close friend and partner of Belfort.

In the book, Porush is described as a businessman with a particularly killer instinct—a “Jew of the ultrasavage variety.” Like Belfort, Porush agreed to cooperate with authorities on investigations of other brokerage firms after the collapse of his own. He eventually served 39 months in prison, and now lives with his second wife in Florida, where he runs a Boca Raton medical-supply outfit.

Jonah Hill. YouTube

“My main complaint regarding the memoir besides his inaccuracy was his using my real name,” Porush says. Indeed, in the film, the character inspired by Porush, portrayed by Oscar-nominated actor Jonah Hill—has a different name: “Donnie Azoff.” The name was changed after the real Danny Porush threatened to sue the studio and filmmakers. (Paramount Pictures, the film’s US distributor, and Red Granite Pictures, the production company behind it, did not respond to requests for comment.)

Porush doesn’t deny, as the book depicts, engaging in his fair share of unfettered hedonism, nor does he deny doing his share of drugs or indulging in rowdy antics. For example, movie goers will see Jonah Hill do this to a goldfish:

Paramount Pictures/YouTube

Porush says: true story. “I said to one of the brokers, ‘If you don’t do more business, I’m gonna eat your goldfish!'” Porush recalls. “So I did.”

Of course, films inspired by actual events have a tendency to augment and exaggerate true life and characters beyond recognition. Fittingly, in addition to some complaints about the book’s accuracy, Porush has a run down of details from the trailers (the only parts of the movie he’s yet seen) that he claims stray far from the truth.

Porush’s quibbles start with the book’s cover—and the film’s title: Porush says he never heard anyone at the firm refer to Belfort as the “wolf.” And while sex was nearly as integrated into office life as the scams that made the firm’s owners millions, Porush strongly denies a long-established piece of Stratton lore detailed in the book, and dramatized in the film adaptation: that brokers became so debauched that Belfort was forced to issue a memo declaring the office a “fuck-free zone” from 8 a.m. to 7 p.m. on workdays.

Both trailers show the Stratton Oakmont boys celebrating their haul by throwing a giant salesroom party with strippers, a marching band, horses, “dwarf-tossing,” and a chimpanzee on roller skates. Some of those details come from the memoir’s depictions of entirely different events and parties; the scene appears to be a composite, rounded out with tidbits (such as the chimp) that Belfort told DiCaprio about in private conversation.

In Belfort’s 519-page book, the tossing of little people is only discussed as a possibility—and though DiCaprio’s Belfort is shown hurling a little person alongside his staff, Belfort says (through a representative) that he merely heard from several people that they were thrown sometime after he left the firm. “It’s not as crazy as it sounds,” Porush is quoted as saying in the book. “I mean, it’s not like we’re gonna toss the little bastard in any odd direction.”

Wall Street “dwarf-tossing.” Paramount Pictures/YouTube

Porush says Belfort’s version of the party, as depicted on the silver screen, includes several fictional hijinks. “There was never a chimpanzee in the office,” Porush maintains. “There were no animals in the office…I would also never abuse an animal in any way.” And while Porush admits the firm hired little people to attend and mingle at at least one party, “we never abused or threw the midgets in the office; we were friendly to them,” he emphasizes. “There was no physical abuse.”

“Stratton was like a fraternity,” Porush remembers. “A lot of goofing around, hazing—but the worst we ever did was shave somebody’s head and then pay ’em ten grand for it.” (On this, Porush and Belfort agree—a version of the haircut appears in his book.)

Granted, Scorsese’s picture is not a documentary. “Hey, it’s Hollywood,” Porush says. “I’m not a communist; I know they want to make a movie that sells. And Jordan wrote whatever he could to make the book sell. His greatest gift was always that of a self-promoter.”

In one scene, the Donnie Azoff character sits and watches as thick bricks of cash are strapped to a Swiss woman’s body. “I never taped money to boobs,” Porush says. Indeed, in the memoir, Porush is not present during this painful boob-tape incident. But there’s another part of the book that’s harder for him to laugh off. The book references Porush’s many dalliances with various female sales assistants. At least one of these attention-grabbers is, according to Porush, completely made up. The incident concerns a “wildly promiscuous” employee, one who was seventeen-years-old. Belfort wrote:

Anyway, about a month later, after a tiny bit of urging, Danny convinced me that it would be good if we both did her at the same time, which we did, on a Saturday afternoon while our wives were out shopping for Christmas dresses.

“I categorically deny this,” Porush says. “I’m not homophobic, but I never had sex with a girl with another guy. I’ve been with a zillion women, several women at the same time—but only just with women…Also, never any minors.” (While Porush thinks it’s highly unlikely the firm ever employed anyone under 18, it may be worth noting that the age of consent in New York state, where Stratton was based, is 17. A representative of Belfort, who declined to comment himself for this story, says that the author stands by the anecdote: “I guess I can see why Danny is denying it, but that’s what happened.”)

