UPDATE: The IATSE General Executive Board this afternoon unanimously named Matthew Loeb to be president after today's retirement of Tom Short. (See my previous, TOLDJA! Tom Short Retires From IATSE.)

According to the IATSE announcement, Loeb said, "I enter into the position of International President with the deepest sense of obligation to the members, who number better than 111,000, and their families. I owe a huge debt of gratitude to Tom Short who made desperately needed institutional changes that will allow me to continue to build on a solid foundation. We are well positioned to meet the challenges of the future. I remain convinced that the interests of IATSE members are best protected when we use all of the resources gained through the unity and coordination of our locals and members throughout the United States and Canada."

The press release goes on to say: Loeb is credited with devising and implementing an aggressive organizing and bargaining strategy under the leadership of President Emeritus Short. The policies laid the foundation for obtaining more than 1,000 term agreements in motion pictures, television, music videos, and commercials, and the chartering of numerous new local unions adding thousands of new members to the union. Loeb has been a member of the United Scenic Artists Local 829 since 1989, a member of Local 52 since 1996, and is a Charter Member of Local 491 (established in 1994). He became an International Representative in June, 1994.

Loeb was also the IATSE’s first Division Director of Motion Picture and Television Production, appointed to that position upon the restructuring of the Alliance and the establishment of divisions. He was elected by the General Executive Board to the position of International Vice President in February 2002 and at the 65th Convention in 2005. In addition, he served as Chairman of the East Coast Council for better than 14 years.

The IATSE is an International Union that represents members employed in the stagecraft, motion picture and television production, and trade shows industries throughout the United States, its Territories, and Canada.

For crissakes! Like TV viewers haven't been bombarded enough with NBC promos about the August 8th start of the Beijing Summer Olympics, now moviegoers to sister company Universal's product will be equally assailed. I'm told that the choice of setting The Mummy 3: Tomb Of The Dragon Emperor in China was made to include Jet Li and unlock a new chapter in the location and culture of mummies without regard to the Olympics. But the decision to move the release to this weekend absolutely was. So, too, the inclusion of a bunch of pre-pic theater ads promoting NBC's coverage of the Beijing Olympics. "We thought it would be mutually beneficial as the world's attention focused on China. So there are a series of co-branding spots with NBC," a Uni exec tells me. Trust me, you'll wish that dancing box of popcorn was back on the big screen...

This is more a relaunch than a threequel to The Mummy series. The Mummy debuted back in 1999 to $43.3M its first weekend, while The Mummy Returns opened back in 2001 for $68.1M. And let's not forget that 2002 spin-off The Scorpion King's $36M. With an enormous release into 3,759 theaters and a good marketing campaign trumping dreadful reviews (only 27% positive among top critics), my box office gurus mostly agree that Mummy 3 should make at least mid to high $40sM. And it wouldn't shock them if the number is $50+M. "I don't think that's out of line given the history of the franchise and Rob Cohen is at the helm," one rival studio marketer told me. Even Universal sees the "possibility" of high $40sM despite the usual studio game of lowered expectations. But another analyst asked: "It's like The Fast And The Furious franchise: how many times can Uni go to the well and manage to pull it off? It's certainly possible for it to lose its mojo."

The general feeling is that Mummy 3 should end the weekend as No. 1. "But if The Dark Knight is down less than 45% it could give Mummy a run for the money," an expert at a rival studio warns me. Of course Warner Bros is sitting pretty while every day the Batman pic sets speed records on its fast approach to $400M gross from North American theaters.

Sony's holdover Step Brothers should easily take No. 3 with $14 mil for the weekend, while close behind at No. 4 will be that other veteran Mamma Mia! with $11M. But all my gurus smell the stink surrounding Disney's debut of Swing Vote. I gotta ask: why in the world did anyone make this pic with box office poison Kevin Costner? Well, no one did since Costner claims to the Los Angeles Times he put up $20+ mil of his own money to finance this soon-to-be-bomb. Notice the wide swing: my experts say the election comedy, playing in 2,213 venues, could earn as much as $10M and as little as $4M. Ouch!

UPDATE: News reports say today's 10 AM Los Angeles City Hall meeting about proposed new restrictions on paparazzi included reps from West Hollywood, Malibu, the Screen Actors Guild, and LA County Sheriff Lee Baca. But no members of the LAPD were present at the hearing.  That's because Chief William Bratton has consistently opposed new legislation that would further restrict and penalize overly aggressive photographers. He called today's confab a "total waste of time", "grandstanding foolishness", and a "farce".

