Doesn't it seem like, more and more, the Oscars are only handed out to a select few that Hollywood has deemed worthy? It's like anything that Robert De Niro, Martin Scorsese, Meryl Streep, or Amy Adams does gets a nomination more as a reflex than as an actual consideration. If Meryl had actually faked an orgasm in Hope Springs you could expect to see her name up there on the official nominees list. This year the nominations seem to spell a trend away from nominating people for the first time. It's hard to find a virgin to sacrifice this year.
RELATED: 2013 Oscar Nominations: See the Full List of Nominees Here!
There are only six people nominated for Best Director or in all four of the acting categories who haven't been nominated before. Of those six people two – Hugh Jackman and Bradley Cooper – are already giant Hollywood stars, one – QIWillNeverLearnHowToSpellThis Wallace – is only 9 years old and hasn't had time to act in anything else, and one – director Michael Haneke – we shouldn't even count because his 2009 movie The White Ribbon won an Oscar for Best Foreign Language Film. Who does that leave us with? Emmanuelle Riva, who is a French actress and, well, Americans really hate subtitles, don't they? Yes, they do. The only one who really leaves us with is Benh Zeitlin, the director of Beasts of the Southern Wild. That is an acceptable first-time nominee.
Aside from Ben(Don't Forget The)h, it's almost as if these newbies don't even count. Meanwhile, for the first time ever, the Best Supporting Actor category is full of men who have each won at least one Oscar. Yes, these people are going to be getting the gold for the second time and meanwhile John Hawkes, who gave the performance of the year in The Sessions, didn't get any love at all. Or what about Jack Black totally changing gears in Bernie? But no, let's dip back into the well-worn Oscar well. In fact, of the 25 nominees, there are 19 Oscars already awarded, and that goes up to 21 if you count Spielberg's two trophies he didn't win for Best Director.
This is a recent trend because back in 2010, 14 of the 25 nominations were first timers and four of the five winners (Kathryn Bigelow, Sandra Bullock, Christoph Waltz, and Mo'Nique) had never seen the Nominees Luncheon before. In 2011 that was down to 11 nominees and 2 wins (Tom Hoopper and Christian Bale) and that number shrunk again last year with 10 nominees and 3 wins (Michel Hazanavicius, Jean Dujardin, and Octavia Spencer) with two of those winners making their American film debut. This year we can have a max of three new winners, but it will probably be more like zero (and not of the dark thirty variety). None of these people, right now, are frontrunners.
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So, why are we just recycling old material when it comes to the Oscars? It might be because the voters are older and nominate and then vote for people they already know. It's easier to write down Naomi Watts than try to figure out how to spell the young Ms. Wallace's first name. And when it comes to campaigning, so much of it has to do with past snubs and oversights that the Oscar often goes to someone as sort of a lifetime tribute rather than for that one specific role. (Heck, Melissa McCarthy even won an Emmy because she lost an Oscar.)
RELATED: 2013 Oscars Nominate Only 9 for Best Picture: Who Should be No. 10?
It's also harder to get a movie made these days, especially if there isn't a known quality. Getting someone to plop down a bunch of coin for anything by Spielberg or for a giant movie musical based on one of the most popular stage shows of all time (Les Mis, of course) than some experimental allegory about giant beasts and post-Katrina New Orleans. But when they do put that money down, it can really pay off.
The Oscars shouldn't just be about glad-handing the usual suspects (except, when Kevin Spacey won) but also about discovering and rewarding new talent so that the luster of the ceremony can rub off on the most deserving so that they can go on to bigger and better projects. A nomination is not only a chance to win, but a launching pad, something that has given us some of our best and brightest stars. We wouldn't have Amy Adams 100th consecutive nomination if she didn't get plucked from obscurity and nominated for Junebug. Sure, sometimes it doesn't work out (I haven't seen Mo'Nique's apostrophe in quite some time) but we're always grateful when it does. While Daniel Day-Lewis may be deserving of his third (third!) statuette, maybe it would behoove the Academy to start making the next generation of celebrities before this one goes entirely extinct.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: The Weinstein Company, Sony Pictures Classics, Fox Searchlight, Universal Pictures]
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Oscars 2013 Special Coverage
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It’s no secret that Entourage’s luster is a bit tarnished at this point, yet many of us continue to faithfully tune in to see what Vinnie Chase (Adrian Grenier) and his goons are up to. Now, they’re finally throwing in the towel with 8 final episodes, but just what is it about this show that kept us on the hook for those less-than-spectacular years? (Hint: It's not Vince.)
