Inside Beat 2011-04-07

INSIDEBEAT APRIL 7, 2011 • VOL. 29, NO. 7

THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

Where are they now?

Find out what the child stars of yesteryear are up to these days • PAUL W IE V E R P PRIL BOOK A • G IN N E ING AWAK R P S • S E G WEDG IN R P S • S D THE SOUN

Page 2 • Inside Beat

April 7, 2011

EDITOR’S RANT

Childhood Dreams...

FREDDIE MORGAN TV EDITOR

We enviously look at stars from our past. Young actors like Jonathan Taylor Thomas and Dakota Fanning found their niche at an early age and worked tirelessly to achieve widespread recognition.

It’s not difficult to weigh our worth as children against these stars, whose résumés could easily fill a page before they reached their double-digits. When we were kids, we made mud pies and played dress-up. The hardest we ever worked was tr ying to convince our parents to let us stay up past our bedtimes. But as kids who were thrust into the limelight at an early age, these child stars missed out on

an integral part of growing up: discovering the land of make believe.

When children watch a movie, it is a magical experience. Set design, directing and digital imaging allow them to believe that what they’re watching is real. Through movies, children can learn to pretend. Their imagination stretches as far as the eye can see, from princesses with pet unicorns to personified Barbies.

My favorite movie when I was little was The Last Unicorn. The story was pretty simple: set in an enchanted forest, a unicorn learns that she is the last of her kind. In her search for the other unicorns, she is transformed into a woman and learns about regret and love. As I reflect upon why I liked the movie so much, I actually have a hard

time remembering the plot. What stands out instead is the impact the movie had on me.

I was mesmerized by the intricacies of another world — how could an animated place look so real? I constantly wondered about other universes. Every day, I’d gallop around the house on my invisible horse in search of the lone unicorn’s world.

Child actors are exposed to the innerworkings of moviemaking when they’re practically still in diapers. They know that fantasy worlds are constructed by designers and unicorns are just horses with prosthetic horns and dyed fur. They are not exposed to the same mysteries and wonders of childhood that we are.

Though they probably had some free time to play, their fun was not as imagi-

INSIDEBEAT

EDITORIAL BOARD S TACY D OUEK .......................................................... EDITOR ROSANNA VOLIS.........................................................ASSOCIATE KATHERINE CHANG...................................................ASSISTANT

EDITOR EDITOR

FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR OLIVIA KINTER.....................................................................THEATER EDITOR ZOE SZATHMARY....................................................................FASHION EDITOR NANCY SANTUCCI..........................................................................COPY EDITOR RAMON DOMPOR.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR INAYAH BRISTOL..........................................................................BOOKS EDITOR ASHLEY PARK...........................................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR

native as ours. Their Barbies and Kens were actors with an agent when our Barbies and Kens were secret agents.

Upon reading about child stars’ current whereabouts, I’m shocked they’re not all completely screwed up. Their lives were turned inside out once they set foot on their first photo shoot, with no time to explore their imaginations. These stars were forced to grow up too soon, yet their mental growth as a result was stunted.

We may not have been ambitious children. We didn’t appear in Gerber commercials, nor did we sign our first contract on our eighth birthday. But that’s OK, because we experienced something that many young actors never had: a childhood. And that’s more than any paycheck can give us.

THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Olivia Slutsky Tiffany Gonzalez Adam Rosengarten Ciara Copell Rose Flahive Diana M. Cholankeri Vanessa Romero Cover Photo Courtesy of Fanpop.com

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Inside Beat • Page 3

April 7, 2011

BOOKS

APRIL BOOK PREVIEW

BY INAYAH BRISTOL BOOKS EDITOR

READING MY FATHER

by Alexandra Styron American writer William Styron (1925-2006) was quite famous for his works in the 20th century and through his own memoir he discusses his suffering from serious depression. Now his youngest daughter, Alexandra Styron, offers another look into the life of her father. In Reading My Father she combines her personal memories with new information she discovers to chronicle her father’s life.

Through the piece, Styron validates the connection between father and daughter as a deep and meaningful bond.

THE PALE KING

by David Foster Wallace Everyday people don’t really know that much about the IRS or the people who work there. David Foster Wallace (1962-2008) uses this premise for his last novel, The Pale King. The Pale King’s protagonist, named after Wallace, is a new agent at the IRS Regional Examination Center who, after some time, comes to learn about his co-workers’ personalities as well as the kind of job he’s gotten himself into. The book, which remained unfinished because of Wallace’s unfortunate death, hits shelves this April and offers another installment by the famed author.

44 CHARLES STREET

by Danielle Steel Listed as the eighth best-selling author of all time, Danielle Steel has proved countless times that she can write a book worth reading.

Now the author is releasing her first novel of the year. 44 Charles Street is about Francesca Thayer, a woman who is forced to take boarders into her house in New York when she hits financial troubles. The novel tells the story of Patricia and the three strangers that move in to her home.

U y z a r C

One Dad’s Crash Course in Getting His Kid Into College Andrew Ferguson | B

BY INAYAH BRISTOL BOOKS EDITOR

Though the college search is over for the students here at Rutgers, most can probably remember the long and daunting road they took to get here — sitting in a classroom full of students early on a Saturday morning for the SATS, trying to write the perfect essay for the application and figuring out how to pay for college.

Andrew Ferguson, a senior editor at The Weekly Standard, shares his personal experience with the college process, which he became familiar with when his son was applying for colleges. Because he was the graduate of an average college many years before, Ferguson was unaware of the competitive environment that today’s society creates for teens applying to college. Through interviews with admissions counselors, col-

lege coaches and more, Ferguson tells of what he learned about the admissions process. From debates on the fairness of the SAT, to the origins of higher education, Ferguson divulges all in his narrative.

