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    Aftershocks

    It's over? The Salahis gate-crashing troubles put a second season of RealHousewives of D.C. in serious doubt

    Theodore Bale
    Joseph Campana
    Oct 8, 2010 | 10:51 am
    • There are other D.C. Housewives sure, but Michaele Salahi is the one who bringsthe drama.
    • Some photos continue to haunt. The Salahis unauthorized encounter with Obamacould keep them off any future reality TV.
    • What would the show be left with sans Salahis? A closet war between a lazytwentysomething and her uptight mother ...

    November 24, 2009: A day that will live in infamy.

    Maybe that day doesn’t ring any bells. But for Tareq and Michaele Salahi, it was either the end of life as they know it or the beginning of the best PR stunt of the new millennium.

    The Real Housewives of D.C. went docudrama for its season finale, with dates and recaps, crosscuts to news footage, and portentous music. That’s right, readers, we’re back to the White House party-crashing that made news months before the show aired and long before anyone knew the ill-fated social climbers would be a weekly feature on Bravo.

    We’ve been waiting for answers all season. The main question is, “When does delusion turn into psychosis?”

    Sure, we chuckled when Michaele thought she and hubby Tareq could improve international relations through polo. We wondered about all this talk of their family winery, since it seemed always empty and shuttered. And we want to know one simple thing: Where do the Salahis live?

    We’ve only ever seen them in hotel rooms. There’s so much talk about bankruptcy and foreclosure, we can only assume they’ve lapsed into high-class vagabondage, the Great Gatsbys of 21st century suburban Virginia.

    The crashing of President Obama’s first State dinner made international news, so none of the events were a surprise. But it was still surreal to see the Salahis worm their way in to the White House.

    Tareq’s slick charm, a bit of bravado, and Michaele’s sparkly sari were all it took to breeze past a confused official at the gate. If you crashed a party secured by the Secret Service, would you snap photos with Joe Biden and Rahm Emanuel? Would you post them on Facebook when you got home? Don’t answer that — unless you’ve got a good lawyer. In that case, you won’t have to answer at all.

    Clearly, the Salahis did have a good lawyer. The two appeared like dolled-up drones at Congressional hearings aired on CSPAN. For once, they kept their mouths shut.

    When questioned, Tareq and Michaele both sang on cue like birds that didn’t want to be caged.

    “On the advice of counsel,” Tareq said over and over, “I respectfully assert my right to remain silent and decline to answer your question.” Representative Dan Lungren summed it up best: “The Constitution protects fools.”

    And after the hearings, their lawyer really earned his fee by playing a canny blame game. He shifted the buck to the only entity more bloated and foolhardy that these two: the United States government.

    Meanwhile, the other D.C. Housewives were haughty, indignant, and partly resentful, as if they both disapproved and envied the couple. We have little sympathy as they gloat over the Salahi’s social faux pas. Yes, none of others is stupid enough to crash a State Dinner at The White House.

    But didn’t any of them have the good sense to figure out that Michaele and Tareq were the most obvious damaged goods in D.C.? Shouldn’t they have stayed away from the pair from the get-go? And didn’t Stacie wonder what was up when they told her they had an invite to the White House? Who wouldn’t have asked to see the invitation?

    Stacie and Mary go to Lynda’s apartment for a postmortem. Of course the wine flows freely as they toast “damage control at The White House and hopefully for everyone involved.”

    In the latter part of that phrase, they mean themselves. If we’ve learned one thing from all of the Housewives, it’s how to think first of yourself. You should always worry about what your friends are doing because it could damage your reputation. Cat is the first to suffer the consequences. Her White House Christmas party invitation gets cancelled because of her association with Michaele and Tareq.

    All right, it’s unfortunate, but she’s not suffering in any material fashion, and she’s the one who signed on as a Housewife. Last we heard, nobody was holding a gun to her head.

    Reality checks are the mainstay of Aftershocks, and we still want to know how Cat even got on the show. Her husband is an official White House photographer. Wasn’t it considered a security threat for Bravo to be following his wife around town?

    Mary calls the Salahis “Thelma and Louise with the gas pedal pushed,” but we think she’s just jealous. The most exciting thing that happens in her monochromatic home is the occasional closet break-in by her slacker daughter Lolly. Lynda thinks the news is a great thing, since it will create so much press around the couple’s financial troubles and vineyard bankruptcy.

    Would these women like to star in a D.C. community theater production of Macbeth?

    The stunning Paul Wharton, who serves as official gay to this coven, is the only one who dares put them in their place. “It’s easy for all of you to sit there in your designer shoes and say what Michaele should do,” he admonishes.

    His take is that Tareq ruined Michaele, and that saying she should just get an honest job is easier said than done.

    “Lynda married well,” he explains in a video diary. “She sure didn’t make millions off her modeling agency.”

    Bravo, Paul. When will Bravo wake up and give you your own show? We’d rather watch you style celebrities than the whining Rachel Zoe. We bet you’d treat your husband better — assuming Stacie and Jason ever allow you to marry him.

    Speaking of the upright Stacie and Jason, even they fail to bring the Salahis back to earth. A post-New Year dinner ends abruptly as the Salahis scurry like moles out the back door to avoid Cat, who lies in wait for them on the front stoop.

    If we’ve learned anything watching far too many episodes of The Real Housewives, it’s that psychosis sells, but legal troubles don’t. Could there really be a second season in D.C. if the socially-outcast Salahis won’t come out to play?

    Don’t worry, Bravo. You can always offer Michelle Obama a contract.

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    Movie Review

    Glen Powell stumbles in remake of  sci-fi classic The Running Man

    Alex Bentley
    Nov 14, 2025 | 12:30 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

    ---

    The Running Man opens in theaters on November 14.

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