Published on 17 Aug 1919
The new season of Netflix’s hit series “Mindhunter” dropped Aug. 16, and this year the series finds FBI agents Holden Ford Jonathan Groff and Bill Trench Holt McCallany taking on the Atlanta child murders, which unfolded between 1979 and 1981, with 28 African Americans slaughtered in Georgia. No one has ever been charged for the murders.
According to a new feature in the Los Angeles Times, Netflix has confirmed that the “Mindhunter” team did not consult the families of the victims in the killings, two of whom feature prominently in the season &mdash Camille Bell, the mother of nine-year-old Yusuf Bell, who was found dead in 1979, and Venus Taylor, the mother of 12-year-old Angel Lenair, who was found dead in 1980. The investigation is currently being reopened, and with the new attention the issues of racial injustice inherent to the case are coming to the forefront.
“As you know, serial killers rarely ever cross racial lines, so if you have a lot of young black boys being abducted and murdered, the chances are that you're looking for a black killer or killers,“ McCallany told the L.A. Times. “But because of the racially charged history of that part of our country, there were a lot of people who didn't want to believe that and wanted to believe that the crimes were racially motivated. &hellip They were very hesitant to embrace the idea that we were looking for a black perpetrator.“
The killings were also recently re-examined in the must-hear podcast “Atlanta Monster,” which in its second season has pivoted to focus on the still-unsolved Zodiac murders, made even more famous by “Mindhunter” director/executive producer David Fincher’s 2007 film.
Among the sage psychopaths to whom Holden and Bill turn for input this season are Charles Manson Damon Herriman, who also embodies the cult killer in Quentin Tarantino's “Once Upon a Time in Hollywood“ and New York serial killer David Berkowitz, a.k.a. Son of Sam, played by Oliver Cooper. Also returning for the series based on the book by John Douglas and Mark Olshaker is Anna Torv as psychology professor Wendy Carr, who assists Holden and Bill in their investigations of criminal behavior. New to the cast is Albert Jones as a black FBI agent who serves as an Atlanta-based liaison.
Published on 17 Aug 1919
Fonda, the son of acting legend Henry Fonda, the younger brother of Jane Fonda and the father of Bridget Fonda, died Friday morning.
Peter Fonda, who broke out from under the legendary Fonda family name with Easy Rider, has died. He was 79.
Fonda, the son of acting legend Henry Fonda, the younger brother of Jane Fonda and the father of Bridget Fonda, died Friday morning at his home in Los Angeles, according to his rep.
Fonda received an Academy Award nomination as a screenwriter for Easy Rider, which he shared with Dennis Hopper and Terry Southern.
Fonda and Hopper dreamed up the idea of two motorcyclists who hit it big with a drug deal and take off across the country, ostensibly to attend Mardi Gras. Their trek was "in search of America," emblematic of the ླྀs zeitgeist of rebellion and drug experimentation. Featuring Jack Nicholson as their alcoholic, back rider/lawyer, the film was a low-budget, colossal hit.
Fonda produced Easy Rider for about $384,00, with Columbia Pictures picking up distribution rights. Shot in roughly seven weeks between L.A. and New Orleans, it introduced the studios to the bright, educated youth market, and Fonda paved the way for independent filmmakers.
For the cataclysmic year of 1969, Easy Rider was a road movie that accomplished cinematically what Jack Kerouac's On the Road did for literature. It won a standing ovation at Cannes and the festival's best director award.
To a generation of young people, Fonda was "Captain America" and a poster-boy for the age. With his cool shades, leather jacket with the flag stitched on back, he sat perched atop a chrome-laden, high-handle-bar cycle, and the poster for the film was ubiquitous in college dorms in 1969 and the early ྂs.
As a symbol for rebellious youth, Fonda, along with Mick Jagger, Jimi Hendrix, Muhammad Ali and John Lennon, were among the most revered of countercultural poster boys.
Nearly 30 years after Easy Rider, Fonda's performance in Ulee's Gold 1997 as a beekeeper and sullen Vietnam War veteran whose family had nearly fallen apart earned him a best actor Oscar nom.
Fonda followed up Easy Rider by starring and directing The Hired Hand 1971, a feminist Western that his Pando Company made for Universal. He then helmed Idaho Transfer 1973, a message film about the environment.
He directed and starred opposite Brooke Shields in Wanda Nevada 1979, which featured a cameo by his father.