“I have no idea what else is in the movie or how it ends, except for a early draft of a screenplay that I read that was total fiction,” Porush says. “Hey, I have thick skin and can easily laugh at myself, but bribing federal agents, organized crime, violence, moles in the US Attorney’s office are not laughing matters.”

Regardless of how he feels about the film or the memoir’s attachment to reality, Porush says he’s excited to see the movie. “I’m a big fan of Scorsese, and DiCaprio,” he says. “Jonah Hill’s body of work, I don’t really know; it’s less of my generation—I’m almost 60 years old.” (He has seen Moneyball, however.)

And though he’s critical of the way Belfort painted their professional and personal history, Porush stresses that he doesn’t hold a grudge. “Life’s too short,” he says. “I don’t have any animosity toward Jordan…I spoke to him this past summer. I asked about his family, and wished him luck on the movie…We are not on unfriendly terms, I should say.”

“I’m looking forward to the movie coming out, and then going away but I hope it doesn’t glorify criminal behavior,” he continues. “I do not wish to try to profit from a crime that I’m remorseful for,” Porush says. “I respect their First Amendment rights, but I would never try to profit from those crimes. I’m still very emotional about what happened.”

Porush has chosen to leave his Stratton Oakmont days in the past, enjoying a comfortable life in Florida. Belfort, on the other hand, came out of jail and wrote a bestseller on his brokerage days. Belfort reportedly received a million-dollar pay day for the film, and DiCaprio cut a short video endorsing Belfort’s motivational speaking business—another key aspect in his years-long redemption tour.

More recently, the two have exchanged text messages, Porush tells me. They briefly discussed the fictionalization of events in the film, but Belfort predictably stood by the contents of his memoir. “I told him he should have come out of prison and started a new legit business, not live in the past,” Porush says.

As the film’s highly anticipated premiere approaches. I asked Porush if he buys Belfort’s present image as a changed man.

“Yeah, sure, why not?” he replies.

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Dwarf-Tossing, Three-Way with Teen Employee Never Happened, Says Real "Wolf of Wall Street" Exec

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Dot Earth Blog: A Fresh Look at America’s Gas Lands

A filmmaker from Finland tries to get beyond polarization and propaganda and provide a clear-eyed view of the many meanings of fracking in shale country. See the article here:  Dot Earth Blog: A Fresh Look at America’s Gas Lands ; ;Related ArticlesA Fresh Look at America’s Gas LandsDot Earth Blog: Revisiting Love CanalDot Earth Blog: New Study Finds U.S. Has Greatly Underestimated Methane Emissions ;

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Dot Earth Blog: A Fresh Look at America’s Gas Lands

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Defense Intelligence Agency Officer is Very Happy The Rock Is Set to Star in His Demon-Slaying Movie

Mother Jones

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St. Martin’s Press

DwayneThe RockJohnson is attached to star in the MGM film project SEAL Team 666, based on the novel of the same name, according to The Hollywood Reporter.

The Rock is also set to executive-produce the film, which is about Navy SEALs who vanquish demons and other world-ending supernatural forces. Anyone who knows anything about The Rock will not be surprised to learn he’s attached to star in this. And SEAL Team 666 author Weston Ochse—a fantasy-action writer who is also an intelligence officer at the Defense Intelligence Agency—is pleased with the casting decision.

“The Rock is a great, great actor to portray the lead,” Ochse tells Mother Jones. “I’ve probably seen every movie he’s ever made. I saw Pain & Gain a couple weeks ago…He was the best actor in the movie, I thought.”

Ochse has been a staff officer for the DIA for nearly a decade, and recently returned from a six-month deployment to Afghanistan, where he taught military intelligence techniques at International Security Assistance Force headquarters. He says his friends at the DIA support his literary moonlighting. “My writing, this isn’t War and Peace,” he says. “It’s escapist fiction.”

Prior to his time at the agency, Ochse spent 20 years in the US Army, and was involved in special operations. “It really got me into a lot of countries,” he says. “I’ve been in more than 50 countries. I’ve been able to see different people, breathe foreign air…My time in special ops really fulfilled me as a person.”

Nowadays, Ochse, who lives in Sierra Vista, Arizona, is devoting his spare time to penning more novels, including a third entry in the SEAL Team 666 series. (His top writing influences are P. F. Kluge, Richard Adams, Richard Ford, Ernest Hemingway, and Quentin Tarantino.) The upcoming film (which does not have a director at this time) was written by Evan Spiliotopoulos; Ochse has yet to be creatively involved with the production. “If they want me to help, I’d love to,” he says.

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Defense Intelligence Agency Officer is Very Happy The Rock Is Set to Star in His Demon-Slaying Movie

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