Emily Watson Breaks New Waves with 'Oranges and Sunshine'

Emily Watson Breaks New Waves with 'Oranges and Sunshine' By Dany Margolies October 28, 2011 Photo by Cohen Media Group Emily Watson in "Orange and Sunshine" If you know anything about British actors, you know they are made, not born. So you won't be surprised to learn that Emily Watson, one of Britain's most respected actors, started her career at the Royal Shakespeare Company as a spear carrier and understudy. And as she recalls, "In that company, the male understudies got to go on, at the time, but the female parts were very jealously guarded." No wonder she moved into film.Watson made her first big mark onscreen with Lars von Trier's 1996 "Breaking the Waves." Thereafter followed roles opposite Daniel Day-Lewis in "The Boxer," as cellist Jacqueline du Pr in "Hilary and Jackie," opposite Adam Sandler in Paul Thomas Anderson's "Punch-Drunk Love," with Geoffrey Rush in "The Life and Death of Peter Sellers," as Beatrix Potter's chum in "Miss Potter," and dozens more.Now, she takes on a relatively unknown real-life figure to recount a sadly shameful part of British history. "Oranges and Sunshine" is based on social worker Margaret Humphreys' efforts to remedy the "child migration scheme" that took children from parents and sent them out of the country to fill labor shortages. The film is directed by Jim Loach, its screenplay by Rona Munro from Humphreys' book.Back Stage: How did the role come to you? Emily Watson: I was sent the script by Jim Loach and read it. Shocked beyond belief that I had never heard of that story. Some sort of human rights abuse on a scale that's never been: 130,000 humans had their human rights violated in the most appalling fashion, and it's as if it never happened, as if it doesn't matter. And all that's happened so far is an apology. If you did that to 130,000 people from an ethnic minority, there'd be someone standing trial in The Hague for war crimes. But our children, they don't count somehow.Back Stage: Did you immediately start doing research on Margaret Humphreys? Watson: When I first read the script, my son was about 4 weeks old. So I was a bit like, I'm not reading anything. I'm not ever going to work again. And then I saw this one and thought, "Well, that does look a little bit like I ought to read that." In between breast-feeding I read it and thought, "I've got to take this meeting; how am I going to manage that?" I'm the size of a house; I can barely walk. I had a caesarean section. And I said, "Look, I can meet you, but it has to be in the caf around the corner from my house, 'cause I'm not going anywhere." It was snowing in London, and when it snows in London everything breaks down; nothing works. So Jim walked miles across London to come and meet me, and we sat in this caf and just talked. And it kind of became clear that I ought to do it. It felt like a story that should be told. And in a way, although it is an amazing leading role, it's not really about her. And that's really very much the way she has lived her life, Margaret Humphreys. She's an incredible woman. And she always says, "It's not about me." I think that's a very important part of her being a social worker, that you take yourself out of the picture. I didn't meet her until afterwards, partly because I saw her on film, and I thought, "You've a very English, sort of slightly quirky mannered thing going on, and I know if I meet you I will have to do an impersonation of you, and I don't want to." So I didn't. But I did study everything else about her. I saw a film of her telling somebody that she'd found their mother, and she doesn't present them with the information; she waits for them to ask questions. And she just sits there very quietly, and they say, "So did you?" "Yes, we did." And eventually he says to her, "Have you found my mother?" And she says, "Yes, we have." "Is she alive?" "Yes, she is." So it's the most peaceful, serene, quietimagine for that person, it's probably the most important thing that's ever happened to them. They thought they were an orphan for 40 years. And somebody is saying, "No, your mother is alive." Can you imagine the impact of that moment? And she makes it about them. And she was completely as still and as quiet and as peaceful as she can be, so that it is a gift without her personality somehow all over it. Which was very important to me, because she was two things: She was very compassionate and an impassioned angry campaigner, railing against governments and charities and the church to try and get something done. But at the same time she was doing this role where she had to be quiet and selfless. It was the obvious way to do it. I think it wouldn't have been truthful, and really this wasn't a film about giving a good performance; it was about telling a story as well as we could, for the sake of those people. It's so thrilling to be part of something like that, which isn't about "Let's cover ourselves in glory." Let's cover somebody else. It had to be a very sensitive operation, really. I think Margaret was very nervous for the migrants, how it would affect them.Back Stage: What was the hardest part of the casting process, if you know? Watson: I said to Jim, when I first met him, "This film will stand or fall on the performances of the day players in Australia. How the hell are you going to do that, 'cause you know getting somebody in for a dayand they have to be fantasticis very difficult." And of course when we got there, the cream of Australian Actors Equity were lined up to do it. They were all amazing.Back Stage: What was his process in filming, and how did you work with him? A lot of rehearsal, a lot of discussion? Watson: We had a lot of discussion. If he ever [gave] a note, it was, "Less." He just wanted everything to be as real and natural as possible. We didn't have a lot of time; we didn't have a lot of money. So it was very straightforward: Just tell the story. He'd hate me for saying this, but he's very much cut from the same cloth as his dad [director Ken Loach]. He's very much about the actors, and he's a filmmaker with a social conscience. But the whole experience was very gentle. It was very quiet on the set; you were very unaware of the crew; it was all about the performance. And he did little things like, on the day we filmed, it was one of the first days, when we filmed the [support] group, the extras in that were people who had been adopted. He'd gone out, quietly, and gone to an adoption support group and said, "Anybody interested in being in this film?" And they all turned up. And that was them, telling their stories, which was like a mind-blowingly brilliant way to kick it all off. And I remember turning to Lorraine Ashbourne after and just going, "Was that a rehearsal or a take?" I had no idea, because the process was so unflashy. It was lovely.Back Stage: What was most technically challenging in filming? Watson: Everything was geared to it being easy for the actors. But it was shot in extreme hotthat's always challengingand extreme wind. And the flies. Horrendous. Flies up your nose and your ears. Ugh. And my mother passed away during the film, quite suddenly, and I had to go home and then come back, straight back out and carry on. And they were so lovely. As a company, they were the most supportive. The producer said to me, knowing that the film might fall apartwe'd shot in England, and we'd just got started in Australiaand she said, "Get on a plane and go. I don't care, just go." Not every producer would do that. They were prepared for it to fall apart. And they said to me, "Look, if you can get back in a week, we'll probably be able to carry on, and if it's longer than that, we might not." But it was very tough getting back and then shooting all those scenes about mums. It was very tough. But they were the most wonderful group of supportive people to be in that situation with."Oranges and Sunshine" opens Oct. 28 in limited release. Emily Watson Breaks New Waves with 'Oranges and Sunshine' By Dany Margolies October 28, 2011 Emily Watson in "Orange and Sunshine" PHOTO CREDIT Cohen Media Group If you know anything about British actors, you know they are made, not born. So you won't be surprised to learn that Emily Watson, one of Britain's most respected actors, started her career at the Royal Shakespeare Company as a spear carrier and understudy. And as she recalls, "In that company, the male understudies got to go on, at the time, but the female parts were very jealously guarded." No wonder she moved into film.Watson made her first big mark onscreen with Lars von Trier's 1996 "Breaking the Waves." Thereafter followed roles opposite Daniel Day-Lewis in "The Boxer," as cellist Jacqueline du Pr in "Hilary and Jackie," opposite Adam Sandler in Paul Thomas Anderson's "Punch-Drunk Love," with Geoffrey Rush in "The Life and Death of Peter Sellers," as Beatrix Potter's chum in "Miss Potter," and dozens more.Now, she takes on a relatively unknown real-life figure to recount a sadly shameful part of British history. "Oranges and Sunshine" is based on social worker Margaret Humphreys' efforts to remedy the "child migration scheme" that took children from parents and sent them out of the country to fill labor shortages. The film is directed by Jim Loach, its screenplay by Rona Munro from Humphreys' book.Back Stage: How did the role come to you? Emily Watson: I was sent the script by Jim Loach and read it. Shocked beyond belief that I had never heard of that story. Some sort of human rights abuse on a scale that's never been: 130,000 humans had their human rights violated in the most appalling fashion, and it's as if it never happened, as if it doesn't matter. And all that's happened so far is an apology. If you did that to 130,000 people from an ethnic minority, there'd be someone standing trial in The Hague for war crimes. But our children, they don't count somehow.Back Stage: Did you immediately start doing research on Margaret Humphreys? Watson: When I first read the script, my son was about 4 weeks old. So I was a bit like, I'm not reading anything. I'm not ever going to work again. And then I saw this one and thought, "Well, that does look a little bit like I ought to read that." In between breast-feeding I read it and thought, "I've got to take this meeting; how am I going to manage that?" I'm the size of a house; I can barely walk. I had a caesarean section. And I said, "Look, I can meet you, but it has to be in the caf around the corner from my house, 'cause I'm not going anywhere." It was snowing in London, and when it snows in London everything breaks down; nothing works. So Jim walked miles across London to come and meet me, and we sat in this caf and just talked. And it kind of became clear that I ought to do it. It felt like a story that should be told. And in a way, although it is an amazing leading role, it's not really about her. And that's really very much the way she has lived her life, Margaret Humphreys. She's an incredible woman. And she always says, "It's not about me." I think that's a very important part of her being a social worker, that you take yourself out of the picture. I didn't meet her until afterwards, partly because I saw her on film, and I thought, "You've a very English, sort of slightly quirky mannered thing going on, and I know if I meet you I will have to do an impersonation of you, and I don't want to." So I didn't. But I did study everything else about her. I saw a film of her telling somebody that she'd found their mother, and she doesn't present them with the information; she waits for them to ask questions. And she just sits there very quietly, and they say, "So did you?" "Yes, we did." And eventually he says to her, "Have you found my mother?" And she says, "Yes, we have." "Is she alive?" "Yes, she is." So it's the most peaceful, serene, quietimagine for that person, it's probably the most important thing that's ever happened to them. They thought they were an orphan for 40 years. And somebody is saying, "No, your mother is alive." Can you imagine the impact of that moment? And she makes it about them. And she was completely as still and as quiet and as peaceful as she can be, so that it is a gift without her personality somehow all over it. Which was very important to me, because she was two things: She was very compassionate and an impassioned angry campaigner, railing against governments and charities and the church to try and get something done. But at the same time she was doing this role where she had to be quiet and selfless. It was the obvious way to do it. I think it wouldn't have been truthful, and really this wasn't a film about giving a good performance; it was about telling a story as well as we could, for the sake of those people. It's so thrilling to be part of something like that, which isn't about "Let's cover ourselves in glory." Let's cover somebody else. It had to be a very sensitive operation, really. I think Margaret was very nervous for the migrants, how it would affect them.Back Stage: What was the hardest part of the casting process, if you know? Watson: I said to Jim, when I first met him, "This film will stand or fall on the performances of the day players in Australia. How the hell are you going to do that, 'cause you know getting somebody in for a dayand they have to be fantasticis very difficult." And of course when we got there, the cream of Australian Actors Equity were lined up to do it. They were all amazing.Back Stage: What was his process in filming, and how did you work with him? A lot of rehearsal, a lot of discussion? Watson: We had a lot of discussion. If he ever [gave] a note, it was, "Less." He just wanted everything to be as real and natural as possible. We didn't have a lot of time; we didn't have a lot of money. So it was very straightforward: Just tell the story. He'd hate me for saying this, but he's very much cut from the same cloth as his dad [director Ken Loach]. He's very much about the actors, and he's a filmmaker with a social conscience. But the whole experience was very gentle. It was very quiet on the set; you were very unaware of the crew; it was all about the performance. And he did little things like, on the day we filmed, it was one of the first days, when we filmed the [support] group, the extras in that were people who had been adopted. He'd gone out, quietly, and gone to an adoption support group and said, "Anybody interested in being in this film?" And they all turned up. And that was them, telling their stories, which was like a mind-blowingly brilliant way to kick it all off. And I remember turning to Lorraine Ashbourne after and just going, "Was that a rehearsal or a take?" I had no idea, because the process was so unflashy. It was lovely.Back Stage: What was most technically challenging in filming? Watson: Everything was geared to it being easy for the actors. But it was shot in extreme hotthat's always challengingand extreme wind. And the flies. Horrendous. Flies up your nose and your ears. Ugh. And my mother passed away during the film, quite suddenly, and I had to go home and then come back, straight back out and carry on. And they were so lovely. As a company, they were the most supportive. The producer said to me, knowing that the film might fall apartwe'd shot in England, and we'd just got started in Australiaand she said, "Get on a plane and go. I don't care, just go." Not every producer would do that. They were prepared for it to fall apart. And they said to me, "Look, if you can get back in a week, we'll probably be able to carry on, and if it's longer than that, we might not." But it was very tough getting back and then shooting all those scenes about mums. It was very tough. But they were the most wonderful group of supportive people to be in that situation with."Oranges and Sunshine" opens Oct. 28 in limited release.

