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Sunday, October 10, 2010

A story bigger than Facebook - Washington Post

Much like a Facebook profile, "The Social Network" is made more appealing through some artful lies, well-chosen omissions and careful shading.

Co-founder Eduardo Saverin's ejection from the company, for instance, is turned from a story of inattentive financial management into a senseless betrayal of a friend. And though the movie portrays Facebook founder Mark Zuckerberg as a pining loner, he has actually dated the same girl since 2003.

But it's not the details of Zuckerberg's life that mislead so much as the decision to focus on Zuckerberg at all. The movie recasts a story of inevitable technological change as the saga of a socially inept genius, two or three of his most important relationships and the social pressures of Harvard University. That makes for a better film, of course. But it misses the richer drama behind transformative innovations like Facebook, and it's part and parcel of the way we misunderstand, and thus impede, innovation.

"The idea of the lone genius who has the eureka moment where they suddenly get a great idea that changes the world is not just the exception," says Steven Johnson, author of " Where Good Ideas Come From: The Natural History of Innovation ," "but almost nonexistent."

And that's because innovation isn't really about individuals.

I was not born physically or mentally superior to my grandparents. But I would have been much likelier to invent Facebook than they were. The natural capabilities of human beings don't change much from year to year, but their environments do, and so do the technology and store of knowledge they can access. Better sanitation lets people live in cities, where they can learn from one another. Transportation and communication advances allow ideas to mingle across distances that, a thousand years ago, they would never have traversed. The development of the Internet makes the coding of social networks possible.

When these advances happen, they happen to many people simultaneously, so many people tend to see the next step forward at the same time. In 2003, we were all social network geniuses, at least compared with everyone in 1993.

Consider CU Community, a Facebook competitor started at Columbia University. Adam Goldberg, its creator, programmed his social network over the summer in 2003. It was more advanced than Facebook, with options for pictures and integrated blogging software, though it did lack the elegant minimalism of Zuckerberg's design. (Disclosure: Washington Post Co. Chairman Donald E. Graham is on Facebook's board, and The Post markets itself on Facebook.)

This phenomenon is age-old: It's called "simultaneous invention." Technology - and the conversation about what can be done with it - advances to the point that the next step is obvious to multiple people at once, and so they all push forward. In the end, one squeezes the others out by landing the patent, or the market share, and becomes synonymous with the invention. That's what happened with Alexander Graham Bell, who in all likelihood invented the telephone after Elisha Gray - and both of them came after Antonio Meucci, who couldn't afford the fee to keep his patent current.

Today, Zuckerberg is many times as rich as Goldberg. He won. Zuckerberg's dominance can be attributed partly to the clean interface of his site, partly to the cachet of the Harvard name and partly to luck. But the difference between Mark Zuckerberg and Adam Goldberg was very small, while the difference between what Mark Zuckerberg could do and what the smartest college kid in 1999 could do was huge. It was the commons supporting them both that really mattered.

Human beings are more comfortable thinking in terms of people than in terms of technology. And a movie about a socially inept genius is certainly more interesting than a film about conferences where programmers present advances in social network software. But the focus on people leads us to overinvest in the rewards for individual innovation and underinvest in the intellectual commons that make those innovations possible. We're investing, in other words, in the difference between Zuckerberg and Goldberg rather than the advances that brought them into competition.

Consider the current debates in Congress. Republicans are fighting to add $700 billion to the deficit to extend the Bush tax cuts for income above $250,000. It is hard to imagine the innovations that happen at a 35 percent tax rate for your two-hundred-thousand-and-fifty-first dollar, but not at 39 percent. We're also helping creators and their heirs hold legal monopolies on innovations for much longer, extending individual copyrights to the life of the author plus 70 years, for instance. Would we lose so many great ideas if the monopoly lasted only until 15 years after the inventor's death?

At the same time, the recession has broken the back of state budgets. California is gutting its flagship system of universities. Salaries are dropping, and research money is drying up. And California is not alone. According to the Center on Budget and Policy Priorities, 43 states have cut funding for higher education, while 33 others - plus the District of Columbia - have hacked away at K-12. And Congress seems to have given up on the energy and climate bill that could've kick-started our green energy industry - even as China has committed almost a trillion dollars in green energy funding over the next decade.

And let's not kid ourselves into thinking that public investments don't matter. Direct public investment was crucial for developing a national railroad system, planes and semiconductors. It was behind the Internet and the Global Positioning System. It was behind the educated populace that developed those innovations.

Nor should we be overly sanguine about the private sector's interest in innovation. The average company spends 2.6 percent of its budget on research and development, and a National Science Foundation survey found that only 9 percent of companies reported a product innovation between 2006 and 2008. "You can't be an innovative economy if only 9 percent of your companies are innovating," economist Michael Mandel wrote.

People have many incentives to innovate. They love what they're doing. They're competing with others. They want to make money. They want, as Zuckerberg does in the film, to "make something cool." And they should be richly rewarded for their successes.

