As a member of the “My Name is Earl” ensemble, Jaime Pressly earned some bona fides when it comes to TV comedy. NBC’s “Earl” was one of the better sitcoms of its era, underappreciated by its network and canceled too soon, and Pressly was great in it.

Fox’I hate My Teenage Daughter.’

She now joins the new Fox sitcom “I hate My Teenage Daughter,” which debuts at 8:30 p.m. Wednesday (Nov. 30) on WVUE. in it, she plays a single mom who, with her single mom pal (played by Katie Finneran), tackles the world of 21st Century parenting.

The idea is for the show to appeal to viewers beyond the makeup of the characters – meaning: beyond young(ish) single moms and the teenage daughters they hate. Its success will hinge on meeting that goal.

Who, Pressly was asked during the Summer TV Tour in Hollywood, will watch this show?

“you can be a divorcée. you can be a single parent. you can be the sister or brother of a teenage ass,” she said. “It’s really relatable to pretty much everybody that I’ve come in contact with, whether they are married or divorced or have children.

“I think it pretty much runs the gamut, and it’s one of those things where for 30 minutes everybody, especially parents, are gonna be able to sit down and escape for a second and realize they’re not alone, that they’re not the only ones in that hormone hell that they’re in with their children.

“Real comedy comes from drama, and real drama, while you’re in it, you’re blind. Hindsight’s 20/20, so when you’re in it, you kind of don’t know what you’re supposed to do or how to handle it, and kids these days have so much technology and are so much smarter than we were. They’re talking over our head and Googling and tweeting and doing all these things. so just seeing two people who have no idea how to do any of that and couldn’t be further from their daughters as far as popularity or pretty or clothes or whatever.”

Further reading on “I hate My Teenage Daughter:”

JAMES PONIEWOZIK @ Time.com:

When you create a new sitcom, and it is not very good, and the title begins, “I Hate…,” you can pretty much expect every TV critic in America to come up with their own play on the title to express how much they hate this show.

It’s the hack-y thing to do. it is not a thing to be proud of. And yet I hardly feel I should devote more creativity to panning I hate My Teenage Daughter than went into producing it. so let me at least use my hack-y little joke to sum up the major problem with this pleasureless Fox comedy, debuting tonight: it should be called We hate Every Character on our own Sitcom.

Robert Bianco @ USAToday.com:

How can you combine Jaime Pressly, an Emmy winner for My Name is Earl, and Katie Finneran, a dual Tony winner responsible for two of the funniest Broadway performances ever, and end up with a show as thuddingly unfunny as Fox’s I hate My Teenage Daughter (* out of four, tonight, 9:30 ET/PT)?

Yet here they are, fighting a losing battle against a terrible idea, an even worse script and a bland-to-bad supporting cast.

Hank Stuever @ WashingtonPost.com:

At the center of Fox’s unfortunately flat Wednesday night sitcom called “I hate My Teenage Daughter” rests something very raw, potentially unflattering and yet sharply observant about today’s women and their relationships with their adolescent daughters.

Anyone paying attention at a shopping mall has probably seen it in action — Princess has Mom wrapped around her pinkie. oh, they may argue and issue ultimatums and passive-aggressively text each other from opposite ends of forever 21, but the daughter wins on a technicality every time, which is this: the overprotective, youth-obsessed matriarch of today wants desperately to be her daughter’s BFF.

Dave Walker can be reached at dwalker@timespicayune.com or 504.826.3429. Follow him at twitter.com/davewalkertp.

C O N T E N T V I D E O A U D I O E X T R A S R E P L A Y A D V I C E Highly Recommended E – M A I L this review to a friend P R I N T Printer Friendly I’ve seen West Side Story (1961) three or four times through the years, including a screening at MGM back around 2002, apparently during the early stages of its restoration, but it wasn’t until I saw this particular Blu-ray that finally I was able to see past its many flaws and appreciate its equally abundant achievements. both the Broadway show and the mostly faithful movie musical reflect the transformative growing pains each was undergoing at the time, and the film certainly plays a lot better if you can imagine yourself in the audience watching a roadshow performance in 1961, when for many it was a truly revelatory experience.

I’ve always struggled to get beyond the miscasting of Natalie Wood and (especially) Richard Beymer in the leading roles, the sometimes obvious and great overuse of dubbing not just of Wood and Beymer but also (at times) co-stars Rita Moreno and Russ Tamblyn. the picture uneasily mixes stark realism with intense stylization, and at times the street toughs are about as realistic as Leo Gorcey and Huntz Hall.