Crazy U is written in a very laidback and humorous manner, but at the same time, it explores and analyzes various topics that cause readers to think about college in a new way. Perhaps one of the most interesting concepts covered is the fact that college seems to have become more of a business than an effort to nurture and help students reach their highest potential. As Ferguson points out, the first task children must face when heading into the real world is to “learn the act of marketing, with themselves as the product.” There is no time to be shy and timid — if the student doesn’t know how to market and sell his profile to the colleges, he’ll face rejection. The harsh realities of this as well as the

attitudes of actual admissions counselors is going to be a wakeup call for a lot of parents who read Ferguson’s book.

Ferguson’s guide is great for parents trying to help their children get into college — especially parents who are not as aware of all the aspects of college admissions.

The information he offers may not seem like something that would appeal to college students, but it has quite the opposite effect.

Some of Ferguson’s findings are things that many current college students will probably wish they would have known when they actually applied to college.

Crazy U is really an amusing tale that captures the uncertainties and uneasy feelings that parents feel when their kid is getting ready to apply for college. It’s the kind of book that will either help appease some of the moms and dads helping their kids get into schools or further stress them out.

Page 4 • Inside Beat

April 7, 2011

THEATER

SPRING AWAKENING State Theatre | A-

BY ASHLEY PARK ONLINE EDITOR

For one night only, a little bit of New York came to Jersey.

Crowds of theater-lovers waited under the marquee of the State Theatre for Spring Awakening, originally performed by the 2006 Broadway cast, currently on tour until May 15.

The musical boasts a score written by Duncan Sheik and eight Tony Awards. It takes place in late 19th century Germany and revolves around the lives of teenage adolescents blindly exploring their budding sexuality in an oppressive society. The main propellant of the plot is the love between Melchior (Christopher Wood), the most defiant and learned of the gang, and Wendla (Elizabeth Judd), a childhood friend. Accompanying subplots explore themes discussed today, like child abuse, depression and suicide. Together, the teenagers fight to escape the prison of innocence enforced by the tyrannical “parentocracy.”

This highly controversial play will send the blood rushing to the cheeks of even the most high-collared matron. Center stage and under the glare of spotlight, it showcases scenes of masturbation, homosexuality and sex. However, don’t be so quick to think that Spring Awakening is a threehour orgy. The chemistry between Wendla and Melchior is heartfelt and poignant as they grow to know themselves as well as each other.

It is a play that becomes more about love than lust.

Judd is by no means shadowed by her predecessor, Glee’s Lea Michele. Her voice is a perfect parallel to her character — some-

PHOTOS COURTESY OF VANESSA ROMERO

The Fox on the Fairway

where between girl and woman. It can be angelic, like in “Whispering,” or explode with raw emotion as in “Mama Who Bore Me.” Fellow songster, Coby Getzug plays Moritz, an awkward misfit. His voice was the highlight of the play, amping up the agony and desperation, especially in the testosteronedriven, “The Bitch of Living.”

One of the most exciting things about the score is its juxtaposition between stern conservatism and the radical rock ‘n’ roll spirit. In an early scene, the boys religiously recite lines from Virgil while their teacher glowers over them. The Latin chant becomes the background rhythm to “All That’s Known.” The contrast is as eerie as it is exhilarating and serves to escalate the tension as the story progresses. Although no one can dispute the lyricism and force bursting from every note, the show could do with some song variety. It is easy to tire as a constant barrage of teenage angst and moodiness grates upon the ears.

How about a comic ditty or a wistful love ballad? Being a teenager can include those, too.

Overall, Spring Awakening is worth seeing not because of the nude scenes, but because it encourages its audiences to talk candidly about sex. Even in our era of 16 and Pregnant, one night stands and sex education, we still tend to tiptoe around the topic with veiled innuendoes and pointed glances.

While we dread “the talk” from parents and openly poke fun at health class, perhaps we should be grateful that we were well informed about our changing bodies instead of thinking “sticky dreams” heralded insanity like Moritz, or believing storks deliver babies.

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George Street Playhouse | A+ ROSE FLAHIVE STAFF WRITER

Some say that laughter is the best medicine. This philosophy is particularly true when it comes to experiencing the structure of a classic comedy within live theater.

Playwright Ken Ludwig’s The Fox on the Fairway, a farce revolving around two warring country clubs, is fast-paced and funny.

When director of the Quail Valley Country Club, Bingham (Peter Scolari, The Polar Express), bets $100,000 along with his wife’s (Mary Testa, Eat Pray Love) antique shop on the tournament, against his rival Dickie’s (Michael Mastro, Law & Order) country club, the Crouching Squirrels, he thinks he is going to win. But once he discovers his star player has just switched clubs, Bingham depends on his new assistant Justin (Reggie Gowland, Seussical the Musical), whom he and co-worker Pamela (Amy Hohn, Hitch) discover through Justin’s girlfriend Louise (Lisa McCormick, Love, Shakespeare). Justin is actually an amazing golfer and might be able to win the Quail Valley tournament, though keeping this easily upset hotshot away from any emotional turmoil that could affect his game is easier said than done.

One aspect that makes Fairway good quality humor is the surprises, both in plot and physically. Every time the story seems to settle into going in one direction, it suddenly twists and turns into a new one that leads to more trouble. The actors keep up with the speed of the story with high energy, providing huge laughs with every

change. References to classic works by Homer, Shakespeare and other great writers that parallel what is happening on stage often appear, increasing the amount of humor to the show. None of the six cast members show any sign of being overwhelmed by the amount of joking, plot twists or rigorous physical exertion though; they all simply react with another humorous bit that ultimately keeps the audience falling out of their seats.

