Steven Moffat, the head writer for Doctor Who and writer and co-creator of Sherlock, has long been criticized for his sexism, a flaw that has recently come into light with his decision to make the next doctor a man. Again. It seems that as a writer for shows that he often describes as intelligent and intellectual, he should be careful, or at least somewhat knowledgeable, about women’s rights. Instead, he continues to write female characters whose only positive characteristics are that they're "feisty" and "sexy" and discusses women’s issues as though all women are either out to get him, or eager to "shag" him. Here are a few of his musings on women, from how gross they are when they’re pregnant to their inherent and unavoidable neediness.
Moffat is proud of his sexual conquests and his ability to craft disgusting metaphors:"Between the marriages, I shagged my way round television studios like a mechanical digger."
And what is marriage besides the sacrifice of a minimalist bachelor pad?"When I met [his wife] Sue I was living in a fabulous, minimalist bachelor pad in Glasgow. I moved down to London to be with her and before I knew it I was living in a massively feminised house where shoes were left all over the place and every surface was covered with cushions and vases."
Moffat thinks kids are OK (if a bit stinky), but why did his wife have to get so huge?"Your wife turns into a boat, and shortly after that, you never sleep again and you clean shit off someone. It doesn’t seem like a very appealing prospect. Obviously, the moment I saw my child, that was different, but up until that point, I was thinking, ‘how long before she gets back to normal size? Will this damage anything?’"
And frankly it was all just pretty gross, right boys?"If you take most men aside when their wives are pregnant, most men are pretty frightened and worried and faintly disgusted by the whole experience."
On casting Karen Gillan as "Doctor Who" companion Amy Pond:"And I thought, 'well she's really good. It's just a shame she's so wee and dumpy’...When she was about to come through to the auditions I nipped out for a minute and I saw Karen walking on the corridor towards me and I realised she was 5'11, slim and gorgeous and I thought 'Oh, oh that'll probably work.'"
When criticized for using generic female tropes, Moffat would like to point out that at least they were all sexy:"River Song? Amy Pond? Hardly weak women. It's the exact opposite. You could accuse me of having a fetish for powerful, sexy women who like cheating people. That would be fair."
Moffat defends his choice not to cast a woman as the doctor:"It didn’t feel right to me, right now. I didn’t feel enough people wanted it. Oddly enough most people who said they were dead against it – and I know I’ll get into trouble for saying this – were women ... saying, ‘No, no, don’t make him a woman!’"
He then changes his defense and disses Helen Mirren:"I like that Helen Mirren has been saying the next doctor should be a woman. I would like to go on record and say that the queen should be played by a man."
Acclaimed gender scholar Moffat lays the truth down for the unenlightened (and the unenlightened are women):"There’s this issue you’re not allowed to discuss: that women are needy. Men can go for longer, more happily, without women. That’s the truth. We don’t, as little boys, play at being married - we try to avoid it for as long as possible. Meanwhile women are out there hunting for husbands."
And then laments the plight of the middle-class man:"Well, the world is vastly counted in favour of men at every level - except if you live in a civilised country and you’re sort of educated and middle-class, because then you’re almost certainly junior in your relationship and in a state of permanent, crippled apology. Your preferences are routinely mocked. There’s a huge, unfortunate lack of respect for anything male."
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The 36 year old was crowned Best Supporting Actress for her role in Quentin Tarantino's Django Unchained and Best Actress in a Drama Series for her turn in hit U.S. TV series Scandal, which also won Best Drama Series. In addition, she received the President's Award for her public service work on behalf of President Barack Obama.
She was also praised for breaking the colour barrier and becoming the first African-American woman to lead the cast of a primetime drama since Diahann Carroll in Julia over three decades ago.
Carroll praised the Scandal star, saying, “I think she’s enjoying one of the great moments of her life right now in our industry."
Joking as she stepped on stage to collect her final prize, she said, "Wow, OK, this is the last time that I even have a shot to be up here, just in case you're getting sick of me."
Meanwhile, George Lucas' film about the Tuskegee Airmen, Red Tails, was named Best Motion Picture, and Flight's Denzel Washington and Won't Back Down's Viola Davis beat out the competition for Best Actor and Best Actress. Samuel L. Jackson nabbed the trophy for Best Supporting Actor for his role as Leonardo DiCaprio's sidekick in Django Unchained, and Beasts of the Southern Wild picked up the Best Independent Motion Picture trophy.
