"Baby Peggy" at age 94

When I fell for Peggy Montgomery, she was maybe 5. I just saw her again today -- almost ninety years later, alive and well.

Every time my kids drag me to an of-the-moment crapcorn movie like Hunger Games, I  have to remind myself that they've been more than patient when shown many vintage black-and-white movies -- even silents -- in fact, have actually often embraced them.

No more so than when we stumbled upon Helen's Babies. 

The Daisey Chain

On Friday I was in the writers' room for Aaron Sorkin's new HBO series, The Newsroom, when my colleague Gideon Yago -- who trolls the Internet even more fiercely than I do -- blurted out something like "Wow."

Gideon -- a one-man encyclopedia who worked at MTV and CBS news and reported from Iraq and Afghanistan -- does this several times a day, and sometimes it's about things I can't comprehend, like international finance.  But Friday's topic hit close to home -- especially since we're working on a show that has to do a tricky dance with truth and reporting and fictional entertainment.

What tripped up Gideon was the news that the esteemed NPR show This American Life was going to retract a story it had aired. The website was so clogged it took me about 15 minutes to get to the story.

Sounding a little like a parent about to tell his kids about a divorce, host Ira Glass wrote a blogpost starting with the unfortunate phrase:"I have difficult news."

In the days that followed, Mike Daisey, who most Americans had never heard of, went from a beloved cult truthteller to a nationally discredited fabricator. And again put what Stephen Colbert called "Truthiness" front and center stage.

Mock Mocking

Saturday Night Live didn't invent the snarky-affectionate pop culture spoof -- it was following in the grand tradition of Mad Magazine, Ernie Kovacs, Laugh-In [above] the National Lampoon and Monty Python.

But last week I was reminded of one reason why SNL has outlasted them all -- 37 years and counting -- in creating (and re-creating) satirical memes before we ever starting using that word.

On Weekend Update, Andy Samberg donned his Nicolas Cage makeup for the umpteenth time to spoof the actor's over-amped style and seeming inability to reject any script. But there was a new twist: Cage, who had another crapola movie opening that weekend (Ghost Rider II), showed up in person to participate in his own caricature.

This is the kind of water cooler moment that the show loves to create, the "did you see that?" freak-out that, in the era of Hulu and YouTube, keeps a show current even when people miss the original broadcast.

But this kind of codification seems counterproductive.

World War Wonder

25-year-old Gary Cooper's indelible bit part in Wings

Today came the news that the last surviving World War I veteran died at the age of 110.  This reminded me how, suddenly, World War I seems to have re-upped in pop culture consciousness. It's been a wakeup call for me, as for most of my life I have been swamped by Baby Boomer novels and movies romanticizing World War II (and codifying Hitler as the bad guy of all time).

"The Great War," in contrast, had faded to a kind of dusty prelude -- perhaps in part because there were less photos and films of the battles.

Georges Méliès sets the moon afire in Hugo

The current revival round up has to start with -- I'm almost embarrassed to mention -- the ubiquitous Downton Abbey, the BBC miniseries airing on PBS.

But it's also the setting for Spielberg's movie War Horse (which, sorry, I couldn't get through), and even Hugo finds its historical footing in filmmaker Georges Méliès falling into despair and disfavor after the "Great War" and burning all his movie props [above].

Yet the depiction of WWI I enjoyed more than all these recent examples was a restored print of the first Oscar-winning best picture, 1927's silent Wings, just released on DVD.

Schnooki

Fred Stoller's entry into my life was emblematic of his personal gestalt -- which he's turned into an unlikely career.

You know when you're at a cool party and then someone latches on to you and they're kind of annoying but persistent and you can't shake them and then you give up and realize there's something inimitable about them that is compelling?

That's Fred Stoller.

