Michael Arbeiter
Staff editor Michael Arbeiter’s natural state of being can best be described as “mild panic attack.” His earliest memories of growing up in Queens, New York, involve nighttime conversations with a voice from his bedroom wall (the jury’s still out on what that was all about) and a love for classic television that spawned from the very first time he was allowed to watch “The Munsters.” Attending college at SUNY Binghamton, a 20-year-old Michael learned two things: that he could center his future on this love for TV and movies, and that dragons never actually existed — he was kind of late in the game on that one.
  • Which Actress Has Been Nominated for 12 Emmys But Has Never Won?
    By: Michael Arbeiter Aug 26, 2014
    Alongside a record degree of mediocrity, the 2014 Primetime Emmy Awards also marked a few records in some of its top competitive categories. Breaking Bad star Bryan Cranston took home the Outstanding Lead Actor in a Drama Series trophy last night: his fourth for the role of Walter White. With this latest achievement, Cranston has tied one Dennis Franz, who has held the record of four Best Dramatic Actor Emmys solo since 1999. The milestone begs us to look back through other Emmys records: Which stars have the most wins? The most nominations? And, perhaps tragically, the most nominations without a single win? This bittersweet superlative goes to none other than Angela Lansbury, who never quite nabbed that trophy despite 12 Outstanding Lead Actress in a Drama Series nominations as Murder, She Wrote star Jessica Fletcher. NBC Not only does Lansbury claim ownership of the most nominations without a win, she also has the most nominations period in any acting category. Alan Alda, Ted Danson, and Kelsey Grammer have all earned 11 nominations in the Outstanding Lead Actor in a Comedy Series category (for M*A*S*H, Cheers, and Frasier respectively), and Mary Tyler Moore snagged 10 Lead Actress in a Comedy nominations for her eponymous sitcom. As for supporting categories, David Hyde Pierce has taken 11 nods for his work on Frasier, while Rhea Perlman and Loretta Swit have each earned 10 comedy nominations (Cheers and M*A*S*H). Follow @Michael Arbeiter | Follow @Hollywood_com
  • The Worst Moments from the 2014 Emmy Awards
    By: Michael Arbeiter Aug 26, 2014
    Getty Images/Michael Tran It happens every year. We go into the Emmys hoping for thrills, for surprises, for inspiration, and we come out the other side tired, bored, and begrudging Modern Family. As per usual, this year’s ceremony offered plenty of detestable moments, both in the form of award snubs and onstage bits that don’t seem to have been thought through. In all honesty, a comprehensive list of the things that incurred violent eye rolls at the 66th Annual Primetime Emmy Awards would take even longer to read than the never-ending show did to watch, so here’s a roundup of the top achievements in the organization’s unparalleled artistry of regret: the worst moments from this year’s Emmys. Why, Weird Al, why? Shortly after reminding us of his irreverent genius with the release of the long-awaited studio album Mandatory Fun, Weird Al Yankovic took the Emmys stage mid-ceremony to perform a patchwork of quick, lazy parodies to the theme songs of the night’s various nominated comedy and drama programs (most notably Mad Men, Game of Thrones, and Modern Family). None of the obvious, haphazard lyrics lived up to Al’s established ingenuity, barely earning a laugh throughout the act. Does anybody else hear wind chimes? The average Emmy viewer began to question his own sanity last night when the program began inscrutably ringing wind chimes to mark the victories of some of its big winners. The perplexing, noxious sound was enough to institute a subconscious resentment of whatever party had just taken the stage to collect his or her golden statue. We thought we were happy for Bryan Cranston until a high-pitched clanging washed the whole episode in general unpleasantness. Now we can’t even remember who we were rooting for! Aren't we over Sherlock? In its inceptive years, Sherlock was an interesting, fun, and inviting new miniseries. But this past season, the writing observed a qualitative decline and the acting showed off nothing new. With so many interesting and talented players up against Martin Freeman (the entire Normal Heart supporting cast) and Benedict Cumberbatch (Mark Ruffalo, Idris Elba, and the Fargo fellas... including his own costar Freeman, who we'd rather have seen win for the FX series than for the BBC detective show) and writer Steven Moffat, we can't really sign off on this year's wins. That one off-putting clip in the Robin Williams tribute We don’t mean to cast a foul shadow over the heartfelt remembrance of Robin Williams, but we can’t help but find it odd that the Emmys chose to include a clip of him affecting racial stereotypes among its rather short montage of his