Fairway does not lean only on verbal humor, however. From wacky sweaters to silly props, the set and costumes contribute strongly to the visual humor of the show. And there is plenty of action going on as the cast runs, jumps and (occasionally) walks about the set. The Tap Room in which the show takes place in is beautifully designed and seems to have a personality of its own. Everything that brings the audience to the Quail Valley Country Club is delightful.

Ludwig (Shakespeare In Hollywood, Moon Over Buf falo) has outdone himself with his fresh new play, and he can gladly thank George Street Playhouse for bringing his ridiculous scenario to life in this production. The show never has a dull moment. The audience can see that the cast and crew have had fun assembling the show, and now finally, presenting it to the public. Fairway is a scratch play; it comes to life from the ver y first line, and keeps you entertained, even after the lights fade.

The Fox on the Fairway now has an extended run through Saturday, April 23.

Inside Beat • Page 5

April 7, 2011

FASHION

CUTTING

E G D WE HEELS

BY ROSANNA VOLIS ASSOCIATE EDITOR

From the catwalks to the sidewalks, ‘70s inspired wedges are spring’s go-to shoe. Comfy and chic, a well structured wedge in a classic neutral will bring your style up a notch. With so many options available, Inside Beat has sifted through the wedge madness and found the best pairs that are easy on your feet and your wallet.

eye on

BY ZOË SZATHMARY FASHION EDITOR

Ever y season, the fashion industr y buzzes about the top male and female models stomping down the catwalks. Who has the best cheekbones or the toughest strut? The undisputed “model of the moment” is Serbian-born Australian Andrej Pejic. With his long blond hair, pouty lips and delicate frame, Pejic has modeled both women’s and men’s clothes on the runways.

Raised in the working-class town of Broadmeadow, Pejic joined Australian agency Chadwick Models after deciding, “I thought modeling might be better than KFC.” Pejic has claimed that despite his unusual looks, he was never bullied or harassed while growing up, preferring to mingle among different groups of friends.

This openness to a wide variety of people and tastes has definitely endeared Pejic to the fashion world. He first caught editors’ and photographers’ attention while modeling as “James Blond” for Jean Paul Gaultier, wearing a beehive haircut and furry coat. Right now, perennially cool designer Marc Jacobs is using Pejic as the face for his Marc by Marc Jacobs Spring/Summer 2011 advertising campaign.

Pejic is currently in Australia, working the various tents and parties at Sydney Fashion Week. He and James Varley, another androgynous male model represented by Chadwick, have become hot topics, raising the issue of Australia’s (dis)comfort with ambiguous depictions of gender in mainstream media. While Pejic may be uneasily received in his home country, his success in Paris, Milan and New York is undisputable.

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ANDREJ PEJIC

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p a i n s

Elizabeth Taylor, Michael Jackson, Drew Barrymore, Ron Howard and the kids from The Brady Bunch have in common? They are all iconic child stars.

Child stardom is adorable to most, but to some it can be scary and oddly intriguing to consider whether these public figures lose their innocence at an early age. Today we have Miley Cyrus, Justin Bieber, Dakota Fanning, the Jonas Brothers and the kids from High School Musical. Some have remained in show business; others have quit, gone off to college, or headed off in another direction to find a different type of happiness. Inside Beat takes a look at where our childhood stars are soaring now.

Entertainer and fashion designer Amanda Byne in productions of Annie, The Secret Garden, The Mus in 1996, a silly, sketch comedy show intended for ki elodeon game show Figure It Out. Bynes went on to star in her own spinoff show the program had Bynes appear in almost ever y sc such as Judge Trudy (the pre-teen version of Jud Penelope Taynt, “Amanda’s #1 Fan!” At age 16, Bynes played the role of Holly Tyler Bynes began her film career in 2002 starring oppos year later, she and Academy Award winner Colin F (2005), and She’s the Man (2006), a modern parallel In early 2007, she made the No. 5 spot on Forbe had combined both her film and musical theater tal tion of the Broadway musical Hairspray. Bynes pla Huge), among an ensemble with John Travolta, Chr That same year, she also starred in Sydney White, a recent work is Easy A, a modern-day retelling of Th Hailed as a young Lucille Ball of her time, Amand tertain, retire and “unretire” from acting, she has a sonally and career-wise, seems to take her far as sh

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g r o w i n g

WHAT DO

Mak fire as N beyond that m Matilda in the 1996 film by the same name, she c library and helped other kids escape the clutches Although there was much promise ahead, Wil uate of NYU’s Tisch School of the Arts and tries says in an interview with NYU Local, “I remembe the Olsen twins.’ I’m not an Olsen twin. And the th I’m not very glamorous; I’m a nerd. I came to NY not really celebrity material.” Although Wilson’s c always be a timeless favorite. After all, a little bit

haley joel OSMENT

Though he first debuted in Forrest Gump as th Joel Osment is better remembered for his breako Shyamalan’s thriller film The Sixth Sense (1999), emy Award nomination for Best Supporting Acto tender age of 11, he then moved on to star in man Pay It Forward (2000) and A.I. Artificial Intelligen profile résumé under his belt, Osment seemed ce in the years to come.

However, in 2006, Osment was in a car accident mailbox and was turned over. Pleading no contest charges, he was sentenced to three years probation of alcohol rehabilitation. When his sister Emily Osm he completely disappeared from the limelight.