Fortunately, all of this and then some is compensated by so many richly imaginative components – the incredible dancing, the gorgeous cinematography and editing, superb supporting performances and, of course, Leonard Bernstein’s music and Stephen Sondheim’s lyrics – that, this time anyway, it completely won me over by the end.

MGM’s Blu-ray (released through Fox) has been quite unfairly raked over the coals. instead of a smooth transition between the overture and main title an unintended fade-out/fade-in was foolishly added, and the transfer has been criticized for aliasing problems, especially at the beginning “God’s-eye-view” shots looking straight down on Manhattan, which instead of gliding crawl like a millipede across a sand dune.

While there’s really no excuse for these problems, which should have been caught early and corrected, the cup-half-full crowd of impossible to please technophiles have gone way overboard in response. Most of the time West Side Story looks and sounds great. the transfer is no disaster on the scale of Universal’s HD DVD of Spartacus, Warner Bros.’s Hamlet, Paramount’s My fair Lady, or MGM/Fox’s The Greatest Story ever Told, to cite a few far worse examples. the Blu-ray of West Side Story looks terrific about 97% of the time, and even the 3% stupidly messed up won’t be noticed by most viewers. It’s not a deal-breaker.

the disc also sports a few new extras and recycles one of the best-ever making-of documentaries, “West Side Memories.”

West Side‘s story of star-crossed lovers is Romeo and Juliet transposed to New York’s West Side, the Montagues and the Capulets replaced by rival street gangs, the white American “Jets” and the Puerto Rican immigrant “Sharks.” Challenged over some turf, the Jets’ leader, Riff (Russ Tamblyn), recruits the gang’s reformed co-founder, Tony (Richard Beymer), now working at Doc’s (Ned Glass) drugstore, to represent them. on the other side of the chasm is the hotheaded but coolly handsome Sharks leader, Bernardo (George Chakiris), whose kid sister, Maria (Natalie Wood), falls instantly in love with Tony after they meet at a community dance.

the casting of non-Hispanics in the stage version didn’t matter so much but in Super Panavision 70(mm) close-ups on big movie screens, and now on high-definition Blu-ray, Russian-immigrant Wood’s brown-faced Maria and her highly variable accent (at its most extreme: “A-neeta! Yhuu most helup mee!”) just isn’t believable, especially since so many of her scenes are with real Puerto Rico native Rita Moreno, excellent as Bernardo’s vivacious girlfriend. Other, worse choices were on UA’s short list including, inevitably, Audrey Hepburn (yikes!), but an actual Latina who could sing, dance, and act apparently was never even considered. Add to that, Wood’s singing was completely redubbed by an uncredited Marni Nixon. (The disc includes samples of Wood’s original performances. she performs “I Feel Pretty” perfectly fine, but her “Tonight” approaches tone-deaf, Lucy Ricardo awfulness.) as with Nixon’s subsequent looping of Audrey Hepburn in My fair Lady, there’s a complete disconnect between the person onscreen and the voice heard on the soundtrack. Beymer’s overdubbing is somewhat better, but as is made clear in the “West Side Memories” documentary, Tamblyn’s singing voice was perfectly fine, while the dubbing of Moreno on “A Boy Like That” is ruinous, completely at odds with the actress’s original performance. But Wood clearly gives it her all and her performance is actually quite good.

Beymer is another story. the part is one-dimensional so it’s not entirely his fault, but he can’t sing either and is no more believable as a gang leader than Wood is as a Puerto Rican. He’s too soft and puppy-eyed to be taken seriously as a street tough, and his character’s interference in the name of true love inadvertently leads to three tragic deaths. Beymer’s casting is all the more unfortunate when one realizes the part almost went to Elvis Presley, who would have been absolutely ideal. It’s one of those great Movie Roles that might have been.

the IMDb entry on West Side Story labels this the “first feature film depicting street gang life,” but that’s hogwash. Movies like The Wild One (1953) and Blackboard Jungle (1955) preceded it, not to mention dozens of B-movies from AIP, Allied Artists and elsewhere, like Roger Corman’s Teenage Doll (1957). While perhaps it’s unfair to expect more realism in a movie where the Jets and Sharks move with a ballet dancer’s grace, the dialogue, spoken in a kind of Bugs Bunny Flatbushese, may have been archaic even when it was new. Were they really using expressions like “Daddy-O” by 1961? Conversely, Ernest Lehman’s screenplay seems to play up the racial intolerance aspects of the story to good effect. particularly in 1961, Simon Oakland’s openly and realistically racist cop was pretty shocking.