For a period after Easy Rider, Fonda lived on an 82-foot sailboat, essentially having dropped out. "I was writing during that period, and I got about as much writing done as a child in a sandbox," he told the Los Angeles Times in 1984.
In the early ྌs, Fonda appeared in a humdrum batch of projects: He played as charismatic cult leader in Split Image 1982, a freewheeling adventurer in Dance of the Dwarfs 1983 and a suicidal father in the 1985 NBC movie A Reason to Live.
His other acting stints were uneven, from the lowbrow The Cannonball Run 1981 to a German impressionistic film, Peppermint Freiden 1983.
He also starred in Thomas McGuane's 92 in the Shade 1975, where he met Portia Rebecca Crockett then the wife of the writer-director, she divorced him that year and quickly married Fonda. McGuane went on to marry actress Margot Kidder, who also was in the movie.
Rebecca convinced Fonda to move to Livingston, Mont., where they settled into a community at times populated by Jeff Bridges, Sam Peckinpah and other artistic off-roaders.
In the years before Ulee's Gold, he had become a cinematic recluse, living in Livingston, where he had two ranches and 300 acres and rejoiced in the solitude. "Most people can't hang in with me," he said in a 1997 interview. "I have a tendency to go tangential."
Peter Fonda was born in New York City on Feb. 23, 1939. As a child, he attended a number of boarding schools in the Northeast. When at home, he and Jane spent most of their time with their maternal grandmother.
In 1950, his mother, Frances, committed suicide on her 42nd birthday Jane and Peter were told she died of a heart attack.
Throughout his adult life, he openly referred to an uneasy relationship with his dad, who died in August 1982.
His father remarried Susan Blanchard, the stepdaughter of Oscar Hammerstein II, but she left him after five years of marriage. Subsequently, Peter was sent to live with relatives in Nebraska. He enrolled at the University of Omaha but quit school during his third year and became an apprentice at the Cecilwood Theatre in Fishkill, New York.
After a year in New York, Fonda made his Broadway debut, playing an Army private in Blood, Sweat and Stanley Poole. It was an auspicious turn: He received the Daniel Blum and the New York Drama Critics Award as the most promising young actor of 1961.
He was signed to a personal contract with producer Ross Hunter to produce and to act. It gave him the chance to leave Manhattan, which he loathed. "New Yorkers don't know what the people who live in Iowa, Kansas, Nebraska and Colorado know: the reality of this world, what it is made of, the reality of days, nights, weather, season, dirt, air, food, love."
Groomed to be the next Dean Jones, Fonda made his film debut opposite Sandra Dee in Tammy and the Doctor 1963. He followed up with The Victors 1963 and Lilith 1964, in which he played a suicidal mental patient. He then latched on with Roger Corman's low-budget enterprise and starred as biker Heavenly Blues in The Wild Angels 1966.
He followed that with another Corman opus, The Trip 1967, a paean to LSD that was written by Nicholson and featured Hopper playing a freaked-out character. The film was widely popular among college-age students and meshed with the counter-cultural mindset of the day.
Not content with cranking out cheapo motorcycle vehicles for Corman, the threesome decided to do "their own thing," in the parlance of the times, and that turned out to be Easy Rider.
Fonda also starred in such features as Dirty Mary Crazy Larry 1974 and Race With the Devil 1975 &mdash where he starred with Warren Oates as two family men who take on a band of devil worshippers in Texas &mdash and the Canadian horror film Spasms 1983.
In addition to his daughter Bridget, Fonda had a son Justin, by his first wife, Susan Brewer. With his second wife, Betty Crockett McGuane, the pair had a combined family, including her son Thomas McGuane.
Source: Hollywood Reporter
Published on 12 Aug 1919
When “Nanette,” Hannah Gadsby’s poignant and incisive comedy special, hit Netflix last year, the Kiwi comedian became an international sensation almost overnight. While she may not be one to bask in the spotlight, she is using her newfound platform to call out imbalances of power in the comedy world, namely one male comedian who seems to think he’s done his time in #MeToo jail. Gadsby made headlines earlier this summer when she openly criticized defamed “Louie” creator Louis C.K., calling him “a joke” in an interview with the Los Angeles Times.