But there really isn't a replacement for public investment, and good rules. You need a good education system. You need intellectual-property rules that ensure space for new ideas and uses. You need a tax code that encourages research and development spending. You need, in other words, to furnish people with an environment in which innovation can take place.

We need to think harder about whether we want to spend our limited dollars on the vision of innovation in the Facebook movie or the reality of innovation behind Facebook.


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The Legacy of John Lennon - Washington Post

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This Story'Double Fantasy,' getting real and getting results
Article | If not for the murder of John Lennon three weeks after its release, "Double Fantasy" would not have been remembered as a great album, or even a particularly good one. Famously made up of tag-team Lennon/Yoko Ono tracks, "Double Fantasy" detailed Lennon's midlife transformation from self-absorbed ...The Legacy of John LennonJohn Lennon remembered on his 70th Network News X Profile View More Activity TOOLBOXE-Mail ThisSave/Share +DiggFacebookRedditTwittermyspacedel.icio.usNewsTrustStumble It!Reprints COMMENT 0 Comments if ( COMMENTS_ALLOWED ) {if( COMMENTS_ACTIVE) {// document.write('POST A COMMENT
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'Life' outruns 'Secretariat,' 'Soul' at box office - Hollywood Reporter

hr/photos/stylus/134140-LIfe_As_We_Know_It_341.jpg "Life As We Know It"

And they're off: In what's shaping up as a closely contested weekend, Warner's "Life As We Know It" took the early lead, bolting out of the gate ahead of the weekend's two other new wide releases: Disney's "Secretariat" and Universal's "My Soul to Take."

But Sony's "The Social Network" also showed continuing strength as it entered its second weekend. While it followed front-runner "Life" in second place for the day, positions at the top of the pack could still change as the weekend race plays out.

"Life," a baby-centric rom-com starring Katherine Heigl and Josh Duhamel, took the early lead. Appearing in 3,150 theaters, the PG-13-rated movie, co-financed by Village Roadshow, collected an estimated $5.3 million in North America.

"Network," Sony's drama about the founding of Facebook, continued to attract friends as it dropped just 39% from its opening Friday gross of $8 million. In the first day of its second heat, it took an estimated $4.9 million tally as its domestic gross to date rose to more than $35 million.

Randall Wallace's PG-rated "Secretariat," the inspirational tale about the Triple Crown winning horse, starring Diane Lane and John Malkovich, pulled into third place with $4.1 million in 3,072 theaters.

In fourth place, the 3D, R-rated horror tale "Soul," from writer/director Wes Craven and Relativity's Rogue Pictures, had to settle for $2.7 million in 2,572 locations.

Rounding out the top five was Warner's crime drama "The Town," which picked up a new $1.9 million as its domestic cume approached the $70 million mark.

Lagging behind the leaders was Focus' comedy "It's Kind of a Funny Story," which opened in just 742 theaters. Directed by Anna Boden and Ryan Fleck and starring Zach Galifianakis, the film garnered about $679,000 for the day.

By Gregg Kilday

Oct 9, 2010, 12:00 PM ET

And they're off: In what's shaping up as a closely contested weekend, Warner's "Life As We Know It" took the early lead, bolting out of the gate ahead of the weekend's two other new wide releases: Disney's "Secretariat" and Universal's "My Soul to Take."

But Sony's "The Social Network" also showed continuing strength as it entered its second weekend. While it followed front-runner "Life" in second place for the day, positions at the top of the pack could still change as the weekend race plays out.

"Life," a baby-centric rom-com starring Katherine Heigl and Josh Duhamel, took the early lead. Appearing in 3,150 theaters, the PG-13-rated movie, co-financed by Village Roadshow, collected an estimated $5.3 million in North America.

"Network," Sony's drama about the founding of Facebook, continued to attract friends as it dropped just 39% from its opening Friday gross of $8 million. In the first day of its second heat, it took an estimated $4.9 million tally as its domestic gross to date rose to more than $35 million.

Randall Wallace's PG-rated "Secretariat," the inspirational tale about the Triple Crown winning horse, starring Diane Lane and John Malkovich, pulled into third place with $4.1 million in 3,072 theaters.

In fourth place, the 3D, R-rated horror tale "Soul," from writer/director Wes Craven and Relativity's Rogue Pictures, had to settle for $2.7 million in 2,572 locations.

Rounding out the top five was Warner's crime drama "The Town," which picked up a new $1.9 million as its domestic cume approached the $70 million mark.

Lagging behind the leaders was Focus' comedy "It's Kind of a Funny Story," which opened in just 742 theaters. Directed by Anna Boden and Ryan Fleck and starring Zach Galifianakis, the film garnered about $679,000 for the day.


