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Stewart vs. Cramer: We have a winner

posted on 07/06/2010 11:47 PM

In the matter of Stewart vs. Cramer, I think we have a winner. (What's embedded here is the extended "Daily Show" interview with Cramer. Be aware that it contains strong language).

On Thursday's "Daily Show," Jon Stewart -- channeling Jimmy Stewart -- delivered a beatdown of CNBC's Jim Cramer, who attempted to defend himself and CNBC but, for the most part, meekly said he and his network could have done a better job in the leadup to the nation's financial meltdown.

It's hard to see how Cramer could have had any other response, given the barrage that he faced from the genuinely angry "Daily Show" host. Stewart kept his composure and never shouted, but you could tell that the games that have been played with the 401(k) savings of millions of Americans seriously ticked him off.

"I know you want to make finance entertaining, but it's not a [expletive] game," Stewart said.

Stewart's grilling of Cramer reminded me of David Letterman's confrontations with John McCain and Rod Blagojevich in the last year or so. Letterman is a master of being affable and accessible while not cutting his guests a bit of slack. On Thursday, it was as if Stewart was channeling Dave's homespun, regular-guy relentlessness. Cramer didn't know what hit him until it was much too late.

For me, the most revealing statement from Cramer came at the end of the interview, when he said this: "It's difficult to have a reporter say, 'I just came from an interview with [former Treasury Secretary] Hank Paulson and he lied his damn fool head off.' It's difficult. I think it challenges the boundaries." 

"I'm under the assumption ... you don't just take their word at face value," Stewart said to Cramer.

Boom. Roasted.

But as a commenter on Phil Rosenthal's Tower Ticker site said, "Who buys advertising on these networks? Financial institutions and brokerage houses do, small investors do not." CNBC is not "about to bite the hand that feeds them," Maddog wrote.

As long as that's the case, will CNBC ever change? After all, as Time critic James Poniewozik points out, the cable network's current strategy -- which involves looking for silver linings and offering ideas on how to "Obama-proof" one's portfolio -- has actually led to higher ratings.

"As the rest of the country stews over the mismanagement of insurers and banks, there's still a small, demographically appealing niche for talking heads fulminating against the 'demonization' of business and being in favor of laissez-faire government," Poniewozik wrote. 

"Hey, somebody's gotta stick up for the little guy. Even, or especially, when he's the big guy."

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No more sun and fun in 'The O.C.'

posted on 07/06/2010 02:27 AM

Say goodbye to the beach, the Bait Shop and Seth Cohen’s witticisms: “The O.C.” is history.

Ratings for the Fox show have tumbled in recent seasons, especially after the teen soap moved to Thursdays, where it faced tough competition from the likes of “CSI” and, this season, “Grey’s Anatomy.” Most media observers expected the once white-hot show to end its run this year, but that ending is approaching very quickly: The show’s fourth season finale, which will serve as the series’ swan song, will air Feb. 22.

The final batch of Season 4 episodes starts airing Thursday.

“For a certain audience, at a certain time, ‘The O.C.’ has meant something. For that we are grateful,” creator Josh Schwartz said in a statement.

In that spirit of gratitude, let us not spend this moment nitpicking about “The O.C’s” plots, which were often repetitive and meandering when they weren’t annoying and predictable (hello, Oliver). Let’s use this moment to remember that, in its heyday, “The O.C.” was a delightful bit of escapism.

It mocked the conventions of soap operas even as it aped them with the usual array of love triangles, paternity tests, lesbian kisses, unrequited loves and so forth. Then there was the epic Ryan-Marissa merry-go-round (by the third season, it got to the point where I could never remember whether they were apart or together, not that it seemed to matter much overall).