“He is a joke now,“ Gadsby said of C.K. at the time. “And I think it's important to keep making that joke. He has not reassessed his position of power, and that is why he was able to abuse it. It's difficult to see a shift in your own power and privilege. It's not something we're trained to do. He still honestly thinks he's the victim in all of this.“
In November 2017, C.K. admitted to multiple acts of sexual misconduct, which included masturbating in front of women comics. After a prolonged hiatus, C.K. made his return to stand-up comedy at the end of 2018. Leaked material from C.K.'s sets have raised eyebrows for including controversial jokes about transgender people, the Parkland shooting survivors, and masturbation.
While some comedians believe C.K. has the right to continue honing his craft, Gadsby maintains he still has work to do.
“Well, he can stop calling people the r-word, he can stop feeling sorry for himself,” Gadsby told IndieWire during a recent phone interview. “There’s a clear path to redemption, he’s just not taking it. He’s being self-indulgent and he’s being a cry baby. That’s not a path to redemption, that’s just throwing a tantrum for the tantrum itself.”
When asked whether there is a path to redemption for any of the accused comedians, such as Aziz Ansari or TJ Miller, Gadsby took a broader approach.
“You can apply it to anyone. I just think there’s an issue at large, and it goes across all issues of representation. I think because we think about men as the default, they don’t know how to let other people talk about their experiences without centering themselves. And that runs deeper than two lonely comedians.”
Gadsby is up for two Emmys for “Nanette.” The brilliant variety special takes on issues such as Picasso’s love of underage girls, personal sexual trauma, and neurodiversity. She is currently touring her new show, “Douglas,” in preparation for a 2020 Netflix release.
Published on 08 Aug 1919
Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday. The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.
This week’s question: What show was the hardest show for you to say goodbye to as a critic? Why?Emily VanDerWerff @tvoti, Vox
Like so many critics who came up professionally in the 2000s, I came up parallel to the rise and reign of ABC’s “Lost.” It was a show that sometimes infuriated me and sometimes annoyed me but always, always engaged me. Through most of the show’s run, I was scrambling to gain a toehold in the industry, but for its final season, I recapped the show for the Los Angeles Times and devoted everything I had to it. At one point, I turned in a 3,500 word piece mere minutes before it was supposed to go up. What a great freelancer I was! I know there were questionable decisions made in that final season, but bidding it farewell also felt like bidding farewell to a part of my life, and I have rarely been so emotional as I was at a special screening of the finale I attended, surrounded by all the new critic friends I had made along the way.
Also, “H and Catch Fire” made me so sad to say goodbye. Geeeeeeez that show.Eric Deggans @deggans, NPR
As a critic, I've often found that shows that end on purpose have a reason for winding down. So, as much as I loved “The Sopranos,” “The Wire,” “Breaking Bad,” and “The Americans,” it always felt to me that their end came when it was necessary. But, even though I wouldn't become a TV critic for three more years, the show I found hardest to say goodbye to was “In Living Color.” The show ended in 1994 after just four years, but in that time it helped redefine TV comedy and introduced the world to everyone from Jim Carrey and Jaime Foxx to Damon Wayans, Jennifer Lopez, Tommy Davidso, and David Alan Grier, among many others. The program rose to prominence as a black-focused sketch show airing on Fox opposite NBC's mostly-white Must-See TV lineup of blockbuster sitcoms. And besides providing a forum for performers who were overlooked by more established shows, it also provided a comedic voice for black culture on TV at a time when it was still serious struggle to find authentic black voices on network television. The show, which was created by Keenen Ivory Wayans and featured many of his siblings, essentially fell apart when the Wayans family left amid conflicts with Fox executives. I always wondered what might have happened to the program &ndash which did have its problems with sketches that were insensitive to gay people and women &ndash if the Wayans hadn't bailed and they had spent the rest of the 1990s providing a multicultural counterpoint to the too-white worlds of Seinfeld, Friends and Frasier.
ABCAllison Keene @KeeneTV, Paste Magazine
Once most series end I’m pretty much at peace with it. Great series of TV canon are often though not always able to go out on their own terms, and even if I could spend endless time in that world, I understand the practical need to wrap things up. There are, of course, many series that are taken from us too soon, and I respect the fan response of trying to get shows “saved” even though now it seems like a game that’s being played with the networks where they gain points by “saving” a show rather than just renewing it, but I rarely participate in it. There’s so much TV, so much wonderful TV, that I’m ultimately OK moving on.