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Peter Weir returns: Trailer for ‘The Way Back’

Peter Weir has always been a favorite of mine—the kind of director who works without a lot of fanfare, yet consistently turns out classics without anyone really noticing, it seems. His roster of movies is impressive: Gallipoli, The Year of Living Dangerously, Witness, Dead Poets Society, Fearless, The Truman Show. His last film was the underrated Russell Crowe sea-faring drama Master and Commander: The Far Side of the World all the way back in 2003, so I was eager to catch the trailer for his latest, The Way Back, a drama about prisoners—including Ed Harris, Colin Farrell, and Jim Sturgess—escaping from a 1940 Siberian gulag. It’s a rousing clip with the kind of elements I’ve come to love from Weir: throwback adventure, mixed with high emotional stakes.

Are you as glad to see Weir back in the directing saddle?


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This Week on Stage: Christina Ricci holds her own in re-opening of ‘Time Stands Still’ with Laura Linney

time-stands-stillImage Credit: Joan MarcusThe theater world was buzzy—and busy!—this past week: The choir-happy musical Leap of Faith, starring Brooke Shields and Raúl Esparza, opened in Los Angeles; Sister Act announced its opening dates in New York City (April 20, 2011!); Billie Joe Armstrong boosted the American Idiot box office big time; and Jersey Boys got the greenlight to doo-wop onto the big screen. And, of course, shows opened in NYC, including the re-opening of Broadway hit Time Stands Still (now with Christina Ricci, pictured here with costar Eric Bogosian), and Gatz and Tigers Be Still Off Broadway, all of which were reviewed by Melissa Rose Bernardo here on EW.com. The highlights:

Gatz: Bernardo loved the eight-hour show, which is a word-for-word production of F. Scott Fitzgerald’s novel The Great Gatsby. Showering the show with praise, Bernardo awarded Gatz an A and said: “It’s not unlike spending the day on the sofa curled up with a really, really good book.” (Opened 10/6)

Tigers Be Still: Of Kim Rosenstock’s NYC debut play, Bernardo says, “There’s a lot of angst packed into this appealingly dark comedy.” Bernardo ultimately awarded the show a B+, saying that Tigers is “overstuffed” at times but ultimately  makes “hanging out with despondent, angry, wayward people fun.” (Opened 10/6)

Time Stands Still: The play, which went on hiatus and moved theaters while star Laura Linney shot her Showtime series The Big C, returns with Christina Ricci in the role that Alicia Silverstone originated. After originally awarding Time a n A–, Bernardo thought the reopening also deserved an A– and said: “In her stage debut, the doe-eyed Ricci holds her own with her three costars, theatrical heavyweights all. And in her second go at the role, Linney has zoomed in on little bits of warmth in the detached, screwed-up woman who lives her life, unapologetically, behind the lens.”(Opened 10/7)

Tanner on Twitter: @EWTanStransky

More Stage coverage from EW.com:
‘Leap of Faith’: Hollywood comes out in force to see Brooke Shields and Raúl Esparza in the new musical
Excess Hollywood: ‘Sister Act’ to open on Broadway
Billie Joe Armstrong boosts ‘American Idiot’ box office: Can it hold?
‘Glee’ duets: Yay for more ‘Chorus Line’
Cherry Jones and Sally Hawkins star in sluggish revival of ‘Mrs. Warren’s Profession’ on Broadway
‘Jersey Boys’ heading to the big screen


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‘Supernatural: The Animation’ trailer: Excitement abounds (…and I wish I spoke Japanese)

supernatural-animation-trailerFirst, Castiel is returning tonight on Supernatural after being MIA in the first two episodes of the season. Now, a new trailer has popped up for Supernatural: The Animation. Oh, the Supe gods are smiling upon us today in a glorious way!

As you might recall, the project was announced at the beginning of summer and promptly broke my heart because it’s all in Japanese. (Although, showrunner Eric Kripke confirmed at Comic-Con that Jared Padalecki and Jensen Ackles would dub a couple of episodes. But call me greedy, I want them all.)  Despite the language barrier, I have great appreciation for what we’ve seen so far in previews. (The latest is embedded below.)

For one, I think the animators have hit on the proper spirit of the series, and I don’t need to hear the dialogue to infer that from the trailer. “Carry On Wayward Son” told me everything I needed to know.

Most importantly, the animated monsters look straight out of every terrible dream I’ve ever had and strike more fear in me than anything I’ve seen on the show, especially the snarling creature at the end that bears an uncanny resemblance to Audrey II from Little Shop of Horrors. As good of a job as Fredric Lehne did portraying the Yellow-Eyed Demon, the cartoon version in the fedora looks like a cross between Freddy Krueger (nominee in our Psycho Killers Bracket Game!) and The Gentlemen from Buffy the Vampire Slayer. A.K.A.: Your worst nightmare.

So Japanese fluency or not, I’m excited. In fact, I wish Supernatural had a bigger budget and could afford to bring some of the new, fancier monsters into the live-action version.

Warner Home Video will release the Blu-ray and DVD starter disc in Japan on February 23, 2011, and two box sets will follow on March 9 and April 6, according to the official site and translated by Anime News Network.

