‘Cole Trickle’ just short of Hollywood ending
ET on NBC) isn’t skimping on stars — the celebrity-packed line-up boasts some of the biggest and best names on TV. Hosted by “Glee” star Jane Lynch and created by “Will & Grace” alum Sean Hayes, the show is modeled after Hayes’ own game nights at his house, where he invites a random sampling of his friends, famous and not, to come play. “Hollywood Game Night” takes that same approach, teaming three celebrities with a civilian player. Can you imagine playing Celebrity with celebrities? Or what about having to guess that a not-so-flattering child’s portrait of Matthew Perry is indeed the “Friends” star …
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Jane Lynch Brings Old-School Hosting Vibe to NBC’s ‘Hollywood Game Night’
No one wanted to lose, no one was a good sport (laughs). Everyone was jumping up and down and high-fiving and throwing failures into the face of their opponents. There is real booze in those drinks of theirs! THR: Who was the most competitive?
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Lewicki come on and give me advice.” That would be Busch’s girlfriend Patricia Driscoll, saying a few lines uttered by the Nicole Kidman character in the film. Driscoll is also president of the Armed Forces Foundation, which used the paint scheme to raise awareness of brain injury and post-traumatic stress syndrome, conditions suffered by returning service members as well as two injured drivers in the movie. But for the most part, the atmosphere over team radio was jovial and loose. Spotter Steve Barkdoll referred to Busch as “Cole Trickle” — the character played by Cruise — from the very beginning, and crew chief Nick Harrison exchanged famous lines from the film with his driver on a regular basis. “Harry, we’re not going any faster!” Busch intoned at one point.
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Hollywood’s long history of misrepresentation of size, culture and more
Itas a problematic reality for Hollywood a a place that thrives on self-congratulation and politically correct double-speak a because representation lies at the heart of the narrative ideal: We tell the story of the aOthera to better understand ourselves, and so we grant actors permission to don the guise of an alternate identity in order to be our guide and signpost on the journey. Yet, as the recent buzz over Johnny Deppas turn in The Lone Ranger proves, the rules regarding representation continue to change, and what was once considered perfectly appropriate for one generation starts to look outrageously offensive to the next. Hollywood isnat the speediest student, but if we look back at some of the most egregious examples of where it went wrong, the folks in La-la-land seem to be learning something a albeit very slowly: Al Jolson in The Jazz Singer (1926) a Considered the first Hollywood talkie, The Jazz Singer features Jolson as a Jew who sings in blackface, and becomes very famous doing so. Critics at the time didnat think there was anything offensive about the actor donning black pancake and noted the only problem was the lack of a love interest. Otherwise, Variety noted in its Dec. 31, 1926 review: aThe Jazz Singer is undoubtedly the best thing Vitaphone has ever put on the screen.a Boris Karloff in The Mask of Fu Manchu (1932) a A true matinee feature, this story of an Egyptologist desperate to stop a Chinese power monger (Boris Karloff) from reaching the tomb of Genghis Khan plays on classic lines of good and evil, with the white European Karloff embodying the dastardly villain a complete with fake hooded eyes and faux moustache.
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