TV award winners included Don Cheadle (Actor in a Comedy Series for House of Lies), L.L. Cool J (Actor in a Drama Series for NCIS: Los Angeles), Omar Epps (Supporting Actor in a Drama Series for House M.D.), Vanessa Williams (Supporting Actress in a Comedy Series for Desperate Housewives), and Cuba Gooding, Jr. (Actor in a Television Movie, Mini-Series or Dramatic Special for Hallmark Hall of Fame's Firelight).
In the music categories, Usher and Alicia Keys were named the Best Male and Female Artist, and tragic Whitney Houston was honoured for Best Album (I Will Always Love You: The Best Of Whitney Houston) and Best Song (I Look To You).
The list of major winners is:
Motion Picture - Red Tails
Actor in a Motion Picture - Denzel Washington (Flight)
Actress in a Motion Picture - Viola Davis (Won't Back Down)
Supporting Actor in a Motion Picture - Samuel L. Jackson (Django Unchained)
Supporting Actress in a Motion Picture - Kerry Washington (Django Unchained)
Independent Motion Picture - Beasts of the Southern Wild
International Motion Picture - The Intouchables
Documentary - On the Shoulders of Giants - The Story of the Greatest Team You've Never Heard Of
TV Comedy Series - The Game
Actor in a Comedy Series - Don Cheadle (House Of Lies)
Actress in a Comedy Series - Cassi Davis (Tyler Perry's House of Payne)
Supporting Actor in a Comedy Series - Lance Gross (Tyler Perry's House of Payne)
Supporting Actress in a Comedy Series - Vanessa Williams (Desperate Housewives)
Drama Series - Scandal
Actor in a Drama Series - LL Cool J (NCIS: Los Angeles)
Actress in a Drama Series - Kerry Washington (Scandal)
Supporting Actor in a Drama Series - Omar Epps (House M.D.)
Supporting Actress in a Drama Series - Loretta Devine (Grey's Anatomy)
Television Movie, Mini-Series or Dramatic Special - Steel Magnolias
Actor in a Television Movie, Mini-Series or Dramatic Special - Cuba Gooding, Jr. (Hallmark Hall of Fame's Firelight)
Actress in a Television Movie, Mini-Series or Dramatic Special - Alfre Woodard (Steel Magnolias)
Actor in a Daytime Drama Series - Kristoff St. John (The Young and the Restless)
Actress in a Daytime Drama Series - Tatyana Ali (The Young and the Restless)
News/ Information - (Series or Special) - Unsung
Talk Series - The View
Reality Series - Welcome to Sweetie Pie's
Variety Series or Special - Black Girls Rock
Children’s Program - Kasha and the Zulu King
Performance in a Youth/ Children’s Program - Loretta Devine (Doc McStuffins)
New Artist - Elle Varner
Male Artist - Usher
Female Artist - Alicia Keys
Duo, Group or Collaboration - Mary Mary
Jazz Album - The Preservation Hall 50th Anniversary Collection by The Preservation Hall Jazz Band
Gospel Album - Go Get It by Mary Mary
Music Video - Girl On Fire by Alicia Keys
Song - I Look To You by Whitney Houston and R. Kelly
Album - I Will Always Love You: The Best Of Whitney Houston by Whitney Houston
Spingarn Medal - Harry Belafonte
Kerry picked up the Best Supporting Actress in a Motion Picture crown for her portrayal of a slave in Quentin Tarantino's Django Unchained, while an absent Denzel was a Best Actor winner for his alcoholic pilot role in Flight.
Emotional Kerry Washington dedicated her trophy to "our ancestors," adding, "We shot this film on a slave plantation in the south. They were with us every step of the way."
And she used her acceptance speech to praise Tarantino for making the movie and casting her in it.
She said, "Thank you for telling this story."
The slave film had nominations in four categories going into the awards show, including one for Best Picture.
