Linda Porter - News Poster


"Twin Peaks," Episode 11 Recap: I Want To Get Us There In One Piece

Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.A study in contrasts. That's the best way to describe Part 11 of Mark Frost and David Lynch's revived Twin Peaks, which opens with a brief moment of doom-laden calm—three young boys playing catch happening upon the bruised and beaten but very much alive Miriam Sullivan (Sarah Jean Long)—then details, for its first half, the many ways in which the titular town, as well as the few-states-over locale of Buckhorn, South Dakota, are coming unglued. But this is dramatic incident Lynch-style, which means that the narrative rhythms are always shifting (violently, unpredictably), as if someone was continually revving a car engine into the red, but never in a calculable way.There's madness in such extremity, as there's insanity in the blood-curdling scream
See full article at MUBI »

"Twin Peaks," Episodes 3 & 4 Recap: Hell-o-o-o-o-o-o-o-o!

Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.What's an FBI Special Agent to do after being locked away for 25 years in unearthly purgatory? Episodes three and four of Mark Frost and David Lynch's revived Twin Peaks, which aired on Showtime this past Sunday in a two-hour block (aside from September's two-part finale, it's all single, hour-long episodes from hereon out), follow our besuited, Black Lodge-incarcerated hero Dale Cooper (Kyle MacLachlan) as he reintegrates into modern terrestrial society. So this is basically Peaks doing Rectify, just with a sterile death row replaced by an infernal hellscape out of Clive Barker. Or David Lynch, really. What's becoming more and more evident as the new Peaks progresses is that the series is, in large part, a repository for Lynch's subconscious, past and present.
See full article at MUBI »

‘Superstore’ Ep Justin Spitzer on Jonah and Amy, Dina and Garrett, and … a Tornado?! (Spoilers)

‘Superstore’ Ep Justin Spitzer on Jonah and Amy, Dina and Garrett, and … a Tornado?! (Spoilers)
Warning: Plot details for May 4’s Season 2 finale of “Superstore” follow. Do not read unless you have seen Thursday night’s finale episode.

NBC’s sophomore comedy “Superstore” finished its second season with a bang tonight — or more exactly, a cyclone. A tornado ripped through Cloud 9 — opening up a gaping hole in the roof of the store. As the employees ran for cover, tensions boiled over — including a long-awaited kiss between Jonah (Ben Feldman) and Amy (America Ferrera). The episode ends with Amy returning to her family to embrace them both, and Jonah staring after looking a bit forlorn.

Showrunner and executive producer Justin Spitzer, who worked on the “The Office” for several years, is no stranger to the second-season-finale kiss; that show’s star-crossed lovers Jim and Pam finally kissed seconds before end of “Casino Night.” “Superstore” has elements of that crescendo, but with a characteristically different and more realistic tone. Variety
See full article at Variety - TV News »

Exclusive: 'Superstore' Ep Talks Destroying the Set in Epic Finale, Season 3 Plans & That Jonah & Amy Moment!

Exclusive: 'Superstore' Ep Talks Destroying the Set in Epic Finale, Season 3 Plans & That Jonah & Amy Moment!
Warning: Spoiler alert! Do not proceed if you haven’t watched Thursday’s season finale of Superstore!

The employees of Cloud 9 just got blown away!

On Thursday, Superstore ended its second season with a bang. Or rather, a funnel, as a massive tornado touched down on the St. Louis-based big-box franchise, completely destroying the store as the employees ran for cover.

“[We] didn’t expect to do it this year, and then we found out that Universal was having to knock down our soundstages to expand the theme park, and they were going to be moving us onto different stages,” Superstore Ep Justin Spitzer recently told Et of demolishing the practical Cloud 9 set on the Universal backlot. “So we knew the set was gonna look somewhat different next year, and we would have to motivate that. Also, it was just a great opportunity to beat the crap out of our current stage and not worry about having
See full article at Entertainment Tonight »

Filming Wraps on Showtime’s Twin Peaks Revival, Full Cast Revealed

Showtime announced today that filming has finished on David Lynch and Mark Frost’s Twin Peaks revival series. Ahead of its 2017 premiere, the series’ complete cast—including returning actors as well as those who are new to the series—has been revealed.

Newcomers to the series include Monica Bellucci, Jim Belushi, Michael Cera, Jeremy Davies, Laura Dern, Sky Ferreira, Robert Forster, Meg Foster, Ashley Judd, David Koechner, Jennifer Jason Leigh, Matthew Lillard, Derek Mears, Sara Paxton, Ernie Hudson, Naomi Watts, Trent Reznor, The Walking Dead‘s Josh McDermitt, and many more.