He enrolled in New York University’s Tisch Sch turning to Hollywood’s spotlight. Since the acciden Kingdom Hearts video game series. He has acted in made his Broadway debut in the revival of David M and highly disappointed. He is often cited as one of if that is the best he will ever amount to be — just a

kurt RUSSELL

Kurt Russell has not only managed to remain in the cinema spotlight for nearly half a century, but has also dominated the screen as a male-lead actor in every decade since the early ’70s. He has developed an image of a rugged, true-blue, action star in explosive blockbusters like, Escape from New York (1981), The Thing (1982), Death Proof (2007) and cultclassics like Big Trouble in Little China (1986). Russell began his career as a child star in the early ’60s. He starred in television shows like, The Travels of Jamie McPheeters and guest starred in popular series like Gilligan’s Island and Lost in Space. After signing a contract with Disney, Russell starred in many of their films (Fools’ Parade, The Strongest Man COURTESY OF DISNEY in the World) and became one of their top young stars in the ‘70s. What is remarkable about this actor is his ability to capture the audience with his seemingly effortless charm. Kurt Russell wasn’t just some prettyboy teen who faded away with age, but a genuine class-A artist, whose body of work speaks for itself.

—Alex Natanzon

mary-kate & ashley OLSEN

amanda BYNES

es is all that. The 25-year-old child star got her start appearing onstage sic Man and The Sound of Music. She became a cast member on All That ids and teens, as well as appearing on the panel in episodes of the Nick-

in the new sitcom What I Like About You, which ran for four seasons. site child star Frankie Muniz (Malcolm in the Middle) in Big Fat Liar; a Firth appeared in What a Girl Wants. She then starred in Love Wrecked l to William Shakespeare’s comedy, Twelfth Night. s’ list of the highest paid celebrities under 21. Around that time, Bynes lents when she, along with an A-list cast, was featured in a film adaptaayed Penny Pingleton, best friend of Tracy Turnblad (Nikki Blonsky, ristopher Walken, Queen Latifah, James Marsden and Michelle Pfeiffer. story based on the classic Snow White and the Seven Dwarfs. Her most he Scarlet Letter. da Bynes grew up right before our eyes. While she has continued to enalso created her own fashion line called Dear. Her versatility, both perhe matures.

—Olivia Kinter

If one ever compiled a list of Child Stars whose image has been merchandized to the wits end, this delightful twin-duo would grace that list with breathless ease. While actors usually begin their careers in their early 20s, the Olsens, on the other hand, have had the camera-lens fixated on them since they could barely walk and managed to extinguish their film-career virtually before the age of 20. The Olsens began their illustrious run with the popular television show, Full House. They later went on to star in countless child comedy films like Double, Double, Toil and Trouble, It Takes Two and Switching Goals. The twins became a household name that was the physical embodiment of super-awesome-preteen fun. They were icons who were adored and emulated by tweens ever ywhere. But ultimately, the package is not sold separately.

When push came to shove, the Olsens were never really able to deliver any noteworthy, serious performances in films. As the girls grew, their acting career slowly died out until it was a shriveled, little incarnation of what it once was.

However, the twins have jumped ship over to the fashion industry, making a splash as the minds behind the fashion lines The Row and Elizabeth James. Their newfound talent has even earned them a nomination for 2011’s CFDA Talent Award. It seems that they have found a new niche in the limelight.

—Alex Natanzon COURTESY OF FANPOP.COM

w, entitled The Amanda Show (1999-2001). Similar to that of All That, cene where she impersonated and played memorable comedic roles, dge Judy), the popular girl of “The Girls Room” named Amber and

mara joseph WILSON GORDON-LEVITT

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king her movie debut alongside Robin Williams in 1993’s Mrs. DoubtNattie, Wilson proved at a young age that she had a bit of magic in her d her years. Not only was she adorable, but Mara Wilson was the girl ade bookworms look cool. Most famously known for her role as captured hearts as she wheeled around her wagon of books from the s of Ms. Trunchbull’s Chokey. son has pretty much dropped off the face of Hollywood. She is a gradto stay away from spotlight. About first attending the school, Wilson er cringing a bit and thinking, ‘Oh no, they’re going to lump me with hing is, I have nothing against the Olsen twins. I’m just not like them.

YU for academic purposes. … I’ve never enjoyed being a celebrity. I’m choice is a smart one and Matilda may be a character of the past, she’ll of magic goes a long way.

—Stacy Douek

e title character’s son, Haley out role in director M. Night which earned him an Acador. A household name at the ny well-known films, such as nce (2001). With such a highertain for continued success

hool of the Arts in 2007, and graduated in 2010, with low hopes of rent, his place in Hollywood rests in voicing the character Sora from the n several B-list movies, none of which seems to have much potential. He Mamet’s American Buffalo in 2008, though the critics were unimpressed the best child actors of today’s generation. Unfortunately, it appears as a “somebody” from yesteryears long gone.

—Katherine Chnag

LEFT COURTESY OF NBC RIGHT: COURTESY OF ALLMOVIEPHOTO.COM

t, in which his car hit a brick to DUI and drug possession , a $1500 fine and many hours ment debuted in Disney Channel’s Hannah Montana in the same year,

One of our generation’s most talented and successful actors in Hollywood is Joseph Gordon-Levitt. Born in 1981, he grew up in California and began appearing in commercials and television films as a young child. Gordon-Levitt made brief appearances in several well-known television series before going on to play Young Norman in the motion picture A River Runs Through It (1992), in which he won the Young Artist Award for Best Actor Under 10 in a Motion Picture.

After appearing alongside Danny Glover, Christopher Lloyd and Matthew McConaughey in the baseball movie Angels in the Outfield (1994), Gordon-Levitt became an ultimate household name with the launch of the primetime television series 3rd Rock from the Sun, starring John Lithgow, Kristen Johnston and French Stewart. Beginning in 1996, the adventures of four aliens trying to assimilate into human life on Earth lasted six seasons; Gordon-Levitt left during the final season. During his run of 3rd Rock, he starred in one the most popular teen movies of the 1990s, 10 Things I Hate About You, a modern retelling of William Shakespeare’s The Taming of the Shrew.

