Last summer, Margaret Thatcher snubbed Sarah Palin, turning down a visit from the Tea Party darling because (in the words of someone in Thatcher’s camp) “That would be belittling for Margaret. Sarah Palin is nuts.” If that was really how Thatcher thought of Palin, imagine the low regard she’d have for Michele Bachmann.
Is this really a thing? Outrage over Cee-Lo Green changing one lyric in John Lennon’s “Imagine” during his New Year’s Eve performance? Granted, Cee-Lo became superfamous for singing altered lyrics to his own famously profane hit song, but we’re supposed to be surprised that he displays similar irreverence toward someone else’s work?
Fine, so he changed the lyric, “And no religion, too” to “And all religion’s true.” (The offending alteration comes in at around the five-minute mark in the video embedded above.) But if you think about it, that line is just as provocative as the line it replaces. If all religion is true, then neither Muslims nor Christians nor Jews nor Buddhists can claim a monopoly on religious truth. (And then, I guess, we should all become Unitarian Universalists.) It’s a provocative change, provocative in a good way, like the rest of the song, and I suspect that that venerable provocateur, John Lennon, might have approved of the tweak, since he considered so little to be sacred, including his own musical canon (“I don’t believe in Beatles,” as he put it). Continue reading →
In my field, it’s that time of year when best-movie lists are announced, and while sequels like Transformers 3 and Twilight 4.1 have dominated the box office this year, they’re not showing up on critics’ lists. Instead, critics are touting little-seen movies like The Artist or Beginners (both of which happen to feature scene-stealing Jack Russell terriers, as seen in the video above). That is, there’s a vast disparity between what’s popular and what’s actually good. This will cause a lot of handwringing, as usual, at the Academy, since they would love the popular and the good to be in sync so that more people watch the Oscar show. It will also cause grumbling among contrarians who would dismiss critics as out-of-touch elitists. But the idea that the most popular movie must also be the best is nonsense. If that were true, the People’s Choice Awards would be taken more seriously than the Oscars. In fact, why have awards at all? Why not just look at the box office chart and give the best movie prize to Harry Potter and the Deathly Hallows, Part II?
The notion that validity should be determined simply by popularity has infected our politics as well. There was a good example of this last week in the kerfuffle over Politifact rating the Democrats’ assertion that Rep. Paul Ryan’s budget plan would end Medicare as “the Lie of the Year.” It was a curious choice, since the finalists included other, more brazen lies, such as Sen. Jon Kyl’s assertion that abortion accounts for more than 90 percent of Planned Parenthood’s activity, a claim Kyl’s own office said “was not intended to be a factual statement”) or presidential candidate Michele Bachmann’s evidence-free assertion that the human papillomavirus vaccine can cause mental retardation. In contrast, the Medicare line comes down to, at best, a difference of interpretation. It’s a lie only if you buy the Republican argument that changing Medicare from a single-payer, guaranteed, cost-saving, government-provided health insurance program for seniors and future seniors into a single-payer, guaranteed, cost-saving, government-provided health insurance voucher program for seniors and future seniors doesn’t actually end Medicare. Continue reading →
MTV, which marks its 30th birthday today, has changed a lot since I wrote this Boston Phoenix article marking the channel’s 10th birthday.But one thing remains the same: it’s still a channel that’s all about the search for identity. Well, maybe “search” isn’t the right word; “shopping trip” might be more apt. Continue reading →
Elizabeth Taylor at 15 in 1947. Photo by Bob Landry for LIFE
Elizabeth Taylor‘s death last week made me sad, but not for the reasons I expected. I wasn’t sad for her; by all accounts, she lived a long and fulfilling life, brought joy to millions through her movies, and did enormous good through her philanthropy and activism. Rather the sadness came from the sense, as it did when her friend Michael Jackson died, that a more blissful era had passed.
The day Taylor died, I began working on a project for LIFE, captioning photos for an upcoming book commemorating the photojournalism magazine’s 75th anniversary. Poring through LIFE‘s archives, I was reminded again what a repository of our shared cultural memory it has been. So many familiar images — the sailor and nurse kissing in Times Square on V-J Day, Jackie Robinson stealing home, the Beatles frolicking in a swimming pool during their first visit to America, a naked Vietnamese girl running down the road, a student at Kent State screaming over the body of a classmate killed by National Guardsmen, the Zapruder film — all of them encoded in our DNA and burned into our retinas as if they had happened to us, even if we’re too young to have been there.
There were Hollywood pictures, too, of Marilyn Monroe in thoughtful repose, James Dean walking down a rainy street, and many pictures of Taylor, including the one at the top of this post, taken in 1947, when she was just 15 but already impossibly beautiful, already a star, yet with a lifetime of tumult and triumph and endless scrutiny still ahead, about to crash over her like an ocean wave. Who could have imagined it? And yet, she looks prepared and unafraid. Continue reading →
As I’ve written before, movies are not telegrams, neatly-packaged envelopes containing pithy messages. They’re more like Rorschach tests. So are the Oscars, and interpreting them as sending any kind of straightforward political message is a fool’s errand.
Los Angeles Times movie columnist Patrick Goldstein tried anyway, labeling the victory this year of The King’s Speech (pictured) over The Social Network as “the triumph of Hollywood conservative values.” He’s not the only pundit this Oscar season to suggest there’s something reactionary about the Academy’s favoritism for Tom Hooper’s comforting, traditional Anglophilic, pro-monarchist period piece over David Fincher’s prickly, timely, formally and structurally unconventional drama about the young, wired, and litigious. But Goldstein takes it a step further, using the King’s Speech sweep to assert that, while Hollywood may be full of liberals, they’re not ideological robots bent on cramming liberal propaganda into movies. Continue reading →
Gary Susman is an editor, writer, reporter, and critic. He has been a journalist in print and online for more than 20 years. He blogs daily for AOL's entertainment sites, including Moviefone, TV Squad, and PopEater. His work continues to appear in Entertainment Weekly, where he spent nearly eight years as Senior Writer. Other outlets have included MSNBC, People, the Village Voice, the Guardian, the Chicago Sun-Times, and the Boston Phoenix, for which he has written since 1989. More...