Paramount Pictures announced today that it will partner with African-American business leaders in New York City to offer free admission to the Golden Globe-nominated film “SELMA,” from director Ava DuVernay, to 7th, 8th and 9th grade students in New York City.
Inspired by the film’s message of resilience and hope and its historical significance, 27 African-American leaders in the New York business community have come together to create a fund that will allow the city’s 7th, 8th and 9th grade students to see “SELMA” for free at participating theaters. The students will provide a student ID or report card at any of the New York City locations for free admittance. The effort will begin at 7:00 p.m. on January 8th and run through January 19th (Martin Luther King, Jr. Day) or while tickets last.
Those contributing to the fund are:
Amsale Aberra and Neil Brown, Owners of The Amsale Group
Gerald Adolph, Senior Partner, Booz & Company and Gwen Adolph
Ursula Burns, Chairman and CEO, Xerox and Lloyd Bean
Valentino D. Carlotti, Partner, Goldman Sachs Group
Ken Chenault, Chairman and CEO, American Express and Kathryn Chenault
Tony Coles, former CEO, Onyx Pharmaceuticals and Robyn Coles
Edith Cooper, Executive Vice President, Global Head of Human Capital Management, Goldman Sachs Group and Roger Taylor
Roger W. Ferguson, Jr., President and CEO, TIAA-CREF and Annette L. Nazareth
Bruce Gordon, Chairman, ADT, former CEO NAACP and Tawana Tibbs
Charles J. Hamilton, Jr., Senior Counsel, Windels Marx Lane & Mittendorf LLP and Pamela G. Carlton, President, Springboard
Vernon Jordan, Senior Managing Director at Lazard and Ann Dibble Jordan
Debra Lee, Chairman and CEO of BET Networks
Bill Lewis, Co-Chairman of Investment Banking, Lazard and Carol Sutton Lewis
Ed Lewis, founder of Essence Magazine and Carolyn Lewis
Tracy Maitland, CEO and Founder, Advent Capital Management and Kimberly Hatchett
Ray McGuire, Head of Global Banking, Citigroup and Crystal McCrary
Scott Mills, Executive Vice President, Human Resources and Administration, Viacom and Iva Mills
Adebayo Ogunlesi, CEO, Global Infrastructure Partners, Lead Director, Goldman Sachs and Dr. Amelia Quist-Ogunlesi
Richard Parsons, Senior Advisor, Providence Equity Partners and Laura Parsons
Charles Phillips, CEO, Infor, Viacom Director and Karen Phillips
Jonelle Procope, President, Apollo Theater and Fred Terrell, Vice Chairman of Investment Banking, Credit Suisse
Tamara Harris Robinson, CEO, Haramat Advisory Services
Marva Smalls, Executive Vice President, Global Inclusion Strategy, Viacom
Frank Thomas, The Study Group
John Utendahl, Vice Chairman, Deustche Bank Americas
Reginald Van Lee, Executive Vice President, Booz Allen
Ted Wells, Partner, Paul, Weiss, Rifkind, Wharton & Garrison and Nina Wells
“Martin Luther King, Jr.’s momentous journey in Alabama is an important piece of American history,” said Bill Lewis, Co-Chairman of Investment Banking, Lazard. “We are passionate about bringing this story to New York City’s students and we encourage business leaders in other cities to organize similar programs so that more students around the country have the chance to see this powerful film about an epic chapter in American history.”
“Paramount is honored to partner with New York City’s deeply esteemed business men and women to give students in New York the opportunity to experience Ava DuVernay’s beautiful and moving masterpiece,” said Brad Grey, Chairman and CEO of Paramount Pictures.
Commented Sherrilyn Ifill, President and Director-Counsel of the NAACP Legal Defense and Educational Fund, the organization that litigated to obtain the right to march in Selma, “We are thankful for the generous support and leadership of the New York business community and Paramount Pictures in helping deliver ‘SELMA’ and Dr. King’s message to our future leaders.”
Darren Walker, President, Ford Foundation stated “This coordinated effort from the New York business community demonstrates a commitment to education and the children of New York City. ‘SELMA’ is the right catalyst for this prominent group and it’s a model worth building on.”
A growing list of leading New York City institutions are supporting this project by communicating this plan and hosting screenings and discussions, including Harlem Children’s Zone, Abyssinian Baptist Church, Carver Bank, the Apollo Theater, KIPP Schools, Harlem School of the Arts and The New York Public Library.
“We thank the great organizations that quickly agreed to join this effort,” said Charles Phillips, CEO, Infor and Viacom Director. “‘SELMA’ is timely, thought-provoking art about a transformative period in our country and a story that speaks to generations.”