What about you, PopWatchers? Like what you see? Do you like Dean and Sam’s enhanced fighting skills? And is that a Christmas episode I see?!

More Supernatural ponderings on Twitter: @EWSandraG


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The new Superman: Vote for your favorite!

superman-castingImage Credit: Janet Mayer/PR Photos; Wild1/PR Photos; Chris Hatcher/PR Photos; Frazer Harrison/Getty Images; Landmark/PR Photos ; Rick Stephens / PR PhotosOff of the news this week that director Zack Snyder has officially taken the reigns of the new Superman movie — produced by Christopher Nolan and penned by David S. Goyer — I looked at the pros and cons of ten actors who could potentially don the big red S. A few of these suggestions you really liked; thanks to Smallville, I figured there’d be a lot of Tom Welling fans out there, but I had no idea that Superman Returns‘ Brandon Routh had such a committed following. Some of my ideas you weren’t so keen on; “I love Nathan Fillion,” wrote Joshua in the comments, “but Captain Mal is just not Supes.” And y’all had several suggestions of your own; I was especially tickled by the unconventional idea of Joseph Gordon-Levitt (though he may have a leg up given how vocally impressed Nolan was with his work in Inception), and I’m kicking myself for not thinking of White Collar‘s impossibly pretty Matt Bomer.

So let’s put it to a vote! The following six actors stood out as your top choices for the man best suited to fly faster than a speeding bullet (or be shot in front of a green-screen and then later made to look in post like he’s flying faster than a speeding bullet): Bomer, The Tudors‘ Henry Cavill, Gordon-Levitt, Mad Men‘s Jon Hamm, Routh, and Welling. Vote for your favorite below, and then defend your choice in the comments. May the best man (of steel) win!


Read more:
Zack Snyder: “He’s the king of superheroes.”


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Heartache as Kelsey Grammer's girlfriend Kayte Walsh suffers miscarriage - Daily Mail

By Daily Mail Reporter
Last updated at 9:35 PM on 9th October 2010

Frasier star Kelsey Grammer's girlfriend Kayte Walsh has suffered a miscarriage.

The 29-year-old former air hostess lost the baby six weeks ago, MailOnline can confirm.

They confirmed the sad news by releasing a joint statement, thanking people for their condolences and saying they need time to 'heal'.

Sad news: Kelsey Grammer and Kayte Walsh pictured back in August in New York Sad news: Kelsey Grammer and Kayte Walsh pictured back in August in New York

'We lost our unborn child about six weeks ago,' the short statement said.

'We would like to thank all of those who expressed kindness and concern but we needed a little time to heal, time to find some solace before we publicly acknowledged our loss.'

The Daily Mail broke the story back in August that Grammer, 55, and Walsh, 29, were expecting a baby together.

And the couple confirmed the reports a few weeks afterwards.

Kate's father, Alan Walsh, told the Daily Mail how happy he was about his daughter's new relationship.

The 53-year-old Bristol City coach said ‘It’s great news and we are very pleased for them both.

Before the split: Kelsey pictured here with his estranged wife Camille Donatacci and their two children Jude and Mason, seen here back in 2008 Before the split: Kelsey pictured here with his estranged wife Camille Donatacci and their two children Jude and Mason, seen here back in 2008

‘I don’t know how long they have been together and I have not met him yet, but I’m looking forward to it. We just found out about her pregnancy a couple of days ago.

‘I think they met in New York socially because she works for Virgin Airways and often stops over in America.

‘The main thing is for them both to be happy and they are – they have just hit it off together.’

The Frasier actor  publicly voiced his happiness with his new lady and their prospective future in September, at The Romantics film premiere in New York.

He said: 'We are really happy and in love.

'We're looking for new apartment together in New York but we haven't found a place yet. We're waiting for the perfect place.'

And he told TMZ that he was 'very, very happy' about impending fatherhood and that 'a wedding with Walsh 'makes sense, but I have some other stuff I have to clear up first'.

Grammer and his estranged wife, former Playboy model Camille Donatacci have two daughters together, Mason, 8, and Jude, 5. She filed for divorce from him earlier this year.

Grammer also has two older daughters, Spencer, and Greer, from previous relationships.


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Eminem doesn’t allow swearing at home? Holy $@#%!

The venerable 60 Minutes will air Anderson Cooper’s interview with Eminem this Sunday, but they already teased what will surely be the most newsworthy clip: that the proudly potty-mouthed rapper does not allow profanity in his house around his daughters. At one point Eminem says, “I mean, how would I really sound, as a person…walking around my house [saying] ‘Bitch, pick this up…” At which point we all think: You’d sound like one of your videos! Interview clip after the jump:

We could get on his case for the hypocrisy of the statement. I mean seriously, how many kids have uttered their first swear rapping along to his tracks? But honestly, I reacted as I often do when I hear about his discordant life as a dad — I find it kind of endearing. Eminem as a hardass at home? Do you buy it? Perhaps you find it less endearing than I?