In 2001, he quit acting and enrolled in Columbia University. However, he did make his stage acting debut in the off-Broadway premiere of Austin Pendleton’s play Uncle Bob and also did voice work for the animated film Treasure Planet (2002). In 2004, he dropped out of his studies to return to acting, stating that at this point he would only sign on with “good movies.” After a slew of work, including Mysterious Skin (2004), Brick (2005), The Lookout (2007), and Miracle at St. Anna (2008), GordonLevitt starred as greeting card writer Tom Hansen in 2009’s critically acclaimed indie film (500) Days of Summer. Almost a second breakthrough period for him, he was nominated for numerous awards. The same year, he was nominated for a Teen Choice Award for “villain” in G.I. Joe: The Rise of Cobra. Most recently, he appeared as Arthur in the science fiction action picture Inception (2010), with Leonardo DiCaprio, Marion Cotillard and Ellen Page.

Joseph Gordon-Levitt can be considered a role model. A diligent, smart and lucky child actor, he took a break from work, analyzed where he was going, then chose from his options. Second chances may evolve into even bigger opportunities, even if it involves taking risks or making daring decisions.

—Olivia Kinter

Page 8 • Inside Beat

April 7, 2011

TV

Nurse Jackie

BY OLIVIA SLUTSKY STAFF WRITER

Jackie Peyton is ambitious, sharp-tongued and harsh. As an emergency room nurse at All Saints’ Hospital in New York City, she heals patients on the worst days of their lives. She is her own foil, caring and standoffish, maternal and cold — and she’s hiding too many secrets. In the third season premiere of Nurse Jackie, the truth is rapidly catching up to her.

This new season will shed a whole new light on Jackie’s character.

Edie Falco (The Sopranos) plays a woman with a strong head on her shoulders. She has the ability to balance many things at once — work, her husband, her children, her phar-

Showtime, Mondays at 10 p.m.

macist boyfriend and her painkiller addiction. No one seems to know her true identity because Jackie has done a marvelous job covering her tracks. That is, of course, until she falls down on the job.

Jackie cannot control her nasty pill-popping habit. In her recent attempts to get drugs, Jackie hands close friend and fellow coworker Dr. Eleanor O’Hara (Eve Best, Vital Signs) a scan of her contorted back.

Jackie’s plan was halted once O’Hara confirmed with the staff that an x-ray had never been taken of Jackie. O’Hara, along with Jackie’s husband, Kevin (Dominic Fumusa, As The World Turns), also discovers a mysterious P.O. Box under Jackie’s name. It is clear that Jackie is hiding something.

In the first shot of this season’s premiere, Jackie stares at herself in the mirror. Viewers see a crazed addict desperate for her fix as we painfully discover a different person.

However, it seems that no matter how strung out our beloved nurse is, she never fails at her job. If only she were as nurturing with her own family. Though her kids remain unaware of the situation at hand, husband Kevin takes no chances at protecting his children from his estranged wife.

Family ties are beginning to tear.

This season has a completely different tone than the previous two.

Jackie unveils her mask and the viewers are exposed to the nurse’s inner workings. A once in-control Jackie begins to lose her grasp on her family, friends and her mind.

HBO, Sundays at 9 p.m. | B PHOTOS COURTESY OF HBO

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EYE ON

Mildred Pierce

BY TIFFANY GONZALEZ STAFF WRITER

Director Todd Haynes (Far From Heaven) took on the challenge of adapting the prestigious story of Mildred Pierce into a five-part miniseries for HBO. The series is based on the 1941 classic James M. Cain novel of the same title. Starring Academy Award winner Kate Winslet (Revolutionary Road) as Mildred Pierce, the series depicts life during the Great Depression. Mildred is a recent divorcé that must learn to support herself and her two young daughters through extreme economic hardships.

After throwing out her cheating husband Bert (Brian F. O’Byrne, Brotherhood), Mildred is now expected to care not only for herself but for her entire family as well. She finds a job as a waitress that ultimately helps her build her own chain of chicken and waffle restaurants. Throughout the series Mildred encounters many obstacles within society, her business and her family.

Her money-hungry daughter, Veda (Evan Rachel Wood, True Blood), learns to climb the social ladder by engaging in many sexual relationships. Though the daughter is spoiled, irrational and ungrateful, Mildred continues to seek her approval — adding extra anxiety to Mildred’s already heaping plate of concerns.

The miniseries premiered with a startling 1.3 million total viewers, a number too low for an HBO production with a huge star like Winslet. However, the miniseries is engaging and has an interesting representation of an independent woman during trying times. Winslet conveys an accurate portrayal of a woman with two round-the-clock jobs: a restaurateur and a loving mother. The show also depicts the struggles of a mother dealing with a ver y difficult child and teetering the fine line between mothering and smothering. Continue to watch Mildred Pierce as the story unfolds.

Inside Beat • Page 9

April 7, 2011

FILM

Source Code Duncan Jones | B

COURTESY OF SUMMIT ENTERTAINMENT

BY ADAM ROSENGARTEN STAFF WRITER

Source Code is one of those movies that will have viewers talking about it well after the ending credits roll. This sci-fi thriller is smart and utterly enjoyable. The film is about Captain Colter Stevens, played by Jake Gyllenhaal (Donnie Darko), who wakes up on a train in someone else’s body and is forced to relive the last eight minutes of that person’s life before the train explodes. Stevens soon learns that his mission is to find out who blew up the train.