Watch Patrick Swayze's Lost '70s Commercial for Pabst Blue Ribbon

.publish-content img Really the only factor a lot better than the fact Patrick Swayze once starred in the 'Saturday Evening Fever'-inspired commercial inside the seventies? The commercial was for Pabst Blue Ribbon beer -- which was then distributed and offered in glass bottles rather than hipster-approved silver cans. This really is really the best factor you will notice all day long lengthy. (Unless of course obviously you're watching highlights from Game 6 around the world Series at this time.) Oddly, this clip was posted in June, but simply begun making the net models due to Jezebel and Buzzfeed. Pause here to visualize this type of dance-off between Tony Manero and Johnny Castle would appear like. Also, apologies to obtain that PBR jingle stuck within your mind for your relaxation throughout your day. [Jezebel via Buzzfeed] Patrick Swayze Wax Statue Unveiling See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

News Corp.'s U.K. Newspaper Unit Reaches $4.8 Million Phone Hacking Settlement

NY - News Corp.'s U.K. newspaper unit stated Friday it has completed an offer to pay for 3 million pounds ($4.78 million) to stay claims that it is shuttered tabloid News around the globe compromised cell phone messages of killed schoolgirl Milly Dowler. Underneath the settlement, that was in line wiith a business offer that's been discussed and completed in recent days, News Worldwide stated it'll pay two million pounds towards the Dowler family. Additionally, chairman and Boss Rupert Murdoch can make an individual donation of just one million pounds which will benefit non profit organizations selected through the Dowler family. "After I met using the Dowlers in This summer, I expressed how deeply sorry I had been for that hurt we'd triggered this family," Rupert Murdoch stated inside a statement. "The behaviour the News around the globe showed for the Dowlers was abhorrent and that i hope this donation underscores my regret for that company's role within this awful event." Stated the Dowler family: "Nothing that's been agreed is ever going to restore Milly or undo the traumas of her disappearance and also the terrible murder trial captured. The only method that the fitting tribute might be agreed was to make sure that a really substantial donation to charitable organisation is made in Milly's memory. Hopefully that projects is going to be carried out to ensure that good quality may come out of this.Inch The settlement from the situation that reignited the telephone hacking scandal came just hrs in front of the entertainment giant's annual investor meeting in LA, that is likely to see traders express frustrations over the telephone hacking scandal and corporate governance concerns. However, because of the Murdoch family's large voting stake, all board people suggested by News Corp., including chairman and Boss Rupert Murdoch and the sons James and Lachlan Murdoch, are required to become confirmed. Experts have recommended a large protest election can lead to changes at the organization down the road. Email: Georg. Szalai@thr.com Twitter: @georgszalai Related Subjects Rupert Murdoch News Corp. Phone Hacking Scandal

