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MoMI’s Caan Film Festival features 12 films starring James Caan, Sep 16–Oct 9



The Museum of the Moving Image’s ‘Caan Film Festival’ returns this September to celebrate the life, career, and legacy of the late legendary James Caan. Running Friday, September 16 through Sunday, October 9, the festival in its fourth edition will revisit the most iconic performances of Caan’s six-decade career. The Godfather (1972), El Dorado (1966), Games(1967), The Gambler (1974), Harry and Walter Go To New York (1976), Cinderella Liberty (1973),The Killer Elite (1975), Thief (1981), Elf (2003), and more will be screened—many in 35mm—over the course of four weekends in the Museum’s Redstone Theater and Bartos Screening Room.

For sixty-plus years, Caan lent his incomparable magnetism to a wide spectrum of films, playing both tough guys and punching bags, talkers and mumblers, charmers and monsters. With his broad-shouldered athleticism and a granite-cut jaw, Caan brought a frank physicality to the screen, making even mild-mannered performances seem subtly threatening. Yet he also drew from a deep reserve of emotion, exemplifying a postwar American masculinity that reinvented itself one mission, one conflict, one heartbreak at a time. A son of Jewish immigrants, the Bronx-born, Sunnyside-raised Caan could have taken over the family’s meat delivery business, but instead he wound his way through competitive sports (he played football at Michigan State) before alighting upon acting, studying under Sanford Meisner during the explosion of New York talent in the early 1960s.

He appeared on TV and in bit parts in films throughout the decade before stealing the show from John Wayne and Robert Mitchum in Howard Hawks’s El Dorado (1966), and starring in queer trailblazer Curtis Harrington’s psychological horror film Games (1967). Though he auditioned for the part of Michael Corleone, he was instead cast as his brother Sonny in Francis Ford Coppola’s The Godfather (1972); his electric performance would net his only Oscar nomination. He was arguably just as great, if not even better, as conflicted crooks living on the edge in both Karel Reisz’s The Gambler (1974) and Michael Mann’s Thief (1981), films that bookended his most fruitful era on screen. Those heavy-hitting dramas notwithstanding, Caan played comedy equally well, as evidenced in two films directed by repeat collaborator Mark Rydell, Cinderella Liberty (1973) and Harry and Walter Go to New York (1976)—the latter co-starring fellow ’70s Jewish heartthrob Elliott Gould. Caan would cycle through auteurs like Robert Altman, Claude Lelouch, Richard Rush, Herbert Ross, Mel Brooks, Norman Jewison, and the mercurial Sam Peckinpah, for whom he battled ninjas in the espionage thriller The Killer Elite (1975).

Throughout the ’80s, ’90s, and 21st century, Caan maintained a steady screen presence, from lead performances in Alien Nation (1988) and Misery (1990), invaluable supporting turns in the comedies Bottle Rocket (1996) and Elf (2003), and as the commanding patriarch in James Gray’s The Yards(2000)—fittingly set in the actor’s hometown of Sunnyside, Queens, which is situated less than a mile from Museum of the Moving Image, where his legacy and legend live on.

The Caan Film Festival is organized by Curator of Film Eric Hynes and Assistant Curator of Film Edo Choi.The full schedule is included below and online at titles may be added. Tickets are $15 ($7 Museum members at Senior/Student levels and above), with discounts for seniors, students, and youth. Advance tickets are available online.


All screenings take place in the Sumner M. Redstone Theater or Bartos Screening Room, Museum of the Moving Image, located at 36-01 35 Ave, Astoria, NY 11106.

The Godfather



Dir. Francis Ford Coppola. 1972, 175 mins. 35mm. With Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, Sterling Hayden. The granddaddy of contemporary crime films remains one of Hollywood’s greatest works of modern storytelling. With this first part of the multilayered Corleone saga, a violent allegory of American industry, Coppola instantly became a cinematic titan, Brando found a colossal role he would always be remembered for, Pacino became a bona fide movie star, and Caan (in his only Academy Award–nominated performance) stole the show as Sonny, the tetchy, combustible id of the family. It is gripping from the first frame to last, with exquisite visual texture courtesy of cinematographer Gordon Willis.