West Side Story was co-directed by Robert Wise and Jerome Robbins, initially with the intention that Broadway choreographer Robbins would do all the musical sequences and Wise everything else. However, Robbins was a real taskmaster and his unending pursuit of perfection soon put the film over budget and behind schedule. he was sacked after completing or nearly completing about half the numbers and Wise, guided by choreography already mapped out by Robbins, finished the picture alone.

While the dancing is all Robbins, even those sequences he didn’t direct, Wise’s stamp is on the film everywhere, beginning to end. the transition from the abstract Manhattan skyline (presumably designed by Saul Bass, who also did the artful end titles and the film’s poster) to the aerial shots from above, to street level and, finally, the Jets and Sharks on the streets of New York, is flawless. this sequence, shot where Lincoln Center stands now, is the only major sequence actually filmed on location. the combination of gritty realism, ballet-like grace of the dancers, and moderately stylized decoration of the real crumbling neighborhood (the Big Brother-type campaign signs, the Modern Art-like graffiti) is mesmerizing. the soundstage exteriors seen later are often remarkable, but they just can’t compete with the real thing. the early scenes especially were hugely influential, particularly on filmmakers like Jacques Demy (The Umbrellas of Cherbourg and The Young Girls of Rochefort, the latter co-starring Chakiris) and, as noted in the documentary, Michael Jackson’s music videos. the later, more primary-colored, deliberately unreal studio sets are, as interviewee John Mauceri (a prot

Dr. Conrad Murray listens as Judge Michael Pastor sentences him to four years in county jail for his involuntary manslaughter conviction of pop star Michael Jackson in this screen grab from pool video in Los Angeles November 29, 2011.

Credit: Reuters/CNN/Pool

LOS ANGELES | Wed Nov 30, 2011 5:20am IST

LOS ANGELES (Reuters) – Michael Jackson’s personal physician, Dr. Conrad Murray, on Tuesday was sentenced to four years in jail without probation for involuntary manslaughter in the pop star’s death.

Los Angeles Superior Court Judge Michael Pastor gave Murray the maximum sentence and said the physician engaged in “money for medicine madness that is simply not acceptable to me.”

Murray, 58, dressed in a gray suit with purple paisley tie, sat emotionless through the sentencing. just before being led out from the courtroom, he blew a kiss to an unidentified woman who shouted “we love you” to the convicted killer.

Outside the courtroom, Jackson’s mother Katherine, who daily attended Murray’s trial that started in late September and ended on November 7, said “the judge was fair.”

“Four years is not enough for someone’s life. it won’t bring him (Jackson) back, but at least he (Murray) got the maximum” sentence, Katherine Jackson told reporters.

While Murray was sentenced to four years in jail, he will likely spend far less time behind bars due to the nonviolent nature of his crime and overcrowding in California’s penal system, officials and experts said.

Murray’s attorney’s have 60 days to appeal the sentence.

“Thriller” singer Jackson, who rose to fame in the late 1960s and ’70s as a member of the Jackson five and had a stellar solo career in the 1980s, died of a drug overdose in June 2009, principally from the use of the surgical anesthetic propofol as a sleep aid. that drug had been obtained and administered to Jackson by Murray at the singer’s rented home.

A jury convicted Murray of involuntary manslaughter, or gross negligence, after witnesses testified propofol should not be administered at home and, if it is, must be given only with the proper life-monitoring equipment on hand. it was not.

Prosecutors painted a picture of Murray trying to cover-up evidence of propofol and lying to doctors about its use.

Murray’s defense claimed Jackson might have administered a fatal dose of the drug to himself, but the jury did not agree.

NO LENIENCY FOR MURRAY

Key to the sentencing were several factors including money — Dr. Murray had negotiated a $150,000 per month salary to care for Jackson ahead of a series of concerts in London — and a TV documentary made during the trial, but aired after it was over, in which Murray denied any feelings of guilt.

“Not only isn’t there any remorse, there’s umbrage and outrage on the part of Dr. Murray against the decedent,” Judge Pastor said, in noting the documentary.

The sentencing was attended by several members of the Jackson family including Katherine, sisters La Toya and Rebbie, and brothers Jermaine and Randy.

Deputy District Attorney David Walgren argued that Murray should not be given leniency. he said the doctor was negligent from the moment he began to care for Jackson, and after finding Jackson lifeless in his bed on June 25, 2009, Murray failed to quickly call paramedics, hid evidence of propofol and lied about its use to emergency room doctors.