Returning actors include Kyle MacLachlan, Ray Wise, Harry Dean Stanton, Alicia Witt, and more. Below, we have the official press release and full cast list:

Press Release: Los Angeles, CA – April 25, 2016 – Principal photography has concluded on the highly-anticipated new Twin Peaks for Showtime. And today, Showtime, David Lynch and Mark Frost are revealing a key piece of the mystery:
See full article at DailyDead »

The 'Twins Peaks' Revival Cast List Is Insane (and Insanely Long)

Showtime revealed the full cast list for its upcoming "Twin Peaks" revival, and it's nothing short of insane -- and insanely long.

The ensemble includes a whopping 217 actors -- yes, you read that right -- and amid all the returning faces, there are also a bunch of surprising, big-name newbies along for the ride this time around. (We've embedded the entire list at the end of this post.)

Original cast members that will be back include many previously-announced people, and the ensemble will feature the likes of Kyle MacLachlan, Sherilyn Fenn, Madchen Amick, Sheryl Lee, Dana Ashbrook, David Duchovny, Miguel Ferrer, Grace Zabriskie, Peggy Lipton, Ray Wise, Wendy Robie, Russ Tamblyn, and Catherine E. Coulson, among many others.

As for the newcomers, some of the bold names that stand out include Monica Bellucci, Jim Belushi, Michael Cera, Laura Dern, Jay R. Ferguson (a.k.a. Stan from "Mad Men"), Ernie Hudson ("Ghostbusters"), Ashley Judd,
See full article at Moviefone »

Big Names On "Twin Peaks" Cast List Of 217

The new "Twin Peaks" isn't slated to debut on Showtime until 2017, but a flurry of speculation about it happened last week with a tweet from Go For Locations indicating that filming had wrapped on the "first two seasons" of the series.

The episode count for the David Lynch-directed series was always in question, but that tweet suggested we'd be getting even more episodes than originally planned. Said tweet has since been deleted, so we'll have to wait to see how that pans out.

in the meantime in more official news, Showtime, Lynch and Mark Frost has released the official cast list for the new series with a whopping 217 names across the various episodes - a list that includes some real surprise big name inclusions such as Monica Bellucci, Michael Cera, Naomi Watts, Tim Roth, Jennifer Jason Leigh, Eddie Vedder, Ashley Judd, Ernie Hudson, Jim Belushi, Richard Chamberlain, Laura Dern,
See full article at Dark Horizons »

After 400 years Mary, Queen of Scots again captures the fascination of film-makers

As a major exhibition on the enigmatic queen attracts the crowds in Edinburgh, three movies are set to explore her life

Since 1971 film-makers have tried to emulate the Oscar-winning success of Mary, Queen of Scots, starring Vanessa Redgrave and Glenda Jackson as the tragic Scottish queen and her nemesis, Elizabeth I. Aborted later attempts include one by Hollywood's actress-producer Scarlett Johansson and British director Alexander Mackendrick.

Two UK productions are still at early stages, but a Swiss film-maker has beaten them to it with a sympathetic psychological portrait set to be an art-house hit. Zurich-based Thomas Imbach has directed, produced and co-written the film, with Camille Rutherford playing Mary, which has been singled out for this season's festivals at Locarno and Toronto.

More than 400 years after she was executed by Elizabeth, the Protestant Queen of England, Mary Stuart remains the most enigmatic royal in Britain's history. Imbach said he has
See full article at The Guardian - Film News »


CANNES -- "De-Lovely" is a sprightly musical revue built around Cole Porter songs and a few biographical tidbits culled from his extraordinary life. Director Irwin Winkler, clearly a huge fan -- as, in the interest of full disclosure, am I -- has no interest in doing "The Cole Porter Story", a standard biopic with occasional musical numbers lifted from stage and film triumphs. No, he wants to listen to the best American popular music written in the 20th century. For at the end of the day, Porter was all about his delightful, delicious, de-lovely songs, and everything in his life seemed to feed into the music and lyrics.

Which may mean "De-Lovely" has too narrow an appeal for today's audiences for whom the Jazz Age and Tin Pan Alley are off the radar. To expand that appeal, Winkler has drafted a reasonably hip collection of current rock and pop talent ranging from Alanis Morissette and Diana Krall to Sheryl Crow, Elvis Costello and Natalie Cole. This should help, but the songs are sung and danced in styles that still reach back in time. The unconventional relationship between Cole and Linda Porter, a marriage of convenience between a gay man and an accepting woman, may extend interest to those curious about how those dynamics work. The film may enjoy a modest theatrical success in adult, urban venues but will certainly blossom in ancillary markets.