El Dorado



Dir. Howard Hawks. 1966, 126 mins. Archival 35mm. With John Wayne, Robert Mitchum, James Caan, Charlene Holt, Edward Asner. For his penultimate film, Howard Hawks recruited longtime collaborator Wayne to star as a wizened gunslinger who teams up with an alcoholic sheriff, self-effacingly played by Mitchum, to defend a town against a greedy rancher and his hired guns. Not only does Hawks give a young Caan his first major Hollywood role, he’s also given a star entrance—in a saloon, in a black hat, hurling a knife to the chest of a smirking bad guy. While Hawks, legendary DP Harold Rosson (Singin’ in the Rain, The Wizard of Oz) and writer Leigh Brackett (Rio Bravo, The Empire Strikes Back) devise swirling, emotionally intricate set pieces, Caan manages to steal a measure of the spotlight from titans Wayne and Mitchum, adding a modern, low-key energy to the mix, and flashing his pearly grin as a deadly weapon.




Dir. Curtis Harrington. 1967, 100 mins. 35mm. With Simone Signoret, James Caan, Katharine Ross, Don Stroud. After the critical success of his 1961 indie classic Night Tide, Curtis Harrington, a key figure of the west coast avant-garde, churned out two Corman quickies before completing his (short-lived) transition to Hollywood with this psychedelic occult thriller for Universal. In a kinky setup vaguely reminiscent of the following year’s better remembered Rosemary’s Baby, with which the film also shares the great cinematographer William Fraker and an artificially conjured Manhattan setting, Caan and Ross are a callow young couple whose facade of security and privilege begins to crack when a mysterious older woman (a wonderfully weird Signoret) comes knocking at their door. Delightfully macabre and deliciously colored, Games is one of Harrington’s most successful films and a hidden highlight of Caan’s early career.

The Gambler



Dir. Karel Reisz. 1974, 111 mins. Archival 35mm. With James Caan, Paul Sorvino, Lauren Hutton, Morris Carnovsky. In a magnetic, psychologically rich performance, Caan plays Axel Freed, a college literature professor who teaches Dostoyevsky by day and echoes the author’s antiheroic Gambler by night. James Toback’s wise and unpredictable script posits a man who gambles not to win, but to lose, purposefully and anxiously squandering opportunities and privileges won by his immigrant family. It is a fascinating, unconventionally thrilling 1970s portrait of a man deliberately behaving with his worst interests in mind. In his four-star Chicago Sun-Times review, Roger Ebert wrote, “The Gambler, which begins as a portrait of Axel Freed’s personality, develops into the story of his world, and then pays off as a thriller. We become so absolutely contained by Axel’s problems and dangers that they seem like our own.”

Harry and Walter Go to New York



Dir. Mark Rydell. 1977, 115 mins. Restored DCP. With James Caan, Elliott Gould, Michael Caine, Diane Keaton, Charles Durning. Caan’s second collaboration with Rydell (Cinderella Liberty) is a dish that only 1970s Hollywood could serve. When bumbling vaudevillian con men Harry (Caan) and Walter (Gould) get sent to the same clink as dashing celebrity thief Adam Worth (Caine), they hatch an absurd plan to beat him to the punch—robbing Durning’s heavily fortified bank with the help of Keaton’s erstwhile do-gooder journalist Lissa Chestnut. Mixing slapstick comedy with sepia-toned lensing by master DP László Kovács, and featuring committed performances by both the lead cast and a deep well of great character actors (Burt Young, Carol Kane, Val Avery, Jack Gilford), Harry and Walter Go to New York remains a strange and inviting brew.

Cinderella Liberty



Dir. Mark Rydell. 1973, 117 mins. With James Caan, Marsha Mason, Kirk Calloway, Eli Wallach, Burt Young, Bruno Kirby, Dabney Coleman. In this overlooked gem from Hollywood’s 1970s heyday, Caan plays Baggs, a sailor marooned in Seattle on extended shore leave when his records are lost amid a ship transfer. After hustling each other in a pool hall, he falls for Mason’s Maggie, a brassy part-time working girl who lives with her precious young son. Seemingly by compulsion, Baggs begins to play surrogate father and overprotective partner, even as Maggie’s life and psyche start to unravel. Mason received an Academy Award nomination for her performance, but no less impressive is Caan as a man too long at sea suddenly determined to drop anchor and find some measure of permanence. Shot by the late great Vilmos Zsigmond and featuring an Oscar-nominated early score by John Williams.