Phil Rosenthal's awesome screening room (LA Times)

We met at one of those parties you always imagine take place in Hollywood yet never dream of getting invited to. But in 2002, during my year on West Wing, my Rolling Stone buddy David Wild brought me to the home of Everybody Loves Raymond creator Phil Rosenthal, who has hosted Sunday night movie screening pizza parties [right] with his wife Monica Horan (who played Brad Garrett's wife on Raymond) since they met in New York in the 80's.

Among the two dozen or so guests were several character actors, writers, and the like. The house was beautiful but not ostentatious; the entry hall was hung with framed autographs Rosenthal had collected from his idols, including, if I'm remembering right, Billy Wilder.

Before that night's screening of Woody Allen's Radio Days (Rosenthal had been re-screening all of Woody's movies) I hung out in the kitchen and ate slices from pizza boxes off the large island (apparently Phil has since upgraded to pizzas from Mozza), and eventually out of the cast of characters emerged -- Fred.

Fred was tall, lean, anxious, nasal-voiced and Brooklyn-born. He told me he'd been working on a memoir about his piecemeal, freelance experiences on the fame's fringes called "Maybe We'll Have You Back" - -the noncommittal statement told by TVproducers to itinerant guest stars like Fred their entire careers.

I was wary, but intrigued.

I'd been a big comedy fan since childhood -- and written a lot of journalism about comedy, including editing two special issues of Rolling Stone on the topic. And I had never read or heard of a book told from the point of view of someone like Fred. Someone like, well, these guys:

"Fred, Ed, Ted, and Fred" (Willard, Begley, Lange, Stoller)

Stories from a journeyman character actor about how different stars behaved, of rating gigs by how good the food is, of trying to fit in and make enough of a mark without stealing the stars' limelight(s).

Law & Disorder

Damien Echols, Jessie Misskeller Jr., and Jason Baldwin in 1993

Misskeller, Echols and Baldwin in 2000 (above)
Echols, Misskeller and Baldwin in 2011 (below)

I'd hoped to spend this three-day weekend relaxing and catching up, but instead I got angry. And maybe that's what MLK would have wanted.

A friend mentioned that HBO [full disclosure: my current employer] was airing all three Paradise Lost documentaries, in conjunction with the premiere of # 3. I was only vaguely aware of them, and at first thought they illustrated three different topics on a theme. So I set the DVR.

What I discovered, glued to my chair for seven hours, was that instead it was like a hellish version of Michael Apted's ongoing Up series [left] -- following the same characters from different economic strata over decades. (The most recent PL showed at the New York Film Festival, got a DGA nomination and is nominated for the Documentary Oscar.)

In the case of Paradise Lost, it took three documentaries and a mind-blowing 18 years -- plus the involvement of celebrities like Eddie Vedder, Johnny Depp and the Dixie Chicks -- to rectify the miscarriage of justice that wrongfully convicted three innocent Arkansas teenagers in the murders of 3 eight-year-old boys.

The trilogy contains enough twists and turns, villains and false theories

Dodging the Clusterflick

This is clusterflick season -- when studios jam the multiplexes mining for Oscar gold. Theoretically I could be going to a new movie nearly every night. Yet in the past two weeks I found myself preferring to go to revival houses -- three times.

I am not delivering a screed about how they stopped making good movies in 1980; in fact, two of the three movies were 2011 releases I had missed on the big screen. But I am weary of Oscar season, our meager reward for enduring another summer of ever-worse remakes and sequels. (Eight of 2011's top eleven grossing titles so far were  sequels -- the other two were Thor and Captain America -- and   Mission Impossible 4 is still climbing into that list.)

Last night I had a lively debate with an erudite couple who had the polar opposite reaction to me on two Oscar contenders: Young Adult (they liked, I hated) and The Help (I liked, they hated). That's what makes this a ballgame, I guess, but I wonder if in a year or two we will even remember which movies were nominated.

2011's most romantic scene?

I have enjoyed some of this year's crop -- most thoroughly The Artist [left] -- but I can't argue with people who didn't like it, and also have been wildly disappointed by several