Still, so what? Creator Josh Schwartz and his writers knew that playing Boys II Men’s “The End of the Road” during one of Seth and Summer's relationship crises was the perfect thing to do. The writers made Seth and Summers’ toy horses, Captain Oats and Princess Sparkle, recurring characters. They gave us the wonderful Sandy Cohen and his ultra-WASP wife, Kirsten Cohen (and holla to Alan Dale, who was perfect as the sketchy billionaire Caleb Nichol in the first couple of seasons). The show helped make indie bands such as Death Cab for Cutie and Modest Mouse household names. It made reading comic books -- sorry, graphic novels -- and watching anime and digging taciturn, musclebound guys from Chino cool.

I’ll miss Peter Gallagher and Kelly Rowan as Sandy and Kirsten (and I’ll try to forget Kirsten’s ill-conceived trip to rehab). I’ll miss Melinda Clarke, who was never less than delicious as Julie Cooper, no matter what kind of kooky plot the writers threw at her (don’t start me on Kaitlin. Just don’t). I won’t miss Marissa, because, well, they already killed her off and, unlike some of the show’s hardcore fans, I still say that’s one of the best things they ever did.

Occoma Still, it was obvious that the show needed a fork stuck in it. It was done (and clearly Fox was thinking that, since the network only ordered 16 episodes for the season).

The cast was never less than competent, but they’ve been going through the motions for some time now. Even so, the most recent Chrismukkah episode showed a little of “The O.C.’s” patented magic – Ryan brooded darkly, Seth quipped awesomely, Summer was, well, silly and adorable as only Summer can be. And there’s no way I’m going to harsh on a show that gave Chris Pratt a role as a hemp-wearing environmentalist – or any role, of any kind, really.

So, see you later, “O.C.” Thanks for all the fantastic tunes –and by the way, the latest “O.C.” CD compilation, “Mix 6: Covering Our Tracks,” is great (I can’t get Lady Sovereign’s version of “Pretty Vacant” out of my mind).

Thanks for the witty dialogue, for Seth Cohen’s ability to make nerdiness seem cool, for the tortured love affair between Ryan and Marissa, which did suck me in for the first couple of seasons.

Thanks for the quoteworthy dialogue, for the fisticuffs at parties and for the weekly opportunity to mock Marissa’s clothes.

At a time like this, it’s easy to forgive “The O.C.’s” sins. Because after Feb. 22, we won’t have it to kick around anymore.

Photo: It's a soap opera. Of course there has to be someone in a coma, at some point. In the most recent Chrismukkah episode of "The O.C.," both Ryan and Tayler were in "coma lites."

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Our Thursdays are less Seth-y: Goodbye to 'The O.C.'

posted on 07/06/2010 01:01 AM

Going forward,' Thursday nights will be a little less quippy, a little less pop-culture-obsessed, a little less Seth-y. And, sure, a little less sexy.

“The O.C.,” the indelible teen soap of the oughts (what are we calling this decade, anyway?), is going away for good; the show’s series finale airs Thursday. Fox didn’t send out the last episode for review, which is fine, because I’d rather not know in advance what happens.

The series always has had more than its share of ups and downs, but I have every hope they’ll pull out all the stops and make the finale a valentine to the fans that have stuck with the self-referential, soap-parodying soap.

Well, OK, to be honest, I was a little fickle over the years and gave up on the show during several especially preposterous patches (many of the show’s fans did, too, judging by “The O.C.’s” falling ratings). But I still live in hope that “The O.C.” brain trust will give Seth, Summer, Ryan, Julie, Kirsten and Sandy the send-off they deserve.

In honor of the series finale, here’s a list of lists celebrating the Fox show’s four-season career.

Most undervalued supporting cast member:

  • Peter Gallagher’s eyebrows
  • Peter Gallagher as Sandy Cohen
  • Princess Sparkle
  • Captain Oats
  • Melinda Clarke as the unstoppable Julie Cooper-Nichol
  • Chris Pratt as the crunchy environmental guy Ché
  • Alan Dale as the sketchy billionaire Caleb Nichol

Most irritating supporting cast members:

  • Kaitlin Cooper
  • Oliver
  • Volchok (arrrgh!)