For the first 45 minutes of the film, the audience is just as confused as the protagonist, learning things only as he learns them. Although this gets a bit confusing, the plot remains intriguing. The

film follows Stevens as he tries to uncover who the bomber is while at the same time figure out what’s really going on.

Quick editing is perfectly utilized in the early parts of the film to create a sense of instability in Stevens’ world. When he first wakes up on the train he is ver y fidgety and the camera enables the viewer to feel his discomfort.

Each time Stevens is sent back to relive the eight minutes, the same events occur — a soda can is heard opening, and then the scene cuts to a woman spilling some of her drink on Stevens’ shoe — the audience knows these events are coming and so does Stevens.

Many of the funny moments come from the star Jake Gyllenhaal, whose natural energy and charisma make him a very like-

able character. The one character in the film that was miscast is Jeffery Wright (Casino Royale), who plays the creator/inventor of this mission, as his lines feel forced and overacted at times.

Although the first hour of the film is very strong, the last 30 minutes were a bit weaker. While the conclusion of the film is in no way lackluster, it does lose some of the shine it had in the beginning. The movie’s tone changes a bit and a few scenes begin to feel like something other than an action thriller.

The last few minutes deliver a twist, but it happens too fast and is done almost too casually.

Source Code is a solid sci-fi thriller that feels like The Matrix meets Groundhog Day. There are a few plot holes, but that should not stop viewers from enjoying it.

This film is well worth the time.

THE LINCOLN L AWYER Brad Furman | B+

BY CIARA COPELL STAFF WRITER

The Lincoln Lawyer is a surprisingly intriguing film that delivers in both acting and plot.

In today’s age of sequels and remakes, The Lincoln Lawyer stands out for its original plot.

Based off of a series of novels by Michael Connelly, the movie is constantly engaging, with just the right amount of back and forth. It is not predictable, but it also doesn’t go for random plot twists either.

Unlike other films that tend to drag on, the audience is never left wondering how much time is left.

The film moves at a fast pace and seamlessly flows through the complex storyline.

With a superb cast of A-list actors, the film has a great ensemble, but it is the per formances of the main characters

that really shine through.

Matthew McConaughey (How to Lose a Guy in 10 Days) steps out of his usual persona and is absolutely superb as Mick Haller, a street savvy defense lawyer tricked into being involved in an elaborate murder scheme. Playing such a serious role seems out of character for McConaughey, who many know as a romantic comedy leading man, but he is just as impressive in this more solemn role and still maintains the swag that ladies love about him. His character is sarcastic and tough, but lovable nonetheless.

McCongaughey’s most impressive moments come when his character finally realizes the game he is caught up in. He is at the edge and the acting shows through and through as he carries the movie singlehandedly.

Ryan Phillippe (Cruel Intentions, Crash) is exceptional as Louis Roulet, the villain in the film. Phillippe does some of his best work as the deranged killer.

He uses his boyish charm and good looks to manipulate ever yone, but manages to show the persona of the psychotic murderer seamlessly by the end. He brings out the frighteningly cold and manipulative nature of his character ver y well. William H. Macy (Fargo, Bobby) is excellent as usual, playing Haller’s hardnosed investigator. Marisa Tomei (My Cousin Vinny, The Wrestler) and Josh Lucas (Sweet Home Alabama, Life as We Know It) are also superb in their supporting roles.

The dialogue in The Lincoln Lawyer is another plus. It is both witty and wry, even in serious scenes and all of the characters deliver it splendidly. Some of the best

BY RYAN SURUJNATH VIDEO GAMES EDITOR

Paul Greg Mottola | C+

The question of intelligent life beyond Earth is always a popular subject of exploration for the film industry. With Paul, director Greg Mottola (Superbad) looked toward the heavens and decided to create a comedic experience that pays tribute to the science fiction genre. Unfortunately, the result is not quite out-of-this-world.

Nick Frost (Hot Fuzz) and Simon Pegg (Shaun of the Dead) star as Clive Gollings and Graeme Willy respectively, two British comic book geeks whose RV vacation across America takes them to several locales famous for UFO encounters. Upon investigating a freak car accident in the Nevada wasteland, the duo stumbles across Paul (Seth Rogen, The Green Hornet), a foul-mouthed, pot-smoking extraterrestrial who has been held captive on Earth for 60 years. Though initially taken aback, Clive and Graeme agree to help Paul find a way home. Their task is not easy; standing in their way is the enigmatic government official Lorenzo Zoil (Jason Bateman, Couples Retreat) and his contingent of inept FBI agents.

Casting was a relative strong point for the film, with the three lead roles comprised of comedic veterans who all know how to deliver a joke. Rogen’s voice work is believable. As expected, Pegg and Frost work well together,

moments are those that occur in the courtroom after Haller discovers Roulet’s plan and still has to represent him. The way the movie was filmed gives it a gritty, real feel for the audience.

The Lincoln Lawyer doesn’t disappoint. Both the acting and plot seem perfect and the ending leaves the audience satisfied. Thanks to McConaughey’s jump from his comfort zone, he turns the film into a must-see.

COURTESY OF LIONSGATE

having starred alongside one another in several other comedies and enjoying a close friendship off-screen.

Characterization varies from bearable to lackluster. Clive and Graeme have an amusing relationship that is fairly well explored and their references to geek culture may warrant a few chuckles. Paul, on the other hand, is merely a CGI incarnation of almost ever y other character Seth Rogen has portrayed in his acting career.

Despite having a cast that has done genuinely funny works in the past, the film’s humor is inconsistent.

The charming science fiction references and occasional clever lines too often degrade into t o i l e t humor.