material. With so much standup gold, late night circuit merriment, and Mork and Mindy treasure to choose from, why stoop to such a questionable selection? Do you see Rosco now, Stephen? Is he in the room with us? We’ve spent years enjoying Stephen Colbert’s contribution to the political satire circuit, and plan to enjoy many more beside him as he graduates to hosting The Late Show. But every once in a while, the comic mastermind throws out a clunker, namely his “imaginary friend” shtick that earned (duly) zero laughs. Colbert stretched a weird one-note joke much longer than we hoped he would when he prattled on about the lack of appreciation for his invisible costar Rosco. It didn’t have the cleverness or imagination of Colbert’s usual esoteric material… it was just silly and, quite frankly, dumb. Hey, Emmys, you guys see that new show Orange Is the New Black? You could make viable cases for Louie and Veep as the deserving owners of this year’s Outstanding Comedy Series Award, but a little part of each of us was rooting for Orange Is the New Black. Speaking sociopolitically, the Netflix series is offering its viewers more progressive characters, relationships, and situations than Modern Family is so often credited with doing: while the ABC sitcom relegates its gay and Latina characters to jokes about home décor and mispronunciation, OITNB actually celebrates and explores its roster’s diversity sincerely… and it manages to be funny all the while. Stop milking the folksiness! Woody Harrelson and Matthew McConaughey are both talented actors, a fact exhibited most prominently by their partnership on HBO's True Detective. And while we may love them as actors, and even perhaps as celebrities, they both seem to be milking their fame for all its worth. Sure, an entertaining routine is welcome in any awards show presentation, but Harrelson and McConaughey seemed to have eschewed a written-and-rehearsed comedy bit in favor of a few moments of self-serving rabbelrousing.   The general air of predictability Yes, many of us were ecstatic for Breaking Bad stars Cranston, Anna Gunn, and Jesse Pinkman. No, we don't have the energy to maintain fury over the victories of Modern Family and Jim Parsons year after year. It's just the complete lack of suspense, surprise, or even the pretense of possibility that can be a little bit numbing to those tuning in. Do we really live in such a formulaic time for artistic expression? Doesn't it eat at us to accept that invention and originality, projects that actually challenge us, are so seldom rewarded, while the same shows and stars year after year are granted accolades for keeping us comfortable? Can't we... eh, who cares, at least we finally have our Simpsons marathon. And the very worst moment of this or, quite possibly, any Emmys ceremony... The Award goes to... Sofia Vergara, for The Epitome of Sexist Objectification! There's a fine line between parody and reality, between upholding reprehensible behavior satirically and doing so earnestly. But the Emmys' Sofia Vergara-on-a-spinning-pedestal bit does not come close to that line. It lives far, far to one side, happily resting in its own sexist comforts, where women are deemed objects and the very idea of questioning the validity in this viewpoint is worthy of chuckles. The Modern Family star stood happily atop a rotating platform, devolving to little more than something to gawk at while her partner in crime, Chairman of the Television Academy Bruce Rosenblum, giddily mocked the idea that what they were doing was at all problematic. That's bad. Gwen Stefani mispronouncing "Colbert"-levels bad. Follow @Michael Arbeiter | Follow @Hollywood_com
  • 'To Be Takei' Shows Us the Professional, Personal, and Political Sides of George Takei
    By: Michael Arbeiter Aug 26, 2014
    Josiah True/ WENN It’s more than likely that your first interactions with George Takei took place aboard the Starship Enterprise. The then little-known actor boarded Gene Roddenberry’s groundbreaking Star Trek series at age 29, working to redefine both his own career and the way that Asians and Asian Americans would be depicted on television forever. It’s also a rather fair bet that your most recent taste of Takei came in the form of social media: Now 74, the film and television veteran has gained a refreshed notability for his amicable presence on Twitter and Facebook, where he is known to share a wide variety of visual and verbal gags as well as his inspiring messages of tolerance and progressive thought. But there is a whole lot of Takei in between the early days of Sulu and the current era of hashtagged witticisms, and that is vast middle section is chronicled in the new documentary To Be Takei. The third feature-length project from filmmaker Jennifer M. Kroot, whose previous endeavors include the 2003 sci-fi/fantasy Sirens of the 23rd Century and the 2009 biographical doc It Came from Kuchar, details the