A few favorite random things:

  • Jimmy Cooper’s genial irresponsibility
  • Marissa’s lesbian flirtations with Alex (Olivia Wilde). It was actually handled well, considering it occurred on a Fox show during sweeps.
  • A guy from Julie’s past threatening to publicize her long-ago foray into adult films
  • Summer’s rage blackouts
  • The inevitable fights at every “O.C.” party

Best “O.C.” inventions:

  • The “coma lite”
  • Chrismukkah (in its early days, anyway)
  • “The Valley,” the fake soap that the “O.C.” characters were obsessed with
  • Ryan Atwood’s fists of fury
  • “The O.C.’s” soundtrack CDs, which helped launch an array of excellent bands

Biggest bungles:

  • Oliver with a gun
  • The arrival of Ryan’s brother
  • Marissa’s death (a season too late)
  • Mischa Barton (Marissa) spilling news of her character’s death days before it aired
  • Each season’s mid-season plot muddle
  • Kirsten’s sudden-onset alcoholism
  • Lindsay’s sudden-onset paternity issues and even more sudden exit
  • George Lucas’ guest spot. The man just can’t act, sorry

And in closing, here are just a few memorable lines (there are way more here):

  • Luke to Ryan: “Welcome to the O.C., [expletive].”
  • Ryan (Benjamin McKenzie) to Marissa: “I wouldn’t have done it any differently. Except maybe Oliver.”
  • Summer (Rachel Bilson) to Marissa: “God, he loves you. He got in a fight and burnt down a house for you. That’s hot.”
  • Summer on Death Cab for Cutie: “It’s like one guitar and a whole lot of complaining.”
  • Seth (Adam Brody) on Ryan: “My friend Ryan, he’s really cool, OK? He’s very anti-establishment. He enjoys sunset walks on the beach, punching people and not smiling.”
  • Sandy to Julie: “So you started with a porn director and ended up with Caleb. I’d consider that a lateral move.”
  • Summer to Ché: “Ché, just shut up, OK, before I tie you up with hemp rope, set you on fire and get high off of the fumes from your burning flesh.”
  • Seth to Ryan in last week’s episode: “It’s too bad. If we could have turned this into a body-swap comedy, we could have squeezed another year or two out of this.”
Photo: Rachel Bilson, Adam Brody, Mischa Barton and Benjamin McKenzie, wearing the classic black Chino-style wristband.

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Katee Sackhoff and Tricia Helfer stage 'Battlestar' takeover of CBS comedies

posted on 07/06/2010 12:53 AM

Near the end of this post, you'll find a photo of Katee Sackhoff in the Nov. 23 episode of "The Big Bang Theory." If you hadn't heard about her appearance on the fine CBS comedy, here's my story about  Sackhoff's upcoming "Big Bang" visit, as well as my general thoughts about the show's pleasing third season.

TriciaMen

I've put the photo and the episode summary below in case you don't want to see the circumstances of the appearance by Sackhoff, who is most famous for playing Kara "Starbuck" Thrace on "Battlestar Galactica" and is a series regular on the upcoming season of "24."

Her "Big Bang" scene promises to be pretty fun. One of the show's characters is pretty much living the fanboy dream in that episode.

Sackhoff isn't the only "Battlestar" alum to appear on CBS this month: On the Nov. 16 "Two and a Half Men," Tricia Helfer plays Gail, Chelsea's hot college roommate, who comes for a visit after a bad breakup. Charlie (Charlie Sheen) is pretty much like Baltar on "Battlestar": So many hot ladies around make him a little mental. 

Another Helfer photo and the Sackhoff picture are below.

 

Here is summary of "The Vengeance Formulation," the Nov. 23 episode of "The Big Bang Theory": "After he's humiliated on National Public Radio, Sheldon vows to destroy Kripke, while Wolowitz tries not to destroy his new relationship with Bernadette. "Battlestar Galactica" star Katee Sackhoff appears as herself, offering Wolowitz some relationship advice."