Defense attorney Ed Chernoff sought leniency, saying the crime was Murray’s first and he had a long history of quality treatment to patients. he asked the judge to look at Murray’s “book of life” and not just the one chapter regarding Jackson.

He also said Murray will also suffer from the infamy of his conviction for the death of a man who was so famous and beloved by so many people. “Whether he is a barista. whether he’s a greeter at Wal-Mart, he’s really going to be the man who killed Michael Jackson,” Chernoff said.

But Judge Pastor said Murray engaged in a “pattern of lies” he characterized as a “disgrace to the medical profession.”

In a news conference after the sentencing, defense attorney J. Michael Flanagan said he believed Pastor was “openly hostile” to Murray during the trial and sentencing.

District Attorney Steve Cooley, whose office prosecuted Murray, noted that overcrowding in area jails would lessen the four years considerably. “Dr. Murray’s sentence, in terms of true incarceration, might be very short,” he told reporters.

Legal experts and a spokesman for the Los Angeles County Sheriff, which runs the jail system, said non-violent offenders in California generally serve only half their full sentence behind bars. Due to overcrowding the sheriff can, at his discretion, shorten the sentence even further.

“Murray could maybe serve a couple of months, and then the sheriff may choose to place him under house arrest or fit him with an ankle monitoring bracelet. but he will have to serve time,” said mark McBride, a Beverly Hills-based defense attorney who was not involved in the Jackson doctor’s trial.

In addition, Murray was ordered to pay some court fees, and another hearing was set for prosecution claims that he may owe more than $100 million in restitution to Jackson’s family.

New Girl as a show is still trying to find its legs. Like most shows in their first season, and sitcoms in particular, New Girl is still playing around with the different kinds of dynamics created by its characters. Last night’s episode, “Bells,” exemplifies exactly what is working so far for this show, and what still needs a little adjusting.

“Bells” splits the characters into two groups: Nick vs. Schmidt and Jess vs. Winston. when an an attempt by Nick (Jake Johnson) to fix the communal toilet by himself ends with Schmidt (Max Greenfield) hiring a plumber (which Nick can’t afford, but Schmidt can) Nick and Schmidt spend the majority of the episode escalating into a very silly war in which Schmidt points out everything in the apartment that he’s bough and Nick takes back all the things he’s ever fixed, buy “unfixing them.” (After Nick unfixes a basketball hoop and it nearly falls on Schmidt’s head, he says, “how are you going to unfix a dead Schmidt!?”)

Meanwhile, Jess (Zooey Deschanel) has brought the group of high school detention rejects who make up her handbell group to the apartment because the community has decided that their practice space needs to be turned back into a hallway. when Winston (Lamorne Morris) unexpectedly discovers that he’s a handbell prodigy, Jess begs him to join the group and help out. but Winston soon becomes obsessed with making the group cool, and after being fired from his crappy temp job for composing a handbell version of “Eye of the Tiger” instead of doing work, ends up berating the kids for not being good enough. Jess kicks him out of the group.

Both fights end when Winston and Nick, the antagonizers, realize they’re the ones in the wrong. Winston just wanted to feel good at something again and took it out on the kids, and Nick isn’t mad at Schmidt for being rich, he’s really mad at himself for dropping out of law school and becoming a “loser.” Fixing things as cheaply as possible is his way of feeling useful. it sounds corny and cheap written out like this, but it plays out really nicely on the screen thanks to the subtle treatment by the writers and the great chemistry between the actors, Nick and Schmidt and Nick and Winston in particular.

My favorite part about this conflict, however, has to do with Jess and Schmidt. in the beginning, the show positioned Jess against all three roommates, who saw themselves as cool and unable to relate to “quirky” “adorkable” Jess, but in the past couple of episodes, Schmidt has moved closer and closer to what I’m going to call Jess-Territory. It’s not that the characters are really alike (I find Schmidt much funnier than Jess), but they are alike in one way: Schmidt and Jess are the two “weirdest” members of the group, and they are also the two with the most sense of self-confidence and identity. Schmidt may do douchebaggy things like eat from giant trays of sushi, use “man conditioner,” and words like “scrummy” with a straight face, but he genuinely 100% believes all of those things are perfectly fine and awesome, and no amount of ribbing from Winston or Nick get him to change his mind. Jess is the same way: she is who she is.

What this is saying to me, and correct me if I’m wrong here, is that the show firmly believes it’s the weirdos who are the happiest in life because they just do what they want, and they don’t care. And that’s something I can totally get behind. Now, if only the show would stop making Jess sing all the time**, everything would be perfect.