Other early Image Award winners included Loretta Devine (Supporting Actress in a Drama Series for Grey's Anatomy) and Lance Gross (Supporting Actor in a Comedy Series for Tyler Perry's House of Payne), while Viola Davis picked up the Best Actress honour for her role in Won't Back Down.
While only a few actors in Hollywood history have had the chance to say "I'm Batman" on screen (among them, Lewis G. Wilson, Robert Lowrey, Adam West, Michael Keaton, Val Kilmer, George Clooney, Christian Bale and the stars who have done voice work for the various animated Batman series') plenty others in pop culture have proudly made the claim.
Like the Bat signal shining over Gotham, Batman and his oft self-boasting dialogue has left an indelible mark in pop culture. From Daffy Duck to Cosmo Kramer to Lady Gaga, the "I'm Batman" line has spanned every facet of the industry. Check out this supercut of everyone's favorite superhero identification — which features clips from the Batman movies and Batman-loving shows like Community — here: When Donna (Loretta) and Tom (Aziz Ansari) invited a heartbroken Ben (Adam Scott) along for Treat Yo Self 2011 on Parks and Recreation, he didn't exactly get into the spirit of things. But when they brought Batman into the picture, well, then they were speaking his language. Quite literally, actually, as Ben (who donned a full Batman costume, pictured) and Tom did their best growly Batman imitations. Enjoy: Speaking of TV nerds imitating their beloved caped crusader, the guys of The Big Bang Theory, particularly Jim Parson's Sheldon, can say "I'm Batman" like they really, truly mean it. Watch and learn how here: The Winchester boys have some super powers of their own on Supernatural, but they got into the superhero spirit of things in this classic moment: The Simpsons has been chock full of great Batman references and jokes over the years, but perhaps none better than Homer's accidental Batman declaration seen here. (In his defense, that cult's chant sounded an awful lot like the Batman theme song.) Da na na na na na na watch it!: What's your favorite pop culture "I'm Batman" proclamation? Does Sheldon from The Big Bang Theory do it best? How about Abed on Community? Or should it be left to the pros like Bale, Keaton, and, uh, Kilmer? Tell us in the Bat Cave, er, comments section! Follow Aly on Twitter @AlySemigran More:
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The term “burlesque ” for the uninitiated refers to a specific brand of female striptease that incorporates flamboyant costumes elaborate choreography kitschy songs and various other elements to which heterosexual men are largely indifferent. But it’s wildly popular in other circles -- so much so in fact that it has earned its very own film titled oddly enough Burlesque.
Written and directed by music video veteran Steven Antin Burlesque is fashioned loosely as a camp homage to the 2000 film Coyote Ugly. Stage and screen legend Cher brought to life by an innovative blend of animatronics and CGI stars as Tess the brash tough-as-nails proprietress of Hollywood's almost unbearably fabulous Burlesque Lounge. Despite the obvious popularity of its musical revue the club is plagued by money problems which makes it the target of acquisitive real estate developer Marcus Gerber (Eric Dane) a man whose name alone carries all sorts of ominous Teutonic implications. But Tess determined diva that she is refuses to sell. She's not about to let years of gross financial mismanagement kill her dream of providing a haven where scantily clad women can dance provocatively without fear of encountering men who’d like to sleep with them.
Potential salvation arrives in the luminous top-heavy form of Iowa-bred Ali (Christina Aguilera) a vision of wide-eyed innocence and vaulting ambition in soft focus. Immediately upon entering the Lounge she is struck by the sudden realization that her lifelong dream is to become a burlesque superstar. Unfortunately Tess doesn’t initially recognize Ali’s potential and the poor girl is forced to slum it as a cocktail waitress in the bar area where she’s embraced by the club’s straightgay bartender Jack (Cam Gigandet) a southern transplant whose own showbiz dream involves making it as a songwriter. (In accordance with songwriter tradition he takes pains to ensure that every inch of his chiseled frame is bronzed and waxed. Just like Bernie Taupin.) In her free time Ali devotes herself to the study of burlesque and when her opportunity arises she seizes it without hesitation.
