Veteran TV writer and producer Norman Lear is in talks to revamp his classic sitcom All In The Family. The 92 year old broke ground with the 1970s show about working class bigot Archie Bunker and his family, tackling issues such as homosexuality, women's rights and racism at a time when such topics were considered too controversial for TV audiences.
Lear admits he has concerns about how much censorship a modern-day Bunker, previously played by late actor Carroll O'Connor, would face from TV executives, but he is willing to try with a new incarnation of the character.
He tells U.S. news network MSNBC, "I think the character would survive on a TV show today (but) I'm told by show runners that a lot of the subjects we touched, we can't touch today.
"Let me put it this way: we're gonna try again... We're talking about doing something about All in the Family 2015. (An) entirely different family, but... (similar characters), 2015 versions, a modern version."
The original All in the Family ran from 1971 to 1979, while a spin-off, titled Archie Bunker's Place, aired until 1983.
Lear is also known for producing other hit 1970s shows, including Sanford and Son and other All in the Family spin-offs Maude, Good Times and The Jeffersons, which starred the late Sherman Hemsley.
In Hollywood, it’s not uncommon for the stars to meet on set and fall in love. Usually, it’s the leading man making the leading lady swoon. But actors and actresses aren’t the only ones who wind up together. Sometimes, it’s the director who gets the girl.
Kate Beckinsale and Len Wiseman
Getty Images/Kevin Mazur
Prior to her marriage, Beckinsale had been in a relationship with actor Michael Sheen for 8 years. But on the set of Underworld in 2003, she fell for her then-married director, Wiseman. The following year they were married. All parties involved, except Wiseman’s first wife, have said there was no infidelity. The couple have remained friends with Sheen, who starred alongside Beckinsale in Underworld. Aside from that franchise, Wiseman has also cast Beckinsale in his film, Total Recall.
Judd Apatow and Leslie Mann
Getty Images/Rich Polk
These two met on the set of the 1996 comedy film, The Cable Guy, which Apatow was producing. Since their 1997 marriage, Apatow has cast his wife in: The 40-Year-Old Virgin, Knocked Up, Drillbit Taylor, Funny People, and This Is 40. Not only has his spouse appeared in his films, but their two daughters, Maude and Iris, have made it into a few films as Mann’s on-screen children.
Milla Jovovich and Paul W.S. Anderson
Getty Images/Jun Sato
This couple met on the set of Jovovich’s most popular film, Resident Evil, in 2002 which Anderson was the director and producer for. The two dated first then had a child in 2007, before getting married in 2009, all while continuing to work on the franchise that brought them together. Anderson isn’t the first director Jovovich has wed. In 1997 she married her The Fifth Element director, Luc Besson, but divorced him two years later.
Kate Capshaw and Steven Spielberg
This Texas-born actress met Spielberg when she was cast as the female lead in Indiana Jones and the Temple of Doom, the prequel to Raiders of the Lost Ark, in 1984. The two married in 1991, after Spielberg’s controversial and costly divorce from his first wife, Amy Irving.
Helena Bonham Carter and Tim Burton
WENN/Adriana M. Barraza
The pair first connected during filming Planet of the Apes in 2001. While they’ve never actually gotten married, they’ve been a couple for the last 13 years and have 2 children together. Burton is not shy from having his partner in his films; Carter has appeared in: Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows.
HBO is really building up the anticipation for the 2015 premiere of the fourth season of Girls. As if we weren't all already curious about what Hannah, Marnie, Jessa, and the incomparable Shosh have been up to, we have a host of special guest stars to look forward to.
Natasha Lyonne, Gillian Jacobs, Zachary Quinto, Jason Ritter, Marc Maron and Judd Apatow’s daughter Maude have been announced, and now Oscar-winning director Spike Jonze is on board. This is pretty incredible.
So far there are no specific details about his role, but he'll star in four episodes and his character is a fellow named Marcos.