**(I firmly believe Deschanel is at her funniest when Jess is out of her comfort zone and loses control, like when she tried to thaw the turkey using her body heat in the Thanksgiving episode, or when she yelled at Winston in this episode, or when she yelled at Nick in the Thanksgiving episode; I’m not a fan of the cutesy, quirky manic pixie dream girl stuff being over the top, and I wish they would tone it down.)

Survivor – Eye of the Tiger

• “I’m losing my mind, guys. You know, I sometimes touch the frayed part of the power cord just to feel something.”
• “Water crackers are for adults, to eat with adult cheese.”
• “Please fancy fix the toilet.”
• “All I’m hearing is that I can’t use my bathroom because you’re poor.”
• “‘Eye of the Tiger’ is the greatest song ever written. It’s so cool it ended the Cold War.”
• “It’s not that hard! It’s an instrument a cat wears around its neck!”
• “let me get my cardigan.”

Tags: elizabeth meriwether, fox’, hannah simone, jake johnson, lamorne morris, max greenfield, new girl, zooey deschanel

The new York Film Critics Circle has named The Artist the movie of the year, and gave its top acting honours to Meryl Streep and Brad Pitt.

Michel Hazanavicius won best director for The Artist, a black-and-white film about Hollywood's transition from silent films to talkies in the late 1920s and the toll it takes on one actor's life.

In the romantic drama, a couple played by Jean Dujardin and Berenice Bejo find themselves on opposite sides of a career arc – his descending as her star begins to shine.

The film began to generate buzz at festivals earlier this year and has received strong reviews.

With today's important, early win from the NY critics, The Artist positions itself as a key competitor in the race for this year's Academy Awards, the film world's highest honours which are handed out in February.

Streep won the NY critics' best actress award for her portrayal of British prime minister Margaret Thatcher in The Iron Lady, while Pitt was cited for his performances in two films – sports drama Moneyball and drama The Tree of Life.

It was Streep's fourth best actress win from the Critics Circle and Pitt's first.

Jessica Chastain was named best supporting actress for her performances in three films – The Tree of Life, The help and Take Shelter.

Veteran actor Albert Brooks won best supporting actor for his turn as a small-time mobster in thriller Drive.

The best screenplay award went to Moneyball's Steven Zaillian and Aaron Sorkin.

“It's a nice line-up with some surprises,” the group's chairman, critic John Anderson, said of the winners.

He noted that while most categories required many ballots, there was also no rancour.

He called the group “hardly a unified mass,” but told Reuters the choice of The Artist made sense.

“It's a film about film, so it would appeal to the critical sensibility. It's a movie that celebrates movies.”

“But it's also well done,” Anderson added.

“And it's upbeat, joyful, and just hard to resist.”

The group shunned some presumed Oscar contenders such as The Descendants and Beginners, though Anderson noted the former film had some strong support.

The new York-based film critics organisation was founded in 1935 and comprises members from daily newspapers, weekly newspapers, magazines and some online general interest publications.

Awards from critics groups and other industry panels often influence which films, performers and movie makers will compete for Oscars, which are given out by the Beverly Hills-based Academy of Motion Picture Arts and Sciences.

The NY critics' pick for best non-fiction or documentary film went to Cave of Forgotten Dreams, Werner Herzog's 3D movie about a cave in southern France.

The critics named Iran's A Separation, about a couple struggling with the decision about whether or not to leave their home country, as the year's best foreign language film.

Best cinematography went to Emmanuel Lubezki for The Tree of Life and best first feature to Margin call.

A special award was also announced for filmmaker Raoul Ruiz, who died in August aged 70.

Reuters

The Narrows Center for the Arts sat quietly on Martine Street off Route 6 in Fall River for four years before fate intervened:

UMass Dartmouth was building a Technology Center near the Watuppa Pond, and the tiny music and art venue had to move.

“Sam Shapiro, who owned the property near the UMass Tech Center, said, ‘Hey, I got a building for you,’” recalled Patrick Norton, executive director of the Narrows Center. “The rest is history.”

Shapiro took Norton to Anawan Street to show him a beautiful old mill building he owned, overlooking Battleship Cove and the Braga Bridge.

After the relocation, the Narrows kept its name, which refers to the narrow strip of land between North and South Watuppa ponds. back in the 1950s, that spot was called “The Narrows.”

That move in November 2001 was the catalyst that pushed the Narrows Center for the Arts to the forefront of the SouthCoast music scene.

This week, the center celebrates its 10th anniversary on Anawan Street.

During the course of a decade, the Narrows has become an established venue to hear acoustic music in Southeastern new England.