Drama’s Never-Ending Delusion and Pseudo-Wisdom
For some reason, seeing Johnny Drama (Kevin Dillon) try so hard and fail even harder time and time again is wildly entertaining, but the resolve with which he continues to pound the glitter-covered pavement in Hollywood and spew his unwarranted wisdom is what makes it so hilarious. Drama needs an acting gig, so what does he do? He tries to use SAG insurance to get calf implants after admiring Lamar Odom’s trunks. Drama is desperate to be in the new Brett Ratner flick, so what does he do? He fights tooth and nail for a role as the French bus driver. Drama finally gets a shot in Vince’s passion project, so what does he do? He insists the lead actress (Modern Family's Sofia Vergara) performed a sexual favor for him, angers her and the director in the process and loses the part. Also, the fact that Dillon is the real-life, less-successful brother to Matt Dillon doesn’t hurt.
Eric Constantly Getting the Beat-down
Eric (Kevin Connolly) was supposed to be the good guy, the underdog, the one we’re all rooting for. But somehow as the series went on, it was less fun to watch him succeed and more entertaining to watch him crash and burn – especially when the purveyor of pain is none other than Ari Gold. Those morning phone calls between Ari and E are something we look forward to, and yes, we don’t want E to really lose because that means Vince loses, but damn it’s wonderful to watch him squirm.
Turtle Gives The Average Dude Hope
We all love Turtle (Jerry Ferrara), but truth be told, in real life dudes like Turtle don’t always have the kind of luck he has. Sure, he struggles with it for the first few seasons, but then suddenly he owns a mega-successful business, is dating Jamie Lynn Sigler and fending off hot college coeds. He’s a regular Joe living the dream alongside his movie star compadre. You thought Kevin James was a lucky bastard on King of Queens? Turtle crushes that victory into tiny smithereens.
Ari’s Filthy, Filthy Mouth
Sure, Ari Gold (Jeremy Piven) makes comments about sexual conduct you might have thought weren't humanly possible. Sure, he’s so graphic sometimes his speeches would probably be more at home on Skinemax than HBO. Sure, he’s the most insensitive, offensive person to ever garner even a shred of our sympathy on national television. But no matter how uncomfortable he makes you, there is always something entirely appealing about his terrible, terrible personality. There’s something about Piven’s most famous character that makes you cheer him on and wish you had the cahones to say the despicable things he says. That mystical, inexplicable force is just one small piece of the puzzle that forces us to keep watching even when the story begins to suffer.
Feeling Like a Hollywood Insider
The most universal draw for the HBO series is probably the feeling of being on the inside of the Hollywood machine. We see the backhanded deals that go on behind the scenes of giant blockbuster movies. We watch Jeffrey Tambor beg and plead with Ari to get five seconds of his attention. We see Vince party with Jessica Alba. We watch Johnny Drama lose miserably against Tom Brady and Mark Wahlberg in a charity golf tournament. We see Matt Damon hounding Vin for a check for his charity. Despite its many misgivings, Entourage does give us a pseudo-look into the world we all secretly want to be a part of.
Strong openings for "The Mexican" and "See Spot Run" sent "Hannibal" south of the box office border after three weeks in first place.
DreamWorks' R-rated drama "The Mexican" kicked off to a record-setting estimated $20.3 million at 2,951 theaters ($6,879 per theater). Its powerful box office punch proved audiences cared more about Brad Pitt and Julia Roberts' superstar luster than the film's lackluster reviews.
"The Mexican" had the highest per-theater average for any film playing in wide release last weekend.
"For the first week in March, this is the biggest opening ever," DreamWorks distribution head Jim Tharp said Sunday morning, noting that it beats the $17.2 million opening for "The Hunt For Red October" when it surfaced on March 2, 1990. "It's one of the bigger March openings. Last year, on March 17, 'Erin Brockovich' did $28.1 million."
"It could be a little better than this (estimate), but there's a storm moving into the Northeast so we dropped the Sunday estimate," Tharp said, noting that this morning some Hollywood handicappers were estimating an even bigger opening weekend. "I don't know what the impact (of the snowstorm) is going to be."