professional achievements, political activism, and personal life of Takei, who proves to be as accomplished as he is downright likable. The weight with which Kroot approaches the three principal aspects of Kroot’s life tends to vary, leaning in favor of his work for gay rights, but we find ourselves duly engrossed in his personal and professional stories just the same. The ProfessionalWe learn quite a bit about Takei’s own perspective on his early works (the pre-Sulu days), particularly those that he finds retroactively repugnant due to their embrace of racial stereotyping. Takei recounts the days when the only roles an Asian-American actor might procure were demeaning or even vilifying — clips from Green Berets, Which Way to the Front, and familiar small screen titles like Mission: Impossible and Perry Mason showcase some of Takei’s earlier, more regrettable turns… ones that he was forced to endure in order to make a name for himself in the far more regressive ‘60s and ‘70s. The PersonalConsidering his family’s personal history, it’s no surprise that Takei has taken particular efforts to quell the negative depiction of Asians and Asian Americans in the United States. In Takei’s childhood, he and his family were imprisoned in a Japanese internment camp, as was not unusual for immigrants and American citizens of Asian descent during World War II. To Be Takei offers a great deal of heartrending footage devoted to Takei describing his family’s hardships during this period — the Hollywood legend illustrates his indomitable admiration for his parents, who exhibited charity and strength of will throughout the nightmare. But the documentary also pays due attention to the lighter side of Takei’s personal journey, showcasing his relationship with husband Brad Altman: the love of his life… and occasional victim of his ceaseless brutal honesty (at one point, Altman laments Takei’s proclivity for telling people when they have gained a bit of weight, a habit that George himself doesn’t seem to find problematic). Perhaps the most enjoyable bits in the film are those that allow the audience to watch Takei and Altman spend lazy days together, joking and bickering, showing off their complementary incurable merriment (George) and high-strung neuroses (Brad). It’s charming, it’s funny, and it’s indicative of real, healthy love. The PoliticalFinally, there wouldn’t be much of a story if Takei had not become such a prominent figure in the fight for a more progressive attitude toward ethnic minorities and gay men and women. We see Takei’s spotlighted wedding to Brad (conducted by friend and former colleague Nichelle Nichols), his acceptance of a variety of awards recognizing his work in the area of LGBT rights, and — perhaps his greatest sociopolitical contribution to date — his public lambasting of William Shatner. No matter when and where you met Takei, be it back during his journeys across the galaxies or amid one of his recent highly celebrated punny tweets, your interests in the man as an actor, a public figure, and a man will be sated by the cheerful, informative doc To Be Takei. Check out the film in select theaters or on VOD now.
  • Emmys 2014: Billy Crystal Gets Personal in His Tribute to Robin Williams
    By: Michael Arbeiter Aug 25, 2014
    ABC  Following the Emmys' traditional In Memorium segment, honoring a collection of television greats who sadly passed away over the course of this past year, the ceremony paid individual tribute to a particularly beloved figure: Robin Williams. Billy Crystal, a friend and colleague of Williams', took the stage to speak personally about the comedic genius. Crystal spoke wistfully of Williams' great line of works, of his many successful endeavors to make the world a funnier place. But the highlight of his well-crafted speech came from his own life experience, spending time with his pal Robin at Comic Relief events and family functions. Crystal remembered attending a charity baseball game with fish-out-of-water Williams, who made up for his own lack of familiarity with the sport by inventing a Russian character and tossing jokes about professional ballplaying in his home country. Furthermore, Crystal recounted with adoration Williams' penchant for joking around with Billy's older relatives, describing our cherished star as always ready with a gag, no matter the situation. Crystal illustrated just how much fun Williams had with bits like these, citing such an example as the sort of shtick that would fill his eyes with light. Following Crystal's speech, the ceremony offered clips of Williams' work on the late night circuit, on sitcom TV, and on the live stage. Despite the odd choice that was one clip of Williams performing a comedy routine about racial stereotypes (why opt for such material when he's got legions of more admirable gold to choose from?), we can't help but remember the great contribution Williams made to comedy the world over.