Burlesque is principally the Cher and Christina Show and the film thrives when their respective talents are on display. (“Talents ” obviously gaining a dual meaning in regards to Aguilera.) Surrounding them are a smattering of stock characters pursuing forgettable story arcs the lone exception being the always excellent Stanley Tucci adding a pinkish hue to his incomparable wit in the role of Sean Tess’s long-suffering boa-clad second-in-command. He and co-star Alan Cumming are two sides of the same sassy coin but Cumming is little more than a bitchy bit player in Burlesque poking his head into the frame on occasion to deliver a biting one-liner. Then again that description could apply to any number of characters in the film.
It appears that Antin true to his music-video pedigree conceived of Burlesque with the song-and-dance pieces in mind first then set about building a story around them. (The opposite is generally preferred.) The musical set pieces are lavish sexy and at times truly dazzling especially when Aguilera takes the stage but they do little to advance the film’s plot. Consequently Burlesque’s running time swells to almost two hours to satisfy the demands of a story that frankly seem hardly worthy of such an effort.
Misery loves the Savages--always has. Ever since they were kids Wendy (Laura Linney) and Jon Savage (Philip Seymour Hoffman) have been plagued by the blasé blues. Even though they went their separate ways the siblings have remained somewhat close geographically--she lives in Manhattan he in Buffalo--and in their discontentment. But what made them this way in the first place their father (Philip Bosco) is about to reunite them. After losing his mind to dementia and his longtime girlfriend (Rosemary Murphy) to well death the old man officially needs to be looked after and that’s where Jon and Wendy reluctantly come in. Despite having not seen their estranged father in ages they fly out to his Arizona senior-citizen-friendly community immediately upon word of his downfall. What they didn’t plan on however is staying more than a couple days. Ultimately they take him back to Buffalo and place him in a nursing home about which Wendy constantly feels guilty. Now forced to live together and look in the metaphorical mirror the siblings Savage learn about self-discovery mortality each other and how to revive a decades-old rivalry as though it had never gone away. Given the way Laura Linney and Philip Seymour Hoffman constantly one-up each other in The Savages you’d think there was a real sibling rivalry at play. Of course it’s merely two of today’s very best actors giving par-for-the-course flawless performances. In so doing they create something beyond chemistry: a relationship so fractured and imperfectly perfect that it could only exist between an aging brother and sister. Whether the scene calls for fireworks or subtlety solo or together Linney and Hoffman are always up to the task. Linney is especially wide-ranging as Wendy still fights her midlife crisis. The veteran actress is often heartbreaking because Wendy is often heartbroken even when she tries to convince herself otherwise but Linney still manages to leave the window of hope cracked open--for us and her character. She truly encompasses everything in this her best performance to date. Hoffman is slightly more of a supporting player here but no less impactful. The Oscar winner is apathetic through much of the film but his terse outbursts of anger and/or sadness are stark reminders of his awe-inspiring range as an actor. Perhaps the most savage Savage is the patriarch played with grace by longtime actor Bosco. But instead of vilifying Lenny or making him worthy of all your pity Bosco makes him a rollercoaster of emotion as per Lenny's dementia. It’s been nine years since writer-director Tamara Jenkins’ last--and only other--feature-length film the twisted coming-of-age tale Slums of Beverly Hills which has given her plenty of time to think grow older and think about growing older. She philosophizes aloud in The Savages a movie that addresses everything you don’t want to but with a sardonic edge to it; in fact maybe this is as much a coping mechanism for her as it is an artistic endeavor. While the movie is primarily about the title siblings it essentially explores the human condition under their guise. But Jenkins does so in a way that is never preachy never obnoxious never sappy and always astutely observed. It’s her naturalistic approach to moviemaking that will turn what is ultimately a sharp dramedy into too much of a downer to please casual moviegoers looking for lighthearted fare in wintertime--this is NOT Little Miss Sunshine--but those who go in looking for a drama will be moved occasionally to laughter. Because The Savages is that rare deep movie: heavy on symbolism and meaning light on pretense and contrivance.
The delightful Enchanted captivated audiences over the Thanksgiving holiday, debuting on top of the North American box office with $35.3 million over the weekend and $50 million since debuting Wednesday.
Enchanted, starring Amy Adams as an animated fairy princess who comes to life, is now the second biggest Thanksgiving opener ever, behind Toy Story 2, which grossed $80.1 million in a five-day period in 1999.