KateeBBT And what an intimate setting Wolowitz and Sackhoff have for their conversation! As "Big Bang Theory" co-creator Chuck Lorre told USA Today, "We should all have a conscience that looks like Katee Sackhoff."

TriciaMen2 CBS does appear to like the "Battlestar" folks. Michael Trucco also appeared on "Big Bang," as did a Cylon toaster recently (check out this post for a funny clip of Sheldon making Cylon toast).

At this rate I'm hoping that Edward James Olmos puts in an appearance at McLaren's, the bar on "How I Met Your Mother." Who's with me?

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Let's twist again: A surprising 'White Collar' moment sparks a Twit-storm

posted on 07/05/2010 03:33 AM

Friday's "fall finale" of the USA series "White Collar" provoked some strong responses -- and a surprising admission from the show's executive producer on Twitter. Read on if you've seen the episode.

 

I can't say I'm a fan of the surprise twist at the end of Friday's "White Collar" episode.

Peterwc.jpg The best twists make you go, "Oh cool!" My reaction to seeing Peter in that chair, wearing the Evil Villain ring, was "What? Um. Huh…."


The twist didn't feel particularly earned. To me, it came out of left field, and not necessarily in a good way. And the short scene felt far too melodramatic for this otherwise easy-breezy caper show -- I almost expected the ring-wearing Peter to be twirling a mustache, or at the very least petting a Siamese cat, Bond-villain style.

I suppose the twist ending worked, on one level: I am wondering what will happen on Jan. 19, which is when "White Collar" returns with new episodes. The cliffhanger may be resolved well or it may not be. But either way, the Peter in that scene just didn't (for me anyway) jibe with the character we'd come to know. Peter's certainly very smart, but he also appears to be a guy who mostly plays by the rules. For the show to suddenly put him in that super-villain chair, complete with giant pinky ring -- well, that dun-dun-dun turn felt a bit abrupt.

Ringading.jpg I have to agree with the wary tone Alan Sepinwall struck in his short post about the episode: "While it was fun to see Neal act like a criminal again, I'm really hoping that the final scene of the episode was designed to be misleading. Because if it was what it looked like it was, I may be even less interested in the show than I was before."

I had other problems with the episode too. Why was Peter so quick to believe that Neal took the necklace? Possible answers: A) he never believed it, but then, why have Peter say he believed it? B) he did believe it, which doesn't make much sense, given that Peter knows Neal wouldn't be dumb enough to sign the fake diamond.
 I can't quite put my finger on why, but something felt off about the way Peter and Neal's relationship was depicted in the episode -- and it wasn't just because we found out at the end that Peter had been playing games regarding Neal's former flame, Kate.

Whatever I thought of the episode, what's almost more interesting than the twist was the Twitter controversy that sprang up regarding the episode. Even before I watched the episode (which I didn't get to until Sunday), I got a hint that something was brewing via the Twitter feed of creator Jeff Eastin.

After Friday's episode aired, Eastin tweeted, "Ha ha ha ha ha!" and later, "Don't assume anything you see is what it seems." 

Later, however, Eastin's tone took a turn: "Due to the number of complaints, they're considering rethinking the rest of season one," Eastin tweeted Saturday night. "Trying to prevent that." Presumably "they" are USA network executives.

That statement disappeared from Eastin's Twitter feed soon after he sent it out, but nothing ever really goes away on the Internet. Strangely, this tweet also disappeared: "Peter has always known more than he let on, but he hasn't betrayed Neal."  (Apparently Eastin also replied "Don't hate Peter" to one follower, according to TV Overmind, but I haven't been able to find that tweet, which may also have been deleted.)