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Gospel singer was Grammy Award winner - Washington Post

Albertina Walker, a Grammy Award-winning singer who was crowned the queen of gospel during a career that spanned more than 60 albums and six decades, died Oct. 8 of respiratory failure at a hospital in her native Chicago. She was 81.

As a child, Ms. Walker had been a standout singer at West Point Baptist Church in Chicago. There, she was inspired by entertainers such as Professor Thomas A. Dorsey and Mahalia Jackson, who became Ms. Walker's friend and mentor.

"I wanted to stand up before audiences and deliver the message, win souls for Christ," Ms. Walker told The Washington Post in 2008. "I wanted to touch dying men and slipping women."

In her early 20s, Ms. Walker started an ensemble group, the Caravans, which became one of the country's most popular gospel acts during the 1950s and '60s. The group's early hits included "Mary Don't You Weep," "No Coward Soldier," "Tell the Angels" and "Sweeping Through the City."

The Caravans toured by Cadillac, eventually graduating from performances in churches and schools to theaters and auditoriums. Traveling to venues including Carnegie Hall, the Apollo Theater and Washington's Constitution Hall, they endured low pay, segregated restaurants and discrimination at hotels and restaurants.

In a Chicago Tribune interview decades later, she recalled confronting a truck driver who yelled a racial epithet at her.

"I told him, 'I'll pull my razor out of my pocket and cut your throat,' " she said. "He was so scared of me, and all I had in my pocket was a pencil. I tell you one thing, he apologized and then called me a young lady."

At first, Ms. Walker led the group with her earthy contralto, but she soon stepped aside and allowed others to shine. The Caravans became known as a collection of talented soloists that launched the careers of notable singers including James Cleveland, Dorothy Norwood and Shirley Caesar.

The group broke up in the late 1960s as its members peeled off to launch solo careers. Ms. Walker made her solo debut with the 1975 album "Put a Little Love in Your Heart." She went on to collaborate with Cleveland on "Please Be Patient With Me" (1979), for which she received her first Grammy nomination.

In a 1973 performance with Cleveland of the song "I Sure Do Love the Lord," Ms. Walker sang "slowly and majestically, sometimes moaning and sometimes soaring joyfully," wrote Post music critic Hollie West. "People shouted and swayed to her exacting beat. Walker's performance was a wonderful display of gospel singing as an art."

Ms. Walker was nominated for at least 10 more Grammy Awards, winning the best traditional gospel album award in 1995 for her record "Songs of the Church - Live in Memphis."

Other well-received albums included "Spirit" (1987) and "I'm Still Here" (1997). In 2006, Ms. Walker reunited with members of the Caravans, including Norwood and Inez Andrews, to produce the album "Paved the Way."


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Warner Bros. opts out of 3-D for first installment of ‘Harry Potter & The Deathly Hallows’

Hey all you 3-D haters, you’re in luck. The first part of Harry Potter & The Deathly Hallows will not be in 3-D. Warner Bros. announced today that the 3-D conversion of the first installment of the final chapter would not be completed in time. “We do not want to disappoint fans who have long anticipated the conclusion of this extraordinary journey,” said the statement. As such, Part 1 will only be in conventional and IMAX theaters.

The move should be applauded as Warner Bros. is the studio behind Clash of the Titans, the Sam Worthington-starrer released in 3-D earlier this year. The movie was one of the first to adopt a post-production 3-D conversion process that was highly criticized in the press and became a poster child for all things wrong with the new technology. It’s clear the studio doesn’t want to be criticized again for another rushed conversion. Director David Yates will now have the time to turn Part 2, which bows July 15, 2011, into a 3-D spectacle worthy of the billion-dollar franchise.

Part 1 of Harry Potter & the Deathly Hallows opens worldwide on November 19, 2010.

Read more:
New Deathly Hallows posters let you look the main characters in the eyes
New Deathly Hallows trailer
Is Clash of the Titans good for 3-D?


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‘The Real Housewives of D.C.’: Michaele and Tareq Salahi on last night’s finale

salahi-party-crashersEven before a single episode of The Real Housewives of D.C. had aired, Michaele and Tareq Salahi were already the most infamous cast members, thanks to their alleged “party crashing” at the White House State Dinner last November. Since then, many have painted the Salahis as bottom-feeders, looking for any and every way to inch their way inside D.C.’s most powerful and prestigious circles. Through it all, the Salahis have stood behind who they are, what they’ve done, and mostly, one another. Last night on Watch What Happens Live, the couple explained they couldn’t be happier with the “explosive” season finale, which showed that they did not give fake names to gain entry into the White House (though the question of whether or not they were actually invited still stands). EW caught up with the Salahis to further examine their reality show identities, discuss their plans for the future, and try to make some sense of their rise to fame er…infamy.