TV Ratings: ABC's 'Modern Family' Beats World Series in Key Demo

Peter Hopper Stone/ABC According to preliminary amounts, ABC's Modern Family beat the Mlb World Series game involving the Texas Rangers as well as the St. Louis Cardinals inside the internet marketer-coveted 18-49 demo. If people amounts hold true, it's the second year back to back the ABC comedy might have assigned the initial game around the world Series inside the demo.our editor recommends'Glee,' 'Modern Family' win Peabodys'Happy Endings' scores ratings high, keeps more 'Modern Family' lead-in Modern Family rated a 5.6 with 12.8 million audiences, while early signs would be the World Series game rated a 3.9 with 12.9 million audiences. Still, Fox, which broadcast the sport live throughout primetime, won the evening overall -- and likely introduced to Modern Family sinking a little five percent. ABC and CBS tied in second getting a 3.3 rating. PHOTOS: Round the Number of 'Modern Family' ABC's The Middle (2.9, 9 million) and Suburgatory (3.1, 8.8 million) were flat. Happy Being was lower six percent (3., 6.9 million) and Revenge, lower 7 percent (2.5, 7.9 million). CBS' Survivor: South Off-shoreline was up three percent (3.3, 11.millions of), as was Criminal Minds (3.9, 13.millions of). CSI was flat getting a couple.6 (10.6 000 0000). PHOTOS: Fall TV Preview 2011: The Returning Shows NBC showed up third place getting single.7 rating. Up With The Evening (2.1, 5.6 000 0000), Harry's Law (1.2, 8.millions of) and Law & Order (2.1, 7.5 million) counseled me flat. Univision rated single.5 The CW reaches fifth getting b .6. A repeat of Sarah Michelle Gellar's Ringer was up 13 percent in general audiences from the other day with 1.2 million (together with b .4 rating). America's Next Top Model (.8, 1.9 million) out-rated NBC inside the 18 to 34 demo inside the 9 to 10 p.m. hour. VIDEO: Emmy Roundtable: Comedy Stars Telemundo showed up last getting b .5. Below, systems ranked by demo. Fox - 3.9, 12.9 million (preliminary amounts) - World Series: 3.9, 12.9 million ABC - 3.3, 8.9 million - The Middle: 2.9, 9 million - Suburgatory: 3.1, 8.8 million - Modern Family: 5.6, 12.8 million - Happy Being: 3., 6.9 million - Revenge: 2.5, 8 million CBS - 3.3, 11.6 000 0000 - Survivor: South Off-shoreline: 3.3, 11.millions of - Criminal Minds: 3.9, 13.millions of - CSI: 2.6, 10.6 000 0000 NBC - 1.7, 6.9 million Up With The Evening: 2.1, 5.6 000 0000 - Whitney (RS): 1.2, 4.millions of - Harry's Law: 1.2, 8.millions of - Law & Order: SVU: 2.1, 7.6 000 0000 CW - .6, 1.6 000 0000 - Ringer, .4 1.2 million - America's Next Top Model: .8, 1.9 million TV Ratings Modern Family

WATCH: Mitch Buchannon is on Patrol in the Boobalicious Teaser Trailer for Piranha 3DD

Piranha 3DD may have been pushed to 2012, but the new teaser trailer suggests that the quality and spirit of the franchise hasn’t been diluted. How could it have been, with returning fish survivor Ving Rhames dropping lines like, “Bring me my legs!” before gunning down the waters, Cherry Darling-style? Or with Baywatch’s own lifeguard-slash-private eye extraordinaire, Mitch Buchannon, policing the bouncing bloodied bosoms fleeing from their piscine predators? All this and more — “Double the terror, double the Ds” — in today’s Buzz Break! Piranha 3DD TrailerGet More: Piranha 3DD Trailer [via Spike] While we’re watching veteran actors colliding with the world of teenage otaku fantasies, watch Harrison Ford playing the video game Uncharted 3 for a Japanese television commercial. “Go, go, go!” [Topless Robot] Michael Bay took to his own blog to refute recent rumors that he’s actively working with Paramount on Transformers 4 and 5… which could mean he’s actually going to do his smaller black comedy Pain & Gain first. Yay? [Joblo] Terry Gilliam is anti-3-D… unless it helps bring in new audiences for his kid adventure Time Bandits, that is. [Digital Spy via Movie City News]

IFC Night time nabs thriller 'ATM'

Eve Peck Geraghty IFC Night time has acquired all U.S. privileges to David Brooks' thriller "ATM," which stars John Geraghty ("The Hurt Locker"), Josh Peck ("The Wackness"), Alice Eve ("Entourage"). Trio play co-employees who create a latenight trip to an ATM and discover themselves fighting for his or her lives once they become trapped by a mystery guy. Script was composed by Chris Sparling, whose previous credits range from the Ryan Reynolds starrer "Hidden." Gold Circle Films prexy Paul Brooks and Peter Safran created the pic, while Scott Niemeyer and Serta Clifton offered as professional producers. Paul Brooks discussed the offer with Arianna Bocco of Sundance Chooses/IFC Films. IFC Night time lately launched "A Persons Centipede II (Full Sequence)" and can soon distribute festival photos "The Catechism Cataclysm" and "Kill List." Contact Shaun Sneider at shaun.sneider@variety.com

New In Time Character Featurette

Meet the stars of Andrew Niccol's latestAndrewNiccol's intelligent sci-fi thriller In Time (the trailers may play up the action, but you can't fool us:there's a brain in there too) is approaching release, but to pass the time until then, here is the first of three features on the film's most important characters to keep you going.First up, Justin Timberlake's Will Salas, the ordinaryJoe just trying to make ends meet when a good deed sees him rewarded far beyond his wildest dreams. Of course, he doesn't lose touch with his roots, so soon he's rocking the apple cart of the whole system and trying to get the people a fair deal.So timely! And we didn't even intend that to be a pun!Check back tomorrow for the second of our featurettes.InTime is out on November 1.

Matt's Guide to Weekend TV: Walking Dead, Case Histories and More!