The Killer Elite



Dir. Sam Peckinpah. 1975, 122 mins. 35mm. With James Caan, Robert Duvall, Arthur Hill, Bo Hopkins, Gig Young, Burt Young. Released during the heyday of the 1970s conspiracy thriller, Peckinpah’s The Killer Elite might rank as the most cynical of them all. Caan plays Mike Locken, a contracted agent for a private security firm affiliated with the CIA. After getting double-crossed and critically shot by his partner (Duvall), he’s determined to rehabilitate and resume his career, if only to avenge his betrayer. He gets his chance when called upon to save a Chinese anti-communist from marauding ninjas, a group that’s recruited his old partner. While Caan wasn’t a fan of the film—he once told Gene Siskel that he ranked the film “zero out of ten”—his weary disaffection and physical frustration (he’s saddled with a limp and locked elbow for most of the duration) perfectly suits Peckinpah’s odd tonalities and dramatic subversions.




Dir. Michael Mann. 1981, 122 mins. DCP. With James Caan, Tuesday Weld, Willie Nelson, Jim Belushi, Robert Prosky, Dennis Farina. Mann’s debut film reveals a master already at work, and it offered James Caan one of his greatest roles. After one final heist, safecracker Frank hopes to leave his criminal past behind, but string-pulling Leo (a fiendish Prosky) has other plans in mind. Mann’s moody male melodramatics are in full effect, finding luminosity in Chicago’s dark alleys and mining the skittish pathos beneath Caan’s hustle and brawn.

Alien Nation



Dir. Graham Baker. 1988, 91 mins. 35mm. With James Caan, Mandy Patinkin, Terence Stamp. Bedecked in ’80s genre trappings yet motivated by allegory, Alien Nation situates a mismatched buddy cop story within a near-future Los Angeles inundated by 300,000 humanoid extraterrestrials. After his partner is killed by “the newcomers,” avenging (and bigoted) Detective Matthew Sykes (Caan) teams with brainy Sam Francisco (Patinkin), the LAPD’s first newcomer detective, to solve the crime. Evocatively shot throughout L.A., and savvily refracting historical elements of U.S. immigration and racism through the prisms of noir and sci-fi—embodied by Caan’s iconic machismo and Patinkin’s reptilian other-ness—Alien Nation has aged better than most of its Reagan-era, B-movie-with-a-blockbuster-budget peers. It spawned a popular ’90s TV show as well as a reboot currently in development.

Bottle Rocket



Dir. Wes Anderson. 1996, 91 mins. 35mm. With Owen Wilson, Luke Wilson, Ned Dowd, Robert Musgrave, Andrew Wilson, Lumi Cavazos, James Caan. In Anderson’s beloved, tonally distinctive debut comedy, three aimless Texas friends aspire to a life of crime and outlaw notoriety, elaborately scheming up low-level burglaries that ride the line between fantasy role-play and real-world consequences. While Owen and Luke Wilson steal the show, earning robust Hollywood careers in the years that followed, Caan turns up as an eccentric local con man named Mr. Henry who sets the boys up for their big take. He comes across as a forbidding tough guy, but may be just as delusional as his protégés.


OCTOBER 1, 6:00 P.M.

OCTOBER 2, 3:00 P.M.

Dir. Rob Reiner. 1990, 107 mins. 35mm. With James Caan, Kathy Bates, Richard Farnsworth, Lauren Bacall. Famous for his imposing presence and strapping physique, Caan spends most of Misery physically broken and detained, subjected to everything from imprisoning idolatry to femur-cracking punishment. Adapted from the Stephen King novel, Caan plays Paul Sheldon, a famous author rescued from a snowy car crash by shut-in superfan Annie Wilkes (Bates). As his protracted convalescence finally nears an end, Wilkes becomes increasingly, and sadistically, unwilling to let him go. While Bates took home a Best Actress Oscar for her hilarious and terrifying turn, Caan plays the perfect foil, somehow managing to be both victimized and deserving, the embodiment of a writer whose scorn for his own readers lies just beneath an accommodating surface.