It would be unrealistic to expect a comedic a l i e n encounter film to occur without a reference to anal probing, but Pegg and Frost (both of whom also wrote the screenplay)

resort to this type of joke so often that it quickly becomes tasteless.

In particular, Graeme’s love interest, Ruth Biggs (Kristen Wiig, MacGruber) is by far the most irritating character in the film. Initially a fundamentalist Christian, Ruth is reformed when Paul uses his otherworldly powers to share with her his knowledge of the universe. Ruth’s newfound religious liberation manifests itself in a willingness to string swear words together. Her blatant obscenity is funny the first time but, as with many of the other bad jokes in the film, it is overdone and quickly becomes tiresome.

Paul is not an a w f u l movie. It has a number of positive moments, but unfortunately they are outweighed by an overreliance on repetitive, juvenile humor. The ardent sci-fi junkie might find Paul to be clever homage to films of the genre, but from a comedic standpoint, it does not stand up to Frost and Pegg’s finer work.

Page 10 • Inside Beat

April 7, 2011

MUSIC

( ( ( ( ( the sounds ) ) ) ) ) Something to Die For | B+

BY STACY DOUEK INSIDE BEAT EDITOR

“When something’s right, then something is worth to die for.” With their fourth release, Swedish quintet The Sounds definitely hit the bull’seye. For the first time the group has produced the entire album themselves, tapping into a process that works best for the band.

Something to Die For is a unique work — it retains a nonchalant cool that alternative kids yearn for while pounding catchy anthems demanded by the upcoming summer season. “Dance With the Devil” and the title track epitomize the balance that The Sounds have achieved. Yet, “Better off Dead” and “Yeah Yeah Yeah” are tracks that give the album some deeper, darker undertones, all makings for a distinctive dynamic.

PETER BJORN

BY DIANA M. CHOLANKERIL STAFF WRITER

Technically, Peter Bjorn and John are one-hit wonders, but they refuse to be called that with their most recent album release Gimme Some. It’s been hard to match the success of 2006’s “Young Folks,” their career defining song, and it’s pretty admirable that the band refuses to be bound by this one song. The real question remains: Will this album convince listeners that they’re more than just a one-hit wonder?

Gimme Some is definitely a far cry from the experimental and moody nature of their previous album, Living Thing. If anything, it’s the opposite — the band seems to have happily embraced a more mainstream look into their lives. The album opens with the

Lead singer Maja Ivarsson guides the way throughout the entire album, although her voice seems a bit deeper this time around. (She’s been spotted on stage a few times with cigarette in hand, so that may have something to do with it.) Her presence, both audibly and visually, eludes a confidence that is infectiously transferred to any kind of audience, be it the eminent indie scene or the dancecrazed radio aficionados.

Something to Die For is definitely a declaration of The Sounds’ self-assurance, yet the closer, “Wish You Were Here” — no, it’s not a Pink Floyd cover — is a humbling point. The album is overall a hyped-up electro trip, but “Wish You Were Here” is a stripped down acoustic track with a sense of longing, leaving this party with a bittersweet aftertaste.

AND JOHN

song “Tomorrow Has to Wait,” a charged anthem that ends with what seems to be a sound bite similar to that of the small hopping desktop lamp from the Pixar logo.

On the track “Dig a Little Deeper,” the lyrics read “I’m tryin’ to have some fun/You think you know it all/I’ve only just begun.” The remaining songs are much of the same blissful combination of synth-pop and rock that are destined to bring a smile to anyone’s face as many tracks are filled with upbeat drumming that oozes with a fun-filled vibe.

The album will definitely bring in some new listeners who will fall in love with Peter Bjorn and John, and old listeners will fall in love all over again with the trio. They will continue to have their faithful following with this release, and although the beats may not move mountains, they will undoubtedly move some happy hearts.

Gimme Some | B

COURTESY OF JOHAN BERGMARK

Britney Spears Femme Fatale | D

BY CIARA COPELL STAFF WRITER

The Britney Spears we knew and loved as children is officially gone for good. After a string of unimpressive live performances, fans hoped her newest album Femme Fatale would still live up to the albums of her past. Unfortunately, it just didn’t happen.

Her first single “Hold It Against Me” is a perfect bubblegum pop dance song and it is by far the best song on the album. “Till the World Ends” is also another standout dance track. “Big Fat Bass” (a collaboration with will.i.am), as well as the track “I Wanna Go,” have the potential to be radio hits, but the rest of the album doesn’t deliver.

Obviously every song on the album contains massive amounts of over-pro-

duced, auto-tuned vocals — most of her fans have come to accept this because her songs have always been just so damn catchy. However, Femme Fatale is not.

Songs like “Inside Out” and “How I Roll” sound legitimately horrific — Spears’ voice sounds even more auto-tuned than usual and they are both unexciting and painfully boring. The beat on “Inside Out” is slow and awkward, creating a huge lack of listener appeal and her lyrics aren’t exactly Shakespeare’s either.

You can never count Britney Spears out of the music scene, especially after she came back with Circus after her three-year meltdown. Yet, Femme Fatale does not live up to expectations at all. She hits the mark with “Hold It Against Me” and will have commercial success with a few other songs, but as a whole the album is unquestionably below average.

Inside Beat • Page 11

April 7, 2011

MUSIC

local corner

ONE FLEW OVER

COURTESY OF ANDREW CRUZ/ONE ENTERPRISES

BY EMILY GABRIELE MUSIC EDITOR

If the name One Flew Over ignites the thought of the literar y classic One Flew Over The Cuckoo’s Nest, then the New Brunswick native quartet has achieved their goal. Taking their band’s name from Ken Kesey’s novel, Donna Missal, Michael Lieberman, Peter Burt and Austin Leo formed their musical project this past summer. “I hate to use the word ‘pop’ but our music is like indie pop rock.