The film's reviews, Tharp commented, "were mixed. There were some good ones and some not so good. But I think it is a credit to the star power of those two, plus James Gandolfini is well known. I think that people who saw the movie liked it. Part of the issue with the critics is that your expectations are one thing when you see a Julia Roberts movie and this is totally different. A little quirky, maybe, for some of the critics."
"Mexican" reportedly was made for only about $40 million, with both of its superstars taking much less than their usual salaries.
Directed by Gore Verbinski, "Mexican" stars Brad Pitt and Julia Roberts.
Warner Bros.' G-rated family appeal comedy "See Spot Run" from Village Roadshow Pictures was running hard in second place, opening to a frisky estimated $10.2 million at 2,656 theaters ($3,840 per theater).
An additional draw for family audiences was the fact that Warners advertised that it is showing with "Spot" the first trailer for its much-awaited "Harry Potter and the Sorcerer's Stone," opening this November.
"'Spot' has run well. He ate 'Hannibal' today," Warner Bros. Distribution president Dan Fellman said Sunday morning. "The exits are great. It's not an expensive movie. So it's all very, very good news."
Reportedly made for only about $15 million, "Spot" should be profitable in theaters and then have big potential in home video thanks to its family appeal.
Fellman was waiting to receive Saturday's exit poll data, but said it should be in line with Friday's research, which found "it was 96% in the top two boxes (excellent and very good) and the definite recommend was 86%. So it looks great. Word of mouth is terrific. That's why we had such a great Saturday. And we'll have a great Sunday, as well, because the weather's helping us. It's not snowing (on the East Coast yet). It's going to snow tonight. The reactions starting with our sneaks (last Sunday) were great, so it led to a solid opening.
"And we put the 'Harry Potter' trailer on it and advertised it, so it certainly was added value for the family. It just helped brand the movie (as family entertainment) the way we wanted to brand it. Reaction to the trailer was just spectacular, so we're very, very excited about that. That's a monster movie for us and it will be a great franchise for the company."
Directed by John Whitesel, "Run" stars David Arquette.
MGM and Universal's R-rated thriller "Hannibal" fell two pegs to third place in its fourth week with a less mouthwatering estimated $10.05 million (-36%) at 3,272 theaters (-20 theaters; $3,072 per theater). Its cume is approximately $142.8 million, heading for $175 million in domestic theaters.
Directed by Ridley Scott and produced by Dino De Laurentiis, Martha De Laurentiis and Ridley Scott, "Hannibal" stars Anthony Hopkins and Julianne Moore.
"We're happy," MGM worldwide distribution president Larry Gleason said Sunday morning.
Gleason pointed out that MGM's next release, the PG-13-rated comedy "Heartbreakers" from David Entertainment is being screened Tuesday at 10:30 a.m. for exhibitors attending the ShoWest convention in Las Vegas and will then receive a double sneak before its March 23 opening. The picture is generating an advance buzz as a potential spring sleeper hit.
"It's going to be the first screening to kick off ShoWest," Gleason said. "Then we have a preview this Saturday night (March 10) at 700 theaters and then we're planning to (sneak it at) 1,000 theaters the following Saturday (March 17)."
Directed by David Mirkin and produced by John Davis and Irving Ong, "Heartbreakers" stars Sigourney Weaver, Jennifer Love Hewitt, Ray Liotta, Jason Lee, Jeffrey Jones and Gene Hackman.
Paramount's PG-13-rated comedy "Down to Earth" slid two slots to fourth place in its third week with a still solid estimated $8.0 million (-29%) at 2,521 theaters (theater count unchanged; $3,173 per theater). Its cume is approximately $44.1 million.
Directed by Chris Weitz and Paul Weitz, "Earth" stars Chris Rock.
Sony Pictures Classics' Oscar-contending, PG-13-rated action adventure "Crouching Tiger, Hidden Dragon" held on to fifth place in its 13th week with an energetic estimated $4.93 million (-25%) at 1,751 theaters (+2 theaters; $2,817 per theater). Its cume is approximately $88.7 million.
"Tiger" is nominated for 10 Oscars, including best picture, best foreign language film and best director.
Directed by Ang Lee, "Dragon" stars Michelle Yeoh and Chow Yun-Fat.