Dir. Jon Favreau. 2003, 97 mins. 35mm. With Will Ferrell, James Caan, Zooey Deschanel, Mary Steenburgen, Edward Asner, Bob Newhart. Ferrell stars in this wildly popular and truly unconventional contemporary Christmas classic, which combines holiday cheer with offbeat comedy. Buddy (Ferrell) is a bigger-than-average-sized man raised as an elf at the North Pole, a Tarzan of sorts who’s late to realize he’s actually human. Sent to New York in search of his true identity, he meets his father, Walter Hobbs (Caan, in classic show-stealing straight-man mode), a grinchy children’s book publisher who’s on Santa’s naughty list. Buddy attempts to redeem his father and earn his acceptance, guided by a purity of purpose that can’t prevent him from causing some chaos along the way.

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email:


The Glorious Corner



G.H. Harding

SUNDAY DEADLINE —  As we go to press, the AMPTP has submitted it’s last, best offer to the WGAto resolve this strike; now heading into 145+ days. Strikes are meant to be settled, but the damage may have already been too much. Governor Gavin Newsom estimates a 5 billion dollar take-down for Hollywood and the state in general. As we mentioned last time, thousands of below-the-line workers have already been let go or furloughed during the strike and even if it is resolved by later-today, it will take a full 10-12 weeks for everything to be up and running again.  By my count, that’s mid-December. Stay tuned … it can only get better.

Rick Wakeman

WAKEMAN’S OPUS —(via Prog) Rick Wakeman has announced that he has released a massive 32-disc box set entitled The Prog Years 1973-1977, which features his studio albums from 1973’s The Six Wives Of Henry VIII through to 1976’s No Earthly Connection, plus his film soundtracks for 1975’s Lisztomania and 1977’s White Rock. You can watch a video trailer for the box set here:

Each album is represented by four discs, either CD or DVD, featuring the original album plus rare live material, demos, alternative mixes and live film footage all from the era. These include live performances of Six Wives… and Journey To The Centre Of The Earth from Melbourne, a DVD of The Myths And Legends Of King Arthur And The Knights Of The Round Table performed on ice at Wembley, the full films of both. Lisztomania and White Rock, and more.

The Prog Years 1973-1977 also features a 60-page hardback scrapbook, 10 x postcards, 8 x full-size replica promotional photos and 4 x A3 posters, plus reproduction press kits for the relevant albums. The first 500 copies of this extremely limited box set will also come with a numbered certificate signed by Rick himself.

He may wear the cape and be a bit old school, but Rick Wakeman is the real deal. He rocked Yes and his solo albums were simply terrific. When Yes did The Apollo several years back, when Wakeman left the stage and went up and down the aisles with his keyboard strapped on, there was sheer joy. He’s amazing. Bravo!

SHORT TAKES — Robert DeNiro shilling for Uber? That’s what a divorce does to you. Actually, it should be great commercial, although it was filmed in London as opposed to NYC, which is odd. Taxi Driver writer Paul Schrader was quoted in Deadline as saying: “Ouch,” he wrote. “Why Bob would do this is beyond my reckoning. But I haven’t seen it. If I’m lucky I never will” I’m sure he asked Driver-director Marty Scorsese …

Micky Dolenz, ACE Theatre

Micky Dolenz’s SRO show Friday night in LA (at the ACE Theatre)

ACE Theatre

was sensational and he debuted the live version of his new single, R.E.M.’s “Shiny Happy People.” Seen at the show were Randy Lewis; Roy Trakin; Tyrone Biljan; Ken Sharp and Nederlander’s Lisa White …

Savannah Guthrie

On Friday’s Today Show, Savannah Guthrie interviewed someone who told you how to pack during a move, quickly. They said to put all personal items in a lock box with a label saying to be moved by owner only. Savannah quipped that all the personal items in your nightstand belong there begging the question, what does she have in hers? … A report on NY1 about the ongoing migrant crisis in NYC called The Roosevelt Hotel – where the migrants have been housed – the new Ellis Island … Say what you will about NYC’s Hell’s Kitchen, but it’s been a key area in NYC for decades.

