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    Tiger gets teary

    Tiger Woods pulls an upset: Cheating apology converts a cynic

    Chris Baldwin
    Feb 19, 2010 | 12:41 pm
    News_Tiger Woods_announcement_Feb 10
    Tiger Woods
    Photo by Keith Allison [https://www.flickr.com/photos/keithallison/2311063598/]

    This time when Tiger Woods disappeared behind the blue curtain, he left looking a little more human and a lot less like the con man of old.

    Which means that Tiger aced his overstaged apology announcement.

    Look, if you’re a journalist you wanted to hate this production. Woods and his team of handlers engaged in their usual manipulative, control freak act: Not allowing any questions, limiting attendance to three reporters and plenty of Tiger friends and only using a single camera.

    And Tiger’s supposedly crack PR team places him in front of an actual, real blue curtain? Are you kidding me? Have they never heard of symbolism? Why not encourage Tiger to break out into a robot voice to drive home the idea he’s an unfeeling cyborg while you’re at it?

    Yet, all the staging blunders were buried by Tiger’s words.

    Words of actual apology. Words that didn’t skirt the real issue. Words that obviously pained him to say.

    I’ve been covering Tiger Woods at golf tournaments for a decade. I’ve seen him at his best - walking along inside the ropes all 90 holes of his greatest triumph, that 2008 U.S. Open win at Torrey Pines when he dragged his busted-up leg to the trophy stand. I’ve seen him at his public worst - ordering his thug of a caddie, Steve Williams, to harass fans and camera men, staring daggers at young tournament flacks just trying to do their job.

    I’ve never seen Tiger Woods like this.

    Apologies have become something of a cottage industry in professional sports. Steroid cheats (sluggers A-Rod and Mark McGwire), cell-phone-camera-caught weed smokers (Olympian Michael Phelps) and dog fight ring kingpins (Michael Vick) all largely follow the same script no matter the level of their offense. Tiger Woods is the last athlete you’d expect to break from that pattern.

    Only, he flipped the script. Tiger didn’t say sorry for some nebulous thing he never defined. He didn’t claim that while he regrets what he did it didn’t really hurt anyone. Instead, he spoke the words.

    “I was unfaithful. I had affairs. I cheated,” Woods said.

    Woods became the first superstar athlete of these times to actually admit to the sense of entitlement that everyone knows is there. “I convinced myself that the normal rules didn’t apply,” Woods said. “I felt like I could get away with whatever I wanted to. I felt I was entitled.”

    Tiger talked about almost feeling he’d earned his discretions because of all the hard work he put into golf over his lifetime. It can be argued that this makes him even more of a creep. But, it’s still a rare burst of honesty from a creep.

    Ninety percent of married, male professional athletes think the same thing. They’d just never say it.

    Calling it the best sports apology of this decade is akin to declaring MTV’s latest Jersey Shore episode the most sophisticated Jersey Shore of all time. The competition is less than steep. Still, this is the most honest sports sorry we’ve seen.

    “I recognize I brought this on myself,” Woods said, while smartly not setting the timetable for any return to competition (the U.S. Open at Pebble in June is the earliest golf fans should expect to see him now).

    Now, there were false notes in Tiger’s announcement. He shouldn’t have brought up how the work at his foundation would go on - as if he’s been saving the world and its kids. Please. He probably should have kept his recommitment to Buddhism to himself.

    He didn’t “lose” his way. He acted like an overindulged frat boy on a worldwide skirt bender.

    Still, Tiger convinced this cynic. Tiger did something real - maybe the first real thing he’s done in forever in front of a camera. That overrides everything behind that blue curtain.

    unspecified
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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
    news/entertainment

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