For 10 years, the hall has attracted some 23,000 music fans annually from 23 states, including from every SouthCoast city and town. They’ve hosted more than 850 concerts, 60 art shows, 10 arts festivals, bringing in more than 130,000.

Some 80 percent of their audience comes from outside a 15-mile radius of Fall River — many from new Bedford, Fairhaven, Mattapoisett, Marion, Wareham, Cape Cod; from Newport, Providence, and little Compton, R.I.; and from southern Connecticut.

“We’re about music, not selling beer. the artists appreciate that; the audience appreciates that. our focus is the music,” said Norton, who is both executive director and talent buyer.

Not only does the Narrows not sell beer — it has a BYOB policy — it doesn’t sell much of anything at all.

Besides the coffee and pastries at the volunteer-run cafe, the Narrows is solely about music and art. They hawk nothing.

The acoustics and ambiance of the 280-seat venue — from old church pews gathered around a small performing area, to the abutting artists’ studios, to the Bring your own Picnic policy — create a near-perfect spot to hear the acoustic folk and jazz musicians they regularly book.

Richard Thompson, Taj Mahal, Chris Smither, Roseanne Cash, Johnny Winter, Bruce Cockburn, Mark Cohn, Ronnie Earl, Tom Rush. Judy Collins, John Gorka, Nanci Griffith, Paul Geremia, Justin Townes Earle, Leon Redbone, Joan Osborne, Ralph Stanley, Buckwheat Zydeco, Loudon Wainwright III.

These are just a few of the great musicians who have graced the stage at the Narrows Center in Fall River in 2011 alone.

This week, they celebrate their anniversary with a series of special concerts:

• the David Wax Museum plays at 8 tonight. the band played dubbed “The best band you don’t know” at this year’s Newport Folk Music.
• Jorma Kaukonen plays at 8 p.m. Friday. Kaukonen is an American roots, blues and Americana musician who has been a leading practitioner and teacher of finger-style guitar for the last half century.
• Grammy-winner Rosanne Cash, Johnny’s daughter, will play at 8 p.m. Saturday (sold out). She’s been in the spotlight since joining “The Johnny Cash Show” at 18.

“When we opened up, right after 9/11, it was rocky; the economy was tough; there weren’t many entertainment dollars,” Norton said.

But the Narrows persevered. what started as a $30,000 operation a decade ago is today a $900,000 operation. By 2012, they’ll be close to being a $1 million operation, Norton said.

“We’ve become an economic development engine for Southeastern Massachusetts,” said Norton.

But perhaps what makes it most unique is that the Narrows is a non-profit 501c3 organization, almost completely run by volunteers.

“Without volunteers, we wouldn’t exist. we couldn’t afford to,” Norton said.

There are two staffers beside Norton: Deb Charlebois, director of operations, and Kathy Furze-Spencer, who’s in charge of the box office and hospitality.

Then there are some 30 volunteers who help put on about 180 shows per year by doing everything from taking tickets to loading gear, selling coffee to watching over the art galleries.

The space itself is divided into four distinct areas: the Narrows Caf

Author name: Abram W.Y. Crockwell

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The Aspen Daily News paper reported on Tuesday that two investors, Debra Goldstein and her husband Bob Ritchie, filed a lawsuit in Colorado’s Pitkin County District Court on November 10 regarding an investment they made into Joshua Long’s digitial distribution company Instavision. The lawsuit contains six claims, including fraud, breach of contract, and negligent misrepresentation. Long helped put the proposed live-action film adaptation of the Cowboy Bebop anime in development.

Goldstein and Ritchie said that they loaned US$250,000 to Instavision, and that loan has not yet been paid back. The lawsuit mentioned that Instavision was to pay Goldstein and Ritchie US$15,000 a month to pay back the loan plus dividends, and that the entire loan was to be paid back by May 2010. The plaintiffs also mentioned that Goldstein and Ritchie received one interest payment of US$20,000 from Instavision.

According to the lawsuit, Joseph Long (another member of Instavision), emailed Goldstein and Ritchie four days before they loaned their money to Instavision. The plaintiffs said that the e-mail suggested that Goldstein “might like to see an interview with Keanu [Reeves] regarding Cowboy Bebop, which we are producing at 20th [Century Fox].” The e-mail also reportedly mentioned that Instavision was producing “Fruit Baskets [sic], another anime franchise property. Ann Peacock is scripting — she did the Chronicles of Narnia.”

