The 1995 Oklahoma City bombing remains the deadliest act of domestic terrorism in U.S. history. HBO’s new documentary An American Bombing: The Road to April 19th doesn’t just revisit this horrific event but methodically details its origins in white male grievance and entitlement.
Director Mark Levin, producer Daphne Pinkerson, and executive producer Katie Couric deliver a compelling journalistic study that connects the dots between right-wing domestic terror attacks over the past 40 years. The result is tragically relevant, as the hatred behind the Oklahoma City bombing also fueled the Pittsburgh Tree of Life shooting in 2018 and the January 6, 2021 Capitol attack. Footage of a young Merrick Garland discussing the case reinforces the point, making the madness feel wearily cyclical. He prosecuted Timothy McVeigh and later oversaw the prosecution of January 6 insurrectionists as attorney general.
Director Mark Levin, producer Daphne Pinkerson, and executive producer Katie Couric deliver a compelling journalistic study that connects the dots between right-wing domestic terror attacks over the past 40 years. The result is tragically relevant, as the hatred behind the Oklahoma City bombing also fueled the Pittsburgh Tree of Life shooting in 2018 and the January 6, 2021 Capitol attack. Footage of a young Merrick Garland discussing the case reinforces the point, making the madness feel wearily cyclical. He prosecuted Timothy McVeigh and later oversaw the prosecution of January 6 insurrectionists as attorney general.
- 4/16/2024
- by Stephen Robinson
- Primetimer
Warner Bros. Discovery has announced the movies, TV shows, and live sports that will be available on the Max streaming service in April. The Max April 2024 lineup includes the HBO original limited series The Sympathizer, the Max original unscripted series Conan O’Brien Must Go, and the HBO original comedy special Alex Edelman: Just for Us.
The April schedule also includes the HBO original documentary series The Jinx – Part Two and The Synanon Fix, the HBO original documentaries Brandy Hellville & The Cult Of Fast Fashion and An American Bombing: The Road to April 19th, season four of HBO original We’re Here, And A24’s The Zone of Interest.
Sports fans will be able to watch live games from the 2024 NCAA Division I Men’s Basketball Championship and studio coverage airing on TBS, TNT, and truTV. The coverage will include the 2024 NCAA Men’s Final Four National Semifinals and the 2024 Men’s National Championship.
The April schedule also includes the HBO original documentary series The Jinx – Part Two and The Synanon Fix, the HBO original documentaries Brandy Hellville & The Cult Of Fast Fashion and An American Bombing: The Road to April 19th, season four of HBO original We’re Here, And A24’s The Zone of Interest.
Sports fans will be able to watch live games from the 2024 NCAA Division I Men’s Basketball Championship and studio coverage airing on TBS, TNT, and truTV. The coverage will include the 2024 NCAA Men’s Final Four National Semifinals and the 2024 Men’s National Championship.
- 3/23/2024
- by Mirko Parlevliet
- Vital Thrills
NBC announced its winter 2022 lineup, including the final season of “This Is Us,” which premieres on Jan. 4 at 9 p.m.
On Mondays starting Jan. 3 “Kenan” will air its second season with a two-episode block at 8 p.m. and 8:30 p.m., followed by Jimmy Fallon’s variety game show “That’s My Jam” at 9 p.m., and “Ordinary Joe” will return with new episodes on this date at 10 p.m.
In addition to “This Is Us,” Jan. 4 will see the time period premieres of “American Auto” and “Grand Crew” at 8 p.m. and 8:30 p.m., respectively, and the midseason premiere of “New Amsterdam” at 10 p.m.
On Wednesdays starting Jan. 5 “Chicago Med” returns to its traditional time period at 8 p.m., followed by “Chicago Fire” and “Chicago P.D.” On Thursdays, “The Blacklist” will air at 8 p.m., followed by “Law & Order: Svu” at 9 p.m. and “Law & Order: Organized Crime” at 10 p.
On Mondays starting Jan. 3 “Kenan” will air its second season with a two-episode block at 8 p.m. and 8:30 p.m., followed by Jimmy Fallon’s variety game show “That’s My Jam” at 9 p.m., and “Ordinary Joe” will return with new episodes on this date at 10 p.m.
In addition to “This Is Us,” Jan. 4 will see the time period premieres of “American Auto” and “Grand Crew” at 8 p.m. and 8:30 p.m., respectively, and the midseason premiere of “New Amsterdam” at 10 p.m.
On Wednesdays starting Jan. 5 “Chicago Med” returns to its traditional time period at 8 p.m., followed by “Chicago Fire” and “Chicago P.D.” On Thursdays, “The Blacklist” will air at 8 p.m., followed by “Law & Order: Svu” at 9 p.m. and “Law & Order: Organized Crime” at 10 p.
- 11/12/2021
- by Selome Hailu and Katie Song
- Variety Film + TV
Here's your daily dose of an indie film in progress -- at the end of the week, you'll have the chance to vote for your favorite. In the meantime: Is this a movie you’d want to see? Tell us in the comments. Loudmouth Logline: Marcus comes to terms with his brother's death over the course of a tumultuous summer weekend and finds comfort in a local street gang. Elevator Pitch: "Loudmouth" is a story about Marcus Webb, a twelve year old boy who is coming to terms with the death of his older brother. Torn between a loving sister who has become his sole caretaker and the sense of camaraderie offered by his local gang, Marcus is forced to make decisions that threaten to rob him of his innocence. Production Team: Amman Abbasi - Director (first feature)Steven Reneau - ProducerMarc Levin & Daphne Pinkerson - Executive Producers (Chicagoland, Slam...
- 6/11/2015
- by Indiewire
- Indiewire
While many workers across America today continuously complain about their jobs, they also forgot one important aspect of why their work conditions are safe. The new exclusive HBO documentary ‘Triangle: Remembering the Fire,’ which premiers on Monday, March 25, humbly memorializes the lives of the workers who gave their lives during the fire that broke out at the Triangle Waist Company factory in New York City’s Asch Building nearly 100 years ago. These workers died in vain, as the government and business owners cared more about profits than the safety of those who worked for them. ‘Triangle: Remembering the Fire,’ which was directed by Daphne Pinkerson and is narrated by Tovah [...]...
- 3/4/2011
- by karen
- ShockYa
To coincide with the 100th anniversary, and to chronicle the history, of the Triangle Shirtwaist Factory Fire in New York City, HBO will be premiering its new documentary ‘Triangle: Remembering the Fire’ on March 21, 2011. Emmy Award-winning filmmakers Marc Levin and Daphne Pinkerson worked on the movie to tell the stories of the victim, survivors, employees and managers of what was considered the worst New York workplace disaster of the 20th century. Descendants of the victims tell the stories of their ancestors in the documentary The fire helped bring about widespread reforms in the workplace, and helped start the modern labor movement. However, HBO is hoping to get the message [...]...
- 2/25/2011
- by karen
- ShockYa
Heir to an Execution
Sundance Film Festival
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
- 7/9/2004
- The Hollywood Reporter - Movie News
Heir to an Execution
Sundance Film Festival
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
- 1/23/2004
- The Hollywood Reporter - Movie News
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