ENTERTAINMENT WEEKLY: You’ve said you are happy with the finale. Why?
TAREQ SALAHI: I think it says it all, [and] the video shows it all. We’re very pleased with it. It completely vindicates us.
MICHAELE SALAHI:
We’re really excited that [it] was Bravo’s finale, that they did it so perfectly, [and] that they showed what really happened. Good or bad, we’re just very happy they captured who we really are, so it’s [been] a fun, fun experience.
TS:…but we’re vindicated. I mean we feel great, we feel relieved.

Do you have any regrets from the night of the State Dinner?

MS: No, absolutely not. [It's] the second greatest night [next] to our wedding. If we had to do it all over again, would we? Yes, because we believed in what we were told. Nobody would go with a film crew, a bright red dress, and the name Salahi to be embarrassed on camera [laughs]. When we were told that we were a part of the receiving line and a part of that night, we certainly were looking forward to it. So no regrets, right Tareq?
TS: No, no, none. We did what we were told. We did nothing wrong as now the video proves. Everything that’s in the book and what the video shows, [when] you put all the pieces of the puzzle together, that chapter of our life is now done. Boom, closed.

How did you feel about seeing the reaction from the other women?

MS: That was probably the hardest part for me — seeing them sit around and [be] really happy [while] wishing harm on me. Especially Stacie, I bonded with her in Paris, I care about her. I care about all the women. I’m sad Cat’s going through a break-up. I really care about them. I don’t really understand that kind of mentality. I come from a different place, [and] I think it’s really backward and barbaric to take pleasure and sit around and jump up on your couch and wish someone harm. It’s inhumane, and it’s not who I thought those women were. I think at the reunion show you’re going to see a lot more drama. For sure.

What is you relationship with the other women at the moment?

MS: I just saw the episode last night, and I’m hurt, so right now I need to just take a pause. I’m very forgiving and a person who moves forward, I think that’s what you have to do in life. Maybe at that time they were just angry for whatever reason. I saw different sides of them, so I guess I’m just trying to understand it right now. Especially Stacie, that’s not the person I know.

Do you think the show portrayed them accurately?

MS: I do. That’s the thing, good or bad, the show caught us. So if we do something silly, if somebody’s had too much wine…
TS:
[Laughs]
MS:
…if I’m being silly, hugging too many people, [or] doing whatever and looking flaky, that’s who I am, I’m sorry! [Laughs] It’s okay. I think they captured who they are, and for whatever reason, they had a lot of anger.

What were your thoughts when you were first approached for the show?

MS: [I was] so excited! It was in March 2009 and I remember, I thought, “Oh my gosh, Real Housewives is coming to D.C.!” What an honor to be a part of a franchise that’s already huge, and [that] Andy Cohen has just blown up and made so successful. Love or hate it, whether people admit it, they’re watching it. When I was asked, I thought, “Somebody wants to talk about my life and talk about what I’ve done in D.C.?”

How have things changed since the episodes began airing?

TS: We’ve seen a huge shift in opinion about us, just since the episode aired last night. It’s been unbelievable.

What about at home in D.C.? How are things different?

MS: After the White House, we [became] afraid. Our attorneys [and] everyone said, “Stay away; don’t talk.” The White House officials said “Don’t talk.” So we got really afraid, and that paranoia wasn’t good. It’s better that everybody talks, rather than just not talk at all. We’re really excited [that] we’re back [and] very much a part of the scene. Recently [Tareq's] father passed, and it’s been very painful, but the only good thing out of the tragedy of losing his dad is [that] the mother and son hugged. There was already progression there, but now it really has healed. And the beautiful property [Oasis Winery] that you see in demise right now will [be] restored to what it was, and that’s the greatest thing: that the mother and son are back together as a family.

That is great. I’m so sorry for your loss.

TS: Thank you, thank you. Bravo really did capture a lot of that through the season. All that’s real. It’s a compelling story that’s just beginning to be told, to be honest.

So what are you future plans? What’s next with Oasis? Michaele, you mentioned possibly writing a book?

MS: Oh my god, I know, is that too funny? [Laughs]. There is a great book out right now — it’s not our book — it’s called Cirque Du Salahi: Be Careful Who You Trust and Diane Dimond did a great job. What I’m going to do is just really focus on rebuilding Oasis with my husband and his mother, and try to do a lot of good on the way. I’m very active with multiple sclerosis and have been for the last decade of my life. I get letters every day from people all over the world who have MS, [and] I think I want to be on the forefront of making a difference. With MS, there’s a tremendous amount of depression. There’s all kinds of symptoms, and I think I’ve hidden it well for 17 years, and I could show someone else, maybe carry them through like my mom did.
TS: All these MS chapters have been coming out and asking for Michaele to be involved and be supportive. So it looks like there’s a role being developed behind the scenes where Michaele can be a great advocate for MS.

Are you open to a second season of The Real Housewives?