And then there was “Downward Dog.” ABC’s wonderfully quirky, sweet, beautifully crafted series ran for just one short season. Its tone, setting and aesthetic felt progressive for a network comedy it’s something that might have thrived elsewhere, but it likely fell prey to a misunderstanding of what it was and what it was doing. A live-action “talking dog” show doesn’t seem like a cool, subversive, soulful series, and yet that’s exactly what “Downward Dog” was. Led by Martin real name Ned and a fantastic cast Allison Tolman, Lucas Neff, Kirby Howell-Baptiste, and creator Sam Hodges as Martin’s sardonic voice, the series understood millennials better than most, and in the form of a lovable dog no less! It was so smart and creative and funny and lovely, I hated to see it go. I still think about it and encourage others to watch it, even though they, too, end up being upset that it’s over. And yet, no one is sorry to have spent time with this glorious gem of a show.
NetflixClint Worthington @clintworthing, Consequence of Sound, The Spool
Sometimes it’s hard to say goodbye to a show you’ve grown to love over years and years, but it’s even harder to say farewell to a great show that was just getting off its feet. That was me with Lisa Hanaw’s “Tuca & Bertie,” Netflix’s brilliant, soulful companion piece but not a spinoff, according to Raphael Bob-Waksberg to “BoJack Horseman.” While both were melancholy tales of shattered dreams and modern malaise set in a world of anthropomorphic animals, “Tuca & Bertie” carried with it a vibrancy that I’d never seen before. The tale of two millennial birds, voiced by Ali Wong and Tiffany Haddish, trying to make it in the Big City of Birdtown while juggling funemployment, sexual harassment and uncertain relationships with overly accommodating partners like Steven Yuen’s sweet doormat Speckle was a buzzy breath of fresh air. In just 10 short episodes, the show managed to touch on everything from toxic friendships to inherited trauma, all under the guise of a frenetic, undulating animal world that feels like Hollywoo on LSD, and is all the more startlingly real for it.
April Neale @aprilmac, Monsters & Critics
That question! So many answers. I was genuinely saddened when “Game of Thrones” wrapped. I felt the last season short-shrifted the characters like HBO’s “Sopranos,” and just hearing that opening theme music always geeked me up as a critic and fan. The “Breaking Bad” series ending was a gut punch too but the story was deftly wrapped up and then we got Vince Gilligan’s great gift of “Better Call Saul” that was served on its heels, softening that loss.
Having said that, the two shows that were super hard for me to say goodbye to were AMC’s “Mad Men” and another HBO effort, the Bruno Heller “Rome” series that was kneecapped by Season 2.
The CWKaitlin Thomas @thekaitling, TVGuide.com
There are actually very few shows I have had a truly hard time saying goodbye to because I feel that many of the shows I love ended at the right time. That being said, I can already sense that I’m probably going to have a hard time letting go of “Supernatural.” I stopped watching the show a few times throughout its very long run lookin’ at you Season 7!, but I always came back, and that is at least partly because of how much I loved the show in the beginning.
Fifteen years is a very long time for a show to be on. By the time the show signs off next year, I will have spent nearly half my life watching Sam and Dean save the world. And while I will always maintain that if the show had ended after five seasons like creator Eric Kripke originally intended that it would likely have a much different, and greater, legacy. But the legacy it will leave behind after defying death again and again and again is equally impressive. “Supernatural” might have had some very low lows in the middle seasons, but the creativity on display, especially in episodes like “Changing Channels,” “The French Mistake,” and “Scoobynatural,” is what kept it going. I know I spent years joking the show was going to outlive us all, but in the end, as we prepare to embark on the show’s final season, I know I’m going to have a hard time letting go. I guess it’s a good thing I can still watch “Mystery Spot” whenever I want.
Adam Taylor/FoxJoyce Eng @joyceeng61, GoldDerby
I’m usually sad but I can deal if my favorite shows get to end on their own terms. I save the true separation anxiety for shows that didn’t get a chance to grow old, like my beloved one-season wonder “The Grinder.” Yes, this is me picking “The Grinder” again for an answer. Let me be. It’s been three years, and I’m still not over it. It was light, fun, with the exact type of meta humor that’s right up my alley. And I’m pretty sure Dean Sanderson is the only person who loves “ER” more than I do. Ask me, and I can tell you in detail where I was when news broke that it was canceled, a choice that cannot be justified.
Fox-TV/Kobal/REX/ShutterstockMarisa Roffman @marisaroffman, Give Me My Remote
OK, I’m going to pull a Fienberg and not single this down to one thing because I am both terrible at goodbyes and terrible at picking a singular answer.