"I feel that we're still on track to reach that $100 million mark before the Oscars, which would be stupendous," Sony Pictures Classics sales vice president Tom Prassis said Sunday morning.
USA Films' R-rated, Oscar-contending drama "Traffic" held on to sixth place in its 10th week with a still impressive estimated $4.51 million (-13%) at 1,617 theaters (-138 theaters; $2,788 per theater). Its cume is approximately $92.3 million.
"Traffic" is nominated for five Oscars, including best picture and best director.
"It's down 13%, an amazing hold against 'The Mexican,' no less," USA distribution president Jack Foley said Sunday morning. "And 'Chocolat' and 'Crouching Tiger' had good holds, too. I think it's (the result of) a couple of things. It's that overbearing interest that America has in the Academy Awards. There's no doubt about it. People are already (making a point of seeing the best picture nominees).
"The benefit of this year's lack of competition among the five best picture group is really (helping) 'Crouching Tiger,' 'Chocolat' and us, since 'Gladiator' and 'Erin Brockovich' really aren't out there. So we have more pie (to carve up between the three nominees who are now in wide release).
"The other thing that I think is very beneficial, as well, is when you look at the list (of new films in the marketplace) -- with all due respect to my competition -- most of the films out there are relatively uninteresting. So people are looking for other choices. You're seeing considerable drops in the commercial pictures going on week after week. So the hole in the market has benefited us, as well."
Foley expects continued strong business for "Traffic" as well as for "Chocolat" and "Crouching Tiger" as the Oscars approach. "As you get down to the Academy Awards, with that momentum ever increasing and grabbing the attention of the public, it's free advertising for us that will motivate people to see these films before the (Oscars are announced March 25). So we're just going to grow further.
"This weekend, we should have had a bigger drop because you're g tting closer (to the Oscars). This puts us in perfect position for business. Depending on how the picture sustains itself next week, we could hit $100 million the week of March 16 or the week of March 23. I had different drops (projected) for the picture, different scenarios that were 65% or 75% of the week prior, and it's actually like 25% or 35% drops. So over the last couple of weeks my hundred million mark was actually drifting down into the beginning of April or the week after the Academy Awards. But as the film has sustained these great holds in the marketplace and the drops are so diminished, I'm now looking at hitting $100 million as early as the week of March 16. And remember this -- the sooner you hit $100 million, the more you go over it. There's more gross (to be made)."
With "Traffic" now at about $92.3 million in domestic theaters, its international business to date brings its worldwide cume to about $115 million, Foley said.
Directed by Steven Soderbergh, "Traffic" stars Michael Douglas, Don Cheadle, Benicio Del Toro, Dennis Quaid and Catherine Zeta-Jones.
Miramax's PG-13-rated, Oscar-contending romantic comedy drama "Chocolat" rose one rung to seventh place in its 12th week with a still tempting estimated $4.2 million (-12%) at 1,857 theaters (+13 theaters; $2,261 per theater). Its cume is approximately $45.7 million.
"Chocolat" is nominated for five Oscars, including best picture.
"It's great," Miramax senior vice president, marketing David Kaminow said Sunday morning. "Probably by the time of the Oscars, we'll be close to $60 million, which is ahead of where 'Cider House Rules' ended its run. We haven't dropped more than 15% on any given week.
"People love the movie. It's an audience pleaser. Somebody said (to me last night), 'The thing about 'Chocolat' is that with all these other movies I've been seeing, everyone's dying at the end. With 'Chocolat,' at least, you go, you have fun, you leave with a smile on your face.' They said, it's a movie you can recommend to anybody. And I think that's what it is. It's a movie for everybody. It's entertaining. You have a good time."
Directed by Lasse Hallstrom, "Chocolat" stars Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin and Johnny Depp.
Buena Vista/Disney's G-rated animated feature "Recess: School's Out" fell four notches to eighth place in its third week with a less lively estimated $3.9 million (-43%) at 2,503 theaters (-127 theaters; $1,570 per theater). Its cume is approximately $27.6 million.
Directed by Chuck Sheetz, "Recess" was produced by Sheetz and Stephen Swofford and executive produced and created by Paul Germain and Joe Ansolabehere.
Franchise Pictures' (via its distribution deal with Warner Bros.) R-rated drama "3000 Miles To Graceland" plunged six slots in its second week to ninth place, with a chilly estimated $3.05 million (-57%) at 2,545 theaters (theater count unchanged; $1,196 per theater). Its cume is approximately $12.2 million.