MS: Oh yeah. There’s so much more to say. I mean we just started. There’s more than just that one night. Somehow the White House just became one night, but there’s five of us and it’d be interesting to see how — you’ll see a lot in the reunion — relationships [are] in reality. Okay we don’t like each other, [and] these are the reasons why. That’s what life’s about. We do that with our families. People fight.

Has the exposure been the biggest benefit of the show?

MS: No matter where I go, people are loving, [and] they want to tell you about their life. The most moving part about being in this is having the opportunity for people to even care to talk [to you] about, “Hey, I love you on that show and I get bullied too,” or “I have this problem,” or “I can relate to this woman,” or “I can relate to you.” It’s kind of fun to hear that feedback.
TS:
Especially if you look on the Bravo blog today. A lot of people [are] relating to the bullying that happened to Michaele [because of what] sadly happened to [Rutgers student Tyler Clementi]. You’ve got real-life situations happening and again, it’s a true compelling story. Michaele came out and revealed her MS. [That's] big. It’s inspiring to others, [and] people are coming out [and] talking to Michaele. We have to plan an extra hour to get through the airport [now].
MS:
[Laughs] We do now! It’s funny. I think back to it almost a year ago [when] we were afraid to go out of our house, literally, after the White House. Now when we go somewhere, we do plan ahead because people are just like, “Oh gosh, I’m from Chicago,” or “I’m from here,” and they want to tell you, and I think it’s such a privilege to be a part of this show…
TS:
And Michaele wants to listen!
MS: I want to listen! I’m like “Okay, you’re from Chicago,  you’re doing what?”
TS:
She stops and talks to everyone.
MS: Because we all matter. We’re on a show [and] we have the opportunity to hear people out, [to] hear what they’re going through. I see it more as just a great way to keep connecting with people. That’s been the high for me, and it’s an honor to be a part of a franchise. But even more, to connect with all these different types of people.

It sounds like you should have your own talk show.

MS: [Laughs] Hey! Your words…
TS:
That’s what Kathie Lee [Gifford] said [laughs].

Have you thought about that? Or any other television projects?

MS: I would love that! That would be fun.
TS:
When Michaele co-hosted Today with Kathie Lee and Hoda [Kotb] last week, I think she found her new calling. I’m telling you, she was so good.
MS:
We had fun. We did dance breaks in the commercials! They were laughing, but you have to have fun. I had a blast with them. They’re very smart women, [and] they’re inspiring women. If I could just [do] a smidge of what they do, that would be a dream. I would love to do that.

Read more:
Real Housewives finale: The Salahi Show
Michaele Salahi has MS


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‘Social Network’ and ‘Life As We Know It’ battle for first place at box office

life-as-we-know-it-02Image Credit: Peter IovinoNo film will cross $20 million again this weekend but it’s sure that the one that gets closest will win first place. Whether it will be last weekend’s first place winner The Social Network or this frame’s new romantic comedy Life As We Know It is still undetermined. Social Network earned an estimated $4.9 million yesterday while the Katherine Heigl- Josh Duhamel starrer grossed a bit over $5 million on Friday.

In third place is another of this weekend’s new releases, Secretariat. The Diane Lane-starrer earned an estimated $4 million for its opening day. Spots four and five are likely to belong to kid flick Legend of the Guardians: The Owls of Ga’Hoole which grossed under $2 million on Friday and Wes Craven’s new flick, the 3-D horror film My Soul to Take, which grossed an estimated $2.7 million for the day. The order of these two films has yet to be determined. In fact, the top five are all very much in flux.  Saturday will be crucial in determining the winner.

Check back tomorrow for complete results.


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'Saturday Night Live' review: Jane Lynch was a gleefully good host - Entertainment Weekly

Jane Lynch really sold her theme song for Glee during the opening moments of this week’s Saturday Night Live. Wearing a fetching off-the-shoulder jacket and backed by Fred Armisen on guitar, Lynch took the Sue Sylvester-centric lyrics and performed them with disarming energy. That opening performance characterized her work throughout the entire show; even during the weaker sketches, she entered into them with a vitality that never seemed forced.

SNL got its Glee out of the way early on, with a parody of the series that hit most of the right notes, ridiculing the show’s repetitive character tics. (Keenan Thompson as Mercedes, Armisen as Artie, and Andy Samberg as Kurt could have pretty much stepped into a regular episode of Glee.) The sketch had a reckless old Mad magazine-style spirit, and didn’t require the addition of Kristen Wiig’s Gilly to be funny.

The ad for the “Dammit, Your Mom Is On Facebook Filter,” with Lynch as a cornball mom, was cleverly executed, as was the evening’s “Digital Short,” featuring Lynch as Samberg’s too-intimate therapist. While the short’s final shot was a funny surprise, I’d give the edge to “Facebook Filter” for funniness.

Lynch upstaged Wiig on the sheer strength of brassiness during the show’s Password parody, “Secret Word.” Although her character had a different name, Lynch was really doing a terrific variation on Phyllis Diller, one that captured Diller’s raucous 1960s-era self-deprecation.