Winkler and writer Jay Cocks have devised a highly theatrical vehicle for their musical retelling of Cole's life. As lights come up in a dark Manhattan apartment, we see Cole -- Kevin Kline unrecognizable in fine old-age makeup -- slumped at his grand piano, tickling the ivories and waiting for death, which is imminent. Then an unannounced guest named Gabe (Jonathan Pryce) appears, ready to whisk the dying man off to the theater where he is staging Cole's life story. Another light cue and we are in that theater, and the cast -- the people from Cole's life -- flood in.

Thus begins a two-hour review -- his life flashing before his eyes only with panache. He sees his wife Linda (Ashley Judd) as she was the evening he met her in a Paris salon in 1918. (The film cheats here by making it look like the '20s.) And there the youthful Cole is too -- Kline without the makeup but dressed to the nines with a cigarette and drink at his fingers and a twinkle in his eyes.

The music seldom stops. If the two stroll in a Parisian park, Cole quickly locates an amusement park piano and bangs out a tune. Robbie Williams sings at the Porters' wedding. Costello performs at one of their Venetian masquerade balls. The Porters attend his many opening nights, with Linda always handing Cole an engraved Tiffany cigarette holder.

The focus is the lifelong love affair between the Porters. The film begins not with his youth in Indiana, his days at Yale or his first Broadway show in 1916, but the moment his eyes fall on Linda Lee. Coming off a bad marriage and wealthy in her own right, Linda falls for Cole before he finishes singing a song. After they sleep together, he struggles -- in the only scene that finds Cole at a loss for the right word -- to explain his homosexuality. But she shushes him by saying she already knows he likes men better than she does. It's a line explored no further, but might go a long way toward explaining their marriage.

Linda, according to the movie, believes so strongly in Cole's talent that she goads him into returning to New York and taking a crack at Broadway. In real life, success was not instant, but the movie tells it differently by cutting to his first hit, "Let's Do It, Let's Fall in Love" from "Paris" in 1928.

While looking nothing like Porter, Kline sublimely suggests the rakish spirit of a man who pursued the high life with zeal. While the life of the many parties he enjoyed, he keeps the world at arm's length with a quip and a song. Cole comes off as a shallow, self-absorbed gay blade, careless in his relationships, including with his wife, even though he is keenly aware of her influence on his career.

Linda is harder to read. Judd personifies an early 20th century beauty who uses grace and charm to hide a lot. She is Cole's muse, coach and promoter -- everything, in fact, but his lover. She accepts this reality, but the movie is vague about why. The two love each other, without passion but in every other way.

Both free spirits are cruelly felled by catastrophic illness. A horse riding accident crushes Cole's legs in 1937, leading to excruciating pain and many operations for the rest of his life. Linda (as does Cole) smokes incessantly, giving herself the emphysema that leads to her death in 1954. His career essentially ends then, though he continues living until 1964.

The movie is cheerfully skin deep. The seeming nonchalance of Porter's music seduces Winkler into depicting its composition as a thing knocked off before evening cocktails. In only one instance does Cole illustrate the methodology of his songwriting, when he coaches a Broadway singer on how to sing "Night and Day" as a song about "obsession." The film could have used more of this kind of insight.

Kevin McNally and Sandra Nelson portray lifelong friends of the Porters, yet even with a child dying young, the film barely registers their presence. Cole's gay lifestyle is handled -- depending on how you look at it -- with reticence or reluctance. He is depicted warmly embracing men or dressing while a lover of the moment lies decorously supine on a rumpled bed, but you get no sense of genuine passion.

The numbers are staged with wit and style. They may seem restrained compared with the flash of Baz Luhrmann, but the stagings fit the moods of Porter's songs. Sets and costumes beautifully evoke the four decades the movie spans.


MGM Films

An Irwin Winkler film


Director: Irwin Winkler

Screenwriter: Jay Cocks

Producers: Irwin Winkler, Rob Cowan, Charles Winkler

Executive producers: Simon Channing Williams, Gail Egan

Director of photography: Tony Pierce-Roberts

Production designer: Eve Stewart

Music: Cole Porter

Costume designer: Janty Yates

Editor: Julie Monroe


Cole Porter: Kevin Kline

Linda Cole: Ashley Judd

Gabe: Jonathan Pryce

Gerald Murphy: Kevin McNally

Sara Murphy: Sandra Nelson

Monty Woolley: Allan Corduner

L.B. Mayer: Peter Polycarpou

Irving Berlin: Keith Allen

MPAA rating: PG-13

Running time -- 125 minutes

See also

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