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Girls executive producer Judd Apatow's 15-year-old daughter Maude is making her small screen debut in the upcoming fourth season of the acclaimed series. Maude has previously starred in her father's hit films including Knocked Up and This is 40.
Sony Pictures via Everett Collection
A long way from their little watched but brilliant animated MTV comedy Clone High, Phil Lord and Chris Miller have risen meteorically over the past few years, and have quickly become the brightest comedy duo in Hollywood. The two have been working together for nearly 20 years and have become masters of taking seemingly soulless adaptations and crafting smart and hilariously self-aware comedies. Only a few months after the release of The Lego Movie, the duo's latest, 22 Jump Street, is set to hit theaters on Friday. We got a chance to sit down with this symbiotic comedy writing/directing machine as they discuss the struggles of having two people and only one director's chair, how their particular college experiences made it into the film, and why the best jokes are the ones that not everyone gets.
Lord and Miller discuss the challenges of having two directors working on one film:
Phil Lord: "We’re both creative people. We both have a vision of how it should be. Things can’t always be exactly the same, and you have to have the humility to let it be the other guy’s idea sometimes."
Chris Miller: "It’s a big fear for an actor, that one of us is going to say one thing in one ear while the other is going to say the opposite in another and their brain is going to explode. We develop the scripts for a while, and we talk about the scenes a lot and we have a similar sensibility and the same goal for the movie. So when we come into a scene we’re pretty much aligned in what we want to get out of it. In the times where we have a disagreement about what we want to get out of a scene, that’s why you have multiple takes."
Lord: "It takes just as long to do another take [as] it does to argue about whether you should do another take. Just do one. And I trust this guy if he has something that he wants to do, we should just do it."
Miller: "Yeah, if one of us wants to get a sweeter version or a real wild version, you can figure it out in the editing room."
But sometimes there's trouble in paradise:
Lord: "We’ve had those moments, like, 'I’m going to lunch with someone else.'"
Miller: "We’re like brothers, where we fight and love each other and respect each other. We’ve had such a long history together. We’ve known each other for 20 years."
Lord: "Like many men, our strategy of working out our conflict is: get pissed off, walk away, and then never speak of it again."Miller: "Avoidance. It works!"
The directors discuss how they infuse their own personal brand of humor into their work, even if not everyone gets it:
Miller: "We find that we’re trying to make ourselves laugh. Some of that stuff that only a small percentage of the audience gets, it’s kind of fun if you’re one of the people that gets it. You’re part of the club, and if it goes by quickly and doesn’t sit there like it’s a big swing, then you can sort of get away with it. Sometimes we’ve tried things that are too obscure but were clearly attempts at jokes. And the audience didn’t respond, so we [took] them out ... It’s been our philosophy to not talk down to the audience."
The duo discusses their shared comedy touchstones in college:
Miller: "When we met, we had Harold and Maude, The Jerk, Billy Wilder, Young Frankenstein. We bonded over the same movies."Lord: "You don’t like Howard the Duck as much as I do."Miller: "This is true. See, there you go. We’re not exactly the same."
And how their own college hijinks inspired a party scene in the film:
Lord: "Well, we have the best pong-playing [scene] in the history of cinema. Or the most accurate, I should say. We had to teach Channing [Tatum] and Wyatt [Russell] how to play..."Miller: "Dartmouth style."Lord: "Very specific Dartmouth rules. Lob only, you gotta use paddles. None of this Beirut throwing nonsense. So we’re just off-screen playing in those shots."
Veteran actress Kathleen Turner's new play Bakersfield Mist has been savaged by critics who branded it "implausible", "phoney", and "too pleased with itself". The new drama, which opened in the West End on Tuesday (27May14), stars Turner as Maude, a trailer park resident who believes she has unearthed a valuable Jackson Pollock painting. She enlists a New York art expert named Lionel, played by Scottish actor Ian McDiarmid, to verify it.
However, the culture-clash show, written by Stephen Sachs, has failed to impress many critics, who found the plot unconvincing and suggested the actors' performances are the only highlight.