Directed by Demian Lichtenstein, "Graceland" stars Kurt Russell and Kevin Costner.
Warner Bros. has no financial investment in "Graceland," which it is releasing for Franchise for a distribution fee.
Rounding out the Top Ten this week was Warner Bros. and Bel-Air Entertainment's PG-13-rated romantic drama "Sweet November," down three slots in its third week with a quiet estimated $2.46 million (-52%) at 2,037 theaters (-231 theaters; $1,205 per theater). Its cume is approximately $21.6 million.
Directed by Pat O'Connor, "November" stars Keanu Reeves and Charlize Theron.
OTHER OPENINGS Universal Focus' opening of its R-rated thriller "The Caveman's Valentine" arrived to a calm estimated $0.12 million at 16 theaters ($7,745 per theater).
Directed by Kasi Lemmons, "Valentine" stars Samuel L. Jackson.
USA Films' R-rated reality TV satire "Series 7" kicked off to a very encouraging estimated $30,000 at two theaters ($15,094 per theater).
Written and directed by Daniel Minahan, "Series" stars Brooke Smith, Glenn Fitzgerald, Mary Louise Burke, Richard Venture, Michael Kaycheck and Merrit Wever.
SNEAK PREVIEWS There were no national sneak previews this weekend.
EXPANSIONS On the expansion front, this weekend saw
Sony Pictures Classics go wider with its R-rated drama "Pollock," grossing in its fourth week an encouraging estimated $0.75 million at 104 theaters (+72 theaters; $7,234 per theater). Its cume is approximately $1.8 million.
"Pollock" received Oscar nominations for best actor (Ed Harris) and best supporting actress (Marcia Gay Harden).
Directed by Ed Harris, "Pollock" stars Ed Harris and Marcia Gay Harden.
"We're very pleased with that," Sony Pictures Classics sales vice president Tom Prassis said Sunday morning, adding that next week the film will add "substantially more" runs.
USA Films' PG-rated drama "In the Mood For Love" continued to expand in its fifth week with a still encouraging estimated $0.29 million at 64 theaters (+14 theaters; $4,495 per theater). Its cume is approximately $1.3 million.
Written and directed by Wong Kar-Wai, "Love" stars Tony Leung and Maggie Chung.
WEEKEND COMPARISONS Key films -- those grossing more than $500,000 -- took in approximately $83.79 million, up about 9.53% from the comparable weekend last year when key films grossed $76.5 million.
This weekend's key film gross was up a marginal 0.05% from last weekend this year when key films did $83.75 million.
Last year, Warner Bros.' third week of "The Whole Nine Yards" was first with $7.17 million at 2,793 theaters ($2,569 per theater); and Paramount's opening week of "The Next Best Thing" was second with $5.87 million at 2,007 theaters ($2,925 per theater). The top two films one year ago grossed $13.1 million. This year, the top two films grossed an estimated $30.5 million.
Well, the February sweeps are finally over.
Once the remainder of NBC's "10th Kingdom" is flushed from the system, it will all be just a distant memory. Regis Philbin won, if you were scoring along at home. If the February sweeps were like network TV's playoffs, Regis was Michael Jordan -- only shorter and dressed like a bootlegger from the 1920s.
The good news? Now that the quarter-hour numbers don't mean as much to the bean counters, you might find a few higher-quality shows on the air -- not that Fox's "Robbie Knievel: Head On Train Jump" wasn't "high quality" as head on train jumps go. ... But, um ... Hey, everybody, let's get ready for those mid-season replacements!
-- Right after HBO's "The Sopranos" airs today at 8 p.m. (this is old news, but yes, the series really is as good as everybody says it is), stay tuned for "If These Walls Could Talk 2" (9 p.m. EST/PST). It's a long overdue look at changing lesbian lifestyles from the 1960s through 1990s. Vanessa Redgrave, Sharon Stone, Ellen DeGeneres, Michelle Williams ("Dawson's Creek") and Oscar-nominee Chloe Sevigny ("Boys Don't Cry") star in the kind of film that portrays lesbianism in a more positive light than we are used to seeing on TV -- you know, minus the laugh track and drooling men. It's sort of "lesbianism for women," if that makes any sense. Howard Stern spoke the truth when he said "lesbians equal ratings." But we're not sure this is what he had in mind.