At the other extreme, Lynch proved a team player willing to step back while Jay Pharoah let loose his Denzel Washington impersonation. It was a dead-on approximation of Washington’s intonation and attitude, weakened a bit by the sloppy writing, which lacked a decisive ending.

Bruno Mars, sporting a powder-blue dinner jacket and a Little Anthony pompadour, sounded terrific belting out “Grenade” and his “Just The Way You Are.”

This SNL was heavy on fake commercials, which also included Lynch doing a game parody of Faith Hill’s NFL theme-singing, and Jason Sudeikis running out the clock with the night’s final-weird-moment, a spoof of Patrick Cox’s “Tax Masters” ads, outfitted with a “half-formed twin brother” on the side of his head.

The week’s weakest spots: “Weekend Update” was a wash, and by now, Kristen Wiig has more interest in Suze Orman than anybody else in America does.

But the bottom line is, Lynch sparked an above-average SNL.

She used the show, and the show used her skills as both a performer and, occasionally, an improviser (adding a sharp reaction or edge to a line in responding to another cast member), to better advantage than could have been expected.

Agree? Disagree?

Follow: @kentucker


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'SNL' recap: Jane Lynch, with glee

Jane Lynch really sold her theme song for Glee during the opening moments of this week’s Saturday Night Live. Wearing a fetching off-the-shoulder jacket and backed by Fred Armisen on guitar, Lynch took the Sue Sylvester-centric lyrics and performed them with disarming energy. That opening performance characterized her work throughout the entire show; even during the weaker sketches, she entered into them with a vitality that never seemed forced.

SNL got its Glee out of the way early on, with a parody of the series that hit most of the right notes, ridiculing the show’s repetitive character tics. (Keenan Thompson as Mercedes, Armisen as Artie, and Andy Samberg as Kurt could have pretty much stepped into a regular episode of Glee.) The sketch had a reckless old Mad magazine-style spirit, and didn’t require the addition of Kristen Wiig’s Gilly to be funny.

The ad for the “Dammit, Your Mom Is On Facebook Filter,” with Lynch as a cornball mom, was cleverly executed, as was the evening’s “Digital Short,” featuring Lynch as Samberg’s too-intimate therapist. While the short’s final shot was a funny surprise, I’d give the edge to “Facebook Filter” for funniness.

Lynch upstaged Wiig on the sheer strength of brassiness during the show’s Password parody, “Secret Word.” Although her character had a different name, Lynch was really doing a terrific variation on Phyllis Diller, one that captured Diller’s raucous 1960s-era self-deprecation.

At the other extreme, Lynch proved a team player willing to step back while Jay Pharoah let loose his Denzel Washington impersonation. It was a dead-on approximation of Washington’s intonation and attitude, weakened a bit by the sloppy writing, which lacked a decisive ending.

Bruno Mars, sporting a powder-blue dinner jacket and a Little Anthony pompadour, sounded terrific belting out “Grenade” and his “Just The Way You Are.”

This SNL was heavy on fake commercials, which also included Lynch doing a game parody of Faith Hill’s NFL theme-singing, and Jason Sudeikis running out the clock with the night’s final-weird-moment, a spoof of Patrick Cox’s “Tax Masters” ads, outfitted with a “half-formed twin brother” on the side of his head.

The week’s weakest spots: “Weekend Update” was a wash, and by now, Kristen Wiig has more interest in Suze Orman than anybody else in America does.

But the bottom line is, Lynch sparked an above-average SNL.

She used the show, and the show used her skills as both a performer and, occasionally, an improviser (adding a sharp reaction or edge to a line in responding to another cast member), to better advantage than could have been expected.

Agree? Disagree?

Follow: @kentucker


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NYC Comic Con: Eric Bana and Joe Wright talk ‘Hanna’

Eric-BanaImage Credit: Marc Susset-Lacroix/WireImage.comIf you’ve seen director Joe Wright’s last three films — Pride & Prejudice, Atonement, and The Soloist — Hanna might come as something of a shock. Based on a few minutes of sneak preview footage shown today at NYC’s Comic-Con, the movie has no corsets, no string instruments, and no country mansions. Instead, it’s got guns. And spies. And a deadly teenager (Saoirse Ronan) who was raised as an assassin by her father (Eric Bana) and sent on a mission to find a CIA agent (Cate Blanchett).

In other words, it’s not something you’d expect from a guy whose movies usually appeal to the Masterpiece Theatre demographic. “Everyone thinks I’m all classical music and period films,” Wright tells EW. “It was very exciting to get the gloves off. I really enjoyed all the action stuff. It’s like pure filmmaking.”

For action-movie vet Eric Bana (Star Trek), the thrill of the movie was in the freshness of its story. “When I read the script I felt like I’d never seen that film,” says Bana. “It felt totally original. And that’s getting harder and harder to find, so when you do, you jump on it.”

Hanna hits theaters April 8, 2011.


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