On Saturday, Eastin sounded a bit more positive. He wrote, "Twitter running 90% positive for the ending. It's the 10% that's got them worried. :)" You can judge for yourself by reading fans' responses to Eastin on Twitter, but it would appear that people there generally responded positively to the episode, though some on Twitter and elsewhere were vocally disappointed with the implication that Peter had (possibly) doublecrossed Neal.

Whoever told Eastin to remove those tweets (or perhaps he took it upon himself to remove them) should know that it's not possible to erase these kinds of things once they're out there, and the effort to do so just looks panicky. Eastin engaging fans online is a good thing (and I hope this experience doesn't dissuade him from continuing to tweet). Lots of other showrunners are doing just that sort of thing, but there's clearly a way to do it well. Honesty, not spin, is the best policy in these situations.

If there isn't a certain degree of transparency and honest (or at least relevant) information in showrunners' Twitter feeds, they're boring and useless and do nothing positive for the show. I've unfollowed some TV writers because they don't provide a window into the creation of their shows or anything else of interest. And it goes without saying that writers (and network execs) shouldn't necessarily live or die by what Tweeple say. That kind of insta-feedback is certainly worth pondering, but if Eastin and the network have a thoughtful plan for the show's future development (and I certainly hope they do), they should stick with it.

But the Twit-storm, entertaining as it is, is a side issue. Here's the important thing about that vanished tweet from Eastin: I am worried that USA executives are worried about the wrong thing. I very much hope that the network doesn't respond to this little online kerfuffle by making Eastin tone down the rest of the season.

"White Collar" does not need to be more safe and risk-averse. If anything, the show needs healthy (or perhaps unhealthy) doses of grit, heft and ambiguity.

Wcchair Even if this particular twist doesn't work out (and we won't know until Jan. 19 whether it did), in general, unpredictability is a good thing, as long as the sharp turns are set up in a creative and intelligent fashion. And if the show makes Peter and Neal and their relationship more complicated in the future, all the better.

Though I wouldn't put it in the must-see category, as I said in my review, I generally like the show, which debuted in October. On the plus side, it's a harmless slice of escapism, and thus fits in well with the other fare on USA. But on the minus side, "White Collar" is slight, prone to an over-reliance on coincidence and convenience (Neal Cafferty just happens to know the M.O. of every forger, art thief and con artist out there) and I can easily see it sliding into a predictable formula that could get old fast.

Though its lead actors, Tim DeKay and Matthew Bomer, are very skilled and have good chemistry (which is what makes up for the sometimes so-so plotting), "White Collar" notably lacks the undercurrent of tension and even melancholy that informs USA's best show, "Burn Notice" (which -- thank goodness -- returns Jan. 21). The best "Burn" episodes have crackerjack plots and, more importantly, there's an element of darkness to "Burn's" Michael Westen that makes him compelling.

On "White Collar," Neal is too slick and suave to have an obvious edge to him (presumably he must have an edge to have turned to a life of crime, but he keeps his darker side well hidden). Peter, as the show's straight man, is square and uncool -- he can be crafty at times, but by design, he's supposed to be far from edgy.

Though that combination of slick and square works in "White Collar's" favor, tonally and comedically, one of the main things that keeps me coming back to "Burn Notice" is Michael's restless dissatisfaction and his drive to clear his name. At the center of that show is a seriousness of purpose that grounds every other development, comedic or dramatic.

What I'm trying to say is, I'm strongly in favor of the characters on "White Collar" traversing moral gray areas, having more serious conflicts and having slightly weightier ongoing quests (Neal's desire to see Kate again is a good start, but that seems likely to play itself out sooner rather than later).

Sure, USA shows are meant to be "blue sky" escapist fantasies, but there's such a thing as being too lightweight. I'd hate for "White Collar" to squander its very real potential by playing it too safe.

As far as Friday's episode goes, if Peter has been playing Neal from the beginning, that's a very big a shift for that character. If Peter has been, in essence, running a con on Neal, there had better be a good explanation for that (and again, no matter how things turn out, I wish the groundwork for that last scene, and that possible shift, had been laid better).