Henry Hitching, of the London Evening Standard, writes, "Her (Turner) passionate performance and an enjoyably outrageous one from Ian McDiarmid can't redeem a play that turns a true story into something clunkingly implausible... There are flashes of humour, but despite the strong performances Bakersfield Mist feels very slight."
Charles Spencer, from the Daily Telegraph, echoes the criticism, adding, "Bakersfield Mist, neatly directed by Polly Teale and cleverly designed by Tom Piper, is too slight, and a touch too pleased with itself, to be fully satisfying. But, unlike the dubious picture at the play's heart, the performances are definitely the genuine article."
Mark Shenton, from The Stage, writes, "A play about trying to verify the authenticity of art falls at the first hurdle if it itself feels phoney... The situation here simply beggars belief... I suspect it will quickly fade into the mists of memory."
Bakersfield Mist will run until 30 August (14) at the Duchess Theatre in London.
Workaholic Woody Allen just can't stop making movies. The trailer for his latest effort, Magic in the Moonlight hit the web today, and the proceedings definitely feel like vintage Allen. It's charming, quick-witted, and effusive like you'd expect from a Woody Allen romance, but it also features another hallmark of the great director's filmography: the age discrepancy between the two leads is huge. In Magic, Colin Firth plays Stanley, the jazz age's answer to the Mythbusters, who travels to the French countryside to debunk a talented young spiritualist named Sophie, played by Emma Stone. As time passes, Stanley finds it hard to refute her powers, and even harder to resist her wiles.... her late teenage/early 20's wiles.
Since the real-life Colin Firth is 53 while Emma Stone is only 25, we can assume that the age difference between their two characters will be pretty significant as well. Significant enough that it's bordering on creepy. This wouldn't be the first time Hollywood has used such a large age gap between romantic leads in a film, but it is the first one in a while that gives us this much pause. We've decide to examine age gaps in different films to see exactly when things start to get a little creepy.
5 to 10 years: That's perfectly cool.Examples: Too numerous to count.
In this day and age, five to ten years is a drop in the bucket. So you like your wine a little aged? It's really no big deal and Hollywood knows it.
10 to 15 years: If it makes you happy… Examples: Silver Linings Playbook, Annie Hall, Her (Rooney Mara and Joaquin Phoenix), Star Wars: Episodes I-III, just to name a few.
Now we're starting to get a teensy bit weird. It's still perfectly acceptable, but don't be surprised if you start getting sideways glances from people on the street. Your mom will also bring it up over dinner, but your mom brings everything up over dinner so it's really not that scandalous.
15 to 25 years: Dude, he/she might be your son/daughter.Examples: An Education, The Reader, Fish Tank, Taxi Driver, The Graduate, Don Jon, basically every James Bond film.Okay, now were venturing in full-fledged creep zone. Once you reach a level of age disparity where you could have biologically given birth to the person you're romantically involved with, you really need to think about the relationship.
25+years: No, no, no, no, no, no, no, no, no.Examples: Harold and Maude, Big (sorta), Manhattan, Lolita, Oldboy, The Curious Case of Benjamin Button (again, sorta).
British royal Lord Frederick Windsor and his actress wife Sophie Winkleman hosted a private Christening at a London palace for their daughter on Monday (16Dec13). The couple welcomed baby Maud Elizabeth Daphne Marina Windsor, who is 42nd in line to the throne, in Los Angeles in August (13), and she was baptised in a ceremony at St James's Palace's Chapel Royal.
The event took place at the same venue where the baby's third cousin, once removed, Prince George of Cambridge, was Christened in October (13).
Maude also wore the same royal Christening gown as her famous cousin.
Pop star Selena Gomez broke down in tears during a TV interview in Australia after she was shown an emotional video from her self-proclaimed biggest fan. The singer was appearing on The Hot Hits Live on Monday (09Dec13) when host Maude Garrett handed her an iPhone so she could watch a video message from a girl called Georgie, who declared her devotion to her music idol.