Andrew Lincoln "Here comes the bad part." When you hear ominous words like these in a show as unflinchingly graphic and terrifying as AMC's The Walking Dead (Sunday, 9/8c), you know you're in trouble. Bad, of course, meaning good and gruesome - just how a zombie-phile likes it. Following a long hiatus and behind-the-scenes tumult including the departure of co-creator/director Frank Darabont, Dead returns very much alive and kicking, the gut-wrenching highlight of another busy TV weekend. The second season opens with an intense 90-minute episode that finds our small band of desperate survivors back on the road, leaving Atlanta in hopes of finding a haven at Fort Benning, but stalled at another auto graveyard on an open freeway. Doesn't take long before hideous, horrific danger intrudes on their turf, with one scene so excruciatingly suspenseful I thought I'd broken a tooth trying not to scream when I first watched this with a small audience at a private screening. (I much prefer watching The Walking Dead in the privacy of my home, where I'm less embarrassed to yell back at the screen when someone does something stupid like emerging from a hiding place a fateful beat too soon.) A world removed from the hyperactive self-indulgent overkill of FX's laughably berserk American Horror Story, this spare, bleak and truly horrifying saga of survival excels at unnerving you with silence, occasionally grossing you out by what you imagine (as in the "here comes the bad part" scene) even more than by what you actually see, which is already awful enough. As visceral an experience as it is to watch The Walking Dead, it would be meaningless if the emotional stakes weren't so high. As Sheriff Rick Grimes (Andrew Lincoln, all Gary Cooper-ish stoicism) tries to keep his group together, weathering all the burdens when things inevitably go wrong, you pray along with him for any sign that things might get easier. But it's too early in the season for that, and the dark twists keep coming up to the very last shot. (Next week's equally strong episode also ends in a breathless cliffhanger.) If you have the stomach for it, The Walking Dead will leave you hungry for more. Good luck sleeping afterward. [All six episodes of Walking Dead's first season will air Sunday starting at 2:30/1:30c. And if you're still not zombied out when it's all over, stick around for the live Talking Dead discussion after-show, led by G4's Chris Hardwick, at midnight/11c.] Want more fall TV news? Subscribe to TV Guide Magazine now! The weekend's other best bet comes from PBS' Masterpiece Mystery!, beginning a three-part series based on Kate Atkinson's wonderful Jackson Brodie bestsellers. In Case Histories (Sunday, 9/8c, check local schedules), we're introduced to the ex-cop turned private eye, played with seductively wry charisma by Jason Isaacs (Lucius Malfoy from the Harry Potter movies, and the star of NBC's haunting midseason series Awake). Everyone seems to want Brodie on their case, and he's such good company it's easy to see why. In this beguilingly entertaining movie (followed the next two Sundays by adaptations of One Good Turn and When Will There Be Good News?), Brodie establishes a pattern of continually stumbling into overlapping mysteries that cleverly dovetail in satisfying and surprising ways. Operating a cash-poor shamus practice in Edinburgh, occasionally bringing along his precocious daughter from a broken marriage, Brodie is clearly more of a doer than a brooder. This engaging story begins when his altruistic good deed for a dotty old cat lady (Sylvia Sims) leads him into a cold case involving a little girl who vanished 30 years ago. He's also hounded by a grieving father to solve his daughter's recent brutal murder, which the police are still investigating. A request to locate yet another long-lost girl dredges up a new set of family skeletons. Brodie's cases tend to dwell as much on mysteries of the heart as on the usual blood-and-guts. It's a nice change and a great start to a delightful franchise. On to the weekend's other highlights, night by night: FRIDAY Traveling the country to spotlight regional talents, the inaugural PBS Arts Fall Festival kicks off a nine-week showcase of Friday night specials with the Guthrie Theater of Minneapolis production of the Gilbert & Sullivan crowd-pleaser H.M.S. Pinafore (9/8c, check local schedules), hosted by The Office's Rainn Wilson. Friday's cult faves each deal with skeletons from the past. On the CW's underrated Nikita (8/7c), when the spy siren discovers her former Division partner (Bones' Katheryn Winnick) is alive, she enlists Michael on a rescue mission to Turkey. ... On Supernatural (the CW, 9/8c), Dean finds himself on trial by the Egyptian god Osiris for his past misdeeds, and one of the witnesses for the prosecution is former fellow demon-hunter Jo (Alona Tal). ... And as if he didn't already have enough on his damaged mind, Walter Bishop must face his long-buried demons on Fox's Fringe (9/8c) when he leaves his lab for the first time in years. Destination: Massive Dynamics headquarters in NY, where he and Olivia study old case files relating to his experiments with Cortexiphan back in the day. So what else is on? ... Diane Sawyer travels to South Dakota's Pine Ridge Indian Reservation for a special 20/20 report (ABC, 10/9c) titled "A Hidden America: Children of the Plains," finding stories of hope amid the region's crushing poverty. ... Having Breaking Bad withdrawal? CBS' CSI: NY (9/8c) features a guest turn by Dean Norris (aka Walt's brother-in-law Hank) as an Internal Affairs officer investigating a shooting involving Danny and his rookie cops. SATURDAY Just for laughs: The puckishly outspoken late-night host Craig Ferguson takes to the stand-up stage for the Comedy Central special Does This Need To Be Said? (10/9c), filmed in Nashville, in which he indulges in the sort of "friendly cussing" he can't get away with on network TV. He also recounts his terror at meeting Dick Cheney when hosting the White House Correspondents dinner. ... Meanwhile, we hope Anna Faris' second time hosting NBC's Saturday Night Live (11:30/10:30c) goes more like Melissa McCarthy's go-for-broke recent appearance than Ben Stiller's night of flop sweat last weekend. Drake is the first-time musical guest. SUNDAY The aforementioned Walking Dead and Case Histories are just the newest additions to an already full Sunday plate. The season's best new drama, Showtime's Homeland (10/9c), doesn't miss a beat in its engrossing third episode, as enigmatic war hero (or is he?) Brody prepares his family - including rebellious daughter Dana - for a national TV interview in their not-quite-happy home. Meanwhile, Carrie's unauthorized operative Lynne, the mistress of a Saudi prince, continues her dangerous search for evidence of funding an Al-Qaeda plot. On Dexter (9/8c), as Deb adjusts uncomfortably to her new position of power - bet you didn't see that coming - Dexter has an unhappy epiphany when he encounters a grumpy old man (Ronny Cox in a fearlessly unsympathetic guest turn) who may be a lapsed serial killer once known as the legendary "Tooth Fairy." An appalled Dexter muses, "Can this really be the man who inspired me to keep a scrapbook?" And in the perverse chamber of horrors occupied by this season's mysterious Big Bads (Edward James Olmos and acolyte Colin Hanks), a new victim is being prepped for a truly ghastly public display. Some powerful moments as well on HBO's Boardwalk Empire (9/8c), just renewed for a third season, as Gillian has a memorable showdown with the ailing Commodore, the hauntingly disfigured Richard Harrow bonds with Jimmy's wife Angela over art, Irish upstart Owen joins Nucky's staff - "A bit cheeky, isn't he?" wonders Margaret (and she's right) - and Chalky White is made to feel an outcast in his own home. There's liquor business going on as well, but it's the characters that really resonate this week. OWN-ing it: Three of OWN's more recognizable series return to form a new Sunday night block: Visionaries: Inside the Creative Mind (8/7c), featuring mogul Tyler Perry; Ask Oprah's All Stars (9/8c), with Dr. Phil, Dr. Oz and Suze Orman weighing in on "ultimate checklists" for viewers to live their (drumroll) best life; and Our America With Lisa Ling (10/9c), reporting on "Amateur Porn" on the Internet. Honestly, Oprah, get a room! So what else is on? ... Discovery pays homage to Apple's late visionary in iGenius: How Steve Jobs Changed the World (8/7c), hosted by Mythbusters' Adam Savage and Jamie Hyneman and featuring interviews with authors, critics, artists and colleagues reflecting on impact of Jobs' innovations in personal computing and media. ... Live coverage of the Martin Luther King Memorial dedication in Washington, D.C., including a performance by Aretha Franklin and an address by President Obama, will air on BET, sister channel Centric and BET.com at 11 am/ET. ... He'll forever be 24's Tony Almeida to us, but Carlos Bernard is joining CBS' CSI: Miami (10/9c) in a recurring role as Horatio's newest nemesis, Diego Navarro. Subscribe to TV Guide Magazine now!