And there may yet be a reasonably satisfying resolution to all this. We'll see. My prediction is this (and this is pure speculation): I bet Peter has actually been playing Neal's ex, Kate. Maybe she's the one who's been after Neal's secret stash this whole time, and maybe she's not really in substantial danger. I'm betting that somehow, by luring Kate into that room, Peter was trying to protect Neal or serve Neal's interests.

Or not. Perhaps Eastin has come up with an even more creative solution to this cliffhanger. If he has, I'm sure he won't be tweeting about the nature of the resolution (nor should he). But if he'd like to keep the Twitter conversation going, join in the "White Collar" discussion below or email me with a missive for fans about his overall plans for the show (at moryan@tribune.com), I invite him to do so.

If someone doesn't delete this post, that is.

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'30 Rock' gleefully bites the hand that feeds it as Season 4 begins

posted on 07/05/2010 03:10 AM

As it returns for its fourth season, “30 Rock” (8:30 p.m. Central Thursday, NBC; three and a half stars) may just set a record.

NUP_136583_0127 Not for Emmy wins, though the show, which won its third best-comedy Emmy in September, isn’t doing  too shabby in that department: It picked up a record-setting 22 nods when nominations were announced in July.

No, the record that creator and star Tina Fey appears to be going for concerns the number of real-life references and insider jokes that one half-hour comedy can make. “30 Rock,” which is set at a fictional NBC sketch comedy show, has always featured a lot of meta-jokes about its network and timely barbs about current events, but the season opener takes particularly audacious aim at boneheaded network decisions, corporate greed and celebrity stupidity.

The cast of the fictional “TGS” is told their program doesn’t connect enough with mainstream America, and comedy writer Liz Lemon (Fey) takes exception to this pronouncement. But, true to “30 Rock’s” modus operandi — which often has the comedy celebrating its chosen targets even as it ridicules them — the episode mocks Middle America as the home of junk food-loving yokels as Liz tears into her favorite new snack, artery-clogging Cheesy Blasters.

NUP_136582_0066 Through “TGS” cast members Tracy (Tracy Morgan) and Jenna (Jane Krakowski), “30 Rock” skewers the kind of pampered celebrities who can’t exist without assistants and who command regular folk not to look them in the eyes. These jokes are weaker, given the obviousness of the clueless-stars target, but those gibes are offset by the show’s fondness for surreal moments and by the always hilarious performance of Jack McBrayer as Kenneth the Page and the ever-amusing deadpan of Alec Baldwin as network executive Jack Donaghy.

“30 Rock’s” ratings have never set the world on fire, but just as Lemon’s awkward nerd charm allows her to say almost anything to the world-weary Donaghy, the low-rated show’s status as an awards magnet means it can get away with biting the hand that feeds it. The results may not hit the mark every time  (stories about Jack, Liz and Kenneth usually work, while those concerning Tracy and Jenna are hit or miss), but there are enough pointed, smart and effective barbs to make this show a must-see comedy even as it enters its fourth season.

But just as "Big Bang Theory" tends to mention to obscure physics theories, "30 Rock" often refers to events and people who may be best known to subscribers to In Touch, The New Yorker or Vanity Fair -- or, ideally, all three magazines. So here's a quick guide to Things Mentioned in the "30 Rock" season premiere (some mild spoilers follow):
  • NUP_136582_0169 St. Barts: Also known as St. Barthelemy, it's a Caribbean destination favored by the wealthy and influential.
  • Rabbi Shmuley: Rabbi Shmuley Boteach, the author of "Kosher Sex" and "The Kosher Sutra" and former BFF of Michael Jackson.
  • Josh: An actor on "TGS," "30 Rock's" show-within-a-show, who has not been spotted on "30 Rock" for some time.
  • Moby: A recording artist who makes techno-inflected music.
  • Park Slope: A yuppified Brooklyn neighborhood.
  • Strike: One of the season premiere's story lines is about a strike led by one of "30 Rock's" characters; there appear to be some parallels between that fictional strike and the real Writers Guild of America strike that took place between Nov. 5, 2007 and Feb. 12, 2008.
  • Fiscal crisis: Donaghy is on a mission to cut costs, which reflects the reality at NBC (and other networks). Thanks to the declining fortunes of its prime-time lineup, NBC endured more than its share of layoffs and cost-cutting, even before the economy's woes set in.
  • Nixon: Richard Nixon is an inspiration to Donaghy, who calls the current occupant of the White House "Comrade Obama."