Film Center Cafe

For me, when the Film Center Cafe disappeared, it was a tragedy. And, remember the fabulous restaurant Memphis?  Here’s a great look into images from there: … George Clooney selling his Lake Como retreat he’s had for 21 years? Could go for 100 million … SIGHTING: PR-pasha David Salidor at Shalom Japan in Williamsburg Sunday night … Usher headlining Super Bowl 2024? Wonder where that choice came from as he hasn’t had a hit in 20 years …

Jen Psaki

Watched Jean Psaki on MSNBC Sunday. She didn’t bowl me over, but was good. She had stories on Rupert Murdoch and FOX and an interview with Hillary Clinton, who bashed Trump and Putin again … and HAPPY BDAY Mark Bego and Cory Robbins!

NAMES IN THE NEWS — Sara Gore; Andrew Sandoval; Pat Prince; Mark Bego; Jim Clash; Cynthia Rowley; Barry Zelman; Christopher Gilman; Barry Manilow; Joel Diamond; Nancy Ruth; Teresa Knox; Gary Gershoff; Tom & Lisa Cuddy; Tony King; Donnie Kehr; Kimberly Cornell; Lush Ice; Barry Fisch; Eppy; and BELLA!

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The Glorious Corner



G.H. Harding

STRIKE END LOOMS — (Via Showbiz 411/Roger Friedman) All the studio chiefs met Wedneday with the Writers Guild and will continue negotiating tomorrow, according to a WGA post.

The sudden seriousness of the studios is welcomed as the deadline looms for the 2023-24 TV season. If the WGA and SAG-AFTRA strikes aren’t resolved by early October, my sources say it will be impossible to put on a season.

Netflix’s Ted Sarandos, Disney’s Bob Iger, Universal’s Donna Langley and Warner Bros Discovery’s David Zaslav were present today for the negotiations, a sure sign that the studios are finally in panic mode.

There are no daytime or nighttime talk shows, no new material on TV, and actors can’t promote the fall and winter movies. The actors have already missed the Telluride, Venice, and Toronto Film Festivals. Now the New York Film Festival looms, as does the premiere of Martin Scorsese’s “Killers of the Flower Moon.”

The so-called Fall TV Season has been decimated; the Emmy’s pushed back and just general chaos everywhere. The severity of the strike -142 days in- has hurt almost-every-single below-the-line sector, from caterers to limo drivers to costume houses. It’s reported that it will take up to 10-12 weeks to fully resume everything. That means early-November and let’s not forget come Thanksgiving, the holiday season officially starts. Stay tuned.

Burt Bacharach

LOVE, BURT AT THE CUTTING ROOM — Monday night at Steve Walter’s Cutting Room was the presentation of Love, Burt – celebrating the majesty and memory of Burt Bacharach’s music.

The show really moved me and reminded me of the reason I do what … the music!

The show was just sumptuous – with the assembled group -led by Mike Visceglia- honoring and doing proper justice to a host of Bacharach songs – everything from “Baby, It’s You” to “One Less Bell To Answer,” The Look Of Love” and “Alfie” were all dutifully done. Especially poignant was their rendition of “A House Is Not A Home.”

The fact of the matter is that when these songs were recorded, they were embedded into everyone’s consciousness. These versions were good, but the originals remain standout. You hear a lot about the Great American Songbook, but these songs are the “new” Great American Songbook. Just luscious.

They ended the show was one of my favorite-Bacharach songs, from the 1988 album Burt recorded with Elvis Costello, Painted From Memory. One of the album’s strongest cuts is “God Give Me Strength.” It was simply sensational.Spotted there were Benny Harrison and Maria Milito from Q1043.

The room was packed like never before; what a night! 