  • Emmys 2014: How Was Seth Meyers' Opening Monologue?
    By: Michael Arbeiter Aug 25, 2014
    NBC With experience on Saturday Night Live's Weekend Update and NBC's Late Night, Seth Meyers wasn't going into the 2014 Emmy Awards' opening monologue as a greenhorn. Unsurprisingly, the perpetually chipper Meyers delivered a traditional, relatively tame, but consistently funny opener, cracking wise for the most part at networks... primarily his own (and the host of the Emmys ceremony) NBC. Some of Meyers' strongest jabs targeted the organization's mislabeling of certain programs ("You had comedies that made you laugh and comedies that made you cry... because they were dramas submitted as comedies."), the ending to How I Met Your Mother ("Sorry kids. Jesse Pinkman lived. Dexter lived. But your mother didn't make it."), and the notoriety afforded to the conservative-leaning Duck Dynasty ("This season, Game of Thrones was the most pirated TV show, and Duck Dynasty was the most VCR taped."). Although Meyers may never be as inflammatory as the likes of the divisive Ricky Gervais, as invigorating as his old partners in crime Amy Poehler and Tina Fey (the unofficial kingpins of today's awards show game), or as dazzling a showman as trade legend Neil Patrick Harris, he is a reliabley enjoyable performer who knows his way around a joke. An all around delightful monologue from Seth, as per expectation.
  • Miley Cyrus Uses VMAs Win to Open Talks About Homeless Teenagers
    By: Michael Arbeiter Aug 25, 2014
    MTV Miley Cyrus' public image is a particularly temperamental one. We have seen her evolve from puerile child star to an irreverent but admirable purveyor of Sammy Davis Jr's "Gotta be me!" mentality. But once she solidified herself as the sort of artist who'd perform a debacle like we saw at last year's VMAs, we didn't expect there to be much room for recovery. But Cyrus declined the spotlight this year, opting to use the opportunity of her Video of the Year Award victory (for "Wrecking Ball") as a platform to open conversation on something rather sincere. Get More: 2014 VMA, Artists.MTV, Music Accepting the award on behalf of Cyrus was a young man named Jesse who proclaimed himself to be one of the 1.6 million homeless American teenagers for whom Cyrus is angling to raise awareness and funding. At one point in his rather touching speech, Jesse directed fans to Cyrus' Facebook page, where they will find a link to the charitable organization My Friend's Place. You can donate here. MTV Considering the image perpetrated by Cyrus just one year ago, it was particularly impressive to see her use the VMAs to broadcast awareness for a subject of such gravity, and furthermore for a widespread problem that hardly gets high profile attention. Surely some cynical viewers will begrudge Cyrus for her center-stage tearful looks, calling the whole thing a ploy for attention and a PR move, but we're inclined to give the 21-year-old pop star credit. We expected her to go the routes of vain and outrageous, she instead did something benevolent and potentially quite helpful.