The participating New York City theaters are:
UA Kaufman Astoria Cinemas 14 Astoria
AMC Bay Plaza Cinema 13 Bronx
Concourse Plaza Multiplex 10 Bronx
Alpine Cinemas 8 Brooklyn
Bam Harvey Theater Brooklyn
Cobble Hill Cinemas 5 Brooklyn
Linden Boulevard Multiplex Cinemas 14 Brooklyn
The Pavilion Theater Brooklyn
UA Court Street 12 Brooklyn
UA Sheepshead Bay Stadium 14 Brooklyn
Williamsburg Cinemas 7 Brooklyn
Movieworld Cinemas 7 Douglaston
AMC Fresh Meadows 7 Fresh Meadows
UA Midway Stadium 9 Forest Hills
Regal Atlas Park Stadium 8 Glendale
Jamaica Multiplex Cinemas 15 Jamaica
AMC Loews 34th Street 14 New York
AMC Loews Kips Bay 15 New York
AMC Loews Lincoln Square 13 New York
AMC Empire 25 New York
AMC Magic Johnson Harlem 9 New York
Bow Tie Chelsea Cinemas 9 New York
City Cinemas East 86th Street Cinema New York
Regal Battery Park Stadium 11 New York
Regal Union Square Stadium 14 New York
UA Staten Island Stadium 16 Staten Island
College Point Multiplex Cinemas 12 Whitestone
To reserve 25 or more student tickets during this program, please visit www.SelmaMovie.com/nyc while tickets last.
Directed by DuVernay and starring David Oyelowo as Martin Luther King Jr., “SELMA” has been nominated for four Golden Globes: Best Picture, Best Actor, Best Director and Best Song (“Glory” by Common and John Legend).
The film also stars Tom Wilkinson, Cuba Gooding Jr., Alessandro Nivola, Giovanni Ribisi, Common, Carmen Ejogo, Lorraine Toussaint, with Tim Roth and Oprah Winfrey as “Annie Lee Cooper.”
Paramount Pictures, Pathé, and Harpo Films present “SELMA.” Produced by Christian Colson, Dede Gardner, Jeremy Kleiner, Oprah Winfrey, the film is executive produced by Brad Pitt, Cameron McCracken, Diarmuid McKeown, Nik Bower, Ava DuVernay, Paul Garnes and Nan Morales. The film is written by Paul Webb. “SELMA” is directed by Ava DuVernay.
“SELMA” is the story of a movement. The film chronicles the tumultuous three-month period in 1965, when Dr. Martin Luther King, Jr. led a dangerous campaign to secure equal voting rights in the face of violent opposition. The epic march from Selma to Montgomery culminated in President Johnson (Tom Wilkinson) signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement. Director Ava DuVernay’s “SELMA” tells the story of how the revered leader and visionary Dr. Martin Luther King Jr. (David Oyelowo) and his brothers and sisters in the movement prompted change that forever altered history.
Currently open in select cities, “SELMA” opens in theaters nationwide on January 9th, 2015. To learn more about the film, go to www.selmamovie.com
TV
Did JD from Scrubs Have a Dark Past?
TW: Discussions of child abuse and neglect.
The sitcom Scrubs ran from 2001- 2010 delighting viewers with the escapades of daydreaming Dr ‘JD’ Dorian and his friends. Unlike most TV sitcoms Scrubs perfectly balanced the comedic and the tragic. Being set in a teaching hospital with most of the main cast being doctors; there was plenty of fodder for some truly heart-wrenching storylines.
Like with most sitcoms, if you look under the jolly veneer (and have too much time on your hands) a much darker story emerges. In Scrubs, I would argue, this may be the past of its titular protagonist JD (played by Zach Braff). Some fans (ok, me) speculate that not only did JD have a less than ideal childhood but an abusive one.
Hints of this could be interpretated throughout the series:-
1. Attachment to Dr Cox
One of the most popular aspects of the series is the oddly touching relationship between mentor and mentee: Dr Cox (John C McGinley) and JD. It’s perfectly normal to admire and want to emulate an older colleague. But JD’s admiration of Dr Cox always seemed to go a step further. JD looked to the older doc as not only a mentor but a father figure.
JD explicitly states this throughout the series. Most notably in the finale; when during his much sought after hug JD claims Dr Cox smells “like a father figure”. This is odd as Dr Cox is only about 13 years JD’s senior. We know JD’s biological father (played by the late John Ritter) was pretty much absent during JD’s childhood. Is this yearning for a parental figure a way to fix JD’s damaged childhood?
As loathe as I am to criticise a fan favourite but Dr Cox openly mocks and belittles JD, almost never referring to his protégé by name. Instead by a vast archive of disparaging nicknames. The show does establish that there is love and respect om both sides, from Dr Cox deep down (deep, deep down). But why does JD not only put up with as well as seek out this treatment? Very masochistic. Or, has JD been subconsciously taught that taunts and aggression equate to love?
2. Feels Affinity with Dr Cox and Elliot
The show establishes early on that Dr Cox had an abusive homelife as a child. He openly reminisces about his parents being violent alcoholics. Is this the real reason that JD clamours for Dr Cox’s attention? Does JD see Dr Cox as an inspiration of someone who came from a similar background to his and became a well-respected doctor and family man?