Morning Grind: Jim Carrey May Join Steve Carell in 'Burt Wonderstone'

Jim Carrey: not just that dude who makes creepy web videos! The comedy titan is reportedly in talks to join fellow comedy titan Steve Carell in 'Burt Wonderstone' for New Line Cinema. The film follows the titular Wonderstone (Carell), a Las Vegas magician who breaks up with his stage partner and gets simultaneously upstaged by a "rival street magician." No word yet on whether Carrey will play the longtime partner or street magician. Carrey previously worked with Carell on the animated film 'Horton Hears a Who.' [Deadline] Might the mostly retired Gene Hackman make another film? Probably not, but let's keep our fingers crossed! Hackman, Robert Duvall, Jack Nicholson and Robert Forster are reportedly on Paramount's short list to lead the next Alexander Payne film, 'Nebraska.' The film -- which, after much discussion between the director and studio, will be shot in black and white -- has a budget of around $10 million and focuses an "old gin-hound of a dad" who takes his son on a pilgrimage to the Publisher's Clearinghouse headquarters to claim a prize. Hackman was last seen on film in 'Welcome to Mooseport' in 2004. He told GQ earlier this year that if he were to make another film, it would be a small one. [Vulture] Take this with a slightish grain of salt: Twitch reports that 'Crazy Heart' director Scott Cooper has replaced Noah Baumbach on the long gestating adaptation of Claire Messud's 'The Emperor's Children.' Baumbach wrote the script, and Richard Gere and Keira Knightley were attached to star when he was going to direct; now it appears Emma Thompson and Rachel McAdams are potentially going to join the cast, but whether Gere and Knightley are still involved remains to be seen. 'Children' is about three privileged friends trying to make it in NY. [Twitch] A group of independent theater chains have sided with Cinemark in their quest to get Universal to stop the on-demand test-run of 'Tower Heist.' "We just feel it's a time to draw a line in the sand,'' Galaxy Theatres president Rafe Cohen told the L.A. Times. "This is virtually a simultaneous release that we don't think will be helpful to anyone. We're standing on principle that it's best to preserve the theatrical window." [LAT/Company Town] Curious as to why the Disney logo didn't appear in the new trailer for 'The Avengers,' even though Disney purchased Marvel Studios from Paramount? It's because the deal the studios negotiated allows Paramount to earn 8 percent of the expected revenue from 'The Avengers,' while also keeping the studio logo on marketing materials. Paramount will also earn 9 percent from the expected revenues of 'Iron Man 3,' and take home a cool $115 million if the films fail to hit the established income goals. Not bad. [Variety] Quentin Tarantino has cast Don Johnson in 'Django Unchained' as a wealthy Southern plantation owner. No truth to the rumor that Johnson and Gerald McRaney will arm wrestle to see who gets the coveted title of QT's Comeback Star. [Variety] [Photo: AP] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

'Titanic' in 3d: 9 Things Learned As You are Watching Early Footage With James Cameron

On Tuesday morning, eight separate moments of 'Titanic' -- now changed into are the dimension of depth (scientists label this "3dInch) -- were examined for your press. Director James Cameron (who spoke one-on-one with Moviefone last evening) appeared to become attending to talk about what's available for your public once we all mind to 'Titanic' in April. What's that? You're too awesome to find out 'Titanic'? Oh, seriously, be truthful: you're going. I'm going. Many of us are prone to see 'Titanic' round the silver screen again. Regardless, with Cameron attending -- with eight finished 3d moments showing -- listed below are the nine things learned while attending the 'Titanic' in 3d press conference. 1. 'Titanic' in 3d Looks Absolutely Stunning This will not come as too big from the shock considering that Cameron is directly involved, but after watching screening after screening of shitty 3d films, it absolutely was greater than refreshing to find out you skill with a film -- a movie not initially shot in 3d -- once the appropriate time period and are applied. The moments presented were: - Before Rose and Cal board 'Titanic,' "You might be blasé about a number of things....In . - Jack waiting for Rose in the finish in the staircase before dinner. - Jack and Rose attending a "real party." - Jack and Rose "flying" before Titanic. - The initial sighting in the iceberg, "What makes them not turning?!" - Rose clearing Jack while on an axe. - The montage of Titanic people accepting their fate. - The ultimate part of Titanic sinking, "The ship will pull you lower." 2. James Cameron Desires to function as The complete opposite of George Lucas When Cameron was asked for if any tweaks specified for to 'Titanic,' a la George Lucas, Cameron responded, "George helps me with this particular. I start to see the instance of what I'd rather not do." Slam! Oh, wait, he continues, "I don't consider that the slam, In my opinion he sights his movies a perpetual work happening. Personally, the problem happens when you pull that thread, everything unravels. Where can you stop?" Never, James. The answer then is never. 3. Within Titanic, as Described inside the Film, is Wrong Growing on the idea of fine-tuning his film, Cameron did reveal you will discover a few changes that he'd would rather make, and often will not. The main one being the historic errors in the ship itself. "I've done three expeditions to Titanic. I've done, literally, hundreds of several hours of look for the interior in the wreck using robot automobiles," Cameron referred to, "therefore i be familiar with places where the film is wrong. We would never know once we handled to obtain, because i had been dealing most abundant in effective archival photographs that existed, but a lot of the photographs were in the sister ship, the Olympic." And, yes, Cameron was tempted, but he did resist temptation, "Therefore I required to resist the impulses to convey, 'I've arrived at fix that door... I merely thought it could proceed and take film directly from the time is right... every film can be a snapshot of time.Inch I have to restate Cameron's quote for effect, "every film can be a snapshot of time.Inch 4. James Cameron Confesses He's a "Greedy Motherf-cker" When asked for if Cameron has any aspirations of 'Titanic' becoming the primary movie again, surpassing 'Avatar,' Cameron clarified, "Yeah, we're just greedy motherf-ckers. Which we didn't make enough to start with.In . 5. James Cameron Only Decided To Be Kidding About Like a "Greedy Motherf-cker" "This can be a high goal, In my opinion we have to manage our anticipation," Cameron confesses, if this involves passing 'Avatar." He helps to make the comparison, "Was 'Lion King' just pure avarice? Or could it happen to be supplying individuals with something they need?Inch Probably both, really. 6. James Cameron Really Includes Some High Goals for 'Titanic' Less high as passing 'Avatar,' but -- after what he confesses is really a complete marketing campaign -- he's doing believe 'Titanic' can recapture that sense of a communal experience that happened in theaters in 1997 and into 1998, "So this is why I'm searching toward the potential for putting it to theaters and seeing when phenomenon will occur again. I suspect it'll, only because everyone knows, anecdotally, what happening with 'Avatar.'" 7. Smoking is Hazardous to 3 dimensional Conversion Water includes an approach to searching like absolute hell after 3d conversion in the, "here's your close water here is your far water," kind of way. According to Cameron, each droplet was addressed, "They are going droplet by droplet. They will use and, literally, each droplet can get moved spatially forward." Keep in mind, there are many water in 'Titanic.' But water wasn't Cameron's finest challenge, his finest challenge switched that need considering a circa 1912 smoking efficianado, "It calculates that particular in the most difficult problems was somebody cigarette smoking. Where you have a little smoke wafting up and you're simply really seeing all of them with the smoke -- nevertheless the smoke must be positioned on the various plane. There's no treatment for that. And then we emerged using the reply to perform a physics based fluid simulation in the smoke and relaxing it in inside the smoke." 8. James Cameron Grants or loans of Martin Scorsese's 'Hugo.' "There you have a legitimate, auteur filmmaker, Martin Scorsese, implementing the 3 dimensional just like a new color to fresh fresh paint with -- getting fun from it. This is the means by which it must be. It shouldn't be in the art galleries telling the filmmakers to shoot in 3d, it must be the filmmakers considering doing the work.Inch 9. Cameron Doesn't I Would Love You to Consider it 'Titanic in 3d,A but merely, 'Titanic.' "From my perspective, I really like that being charge line. It's 'Titanic' being re-released after 15 years away round the 100th anniversary from the teambuilding to another generation that's never observed it in theaters. Which is in 3d.Inch You'll be able to contact Mike Ryan on Twitter. Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