Goldstein and Ritchie’s lawsuit alleges that the e-mail, among other correspondence, is “full of misrepresentations and omissions, and was an attempt to induce the plaintiffs to make loans to Instavision. Instavision was not producing Cowboy Bebop with 20th [Century Fox].”

According to plaintiffs, Instavision asked Goldstein and Ritchie for another US$165,000. Goldstein and Ritchie then asked Instavision for accounting records, and said that they received “a couple of cursory spreadsheets without backup.”

Aspen Daily News reported that it did not receive a response from Joshua Long regarding the lawsuit before press time. Goldstein and Ritchie are seeking a jury trial. A review is scheduled with Judge Daniel Brett Petre on January 6.

Joshua Long revealed a new company called 1212 Entertainment in 2009. At the time, Long said that the company would be focusing on live-action adaptations of manga, anime, and game titles from Japan, as well as some French comics. Other live-action film adaptations Long has said that his company is pursuing include the Kakurenbo supernatural horror anime and a Kazuo Koike work.

Thanks to Aaron H. Bynum for the news tip.

Update: Long told ANN that the legal entity Instavision was not involved in the Cowboy Bebop film project, although the plaintiffs assert that Reeves’ involvement in the Cowboy Bebop project was raised “in an attempt to induce the plaintiffs to make loans to Instavision.” Long also told ANN that Instavision is a digitial distribution company. this article has been updated to reflect this.

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This story was corrected on Thursday, Nov. 3, 2011 An explanation of the correction is at the bottom of the story.

Beloved children’s author and illustrator Jan Brett is returning to our homes for the holidays.

The Massachusetts native recently embarked on a cross-country tour in support of two festive releases, the troll-centric “Home for Christmas” and a deluxe edition of her new York Times best-selling adaptation, “the Night before Christmas.”

On Sunday, she will bring her warm, wondrous illustrations, her pet hedgehog (Hedgie) and an easel to the Frederick area Wegmans.

She encourages pint-sized supporters to bring a pad of paper and an eraser, too. in addition to a book reading and signing, Brett enjoys incorporating a drawing lesson into each visit.

“It puts [kids] in the driver’s seat,” she says. “even when they’re ‘little’ little, they can draw a picture which tells a narrative.”

Brett’s class-to-be is in good hands. She knows a bit about storytelling. more than 37 million of her books are in print including perennial favorites like “the Mitten” and “Christmas Trolls” and she all but has a standing invitation to the new York Times best-seller list.

The author is also no stranger to traveling, having embarked on a series of exotic research trips for her lush illustrations, with passport punches stretching from Norway, Denmark, Switzerland and the Canadian Arctic, all the way to Nambia, Botswana and China.

Brett attests to having been completely immersed in the creation of her next book, “MOSSY” the tale of a turtle tending to her mobile garden just prior to the tour’s launch.

Still, she says, she wouldn’t miss it for the world.

“My mom was a teacher, my sister is a teacher and I love kids,” she says. “This is a great opportunity for me to get more personal with them. I try really hard to make it personal. sometimes I ask them questions. sometimes they ask me questions.”

Questions, perhaps, like where in the world did the 60-year-old scribe obtain such a souped-up sleigh ride?

Emblazoned with artwork from Brett’s 2011 holiday haul silver bells, snow-topped trees, woodland wonder and elves Brett’s tour bus resembles a transport best equipped for Santa Claus and his Reindeer Rock Band.

Even she has to admit: “It’s amazing.”

And, she notes, also practical.

“[By bus], I’m able to go to a lot of towns that are not accessible by air. And two-and-a-half weeks of flying can be very uncomfortable. so I can rest if I need to,” she says, before adding, “usually I don’t need to.”

In addition to her two latest projects, Brett has been a holiday mainstay on bookseller shelves for years, with tales like “the Three Snow Bears” and “Who’s That Knocking on Christmas Eve.”

Surprisingly, she says her tour doesn’t necessarily coincide with her favorite season.

“Spring to me is the best. I love it because everything is coming into bloom,” she says. “But I do love the snow. And I know you guys get a ton of snow. And I do like the seasons. I wouldn’t want to live in a place that’s balmy. I like the nice, wool sweaters [I get to wear.]”

Christmas, though, does claim a special space in her imagination.

“oh, yes. But I think it’s more than that. I love points north — Norway, Sweden, Denmark,” she says of her wintry world travels. “I definitely have a fascination with these places. It’s almost like there’s something deep inside of me … I’m comfortable there. maybe something in my heritage.”

In “Home For Christmas” detailing wild troll Rollo’s mischievous quest for independence Brett found inspiration in Kiruna, “the jumping off point for Sweden’s Arctic north.”