Micky Dolenz on KTLA

SHORT TAKES — Micky Dolenz headlines the ACE Theatre Friday night in LA, and was a guest on KTLA Wednesday. Here’s a shot of him on-set with Sam Rubin who interviewed him with the KTLA-gang. Sam’s the second from left. Industry stalwarts at the ACE Theatre show include legendary-LA Times writer Randy Lewis; LA Magazine’sRoy Trakin and Goldmine’s Ken Sharp … Roger Friedman reported Wednesday that the pre-sales of Jann Wenner’s upcoming book Masters have been severely impacted by his New York Times interview. Take a read here: And just last night his big presentation at NYC’s 92nd Y with Cameron Crowe was shuttered as well … SIGHTING: Alison Martino at NYC’s Algonquin Hotel

The Morning Show

When Apple TV’s The Morning  Show debuted years ago (November 2019), created and run by Kerry Ehrin, it was a first-rate series certainly of The Sopranos-like and Mad Men-like caliber. Billy Crudup was astonishingly good as were Jennifer Aniston, Reese Witherspoon and Steve Carell. The second season was basically trash. Three episodes in on a third season -with a 4th already guaranteed- it’s kind of a mixed-bag. I did not care for the first two EPs, but the third was bordering on the edge of greatness – and Witherspoon wasn’t even in this one and there was no explanation why. Jon Hamm has joined the cast as sort of an Elon Musk-figure. To me, he’s still Don Draper, just with an updated wardrobe. Most of the production staff has been replaced and it seemed to me, they’re still finding their way. The trouble is, that with these 8 or so episode-runs, it gets really good at episode 6. Go figure …

Rupert Murdoch

Rupert Murdoch to retire per CNBC? More on this next column Meg Ryan and David Duchovny in What Happens Later – looks cute and Ryan directed it – check out the trailer: Roger Whitaker

David McCallum

and Happy Bday David McCallum; Curtis Urbina; and Bill Murray!

NAMES IN THE NEWS — Glenn Gretlund; Jodi Ritzen; Leonard Nimoy; Tom & Lisa Cuddy; Scott Shannon; Zach Martin; Michelle Grant; Art Rutter; Maria Milito; Joe Lynch; Melinda Newman; Mandy Naylor; Kimberly Cornell; Sam Rudin; Jim Clash; Terry Jastrow; Randy Alexander; Bob Merlis; Andrew Sandoval; Art Rutter; and CHIP!

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G.H. Harding

WENNER TAKES A DOWN —Jann Wenner always speaks his mind and this week he may have overstepped just a bit. In an interview that ran in the New York Times about his new book called Masters, he quite openly said that there were no black or R&B artists in it, because they were not able to articulate properly. I know, I felt the same way reading that. Minutes later, he was let go by the board of the Rock and Roll Hall of Fame, which he helped start with Ahmet Ertegun way back in 1983.

Ahmet Ertegun

His Like A Rolling Stone autobiography book was quite an indulgent read last year, but Wenner has in the last several years suffered several health set backs and it was pointed out that he may not be in his right mind. Still, he should have spoken way more carefully. I’ve known Wenner for decades and trust me, he feels he’s way entitled, and that said, you can rest assured that there were dozens and dozens of people (and former employees) waiting to take him down.

The sad fact is that most of the accusations are true. That said, let’s face it Rolling Stone magazine in it’s heyday was a miraculous outlet for so much music and terrific journalism – from Ben Fong-Torres to Hunter Thompson and Jann himself .. it was distinguished. Now, he may have killed it all.

Rolling Stine magazine Monday posted this – essentially disowning his from the magazine: “Jann Wenner’s recent statements to the New York Times do not represent the values and practices of today’s Rolling Stone. Jann Wenner has not been directly involved in our operations since 2019. Our purpose, especially since his departure, has been to tell stories that reflect the diversity of voices and experiences that shape our world. At Rolling Stone’s core is the understanding that music above all can bring us together, not divide us.”

Here’s the report from Deadline:

FILE – Drew Barrymore attends the Time100 Gala, celebrating the 100 most influential people in the world, at Frederick P. Rose Hall, April 26, 2023, in New York. The National Book Awards dropped Barrymore as the host for this year’s ceremony, Tuesday, Sept. 12, 2023, a day after her talk show taped its first episode since the Hollywood writers strike began. (Photo by Evan Agostini/Invision/AP, File)

DREW’S BLUES — Boy, what did Drew Barrymore ever do to deserve the treatment she’s been through with the media. Sure, her ideas to bring back her daily-chat fest was a good one, for the right reasons, but everyone from Rosie O;’Donnell to the trade papers have bounced on her like madmen. I never met her, don’t hate her, but really … let’s get back to something real, like these Russell Brand-accusations!