Among other new wide releases, the family dramedy This Christmas, starring Loretta Devine, Delroy Lindo and Chris Brown, opened in second place with $18.6 million and $27.1 million since Wednesday, while the video-game adaptation Hitman, starring Timothy Olyphant, debuted in fourth with $13 million over the weekend and $21 million since Wednesday.
The drama August Rush, starring Freddie Highmore, Keri Russell and Jonathan Rhys Meyers, opened in seventh place with $9.4 million for the weekend and $13.3 million since Wednesday. And finally, the Stephen King adaptation The Mist, premiered in ninth place with $9.1 million for the weekend and $13 million since Wednesday.
Overall, the box office numbers went up after being in a slump. "That's good for an industry that's been in a downtrend for almost two months," Paul Dergarabedian, president of box-office tracker Media By Numbers told The Associated Press. "Thanksgiving sets the tone for the rest of the year and the holiday season in general. This was a key weekend, and it delivered."
The Top 12 movies took in a total of $153 million for the weekend and $218 million since Wednesday, up 6 percent from last year’s total of $205.7 million and up 65.12 percent from last weekend’s total of $92.6 million.
The Top Three films at the box office this time last year: Warner Bros.’ Happy Feet, which stayed at No. 1 in its second week with $37 million in 3,153 theaters, averaging $11,747 per theater; Sony’s Casino Royale, which stayed in second place in its second week with $30.7 million in 3,984 theaters, averaging $7,727 per theater; and Buena Vista’s Deja Vu, which opened in third place with $20.5 million in 3,110 theaters, averaging $6,616 per theater (Click here to read last year's box office report).
BOX OFFICE TOP 10 ESTIMATES
(Source: Exhibitor Relations, Inc.)
No. 1: Enchanted (Disney, PG)
• Gross: $35.3 million
• Weeks opened: NEW!
• Theaters: 3,730
• Per-theater average: $9,472
• Cume to date: $50 million (opened Wednesday)
No. 2: This Christmas (Sony/Screen Gems, PG-13)
• Gross: $18.6 million
• Weeks opened: NEW!
• Theaters: 1,858
• Per-theater average: $10,011
• Cume to date: $27.1 million (opened Wednesday)
No. 3: Beowulf (Paramount, PG-13)
• Gross: $16.2 million (-41%)
• Weeks opened: 2
• Theaters: 3,218 (+65)
• Per-theater average: $5,047
• Cume to date: $56.3 million
No. 4: Hitman (20th Century Fox, R)
• Gross: $13 million
• Weeks opened: NEW!
• Theaters: 2,458
• Per-theater average: $5,303
• Cume to date: $21 million (opened Wednesday)
No. 5: Bee Movie (Paramount, PG)
• Gross: $12 million (-14%)
• Weeks opened: 4
• Theaters: 3,507 (-477)
• Per-theater average: $3,425
• Cume to date: $112 million
No. 6: Fred Claus (Warner Bros., PG)
• Gross: $10.7 million (-10%)
• Weeks opened: 3
• Theaters: 3,603 (unchanged)
• Per-theater average: $2,979
• Cume to date: $53 million
No. 7: August Rush (Warner Bros., PG)
• Gross: $9.4 million
• Weeks opened: NEW!
• Theaters: 2,310
• Per-theater average: $4,082
• Cume to date: $13.3 million (opened Wednesday)
No. 8: American Gangster (Universal, R)
• Gross: $9.2 million (-28%)
• Weeks opened: 4
• Theaters: 2,799 (-311)
• Per-theater average: $3,290
• Cume to date: $115.7 million
No. 9: The Mist (MGM, R)
• Gross: $9 million
• Weeks opened: NEW!
• Theaters: 2,423
• Per-theater average: $3,740
• Cume to date: $13 million (opened Wednesday)
No. 10: No Country for Old Men (Miramax, R)
• Gross: $8.1million (+164%)
• Weeks opened: 3
• Theaters: 860 (+712)
• Per-theater average: $9,433
• Cume to date: $16.6 million
I'm Not There (Weinstein Co., R)
• Gross: $757,385
• Weeks opened: NEW!
• Theaters: 63
• Per-theater average: $5,826
• Cume to date: $1 million (opened Wednesday)