“in the last part of the book, everything changes for him,” Brett says of Rollo. “he wants to live with the wild animals. I always wanted to live with the wild animals. Actually, I wanted to sleep in the stall with my horse, but I wasn’t allowed to.”

But in Kiruna, she did get to kiss a moose. the encounter happened at an old-fashioned family farm in Sweden, and was a gigantic, antlered eye-opener for Brett.

“I was kind of leaning toward reindeer,” she says of what would ultimately become Rollo’s animal compatriot. “I didn’t think moose traveled in family groups. … We got to pet them and kiss their noses, which are very rubbery. I knew then, ‘It’s gotta be a moose.’”

Not to slight reindeer, entirely, North Pole’s finest receive the special-edition treatment in a re-release of Brett’s take on “the Night before Christmas,” featuring a DVD narrated by Grammy Award-winner Jim Dale (the “Harry Potter” series) and featuring music by the Boston Pops Orchestra.

Brett has been a lifelong follower of the Boston Pops, a passion that became infinitely personal when she married double bassist Joe Hearne, who has played with the orchestra for 49 years.

Brett says approaching an adaptation is always an informed decision. She has deliberately stayed away from a few classics because of her personal inability to conceptualize them.

“But with Clement Moore’s poem, you can imagine [the visuals] as the story unfolds.”

Still, she says, it took some convincing.

“Originally, I didn’t want to do it, because it states, ‘Not a creature was stirring, not even a mouse,’ and I thought, ‘What will I draw?’” she laughs. “But then one night, I woke up and it came to me all of a sudden. the poem says, ‘And all through the house.’ I thought, ‘But what about outside the house?’ And there was my book.”

Perhaps Brett returns to Christmas so often in her illustrations and stories because it’s the time when those she is closest to return to her.

“We’re always thinking, ‘When are we going to see these people?’ And it’s Christmas,” she says. “Everyone will get together, and there’s often a book.”

It’s a tradition she looks forward to particularly these days, thanks to her 2-year-old granddaughter. And, in fact, children across the nation.

“I still feel I have this bond with kids” she says. “they have to [absorb] so much more than adults do, when [we] have our routine and a certain expectation of what is going to happen in our day. I find them to be the perfect audience.”

She hopes she can be a perfect host.

“Books will put children in the same place as the greatest minds our world has ever known,” she says. “Once they learn to read, they can read Shakespeare. they can read ‘the last of the Mohicans.’ It’s a great jumping-off place for their imaginations. It is the hugest gift you can give to a child.”

Correction: Narrator of “the Night before Christmas” DVD, Jim Dale, was identified as Jim Doyle.

When: 5-7 p.m. Sunday

Where: Wegmans, 7830 Wormans Mill Road, Frederick

For information: janbrett.com

It’s little surprise the Canada Safety Council designated may 17-23 as National Road Safety Week. it is, after all, prime road-tripping time. with that in mind, we implore our readers to set a few minutes aside before piling loved ones into your preferred people mover.

Before loading the first tent peg, backpack, or kayak, start with some maintenance basics. Checking oil and fluid levels in your driveway is a lot more fun than frantically filling and spilling highway-side with tractor trailers roaring past.

Likewise, properly inflated tires are much more likely to stand up to the rigors of the road than anything low on pressure or pumped too full. we know you know this; but that doesn’t make these routine checks any less vital.

Drive defensively. This is a long weekend after all -featuring a hard-earned day of deserved rest and relaxation. So do exactly that. Breathe. Relax. Don’t rush. Remember: you’re on holiday.

Even though you know where you’re going, be absolutely certain of how to get there. Transport Canada strongly suggests checking road and weather conditions here: th.gov.bc.ca/SeasonalDriving/plan.html.

Give yourself plenty of time to arrive -it doesn’t hurt to be early. Packing the bulk of your clothes and supplies the night before, then setting them by the door allows more flexibility on travel day; plus it allows you to sleep on what might be missing.

With the new and sometimes confusing highway access changes in Abbotsford, getting off on the open road can be stressful enough without digging through a rucksack for that possibly forgotten can opener with one hand while steering and peering for a U-turn exit.

And please, remember no matter how far you travel this weekend -whether it’s to the tip of Vancouver Island, or just the first tee of your favourite golf course -don’t drink and drive.

Because while a flat tire might put a damper on your weekend plans, we promise a serious driving violation will curtail your asphalt adventures for a lot longer than three days in may.

-To comment on this editorial, e-mail us at .

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