We’re a new band so we’re still really developing

our sound,” Leo says, in attempt to describe his band’s fresh music.

Missal, the group’s lead singer, is straight out of high school and fronts the band with her passionate and expressive vocals. With Lieberman on the drums, Burt on the bass and Leo on the guitar, One Flew Over seems to meld together perfectly to create an appealing sound for a wide range of listeners.

Their debut EP Up and Out contains four engaging songs that are sure to oblige listeners to hunger for more music by the newly commenced group. A highlighted track from the EP is indisputably “Rhythm Of It.” The

song greatly encapsulates ardent emotion through the lingering guitar riff and resonant vocals. “It kind of shows the diversity of what we do and I really like the dynamics in that song — it’s like a rollercoaster of a song,” Austin says, calling attention to the track’s aesthetic.

With upcoming shows at local venues The Court Tavern on April 29 and Old Bay on May 21, there is ample opportunity to witness the band’s musical talent. But if you don’t make it out to see them perform live, be sure to check out their recorded music and anticipate their first full-length album, set to be released this summer.

Twitter: @OneFlewOverBand Web: reverbnation.com/ofo COURTESY OF STARPULSE.COM

Snoop Dogg Doggumentary | B+

BY EMILY GABRIELE MUSIC EDITOR

Doggumentary is Snoop Dogg’s first album in three years, and it proves itself worthy of more than just a few thorough listens. Part of the album’s lure lies in its extensive list of featured artists — Kanye West, John Legend, Young Jeezy, T-Pain, R. Kelly, Wiz Khalifa and Willie Nelson all jump on tracks with Snoop, heightening the album’s diversity.

The opening track, “Toyz n Da Hood” featuring Bootsy Collins, is a comical way to launch off the album.

In many of Snoop’s songs, he lets his witty personality shine through, making various whimsical comments companioned with his unique down tempo flow. “And if ya didn’t know/I’m the big Snoop Dogg,” the long-time rapper claims on his single “Boom” from his 11th studio album.

The track features T-Pain, and it has a classic, melodious T-Pain hook that make it destined for radio play.

“Eyez Closed,” featuring veteran artists Kanye West and John Legend, is one of the more grave songs on Doggumentary. Snoop raps about what it takes to be successful in the rap game and how he has stayed true to himself through the duration of his career. “There’s only winners and losers/ain’t no in betweens/you either hit the hall of fame/or your fall with shame/and you ain’t gotta wonder where my place at.” The song puts emphasis on Snoop’s dexterity in the rap game.

Snoop Dogg’s entry back into the rap game with the release of Doggumentary will not leave fans unsatisfied. Its only weak spot resides in the slight lack of nostalgia in some of Snoop’s tracks. He does a sufficient job of keeping up with the pace of the current rap game but doesn’t necessarily pay homage to the past styles of his music.

Inclusively, the album has a lot to offer, ranging from its lyrics to its feature artists. It’s definitely an album that will be put on repeat.

Page 12 • Inside Beat

April 7, 2011

VIDEO GAMES

Developer Spotlight

PHOTOS COURTESY OF GAMESTOP.COM

Infinity Ward

BY RYAN SURUJNATH VIDEO GAMES EDITOR

Over the past few years, Infinity Ward has become a common name in the gaming community due to its ludicrously popular Modern War fare games. But the developer has a histor y that spans over many years. Infinity Ward’s origins can be traced to a small developer called 2015 Inc. The company worked on several under the radar titles, until 2002 when they released the critically acclaimed World War II shooter Medal of Honor: Allied Assault. The success of Medal of Honor spurred Vince Zampella and more than 20 members of his development team to separate from 2015 to form Infinity Ward.

The new developer allied itself with publishing giant Activision, which purchased a 30 percent stake in the company. The resultant monetary injection was enough for Infinity Ward to release Call of Duty in 2003. The game received rave reviews and won a slew of Game of the Year awards due to an engrossing campaign, revolutionary gameplay and intelligent AI. The rest, of course, is history. Thrilled with Call of Duty’s success, Activision purchased the remaining 70 percent of the company, contracting Infinity Ward to continue work exclusively on Call of Duty titles. Call of Duty 2 was released in 2005 and, like its predecessor, it received positive reviews. After allowing Treyarch to develop Call of Duty 3, Infinity Ward returned to the franchise in a big way with Call of Duty 4: Modern Warfare. Boasting an innovative and immersive multiplayer, Call of Duty 4 became an instant classic. Two years later, Infinity Ward released Modern Warfare 2, which has earned in excess of $1 billion in revenue.

Infinity Ward’s success has been hampered recently by a series of internal problems that could jeopardize the prospect of a future Modern Warfare title. Last year, Activision dismissed CEO Zampella and company president Jason West, citing breach of contract and insubordination as reasons for employment termination. In retaliation, the pair started their own development company, Respawn Entertainment, and requested financial backing from Activision’s corporate rival, Electronic Arts. West and Zampella were hardly alone, though. Of the 100 person team that developed Modern Warfare 2, 38 have defected from Infinity Ward to join Respawn.

Activision has since proceeded to file a series of lawsuits against West, Zampella and EA for more than $400 million in actual and punitive damages that came as a result of a breach of contract. West and Zampella have countersued Activision for fraud. Activision has insisted that these internal issues will not affect the Call of Duty franchise. In response to the controversy, Activision formed Sledgehammer Studios to play a part in the development of future Call of Duty games, and they have also stated that Infinity Ward has been reconstructed. As of now, it is anyone’s guess as to how the developer will continue to operate in the future.