Photos: Jack McBrayer as Kenneth the Page, Tina Fey as Liz Lemon, Jane Krakowski as Jenna.

Sponsored Link: Amazon's 30 Rock Store

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Food, Inc.: How factory farming affects you

posted on 07/05/2010 02:31 AM

Important food for thought

Multimedia_gallery-image[1] The sobering new documentary Food, Inc. which opens in Chicago on June 19, shows the enormous hidden costs we all pay for eating cheap, factory-farmed food.

Most of us don't think much about how the food on grocery store shelves is produced, what's in it, or the impact it has on our bodies, the planet or the laborers.

And that's exactly how big agribusiness likes it, according to director Robert Kenner, who set out to "lift the veil" on the industrial food process.

Though the film is admittedly one-sided--Monsanto, Tyson, Perdue and Smithfield all declined the filmmakers access and prevented some of their growers from talking on camera--there's enough shocking undercover camera footage to make viewers start asking some important questions, such as "where does our food come from?"

Interviews with intestigative reporters and authors Eric Schlosser, ("Fast Food Nation") and Michael Pollan ("The Omnivore's Dilemma), independent farmers such as Joel Salatin (pictured above) and others, meanwhile, add context and help connect the dots.



But despite the factory-farm scenes, some of the most thought-provoking moments were these statements that were spoken or flashed on the screen. According to the filmmakers:

  • In 1972, the U.S. Food and Drug Administration conducted 50,000 food safety inspections. In 2006, the FDA conducted only 9,164.

  • In 1996 when it introduced Round-Up Ready soybeans, Monsanto controlled only 2 percent of the U.S. soybean market. Now, over 90 percent of soybeans in the U.S. contain Monsanto's patented gene.

  • Supreme Court Justice Clarence Thomas was an attorney at Monsanto from 1976 to 1979. After his appointment to the Supreme Court, Justice Thomas wrote the majority opinion in a case that helped Monsanto enforce its seed patents.

  • 70 percent of processed foods have some genetically modified ingredient. (Genetically modified crops are not labeled in the U.S. even though 90 percent of consumers have said they want labeling.)

  • 1 in 3 Americans born after 2000 will contract early onset diabetes; Among minorities, the rate will be 1 in 2.

Listen to: Michael Pollan discuss the film with NPR's Steve Inskeep.

Read: "Why Bother?" by Michael Pollan.

Read: Patrick Goldstein's review in the Los Angeles Times

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Food, Inc.: 10 simple ways to change your eating habits

posted on 07/05/2010 01:00 AM

Multimedia_trailer-image[1] The best part about the riveting new documentary "Food, Inc.," which opens in Chicago on June 19, is that it sends us all home with something important to do: Think about where your food comes from.

Then, the film urges, take small steps to change the food system.

Here's are 10 ways to start, according to the filmmakers:

1. Stop drinking sodas and other sweetened beverages. You can lose 25 pounds in a year by replacing one 20 ounce soda a day with a no calorie beverage (preferably water).


 
2. Eat at home instead of eating out. Children consume almost twice (1.8 times) as many calories when eating food prepared outside the home.
 
3. Support the passage of laws requiring chain restaurants to post calorie information on menus and menu boards. Half of the leading chain restaurants provide no nutritional information to their customers.
 