“Bones” was a bizarre show to say goodbye to, because I literally wrote about it for the entirety of my career up until the point it ended. My first byline in this industry was about the series, and I, uh, covered it a lot. I was fortunate enough to be on set for the final episode for a piece, so that was a nice bit of closure, but it’s still weird to not be covering it today.
But I’ve also covered a lot of shows I felt extraordinarily strong about over the years. “Fringe” was a gem, on- and off-screen, and its mid-Season 2 to end of Season 3 run of greatness remains one of my favorite stretches I’ve ever written about. Plus, it brought incredible people into my life. Hi, Damian Holbrook! I also had difficulty saying goodbye to things like “Person of Interest” and the recently-departed “You’re the Worst.”
It’s possible I care about TV too much.Ben Travers @BenTTravers, IndieWire
There are certainly two ways to think about this: the shows that meant the most to you, and the shows that were ripped away at the wrong time. For the latter, it’s been difficult for me to say goodbye to “The First,” “The Grinder,” and “Tuca & Bertie,” all of which offered such excellent first seasons that the expectation for what’s next was too tantalizing to forget. Potential cut short is often the hardest decision to witness for any TV fan, but they don’t quite compare to spending years and years of your life studying, appreciating, and dwelling on a particularly compelling series. For anyone who’s ever read this far into a Critic’s Survey, let alone anything else I’ve written, it’s obvious “The Leftovers” was immensely important to me. Reviewing episodes of “Mad Men” were formative, as well, but Damon Lindelof and Tom Perrotta’s earnest exploration of loss spoke to my interests in such a specific way, I’ll never truly say goodbye. It helps, of course, that it’s the best show of the decade &mdash providing ample analytical fodder that even my 3,000 words screeds couldn’t encompass &mdash but hellos tend to be based in curiosity while goodbyes are more personal. “The Leftovers” hit every mark a TV critic could hope for, which is why so many wrote such eloquent adieus, and it remains close to my heart.
Q: What is the best show currently on TV?*A: No Decisive Winner
Other contenders: “Big Brother,” “A Black Lady Sketch Show,” “Dear White People,” “Derry Girls,” “Gordon Ramsey: Uncharted,” “Love Island,” “Orange Is the New Black,” “Perpetual Grace LTD,” “She-Ra and the Princesses of Power”
*In the case of streaming services that release full seasons at once, only include shows that have premiered in the last month.
Published on 06 Aug 1919
Gwendoline Christie is competing for her first Emmy Award nomination this year for her final outing as Brienne of Tarth on “Game of Thrones,” but the actress would not have landed in the race had she left things up to HBO. According to the Los Angeles Times, Christie submitted herself in the Emmys category for Outstanding Supporting Actress in a Drama Series after learning HBO would not. Her decision resulted in a surprise nomination opposite co-stars Lena Headey, Sophie Turner, and Maisie Williams, all of whom HBO entered into the race. Speaking to the LA Times, Christie shared the reason why she felt compelled to join the Emmys race herself.
“I checked that it wasn't an inappropriate thing to do, and I was told it wasn't,” Christie said. “People submit themselves all the time. I truly never expected it to manifest in a nomination and I don't think anybody else did either. But I just had to do it for me. And I had to do it as a testament to the character and what I feel she represents.“
Christie’s Brienne of Tarth had a whirlwind final season on “Game of Thrones.” In addition to being knighted, Brienne consummated her love with Jaime Lannister Nikolaj Coster-Waldau. One of the final season’s most polarizing moments took place when Jaime abandoned Brienne at Winterfell to go save Cersei in King’s Landing, leaving Christie’s character devastated and in tears. Christie told the LA Times that Brienne is not defined by what Jaime did to her, but by what she did after Jaime left her.
“When you're about to lose something that has truly meant something to you, it can destroy you, and I don't think there's any weakness in that,“ Christie said. “What I liked was that happens, but then she goes back to work. She doesn't follow him, does she? She stays with Sansa and she does her duty. And she did get her happy ending, and her happy ending wasn't defined by a man. What completes her as a character and what makes her three dimensional as a character is the fact that she becomes open about her feelings.“
Besides the three women from “Game of Thrones,” this year’s Emmy race for Outstanding Supporting Actress in a Drama Series also includes Fiona Shaw of “Killing Eve” and Julia Garner of “Ozark.” The 2019 Emmys take place Sunday, September 14.