SHORT TAKES — We finally caught David Bryne and Fatboy Slim’s Here Lies Love and absolutely loved it. I remember it well when it premiered at the Public Theater way back when and knew they were trying to get it to Broadway. Honestly, I never thought twice about the Ferdinand and Imelda Marcos story, but the play was riveting then and it remains now. They’ve outfitted NYC’s magnificent Broadway Theater with disco-balls galore and club-lighting and the immersive experience is terrific. Here’s a great re-cap of the play’s evolution from Theatre Guide:

Chris Carter and Micky Dolenz – Breakfast With The Beatles

Micky Dolenz appeared on Sunday’s Breakfast With The Beatles with Chris Carter (on KLOS) and talked about his new Dolenz Sings R.E.M. on Glenn Gretlund’s 7a Records. He also talked about his time with The Beatles and John Lennon. Carter also played a mash-up of Monkees and Beatle-songs which was done in England and it was superb. Here’s a shot from the event at LA’s Hard Rock Cafe on Highland and Hollywood Blvd. … SIGHTING: PR-pasha David Salidor and Benny Harrison at Monday’s Cutting Room tribute to Burt Bacharach … RIP Sammy Ash …

Jimmy Buffet

I’ve been thinking the best way to describe Jimmy Buffet and I saw this headline in LA Magazine: leisure evangelist– and it fits perfectly …

Happy Bday Donnie Kehr and Richard Branciforte.

NAMES IN THE NEWS — Dan Mapp; Brad Auerbach; James Clash: Robbie Robertson; Carol Ruth Weber; Randy Alexander; Tom & Lisa Cuddy; Andrew Gans; Kathy Brown; Roger Clark; Chris Boneau; Tricia Daniels; Dan Zelinski; Benny Harrison; Steve Walter; Gil Friesen; Donna Dolenz; Dan Mapp; Brad Auerbach; James Clash; and ZIGGY!

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The Glorious Corner



STRIKE UPDATE— (Via TV Line) “9-1-1, what’s your TV emergency?” The dual WGA and SAG-AFTRA strikes need to be resolved by the end of this month if scripted primetime fare such as 9-1-1: Lone Star and The Cleaning Lady are to return with new episodes in the 2023-24 TV season, says Fox entertainment president Michael Thorn.

When last we tuned in, 29 days ago, the WGA had countered the AMPTP’s latest offer; no next meeting has been scheduled. Things are proceeding even slower on the SAG-AFTRA front. Sources tell TVLine that it will take scripted shows roughly eight weeks to get back into production once the strikes are resolved.

 “You’re going get to a point in the fall, in the late fall, where it’s going to be very hard to launch [scripted shows] within the traditional TV viewing season,” Thorn told our sister site Deadline.

If the strikes are resolved later than October 1, that’s where difficult scheduling decisions will have to be made.

“If that means the [delayed scripted] show could work and succeed in the summer [of 2024], great,” Thorn said. Or, “If it’s better to wait for the fall and use football and sports” to promote/launch scripted seasons, “we’ll do that.

“You could use October 1 as the date” by which the writer and actor strikes need to be settled,” Thorn added. “Every show is different but sometimes when you’re staring at a May launch date, you always wonder, ‘Is that the best time?’” to premiere a season/series

Fox’s fall TV slate features one full night of scripted animated fare (on Sundays), while the rest of the week is rife with multiple Gordon Ramsay cooking competitions, new seasons of Special Forces: World’s Toughest Test, Name That Tune and The Masked Singer, 9-1-1: Lone Star reruns, the new, David Spade-hosted Snake Oil game show, and, of course, Friday Night SmackDown.

But whenever the magical day comes for live-action scripted fare to return to our screens, “we’re going to return those shows with vigor,” Thorn avowed. “We really pride ourselves on ‘less is more’ and we were fortunate to be able to really put our money where our mouth is in that regard. When we return, Animal Control is going to get the full backing of this far-reaching platform [as will] John Wells’ new show, Rescue: Hi-Surf, when we launch it.”

