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    Aftershocks

    The battering of Andy Cohen beckons: Enough with the bad Sopranos prelims onReal Housewives of New Jersey

    Joseph Campana
    Theodore Bale
    Aug 24, 2010 | 12:40 am
    • Andy Cohen knows what's coming ...
    • Sitdown or not, you do not mess with Danielle.
    • No matter how outnumbered she appears to be.

    “Nothing caught on fire, nothing exploded,” Caroline reported last week after returning from a whirlwind Italian tour with the family. How naïve that sounds after another season of The Real Housewives of New Jersey!

    The show has struggled to stop flirting with comparisons to The Sopranos and finally make it big time, New Jersey style.

    “Can we find the solution to make her go away?” Caroline asks at a family sit-down. Talk about waste management — it sounds like someone could end up in a trunk.

    Meanwhile, Caroline’s arch-nemesis begins to speak in the third person: “Danielle’s mafia’s in place …There’s guns here — Caroline, know your place!”

    But let’s not rush to the anti-climactic finale. As in any action film, the buildup is everything.

    As the Manzos arrive chez Giudice, Teresa and Joe comfortably cook side-by-side. Caroline’s forgotten the wine and apparently Joe has stowed his SlapChop, forgotten his fickle finances, and let Theresa, in an apron worthy of a French maid, take charge of the pasta as Jacqueline and Chris show up.

    That’s right. The conglomerated Manzo clan can’t do anything without a detour to Danielle-land. Caroline feigns exhaustion with the situation then provocatively asks Jacqueline how Ashley’s doing, what with the assault charges pending. So dinner becomes a council of war. Should Caroline approach Danielle to ask her to drop charges?

    Caroline texts Danielle from a set of chairs so overstuffed they’d make Louis XIV proud. Caroline then exacts a promise from everyone else to keep Ashley in check. How like a fairytale! Will Ashley turn into stone after one more insulting text?

    Meanwhile, Danielle summons all her analytic powers to parse Caroline’s brief text. “I’d like to invite you,” Danielle scoffs. What significance that she used “I!” Daughter Jillian, as always, sees more clearly. “What sane person would want to go?” she asks.

    Besides, Danielle doesn’t fear Caroline anymore. “You’re not Carmelo [sic]. You’re not a Soprano,” she says. This is a video confession, but we do think she was absolutely true to The Sopranos with its amazing malapropisms. With just one word, Danielle has spliced Caroline Manzo and Edie Falco to produce an NBA superstar and candy-bar hybrid, a marketing executive’s dream!

    Another waxing moon drifts over the home of Jacqueline Laurita as a sensitive-yet-ominous piano arrangement lingers. Jacqueline holds her baby as she lays out the case to Ashley. Ashley insists on her innocence, saying Danielle is, “like herpes that never goes away.”

    Jacqueline’s oafish hubby Chris sees things more pragmatically. “It’s a waste of time and it’s becoming a waste of money,” he insists. For whom, Chris? Andy Cohen could be bulking up his 401(k) with Ashley-Danielle-inspired overtime (not to mention medical leave, but more on that later).

    Most great epics include elaborate arming scenes, a tradition passed down to the contemporary action film. In Franklin Lakes, it seems, for “arming” substitute, “endless over-analysis before a captive audience of family and or bodyguard friends.” And, of course, fix your makeup and pick a suitable frock.

    Danielle feels the love and light, so she calls her energist to be “scanned.” Is this the same energist who “scanned” Jacqueline once over the phone? And does that cost extra minutes? After a pathetic attempt at meditation-mudras with her smartphone on her lap, Danielle heaves a deep sigh or two and struggles to appear serene as a sitar plays. Bravo to Bravo’s music editors once again.

    It’s no surprise that as the two women meet for their private sit-down at The Abbey, a dark and dull restaurant out of a lesser romantic novel, both are filled with delusion. The question remains, who is the more deluded? Caroline wears a garish blue cocktail-dress. Danielle is dressed entirely in black and carrying a huge quilted purse that looks like it might contain a gun.

    Caroline is cordial when she says “you must be wondering why I called you here.” We thought it was supposed to be a meeting of the minds, but Caroline is acting like she’s Queen Elizabeth, about to bitch-slap one of her ladies-in-waiting. Danielle’s a character even David Chase couldn’t write. What was this Manzo mom thinking?

    Caroline calls the recent months “a crazy Merry-go-round.” The carnival metaphor will come back to haunt her in a few moments, but for the time being the women are civil. And Caroline continues to play innocent, saying that she’s merely puzzled as to why Danielle needs to pursue legal matters with Ashley.

    It becomes evident that Caroline fancies herself as some sort of clan boss who “stands with her family.” Really? For weeks and weeks, she’s been a peripheral character on the show, mostly moping about her lonely kitchen as her young-adult children flee the roost and her husband makes sure he’s got plenty of work to keep him at the office.

    We were waiting for a meaningful jab, a real zinger, and we found it when Caroline called Danielle a clown. Rarely quick-witted, Danielle comes back strong: “You’re calling me a clown with that red hair?” We have to admit that Caroline looks a lot more like she’s ready to sell cheap hamburgers and fries under a pair of golden arches.

    This painful tête-à-tête can’t last, so Caroline goes in for the kill: “When I called you garbage, I meant that you were garbage.” So much for reconciliation. Danielle is the one who walks out, however, and as she reaches for her hand-held in the misty night, she finally thinks of a retort: “She ain’t no matriarch of my family,” she says in disgust, adding “Teresa’s husband is a drunk! Jacqueline is certifiable! And Teresa, my daughters at that age wore lace and crinoline. Not leopard!”

    Back home, Danielle makes her gorgeous adolescent daughters thank her bodyguards and give them a hug. It’s a creepy-pervy moment, but then again there have been so many this season. Caroline stomps off to The Brownstone for mushy pasta and red sauce with the expectantly-waiting Manzo clan. She tries to end the season with an “a la familigia!” moment reminiscent of Moonstruck, but she’s definitely no Cher.

    After the fight, there’s little to do but read a series of dull recaps. Teresa insists her $11 million bankruptcy did not include a foreclosure on her home. Ashley paid a mere $189 fine with all other charges dismissed. Danielle’s embroiled in another sex-tape scandal featured in the pages of Hustler. And we’re too bored to let you know what’s happening with Caroline’s brood.

    With all this endless anti-climaxing, you may have nodded-off during the commercials. We sure didn’t. The trailers of the reunion alone were worth the price of admission, and we can’t wait for the “real” fight to come. There was even a brief tantalizing glimpse of Andy Cohen getting his ass shoved back into a chair.

    Was it a brawling Caroline, a tipsy Jacqueline, a crazy-eyed Danielle, or a scrappy Teresa that finally put him in his place? Our money’s on Teresa. She doesn’t need a table to terrify.

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    Movie Review

    New Superman movie forges into the future while honoring the past

    Alex Bentley
    Jul 11, 2025 | 3:30 pm
    David Corenswet in Superman
    Photo by Jessica Miglio
    David Corenswet in Superman.

    When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.

    The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.

    Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.

    One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.

    He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.

    There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.

    Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.

    Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.

    ---

    Superman is now playing in theaters.

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