Is the same true of JD’s on/off girlfriend, future wife and fellow doctor; Elliot? The show establishes that Elliot’s parents are mentally, emotionally, and financially abusive. Are JD and Elliot drawn to one another (partly) because they are both traumatised by their past? Even when it is proven time and time again that they are not suited.
3. Hostile Relationship with Older Brother
JD’s older brother Dan (Tom Cavanagh) appears several times in the show. Despite regularly visiting his kid brother, JD makes clear that these visits are not welcomed. JD’s ire is uncharacteristic as he’s shown as an ardent people pleaser throughout the show. Yes, Dan did bully JD throughout their childhood, though it’s unclear whether this was normal sibling rivalry or more.
In Series 3 Episode 5 ‘My Brother, Where Art Thou?’ JD attempts to cut off contact with Dan claiming that Dan never looked out for him. Even as children of divorce why is JD so upset his brother didn’t protect or “come through” for him? In the same scene JD comments about how their mother “married anyone that rang the doorbell”. Reading into this (hey, it’s what we’re here for) did Dan not protect JD from these multiple husbands?
4. Audience Never Actually See JD’s Mother
To me this is the most obvious that something is suspicious about the Dorian matriarch. Despite seeing every other cast members mother (except Dr Cox but its implied that his parents are dead) we never see JD’s. He, at the very least, seems to have a good relationship with his mother. Mostly speaks highly of her and she calls often. It doesn’t follow the trope many sitcoms use; having a character the audience never physically sees being used for comedic effect.
We hear JD’s mum (Barbara) speak in a flashback (Series 3 Episode 21 ‘My Self-Examination’). While Barbara was tucking young JD into bed she was saying some quite toxic things to her child, like how no women will ever be good enough for him. It is clear this scene is supposed to be somewhat creepy as Barbara is stroking the child’s face in an inappropriate manner. Adult JD even refers to his mum as “sexy” in the same episode. Very Freudian but in the light of everything else we are discussing: very disturbing!
5. JD’s Mother Drank
Linked to number 4 JD admits in Series 8 Episode 2 ‘My Last Words’ JD admits his mum “drank a lot”. Does this statement answer some questions about JD’s odd childhood?
6. JD is a People Pleaser
As we have already mentioned JD is a pathological people pleaser (what’s that like?). As a doctor he goes above and beyond for his patients. He does everything from finding patients estranged family members (Series 4 Episode 11 ‘My Unicorn’) to shaving his head in solidarity with a chemo patient (Series 5 Episode 15 ‘My Extra Mile’). Of course this is all very commendable but JD particularly enjoys the gratitude. Why does he need this validation? Is this a coping mechanism from a turbulent background who had to go above and beyond to get the love that should have been unconditional?
7. Extremely Tactile
Another of JD’s character traits is he extremely tactile. This is of course played up for comedy with his ‘sneak hugs’ (Series 6 Episode 13 ‘My Scrubs’) delivered to the stand-offish Dr Cox or the fact he has his friends on a ‘hugging schedule’ (Series 5 Episode 8 ‘My Big Bird’). Is this someone trying to seek the love and affection he never received in childhood? Or reassure himself that the people he loves won’t disappear?
8. Self-Sabotaging
A common reaction to childhood trauma is self-sabotaging behaviour. In his romantic relationships JD has this in spades. Throughout the run of the show JD has more romantic partners than the rest of cast put together. It is acknowledged that JD goes from relationship to relationship with alarming speed and breaks them off for shallow reasons. Again, he may be trying to seek the love and security he never had in childhood.
JD’s damaged psyche is put on full display when after spending the majority of the series chasing Elliot she finally leaves her loving boyfriend for him. JD immediately decides he doesn’t want her anymore to many fans outrage (Series 3 Episode 20 ‘My Fault’).
9. No Therapy
As well as never actually seeing his mother, we never see JD engaged in any kind of therapy. All of the other characters attend various types of therapy throughout the series. JD does not, despite arguably needing it the most. Is JD perhaps too scared of what therapy might uncover or not want to deal with his trauma head on?
10. Overactive Imagination
During Scrubs entire run (except the final series thou shalt not be named) hinges on JD’s overactive imagination. His outlandish fantasies make for excellent comedy and unique sequiturs to break up the storylines. But what if this was yet another coping mechanism for the hapless leading man?
Children from challenging background often disappear into elaborate fantasy worlds in order to escape their surroundings. Is this a habit JD could never quite kick? It would explain why he doesn’t seem to have a lot of control of his daydreaming despite being an adult. It is a comfort and a way to deal with the difficult stuff life throws at him.
If any or all of these speculations are true Scrubs goes from being a mere half-hour sitcom to a story of one man’s triumph over his dark past. Despite his flaws and failings JD has still made something of himself and is surrounded by his chosen family; all of whom love him for who he is. This is extremely inspiring.
Movie
‘Mufasa: The Lion King’ Will Leave You Breathless
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
Movie
Is ‘Kraven the Hunter’ a Total Letdown?
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.