'Real Steel' Sequel: Hugh Jackman, Shawn Levy Weigh In

"Real Steel" stepped into the box office ring this weekend and knocked out the competition with all of the fight and fury one would expect from a future-set robot boxing sports drama which is to say, a surprising amount of success. The Shawn Levy and Hugh Jackman collaboration roped in an estimated $27.3 million this weekend, beating its next closest competitor George Clooney and Ryan Gosling's political drama, "The Ides of March" by almost $17 million. It's a strong result for a movie that's practically designed to raise eyebrows: a big budget blockbuster set in a world where human boxers have been replaced with cybernetic gladiators, all with a central focus on an estranged father and son coming together for a greater goal? Not the easiest sell on paper. But the numbers are in, and based on what we've already seen reported, Fox is very much interested in pursuing "Real Steel" sequels something that Levy and his pals are certainly quite happy about, no doubt. "Well, it has certainly been leaked that the studio would like us to make another one, and that's based on the way we've seen the audience react to the movie they react really emotionally. So we'll see, if we're lucky in the next month, for sure we'll make another one," Levy told MTV News at the "Real Steel" premiere in Los Angeles earlier this month. With a sequel now all but guaranteed, where would Levy like to take the franchise? For now, the director is keeping his plans vague: "I think that this movie works because of its humanity, so if we made a sequel, the humanity would remain the priority." In other words, expect more drama from Jackman and co-stars Dakota Goyo and Evangeline Lilly, plus a healthy heaping of further robot boxing mayhem. For his part, Jackman weighed in on "Real" sequel possibilities as well, but when we caught up with him, he was cautious not to jinx the film's chances. "Imagine asking a football player the night before the Super Bowl if he thinks they'll make the Super Bowl next year," he said, effectively saying it's too early to think sequels just yet. "It's a bit like that." Well, Hugh, by all accounts, it looks like they will make the Super Bowl next year. We hope to see you there! Tell us what you think of a "Real Steel" sequel in the comments section and on Twitter!

Rabe in your thoughts Bertelsmann

BERLIN -- German media giant Bertelsmann has attracted on Thomas Rabe, presently the conglom's chief financial officer, as chairman and Boss effective The month of the month of january. Rabe replaces topper Hartmut Ostrowski, who's ankling the publish after just four years. Ostrowski, who'll relax on Bertelsmann's supervisory board, is walking lower web hosting reasons, the business mentioned, adding the "move happens amicably by mutual consent." The unforeseen executive shakeup has come about as an unpredicted: Bertelsmann, whose primary assets include pan-European broadcasting and production giant RTL Group, U.S. posting giant Random House and Gruner + Jahr, Europe's finest magazine author, is around the solid footing: A year ago it exceeded its profit forecast as earnings skyrocketed from Pounds 35 million ($47.8 million) to $895 million, while revenue rose 4.5% to $21.56 million. Inside the first half of the season the crowd saw earnings increase nearly 10% to $367 million as sales rose 2% to $9.8 billion. Rabe has offered as Bertelsmann's chief financial officer and mind of the corporate center since 2006. Right before that, he'd held the identical publish at RTL Group. Furthermore to his duties as finance chief, Rabe may also be responsible for Bertelsmann's corporate possibilities growth initiatives, such as the holding inside the music rights company BMG, as well as the Bertelsmann Digital Media Possibilities and Bertelsmann Asia Possibilities funds. Gunter Thielen, former Bertelsmann Boss and current chairman in the company's supervisory board, mentioned of Rabe, "We're sure that in him, we've a company owner towards the top who'll lend further momentum to Bertelsmann's growth strategy and future development." Bertelsmann will title a completely new chief financial officer afterwards. Thielen also recognized the outgoing Boss. "Bertelsmann owes Hartmut Ostrowski a great debt of gratitude. He introduced the business in difficult occasions. I anticipate ongoing to make use of him round the supervisory board. The timing in the move guarantees the passing in the baton to Thomas Rabe will probably be handled easily." Ostrowski, who grew to become an associate of Bertelsmann in 1982, has labored for that organization in a number of positions, becoming Boss in the group's company Arvato in 2002, and altering Thielen as group topper in 2008. Throughout his four years within the job, Ostrowski effectively steered Bertelsmann using the recent economic crisis, paid out lower the group's debt for the target level and extended the Arvato unit, which elevated from Bertelsmann's printing arm, into an worldwide services company having a couple of 63,000 employees worldwide. Contact Erection dysfunction Meza at staff@variety.com

'Simpsons' cast sets two-season cope with Fox

'The Simpsons'There's pleasure in Springfield. Cast people on "The Simpsons" have arrived at a 2-season pact with studio twentieth century Fox TV carrying out a public tussle over salaries for that show's approaching 24th season. New deal covers a 24th and 25th season of Fox's lengthy-running animated hit, sources stated. Financial terms weren't immediately obvious, but 20th have been asking the voice cast to consider a pay cut to be able to continue the series. The stars had also searched for a bit of the lucrative after sales on the program, which by multiple accounts was steadfastly declined through the studio. The stars within the standoff incorporated Serta Castellaneta (Homer), Julie Kavner (Marge), Nancy Cartwright (Bart), Yeardley Cruz (Lisa), Hank Azaria (Moe) and Harry Shearer (Mr. Burns). Thesps are stated to become making about $440,000 a chapter underneath the previous contract, inked in 2008. The studio apparently pressed for around a 45% pay cut, declaring the high salaries on the program had made manufacture of additional episodes untenable for that studio. The particulars of 20th's distribution deals for "Simpsons" also gave the studio a motivation to prevent production. The dispute went public the 2009 week, if this also emerged that some "Simpsons" producers had decided to pay cuts to carry on the series (Variety, March. 5). The prospects to have an accord looked dim Friday ayem when Shearer released a extended statement chiding the studio for greediness having a reveal that has produced huge profits for News Corp. and assisted place the fledgling Fox network into the spotlight. "I am prepared to allow them to cut my salary not only 45% but a lot more than 70%," stated Shearer. "All I'd request in exchange is the fact that I be permitted a little share from the eventual profits." Using the new pact, "The Simpsons" will achieve a fantastic tally of 559 episodes. The show already ranks because the longest-running scripted TV series in smallscreen history. Following the deal was introduced late Friday, "Simpsons" professional producer James L. Brooks tweeted, "Am crying animated tears of pleasure." The show's 23rd season bows March. 30 using its trademark "Treehouse of Horror" Halloween seg. Contact Cynthia Littleton at cynthia.littleton@variety.com