Several columns back we posited that the strike might just be settled by Labor Day .. and we were lambasted with emails from a scattering of actors, writers and below-the-line talent that it would not be. They were right. As Gordon Gekko said, greed is good. Is it? Let’s all make nice and good back to work.

SHORT TAKES — As you may know the Toronto Film Festival has been going on and the two films that have received the most buzz are the Paul-Simon/Alex Gibey doc,

Michael Keaton

In Restless Dreams and Knox Goes Away starring Michael Keaton, who also directs, with Al Pacino, can’t wait to see both. Bravo! …The latest episode of Hulu’s Only Murders In The Building was just OK. So far, this third season has totally underwhelmed us. We said a few columns back it was most likely due to the fact that Martin hasn’t written any of the episodes so far. Why? I have no idea. Matthew Broderick played himself, but with a little more anxiety than usual, but the real highlight of this episode was a video-phone call between Martin Short and Mel Brooks. Irresistibly funny … Hard to believe that it’s the 25th anniversary of MTV’s ground-breaking TRL Live (Total Request Live).

Carson Daly

Carson Daly did a nice remembrance on Thursday’s Today Show, even citing John Norris and Kurt Loder, who were key correspondents. They taped many of the shows at NYC’s long-gone Palladium (now an NYU dorm), but many, many memories come to mind; Hall & Oates rehearsing in their dressing room

Debbie Gibson at Z100 on The Morning Zoo

and running into Debbie Gibson is one. Daly pointed out -and rightly so- TRL was a fan-driven show, where viewers had to request what to hear. These days I guess it’s just a download. Much missed for sure …

Carrie Underwood

Funny watching Carrie Underwood this morning; as she she reminded me so much of Shania Twain. from the music, to her visuals. As always, her “Before He Cheats” is tremendous and a big crowd pleaser … It’s a funny world for sure.

RL Stine

When RL Stine’s Goosebumpsfirst debuted in 1992, it was heralded as refreshingly new, both for the kid-demo and its brilliance. There were a few attempts at a series (even with Stine introducing them) and even a movie in 2015 that did just so-so. Now, with Netflix’s Stranger Things having hit a home run, Disney+ is starting a series, with Justin Long, that appears to veer dangerously close to Stranger Things. Also, oddly enough, Stine does not appear to be involved with it. He says: “I wish I knew something about it. I’m not in the loop. It looked to me like they weren’t going to do an anthology show. They were going to do something different that was some kind of continuing story. That’s what it appeared. But I have no information about it.” It begins on October 31. Have a look at the trailer:

Seeing Here Lies Love Saturday night, can’t wait …

Mary Wilson and Bernie Taupin

Great Bernie Taupin interview on NY Live with Sara Gore. They’re friends, so the interview as sensational. Check it out:

Love Bernie and Sara! …Happy Bday Randy Jones and Amy Billings!

NAMES IN THE NEWS —Andrew Sandoval; Jacqueline Boyd; Alison Martino; Robert Funaro; Tom & Lisa Cuddy; Roy Trakin; Daryl Estrea; Glenn Gretlund; Jane Blunkell; Roger Friedman; Felix Cavaliere; Dan Mapp; Jim Kerr; Sam Rubin; Liz White; Grace Mendoza; Roy Trakin; and ZIGGY!

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Cynthia Bailey is September Cover Star of ‘Mr Warburton Magazine’




Actress and TV personality Cynthia Bailey is the September cover star of the relaunch of Mr Warburton Magazine.

The inspiration for the shoot was 1975 film Mahogany starring Diana Ross. We took over a street in DTLA and created a set.


“I wanted to show Cynthia in a different way. No wigs, just character,”  says EIC Derek Warburton. “I have been friends with Cynthia half of my life and this is the first time she has posed for one of my magazines. I feel the world has a specific view of her but I see so much more. She is a chameleon & at 56 years old Hollywood isn’t gonna know what hit them when she gets the right role.”

Be sure to check out the new double cover issue HERE.

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