Pfeiffer Pfriday takes on "The Fabulous Baker Boys"

by Nathaniel R

Have you been listening to the podcast "Pfeiffer Pfridays"? Each week Jerry and Michael revisit, or screen for the pfirst time, a Pfeiffer movie. Sometimes they have guests in tow. They're not going in chronological order but hopping around. This weekend marks their 30th episode so they're making whoopie and covering one of the greatest pfilms of the 1980s: The Fabulous Baker Boys. Guest starring... me!

We get into it, not just the Pfeiffer ascendance into the pantheon of it all, but the Bridges brothers character arcs, Jennifer Tilly's hilarious supporting role, the movie's Old Hollywood glamour, the screenplay, the cinematography, and the 1989 Oscar race.

2000: "The Contender" and Three Varying Oscar Journeys

In preparation for the next Smackdown Team Experience is traveling back to 2000.

By Ben Miller

Revisiting Rod Lurie’s The Contender, the three primary performances of Joan Allen, Jeff Bridges and Gary Oldman still pop off the screen.  All three had been critically lauded before the political drama and earned rave reviews for their performances.  Oddly, the film serves as the unintentional catalyst for the Oscar trajectory of all three actors.  In the next 20 years, two would win Oscars, while the other has yet to be nominated again...

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Links: Wicked delays, Jennifer's campaign, Disney streaming

• Deadline Stephen Daldry is leaving Wicked. Universal wanted to work faster than Daldry was willing but losing a director will slow them down anyway so why not meet his schedule? 
• Variety The Avengers acting heroes want you to Vote Blue this election
• EW Jennifer Hudson fires up her second Oscar campaign (for Aretha Franklin biopic Respect) with an EW Cover and profile

Jeff Bridges cancer reveal, Disney news, Noah Jupe confession, Dirty Dancing tribute, Sigourney's Avatar training, and more after the jump...

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Meeting Streisand: A Miniature Comic Tragedy in 3 Acts

Thank you once more to Tom Mizer, one half of the songwriting team Mizer & Moore (The Marvelous Mrs Maisel), who has blessed us with funny, insightful guest blogs from the set, his childhood, and writing rooms all day! - Nathaniel

by Tom Mizer

I was raised on Barbra Streisand. My mother adored her. She owned The Way We Were and Yentl on VHS. She vacuumed to the “Guilty” album. Every birthday, she joyously opened Bab’s anual release like a Dickens’ orphan getting her yearly pair of shoes. And I was, step by step, initiated into the catechism of Our Lady of Funny Girl. (“Tom, THIS is 'Color Me Barbra'. Let us bow our heads in silence before we begin.”) 

So when I met her...Barbra, not my mother...it was brief but epic. And ridiculous. And wonderful. And bittersweet. Ladies and Gentlemen, may I present, “Meeting Streisand: A Miniature Comic Tragedy in 3 Acts.”

PROLOGUE: Tom is performing in a small Off-Broadway show. (His acting career will consist of playing 15 until he is 30 and appearing in musicals that end in “Live!”) In order to make more money, he is spending days off from the play as an extra in film and TV. The agency calls. They need students for a classroom scene in a film called The Mirror Has Two Faces. Directed by Barbara Streisand...

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De Laurentiis Pt 4: T'was beauty that... ooh, look King Kong

This week at TFE we're celebrating the centennial of one of cinema’s most prolific and legendary producers, Dino De Laurentiis.  Here's Nathaniel R with a film that made the producer even more globally famous.

Dino de Laurentiis with "a new star" Jessica Lange

It's easy to see the retro but continuing appeal of King Kong to filmmakers. The legendary Beauty & Beast story is always about the movies themselves. An actress is the damsel in distress, the plot catalyst character is a movie director, the supersized monster is the myth being made. Along the way the story intending to be told by the showbiz cast of characters radically changes but the movie still manages to be about putting on a show. It's just another kind of show altogether after they meet Kong. The story, or, more accurately, the need to reboot it over and over again, is a great metaphor for the amoral churning of Hollywood as Capitalistic Machine. In most versions of King Kong, you dispose of the talent just as the show ends. Death to Kong! (Long live New Kong!)

While De Laurentiis was not actually a director, he was enough of a character in showbiz to often feel like the man behind the curtain instead of the man calling the shots on set (Directed by who?). Such was the case with his remake of King Kong (1976)...

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