ABC Developing U.S. Version Of British Crime Comedy Suburban Shootout

EXCLUSIVE: ABC has devote development a U.S. version in the recognized British comedy Suburban Shootout. Byron Balasco will write the hourlong adaptation in the half-hour original, a dark comedy of a lady who escapes the city and her past for suburban bliss only to uncover she (by utilizing her new neighbors) must use using unconventional techniques and her past capabilities to own existence she so desires. ABC Art galleries is creating with Aaron Kaplan’s Kapital Entertainment and Laurence Bowen and Philip Clarke’s Feelgood Fiction, the business behind the British series that controls the format rights. Balasco, Kaplan, Bowen and Clarke are executive creating. This really is really the 2nd stab at beginning a U.S. version of Suburban Shootout. In 2008, Cinemax bought an plane pilot put together by Michelle Ashford, directed by Craig Sonnenfeld and starring Judy Greer. ABC seems as being a good way for your remake thinking about the truth that the first remains recognized to as “the British Desperate Regular folks,” and ABC, the network that airs Regular folks, takes a successor for your suburban dramedy, that's now within the final season. Created by Bowen, Roger Beckett and Gary James Martin, Suburban Shootout opened up in 2006 and went for just two seasons on Five and Vital Comedy inside the Uk and also on Oxygen inside the U.S. ICM reps Balasco, who most recently was co-executive producer on ABC/ABC Art galleries’ Detroit 1-8-7, and Feelgood Fiction.

AMC Networks Strikes Deal With Netflix For The Walking Dead And Other Programming

Beverly Hills, Calif. and NY, NY, October 7, 2011–Netflix Inc. and AMC Networks Inc. have reached a multi-year licensing agreement that will make prior seasons of AMCs critically-acclaimed original series, The Walking Dead, available exclusively to Netflix members in the U.S. and Canada. Season 1 of The Walking Dead will be available today. Additional seasons of The Walking Dead, as well as certain future AMC and Sundance Channel programming, will be streaming instantly to Netflix members just prior to the premiere of subsequent seasons. Netflix has also licensed non-exclusive rights in the U.S. to select scripted and unscripted shows, which will also be made available just before the following season debut. This includes programming from across the AMC Networks portfolio of AMC, IFC, Sundance Channel, and WE tv. Specific series include IFCs Portlandia and The Increasingly Poor Decisions of Todd Margaret; WE tvs Braxton Family Values, My Fair Wedding, and Bridezillas; and Sundance Channels All On The Line with Joe Zee and Girls Who Like Boys Who Like Boys. Netflix is already the streaming home of Mad Men and Breaking Bad in the US and Latin America, said Ted Sarandos, Netflix Chief Content Officer. We are delighted to be in business directly with AMC Networks. AMCs programming sensibilities have struck a chord with our members and with the overall viewing public. AMC Networks President and CEO Josh Sapan commented, This agreement supports the cable ‘ecosystem’ by making our content available to Netflix nearly a year following the linear premiere, it brings our content to a wider audience, and it provides additional revenue to support production of new shows.”

MTV Buys Krysten Ritter/Eric Garcia Drama, USA Buys Richard Murphy Dramedy

Krysten Ritter, star of ABC’s approaching comedy series Apartment 23, has offered her first TV project like a producer, hourlong drama Cassandra French’s Finishing School for Boys according to Eric Garcia’s novel of the identical title. Garcia (Matchstick Males) will write the variation, referred to to be within the tone of Heathers. It focuses on a 22-year-old overachiever who will get her dream job like a lawyer for any Hollywood studio but cant’s look for a guy ready for any real, mature relationship. Following the latest disappointment, she locks a man up in her own basement to be able to train him being an ideal gentleman. Ritter and Garcia are executive creating. Ritter, repped by WME, the audience Entertainment and Sanders/Remedy/Caserta, co-authored, created and stars within the indie Existence Happens. Garcia, repped by WME and IPG, is writing Wheel of your time for Universal and also the Prize of Peril for The new sony. USA also offers purchased a project with a film writer/novelist. The cable network has closed an offer for Wayward Bound, an hourlong dramedy from Richard Murphy about employees in a boutique travel company battling to navigate existence while guiding their clients with the concrete jungle that's La. Murphy will executive produce with Deborah Spera and Maria Grasso. The new sony TV, in which the 2 are based, is creating. Murphy, handled by Anonymous, formerly authored an adaptation of his novel Confessions Of The Contractor for CBS, with Shawn Ryan executive creating.

Top Court Listens to Arguments Over Whether Or Not To Restore Many Copyrighted Activly Works To Public Domain

Alex Wong/Getty Images The U . s . States Top Court today considered arguments in Golan v. Holder, probably the most important copyright cases in the united states's background and a situation which will decide whether an incredible number of creative works, including early-to-mid twentieth century foreign works of art fromH.G. Wells,Fritz Lang,Frederico Fellini, andIgor Stravinsky, is going to be copyrighted or perhaps in the general public domain. The problem presented within the situation is whether or not the U.S. government wrongfully required many foreign calculates from the public domain and violated the free speech privileges from the American public by joining an worldwide treaty. The named complaintant within the situation isan orchestral conductor namedLawrence Golan,whowished to produce a derivative work according to arrangements byDmitri Shostakovich, but found themself at a complete loss following the U.S. brought a brand new worldwide treaty signed inUruguay in 1994 thatharmonized many intellectual property laws and regulations around the world. The moves established copyright protection within the U.S. for many foreign authors who either never loved it or whose initial copyright term had passed without renewal, which upset manyeducators, entertainers, marketers, film archivists, plus some film marketers, who became a member of with Golan in eliminating removing important works in the public domain. In the hearing today, Anthony Falzone from the Stanford Center for Internet and Societyrepresented the petitioners and contended that Section 514 from the Uruguay Round Contracts Act (URAA) violated the U.S. Metabolic rate, specially the Copyright Clause ("to advertise the Progress of Science and helpful Arts...") and also the First Amendment. "The progress of science corresponds roughly towards the creation and spread of understanding and learning," stated Falzone today. "A statute that does nothing, like that one, does only take old calculates from the public domain with no impact or prospective incentives, cannot stimulate the roll-out of anything...All it may do is restrict multiplication of things." Advocates for sleep issues reason that Congress was perfectly within its to ratify the treaty, and several your customers including large Hollywood companies and trade associations think that the URAA went a lengthy method to improving copyright protection all over the world. In the hearing today, representing along side it from the participants, U.S. Solicitor GeneralDonald Verillitold the justices, "A policy-making branches in our government made the decision we must be, and is at the nation's interest, to participate the worldwide copyright system." Verilli contended the treaty was basically meant to "rectify an issueInch for foreign authors -- not establish perpetual copyright terms or make new protection on terms which had run its course. But Verilli experienced deep skepticism from the 3 justices who asked whetherextending copyright protection backwards offered real incentives for artists to produce. Speaking about foreign authors who arrived at the U . s . States to promote works already produced, Justice Scalia mused, "It can make more income for that guy who authored it, but doesn't incentivize anybody." Justice Roberts also accepted he found the individual's arguments to become appealing with an "intuitive level." "Eventually I'm able to perform Shostakovich," he stated. "Congress does something, the following day I'm able to't. Doesn't that present a significant First Amendment problem?" Verilli clarified it wasn't so simple, which Congress had made changes towards the copyright system before that could have interfered with speech once freely loved. For his part,Falzone also was peppered with tough questions, particularly from Justice Ginsburg, who appeared to simply accept the point of view the treaty was designed to rectify an issue. The justice wondered if the copyright term ever really started for foreign authors and asked why they shouldn't get the same protections that American authors get. Justice Ginsburg requested: "We're speaking about Shostakovich, Stravinski, and I only say: Well, what's wrong with providing them with the same time frame that Aaron Copland got?" Throughout the hearing, Falzone cautioned when the Top Court upholds the treaty, it might potentially open the doorway to more actions from Congress. All Congress will have to caused by move Alexis p Tocquieville's 1800s books from the public domain, he contended for example, is always to extend existing copyright terms a century and put it on retroactively. Falzone cautioned about theconsequences of these a celebration. "Then who knows should you've arrived at the limit or otherwise,Inch he told the justices. More analysis not far off... E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner

Desperate Housewives Episode Recap: "Making the Connection"

On this week's Desperate Housewives, a panicked Bree tries to figure out who sent her the anonymous note. Susan continues to struggle with her guilt from the murder, while Gaby goes to unusual lengths to help Carlos deal with his. Lynette tries to make Tom a tougher parent, and Renee fudges the truth to get Ben's interest. BREEThings start where the season premiere ended - with Bree opening an unsigned letter saying: "I know what you did. It makes me sick. I'm going to tell." The episode flashes back to when Mary Alice received the same note all those years ago, and Bree now looks just as panicked. Chuck sees her worried face, and the lying about how "fine" she is begins. Instead of telling the girls, like Mary Alice should have way back when before she pulled the trigger, Bree gets slightly hysterical and turns to the most unlikely of sources - Paul Young - accusing him of writing the note from prison. Paul, obviously, didn't write the note and wonders why Bree is so worried since she has nothing to hide. But he instructs her to confide in the girls because things may have been very different if his late wife had done the same. Bree's biggest struggle in the episode is keeping her panic internal and hidden from Chuck. Insert cliché scene here where he walks in and surprises her at an awkward time when she is re-reading the letter. (She already knows what it says so why is she looking at the evidence so out in the open?) Anyway, he starts to worry about she may be hiding, and Bree finally tells Gaby about the letter. The two agree to keep it to themselves because Susan and Lynette have their own personal crises to attend to, but Gaby tells Bree to break it off with the cop before things get too complicated. Just when Bree is about to break the bad news, she gets a surprising phone call from Paul Young saying that he remembers telling a detective about the letter Mary Alice received. He says the detective's name was something short like Vince, and when Bree suggests the name Vance, Paul concurs, and Bree quickly hangs up. She knows what she has to do, and when Chuck asks her to join him in the shower, instead of breaking up with him, she joins him. As they say, keep your friends close and your enemies closer so it seems Bree won't be splitting with Chuck anytime soon. After reading a lot of online chatter about the lack of chemistry between Bree and Chuck in the last week, making Chuck the enemy is an interesting plot twist. It adds a new level to the murder cover-up beyond watching Susan self-destruct week after week, and I'm really curious to see exactly how Chuck figures into the current cover-up and Mary Alice and Paul Young's cover-up, if at all. The only disappointing thing about this development is that it makes it seem unlikely Bree is going to end the series in a happy relationship, and, honestly, hasn't this woman been through enough? If any of the ladies on the lane deserve a stable romantic relationship, I think it just might be Bree. SUSANAfter eight seasons, it's refreshing to see that the writers are still discovering new characters to pair together on this show, and Susan and Carlos are the perfect example of that. Susan spends most of the episode doing what she does best - acting crazy - but watching her keep trying to rectify her guilt about the murder by getting punished for other things feels pointless. How a woman this loopy and irrational raised a level-headed daughter like Julie will always baffle me. Susan does silly things like handcuffing herself for "stealing" soda and parking in a fire zone on purpose, but it's when she knocks over a police motorcycle that she gets thrown in the slammer. (Twice in one year? Really?) However, the only person she feels she can call is Carlos, not Mike, and the two find important common ground in their guilt. This is going to cause some serious tension with Gaby, as well as the rest of the girls, who distinctly told Susan to tone down her crazy a few notches so as not to attract attention. I'm ready for the next stage in their struggle to keep the secret under wraps. RENEEAfter simply flashing her cleavage failed to get her new neighbor's attention last week, Renee ups her game and presses Mike for information about Ben after Mike does some plumbing repair for the new guy on the block. In a hilarious exchange between Renee and Mike, Mike divulges that he saw some medal on the wall for community service with the elderly. Renee grabs the nearest $50 bill and heads over to Mrs. McCluskey's to bribe her into telling Ben how great Renee is (another funny scene for Vanessa Williams, it's about time the writers threw her a bone). The act works, and Ben asks Renee out, but - surprise! - he doesn't take her to a nice dinner, but instead a community service event where they are supposed to serve the elderly. Dressed to the nines, Renee is ticked and tells Ben off when she gets the impression he brought her to mock her. He says he's uncomfortable with doing charity, and he gets her to admit the same: after her mother died, a young Renee was on the receiving end of charity and feels uncomfortable about being on the opposite side of things. Her confession seems to work, and she is later seen feeding Ben french fries. LYNETTENow that Tom is officially out of the house and into a hotel, the next stage in the separation is for Lynette and Tom to figure out how to co-parent. It's an issue every separated/divorced couple with kids must go through, and I appreciate the honesty of the portrayal. The kids love going to Tom's hotel because of the pool and all the junk food they can eat, and Lynette becomes jealous that they seem to be having such a better time with their dad. Lynette once had to juggle work, motherhood and keeping the spice alive in her marriage to Tom and now she's pretty much all alone during the times when the kids are with Tom and she must get lonely. Tom, on the other hand, has had to uproot his whole life and explains that he misses seeing the kids every day, so he wants to enjoy the time he does get with them. This means trying to say no to them as little as possible. Lynette's insistence that Tom toughen up his parenting style climaxes with him finding her doing a keg stand at a high school party when she goes looking for Parker, and it's only then they finally get on the same page. They're both clearly still heartbroken, but transitioning their kids to a divorced household might be the most difficult part of this life change, and it's nice to see that the writers don't make one parent right and one parent wrong. Watching Lynette and Tom work together as parents but continue to get used to living separate personal lives is one of the story lines I am most excited to see unfold this season. GABYCarlos' guilt over what he did starts to affect Gaby and his marriage when she realizes it's been 38 whole days since they last had sex. She tries her best to seduce him with champagne and sexy lingerie, but it seems Carlos has problems getting the sails up. As both die-hard and occasional Housewives fans know, Gaby is a pretty sexual person, so she quickly takes matters into her own hands and hires a dancer to come over and teach her some sexy moves on a stripper pole to really get Carlos going. However, this very dense but very flexible dancer informs Gaby it will take her six months to really get all the moves down, and Gaby instead hires the dancer to come over and get Carlos all warmed up (Gaby's never been known for her patience anyways). She first blindfolds him and has the dancer do her thing without telling Carlos it's another woman writhing on top of him. He obviously flips out the moment he realizes there's a strange 19-year-old in his lap, and gets even more peeved when he finds out Gaby told her about his problem. She says she feels frustrated because she feels so powerless to help him, and he angrily explains that things will never go back to normal for them. Suffice it to say, they definitely don't do the dirty deed and, instead, Carlos ends up sharing a moment with Susan in the police station. Hearing Carlos yell at Gaby that life will never be the same for them again begs the question of how this cover-up will really end? Will the series end with Carlos, or maybe even Carlos and Gaby in jail? Exactly how things are resolved in a fitting, but at least semi-realistic way will be curious to see. So what did you think of the episode? Are you glad Chuck may be a bad guy, or are you upset Bree's romantic bliss was so short-lived? Do you have hope for Renee and Ben? And do you think Susan and Carlos' emotional bond will become something more? Share your comments below! show less

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