After watching the moving video, Gomez welled up, asking Garrett, "Why would you do that?"
The teary star then thanked the presenter for showing her footage from fans rather than quizzing her about her romantic life, saying, "I do know that every time I sit down to do interviews, it's usually based on who I'm dating, what I'm wearing, what's my favourite colour or favourite song. And when I find those people that genuinely appreciate me for me, it keeps me going. Georgie, you're the reason I do what I do. Thank you."
The 2013 fall season features the premiere of two major spin-offs. The Originals brings the first family of vampires from The Vampire Diaries to New Orleans. Once Upon a Time in Wonderland follows Alice as she battles Jafar (from Aladdin) to rescue her genie quasi-boyfriend. No offense guys, but neither series is ready to spin-off.
All in the Family spawned two major spin-offs, The Jeffersons and Maude. Frasier was a spin-off from Cheers and kept Camille Kelsey Grammer rolling in dollars. But not all series can launch a spin-off or risk losing major characters.
Here are a few major spin-offs that were a little premature:
Klaus (Joseph Morgan) and Rebecca (Claire Holt) were a great in-flux of new blood into The Vampire Diaries. They have great salty lines and offer an evil alternative to the squeaky clean vampires. There also is room for them in the series with Kat Graham and Michael Trevino appearing in less of the show. There was never enough character development for them so a spin-off could does make some sense. However, pairing them with flat model types and constantly relying on flashbacks isn’t as endearing as it is on The Vampire Diaries. Also, Phoebe Tonkin is wasted as a baby incubator when she was the best part of her first American series, The Secret Circle.
Once Upon a Time in Wonderland
Once Upon a Time is a fluke. The edgy comic book series Fables is much better at bringing fairy tale characters into the “real world.” Using the whitewashed Disney versions of the popular stories makes each episode feels like gross product placement for the Disney house of horrors vault. The saving grace is likable actors like the lovable Ginnifer Goodwin, Robert Carlyle, and the deliciously evil Lana Parrilla. However, Wonderland is just a cheap, shameless sequel that only cannibalizes the few possible storylines for later seasons of the original. Naveen Andrews dressed in an elaborate leather costume is laughable. Poor Emma Rigby as The Red Queen seems like a porn star on the wrong set. It’s also a total waste of actors like John Lithgow and rock legend Iggy Pop.
By the last season of Friends, each character feels like an outlandish stereotype. Except of course Jennifer Aniston who was playing A-list actress Jennifer Aniston. Joey (Matt LeBlanc) was so stupid and unaware that he didn’t seem functional enough to drive a Matchbox car, let alone carry a series. The spin-off finds him in Los Angeles with his sister (Drea de Matteo) and working on being an actor. It wasn’t horrible but there wasn’t enough juice in the character to keep the show alive.
Kate Walsh is magic! She added such great energy to Grey’s Anatomy as Dr. Addison Forbes Montgomery-Shepherd. It seemed like a great idea to take her to the sun-soaked beaches of Los Angeles on a hunt for love. The series wasn’t a total fail but it did rob Grey’s Anatomy of one of its greatest characters. It also had trouble finding its sea legs and a format for the show that would work.
Richard Grieco added a lot more edge and man candy to 21 Jump Street. However, it was ill advisedly decided to give him a spin-off. After it tanked, there was an attempt to bring him back to the series but it tanked. Had he stayed on 21 Jump Street he may have been able to take over when Johnny Depp unceremoniously left in the third season.
Charmed Lives/Living Dolls
Successful syndication has proved Who’s the Boss? is a part of television history. Sadly, lightning was not able to strike twice…no matter how hard they tried. Fran Drescher and Donna Dixon were dueling models working with Angela (Judith Light). They were spun-off into an odd couple precursor to 2 Broke Girls. Angela also got a modeling job for Samanta’s friend Charlie (Leah Remini) gets recruited as a model for one of Angela’s contacts she moves in to a house full of models including Halle Berry. Despite this notable casting, neither series lasted very long.