  • Richard Attenborough Dies at 90
    By: Michael Arbeiter Aug 24, 2014
    BBC via Getty Images When you’ve led a life that had earned you admittance into the Order of the British Empire, presidency over the Royal Academy of Dramatic Art, and a handful of awards recognizing your work both in front of and behind the camera, it is safe to say that you have done pretty well for yourself. The world must bid a sad goodbye to Richard Attenborough, who has passed away Sunday, but should recall the multihyphenate’s unbounded degree of accomplishment in the world of, and beyond, cinema. Attenborough was 90 years old. Born in Cambridge, Cambridgeshire, England, to scholarly parents, Attenborough grew up in an environment that seems to have celebrated academia, creativity, and kindness. During the Holocast, Attenborough’s family welcomed into their home a pair of young Jewish refugees from Germany, eventually adopting the girls into the family. Attenborough himself joined the plight against the Third Reich by serving in the Royal Air Force during World War II. While his similarly renowned brother David went on to pursue work in the fields of nature and broadcast, Attenborough took an early shine to acting, performing at the beginning of his career in films like In Which We Serve, Brighton Rock, and Morning Departure. He also experienced some work on the stage, joining up with the production of The Mousetrap by author Agatha Christie. The late 1950s and early to mid 1960s saw Attenborough take some big name projects, notably The Great Escape and The Flight of the Phoenix, and comedic projects like I’m All Right Jack and Dr. Dolittle. Attenborough began to appear in fewer films as time went on, however — for fourteen years following 1979’s The Human Factor, he did not appear in a single film. During this time, Attenborough honed his behind-the-camera skills. The director’s most cherished accomplishment is doubtlessly his 1982 biopic Gandhi, for which he won Best Picture and Best Director Academy Awards. The film featured Ben Kingsley in a memorable, career-expanding performance as the historical activist. Attenborough created another memorable biopic ten years later: Chaplin, starring Robert Downey, Jr. as the silent film icon. But Attenborough did return to the screen, and in fantastic form: as the big-dreaming John Hammond in Steven Spielberg’s Jurassic Park movies. Some of his most recent contributions to cinema include his directorial projects Shadowlands, Grey Owl, and Closing the Ring. As an actor, Attenborough has appeared in 1998’s Elizabeth and 2002’s Puckoon. Attenborough is survived by his wife Sheila Sim, whom he married in 1945, and two children: Michael and Charlotte. Attenborough’s daughter Jane passed away in 2004.
  • Review: 'Sin City: A Dame to Kill For' Lacks in Style and Story
    By: Michael Arbeiter Aug 22, 2014
    Dimension Films via Everett Collection Sin City: A Dame to Kill For really values its volume. The movie tosses out three or four stories, twenty-odd characters, a handful of car chases, several dozen throat-slittings and skull-bludgeonings… in their return to the cinematic adaptation of Frank Miller’s graphic novel series, Miller and director Robert Rodriguez seemed bent on packing in as much as they conceivably could. The unfortunate result: not quite the intricate, inviting narrative web that the men set out to create, but a straight through-line of nonstop stuff. In the most egregious sense, too. While we remember Sin City as a relatively patient illustration of Miller’s virtue-deficient neo-noir kingdom, what we find in this year’s follow-up is a feverish race to expose the audience to every idea the directing duo has up its sleeve. Dimension Films via Everett Collection So, what we get instead of a fluid story is a whirlpool of events. Each chapter of the clumsily manufactured movie will set you up with a character — an out-of-place Joseph Gordon-Levitt as cocky gambler Johnny, Josh Brolin as a thickheaded do-gooder, and the ragtag team of a destitute Jessica Alba and her devoted muscle Mickey Rourke — only to watch the hero in question stumble upon plot contrivance after plot contrivance, never getting to do much all the while. And while the style outdoes the substance in the scope A Dame to Kill For’s strong suits, Miller and Rodriguez are not exactly displaying the utmost aesthetic panache in this latest outing. Sure, certain chase scenes are kinetic — and the film might offer the most invigorating visual design of an onscreen hot tub in the history of cinema — but sloppy choreography and a world constructed without depth or sense of place leaves us feeling completely out of touch with the film’s most important character: Sin City. 2.5/5 Follow @Michael Arbeiter | Follow @Hollywood_com
  • Review: 'If I Stay' Is a Toxic Mixture of Painful Cliches
    By: Michael Arbeiter Aug 22, 2014