-- No longer afraid of losing good shows in the crush of all those February network "specials," cable's USA network premieres two pretty good "based on actual events" originals this week. Producer Shaun Cassidy, a former teen "heartthrob" who will never live down his past if we have anything to say about it and the creator of the intensely spooky but short-lived "American Gothic," is the scribe behind the first episode of "Cover Me" (8 p.m. EST/PST today). It's an hour-long drama about an FBI agent who feels that the best way to keep his family safe from the bad guys is to put the wife and kiddies to work on his cases -- so, um, they can be more directly in the line of fire. You know, that doesn't sound like the greatest plan in the world, but it might make a good TV show. ... Hey wait a minute! Oh, nevermind.
-- And Tuesday at 9 p.m. EST/PST, USA offers the made-for-cable movie "The Huntress." If the title alone hasn't sold you, it also stars Annette O'Toole! And if, like us, you're not sure who that is (actually she's very famous and was in "Nash Bridges"), it's also based on the true story of Dottie Thorson! And if, again, you're not sure who that is, either, you'll just have to take our word that this movie is pretty cool. When a (based-on-a-real-person) professional bounty hunter (Craig T. Nelson) explodes in his driveway, his (based-on-real-people) wife (O'Toole) and daughter (Aleksa Palladino) decide to press on with the family business. It's smart and funny in a seedy Quentin Tarantino kind of way ... the good Tarantino, before "Destiny Turns on the Radio" and that vampire movie.
-- Kevin Spacey takes the chair on Bravo's always interesting interview show "Inside the Actor's Studio" (8 p.m. EST/5 p.m. PST today). Count on the intrepidly probing host, James Lipton, to get a lot out of the Best Actor Oscar nominee (for "American Beauty") in this hour.
-- And an hour later (at 9 p.m. EST/PST), E! premieres another installment of its stately "True Hollywood Story" doc series. This time the subject is Burt Reynolds. From his days as a No. 1 box-office attraction (long before "Stroker Ace," and "Cop and a Half," if you're trying to remember) to Loni Anderson to Dinah Shore to ... You know, if Burt Reynolds hasn't actually done it all, he's certainly done most of it. This should be pretty good.
-- Fox reanimates "Family Guy" for another run Tuesday at 8:30 p.m. EST/PST. It's a funny toon and certainly deserves a regular spot in its struggling line-up (not that worth ever stopped a network from canceling anything before). Meanwhile, NBC finally moves into the 1990s (in the year 2000, no less) and joins the animation revolution by giving a prime spot (right behind "Friends") to the mid-season replacement "God, the Devil and Bob" (8:30 p.m. EST/PST Thursday). When all creation seems to have lost its luster, God (voiced by James Garner) gambles with the devil (Tony-winner Alan Cumming) that a guy named Bob ("3rd Rock from the Sun" co-star French Stewart) can restore his faith in humanity. If Bob isn't up to the task, then basically the universe becomes a "do-over." Don't knock "Bob," yet. It's got to be better than "Jesse."
-- Hoping to capitalize on the ratings success CBS had with the Grammys last month, VH-1 will televise the "Rock & Roll Hall of Fame Induction Ceremony" (9 p.m. EST/PST Wednesday). Inductees include Eric Clapton, the Lovin' Spoonful, and Earth, Wind and Fire. Unfortunately, Jennifer Lopez is busy (picking up boyfriend Puff Daddy at court is like a full-time job now), so Clapton has volunteered to "take one for the team" and wear the thin-strips-of-delicate-fabric-taped-to-the-breasts outfit.
-- And finally, the Sci-Fi Channel will be running the entire "Indiana Jones" trilogy on consecutive nights this week. If you don't know what we're talking about, the "Indiana Jones" movies are about an archeologist who travels around and digs for ancient artifacts. (They're a lot better than they sound). Anyway, "Raiders of the Lost Ark" airs Tuesday at 8 p.m. (EST/PST), followed by "Indiana Jones and the Temple of Doom" (8 p.m. EST/PST Wednesday) and "Indiana Jones and the Last Crusade" (8 p.m. EST/PST Thursday). As an extra-special treat, Sci-Fi is presenting the flicks in extra-special widescreen format. Sounds like hunkering down time in front of the television.