4. Tell schools to stop selling sodas, junk food, and sports drinks.Over the last two decades, rates of obesity have tripled in children and adolescents aged 6 to 19 years.
 
5. Meatless Mondays—Go without meat one day a week. An estimated 70 percent of all antibiotics used in the United States are given to farm animals.
 
6. Buy organic or sustainable food with little or no pesticides. According to the Environmental Protection Agency, over 1 billion pounds of pesticides are used each year in the U.S.
 
7. Protect family farms; visit your local farmer's market. Farmer's markets allow farmers to keep 80 to 90 cents of each dollar spent by the consumer.
 
8. Make a point to know where your food comes from—READ LABELS. The average meal travels 1,500 miles from the farm to your dinner plate.

9. Tell Congress that food safety is important to you. Each year, contaminated food causes millions of illnesses and thousands of deaths in the U.S.

10. Demand job protections for farm workers and food processors, ensuring fair wages and other protections. Poverty among farm workers is more than twice that of all wage and salary employees.


Here's a look at the "Film, Inc." movie trailer:

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What is exercise?

posted on 07/05/2010 12:35 AM

Treadmill The definition of 'exercise' is a hotly debated topic in the fitness world.

Researchers now say most people need 150 minutes a week of "moderate-intensity" exercise, as reported in a recent issue of New Scientist that looked at what scientists know about fitness.

But what is "moderate intensity?" Do you have to sweat?

Not necessarily, say some experts. If you're walking, for example, "moderate intensity" would be about 100 steps per minute, according to research published in the American Journal of Preventive Medicine.

If that sounds like a lot, try it. On a LifeFitness treadmill, it's just 2.0 miles per hour.

But steps-per-minute is a general measure, the researchers said. To get the 150 minutes, you need to walk a minimum of 3,000 steps in 30 minutes on 5 days each week.

Or, breaking it into three bouts of 1,000 steps in 10 minutes each day will also work, they said.

But other exercise specialists and groups, including the American College of Sports Medicine and the American Heart Association, say "moderate intensity" should cause a noticeable increase in breathing and heart rate. And strength work requires a different framework.

"Following this 2 mile-per-hour  standard will benefit only the most severely obese because for many of them, it is all they can do," said Vikram Khanna of Galileo Health Partners. For most people, he said, it won't produce any noticeable results because it's too leisurely to improve fitness and burn enough calories to lose or keep weight off.

Khanna says the average novice exerciser "should pay closest attention to breathing and heart rate and perceived exertion.  Exercise that feels hard usually is."

Sweating, by the way, is not an indication of intensity. "Sweat production is subject to many variables, including environment, conditioning, clothing and hydration status," Khanna said.

For eight other facts about fitness, including the answers to the question "Can I be fat and fit?" and "Can jogging kill you?" read the entire New Scientist article.

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Jewel sings for pelvic health

posted on 07/05/2010 12:17 AM

Jewel%2009-29-09smaller[1] A few hours before she was scheduled to perform at The Vic in Chicago Friday, Jewel sang for pelvic health in the backyard of a Lincoln Park home.

The third annual fundraiser, called "Below the Belt," was a benefit for the Women's Health Foundation, which works to educate women about an often mysterious part of the body, one that few people like to discuss in public.

The WHF wants to change that. "We want to take pelvic health out of the water closet and celebrate women being strong and sexy and in control," Women's Health Foundation founder Missy Lavender said as she introduced the singer-songwriter.

Jewel, who is on her Star Light Cafe Tour to promote her new country album "Sweet and Wild," tried valiantly to open with a song that fit the unusual theme. "Pelvic floor health! Pelvic floor health," she chanted, while strumming her guitar.

"I don't know that one, but I'm willing to write it," she told the crowd of more than 300, including a next door neighbor who had climbed a tree to see the intimate acoustic performance.

Even if she did though, it probably wouldn't top her performance of "Satisfied" from her new album. "That's a great song!" a man shouted out from the crowd after she finished.

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