    Warner Bros via Everett Collection Five minutes into If I Stay, I had already begun compiling a list of the audacious teen movie cliché lines spouted by stars Chloe Moretz and Jamie Blackley, and their supporting cast. Fifteen minutes in, I had already given up — it was too much for one man to bear. For this reason alone I left the movie impressed. Impressed at how much disingenuous angst from the cutting room floor of Dawson’s Creek they managed to fit into a 106-minute movie. It takes quite a toll on you to look past these maudlin iambs, and those braving the journey will find few rewards beneath the surface of If I Stay. Moretz’s character Mia, an overachieving cellist on the precipice of a breakup with Adam (Blackley) and wrestling with the decision to move across the country to study at Juilliard, suffers a monstrous car accident and washes back over the past year of her life — discovering her passions, her self-esteem, and her love for the obnoxious indie rock boy a grade above — in the form of flashbacks. While a couple of Mia’s more lighthearted memories manage to muster up some genuine spirit, this breed is significantly outnumbered by the drama. The sort of stuff we’ve all seen before, with the piercing reminder courtesy of the ham-fisted dialogue that it’s the sort of stuff we’ve all seen before. Warner Bros via Everett Collection Despite the general capability of Moretz, who helps to turn what could be another spineless YA heroine into a character with relative biological agency, latching onto Mia will be a difficult task. Surrounding her, we have a nearly insufferable Adam — sure, being in a band is a tried and true way to impress a desired mate, but usually one or two other redeeming personality traits are required to actually make a relationship work. As Mia’s parents, Miereille Enos and Joshua Leonard alternate scenes of enjoyable goofiness and cloying idiocy, with Enos at least coming out favorable thanks largely to her mastering of motherly affection. But the story surrounding these characters is so rumpled and misguided, itself unsure of what to prioritize and who to root for and what constitutes personal victory, that the heart of the movie feels as withered and phony as its veritable tapestry of teen drama quotables. Worse, in fact, when it reaches its audacious conclusion: one that, without spoiling anything, feels not only ineffective but earnestly harmful in its message and the stolen authority with which it proclaims it. In honesty, the way to walk away from If I Stay with anything gained is if you actually manage to complete its cliché roundup. And to anyone who does I offer my humblest admiration. .5/5 Follow @Michael Arbeiter | Follow @Hollywood_com
  • Review: 'The One I Love' Is a Good Idea That Doesn't Reach Its Full Potential
    By: Michael Arbeiter Aug 20, 2014
    Potential spoiler warning: Widespread disagreements have spawned in regards to what constitutes a “spoiler” re: The One I Love. The following review details the general premise of the film, as per what I consider to be fair game. However, some other writers (who I respect quite a bit) have insisted that revealing such information would be giving away the movie’s principal twist… which, in my defense, occurs very early on in the movie. Use your judgment and proceed with caution! RADiUS-TWC via Everett Collection You can practically hear a bright-eyed Mark Duplass shouting, “Here’s an idea!” when you latch onto the beginnings of The One I Love — the real beginning, past the nothing-out-of-the-ordinary setup that introduces Duplass and Elisabeth Moss as a married couple whose relationship has gone sour. On the insistence of their counselor (Ted Danson, who singlehandedly saves the first chapter of this film from succumbing to the doldrums, and then disappears far too soon), the pair take vacation in a remote cabin allotted for the mending of fraying love affairs. Then, the “idea!” kicks in — Duplass and Moss are thrust into a fantastical realm/psychological allegory in which each is faced with the perfect version of one another. Like, in addition to the real versions. Clones. There are clones. …But, to reiterate, strategically idealized clones, and ones that work to serve any number of the hypotheticals entertained in marriage counseling, couples arguments, or simply inside the head of somebody who considers what he or she might wish to change about the person sleeping six inches to the right. RADiUS-TWC However, The One I Love fails to make the most of its interesting, dense concept. While it should spend its time playing with the psychologically, sociologically, and philosophically rich premise that it cooks up for Duplass and Moss, the movie gets distracted by the busy work of keeping the fantastical functions in check, of paving its story with a thick layer of mystery, and begging the audience to wonder how they’re gonna get out of this pickle! Sadly, that’s not where the real meat of The One I Love lies. With the promise of a riveting examination of the mindset behind wishing your own husband or wife was different, smarter, nicer, more attractive, in better shape, a better cook, or simply like he or she used to be, we set up for the very idea that must have gotten Mark Duplass’ heart racing in the first place. But when the movie decides that it'd rather be thrilling, enigmatic, and riddled with twists than an honest human story, its appeal fades away, And far too soon... just like Ted Danson. 3/5 Follow @Michael Arbeiter | Follow @Hollywood_com