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    Bollocks!

    Our honour is at stake: Brits criticise American media news programmes & weoffer a defence

    Steven Devadanam
    Jan 8, 2011 | 10:56 am
    • Nell McAndrew, a Page 3 girl in The Daily Star

    The Brits have taken it upon themselves to criticise the American tradition of news reporting. Whereas we catalogue "without fear or favour," the UK papers are much more inclined to erupt in furour, suggests a recent piece by National Public Radio.

    According to the report, Britain's big daily rags are unabashedly coloured by what political ties they favour. For example, The Guardian has wedded itself to the Labour Party (although they leapt to the third party Liberal Democrats most recently). Conversely, the Daily Telegraph has strived to present the right-of-centre viewpoint.

    On this side of the pond, such politically polar opposites as the San Francisco Chronicle and the Wall Street Journal claim they present unbiased reporting with no political affiliation.

    "In Britain, we feel that it's better to know where people are coming from and then to make up your own mind about what you think, because the truth is nobody can be completely impartial and objective," Nick Boles, a Conservative member of Parliament from England's East Midlands tells NPR, adding, "I mean the idea [that] the New York Times doesn't have a political point of view — it's ridiculous. It does, but it twists itself into knots in an attempt to pretend that it doesn't."

    Is Boles trying to incite an all-out row between the American and British media? And why is NPR voicing the arguement?

    The piece continues, "Guardian Editor-in-Chief Alan Rusbridger argued that British papers give more room than their American counterparts to voices that challenge conventional wisdom."

    NPR quotes the bloke,

    I think it's quite a striking thing about the British press that you get this polemical battle over the basis for what news is, which I feel is to a large extent missing in the American scene. No judgments are free of ideologies, so who you choose to quote and how you structure stories are highly political judgments. I think that's the problem with trying to place too much faith in something called objectivity."

    Rusbridger suggests that British coverage of the political dialogue prior to the war in Iraq was more sceptical because the range of acceptable opinions is far broader in British newspapers.

    Guess what, Rus: We both sent troops to Iraq. Yet you still grant yourself the honour of offering superior media discourse.

    It would behove the British media to look towards our style. As it stands, Brit rags are about as two-sided as a sheet of aluminium, and the admittedly colourful political commentary on their pages is about as worthless as a stale biscuit.

    I'm not going to blagger: I savour the hypocritical aspect as I devour the New York Times and National Public Radio and their thinly-veiled liberal propaganda. I can't be blamed — I was indoctrinated in supposedly unbiased press when my mum would play "Morning Edition" as I munched hobnobs in my pyjamas.

    Innit right to admit that I've concocted a formula that matches the ratio of favourite New York Times articles mentioned per minute and shagging frequency?

    I'm proud that we're not a bunch of daft chavs willing to put whatever blagger comes to mind into print. There's already a long queue of "unbiased" writers waiting on the kerb outside any American newspaper office ready to mould to the notion of keeping their ideas to themselves. They can call the phoney American method as transparent as a bowl of yoghurt, but the Brits' shameless scepticism leads to more commentary than news.

    I'm tempted to hop my arse on an aeroplane to Gatwick and give them a piece of my mind. Alas, a grand don't come for free, so I'll resign myself to a fag and wank in the loo before fixing a spot of camomile and returning to my next unbiased draught.

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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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