But look at what this tool arrogantly told KNBC this AM about the paparazzi problem (after the confab was prompted by the LAPD's decision to spend $25K to transport Britney Spears from her home to the hospital because of all the photog chaos):

"If you notice, since Britney started wearing clothes and behaving; Paris is out of town not bothering anybody, thank god; and, evidently, Lindsay Lohan has gone gay, we don't seem to have much of an issue. If the ones that attract the paparazzi behave in the first place, like we expect of anybody, that solves about 90% percent of the problem. The rest of it we can deal with."

Sheriff Baca, by contrast, told reporters, "I'm here to try and find a balanced answer. There's no question that the industry of public information is an important one to protect and I think that there's responsibility on the side of entertainers as there is responsibly on the side of those seeking to take photographs."

Meanwhile, the city of Malibu has turned to Ken Starr, the former independent counsel who investigated the Clinton-Lewinsky scandal and now dean of the Pepperdine law school, to bring together experts in the media and legal community about the problem. 

See my previous, How To Really Cure Stalkarazzi Plague.

UPDATE: Matt Loeb Elected New IATSE President

As I first reported on Tuesday (see my previous, Is IATSE Prez Tom Short Stepping Down?), the four-term union president has announced his retirement. Short stated: "IATSE has been such an important part of my life. As hard as it is for me to believe that this time has come, I am now prepared to move on. I am not leaving for political reasons or for health reasons, but rather because I have learned that life is short and there is a great deal that I have yet to experience and enjoy.” Short’s future plans have not been announced. His successor will be elected by the IA’s General Executive Board. Said Short in a parting statement, "I have put forth my energy and every effort to enrich this organization and enlisted the help of what I believe to be a phenomenal staff of intelligent, sophisticated and progressive individuals who have stood ready to work hard and assist in accomplishing the goals I believe we had to achieve in order to survive the many challenges facing this International."In an unusual move, Short began preliminary talks with Big Media's negotiators AMPTP this summer, more than a year before the IATSE contract expires on July 31st, 2009. But those talks are now "suspended until further notice" when they didn't reach a resolution for IATSE, which reps technicians, artisans and craftspersons in showbiz, including live theatre, motion picture and television production, and trade shows.

Short has been alternately praised and criticized for his relationships with Hollywood CEOs. Either he's lambasted for being too in their pocket, or he's lauded for being able to successfully work with them. Before, during and after the writers strike, Short took up the AMPTP's cause and blamed the WGA for the repeated breakdown in contract talks even though the moguls reps walked away from the negotiations. (For background, see my previous Bitchslapping Between IATSE & WGA.) Certainly, Short's membership is hurting from the current stalement in negotiations between SAG and the AMPTP. Yet he's remained quiet.

Here's the news release:

SAN DIEGO, July 31 – Thomas C. Short, President of the International Alliance of Theatrical Stage Employes, announced his retirement here today, at the IA’s mid-Summer General Executive Board Meeting held at the Westin Hotel in San Diego’s Gaslamp district. A member of the IA for over 40 years, and an elected official for the past 21 years, Short became President in 1994, and stated then that his goals were to make the IA a better organization and to provide the best representation possible for the entire membership in the US and Canada. He has accomplished many of his goals and exceeded more.

During Short’s tenure, the IA has become the largest entertainment union in the world with an increase in membership of more than 50%, covering over 400 Locals and more than 110,000 members in the US, Its territories, and Canada. As a result, the assets of the Alliance have increased to nearly $50 million and allowed the purchase of two buildings located in Toluca Lake, California, and Ontario, Canada. Under Short’s leadership, the union has been restructured to include five Divisions (Stage Craft, Motion Picture and Television Production, Organizing, Trade Show & Display Work, and Canadian Affairs), allowing for greater focus on the needs of various sectors of the membership.

When taking office in late 1994, the International held two term agreements: the Hollywood Basic Agreement and The League of American Theatres and Producers.  Since that time the number of term agreements has increased to nearly 2,000, which has resulted in tremendous employment opportunities for IA members. Short also oversaw the establishment of the Individual Account Plan on the West Coast that provides an additional retirement savings to nearly 35,000 members, and increases in the Motion Picture Pension and Health Plans to $5.5 billion, nearly four times above what it was prior to 1995.

Likewise, the IATSE National Benefit Funds headquartered in New York City has reported a net increase in assets of 300% in the Pension Fund since 1994, increased participation three-fold in the Health and Welfare Fund, and tripled the Annuity Fund.

In 1999 after an 81-year absence from the IATSE, Short brought back into the IA fold the 3100-member United Scenic Artists Local 829. And after 32 years the IATSE regained its rightful seat on the Executive Council of the AFL-CIO. The establishment of the IATSE-PAC has helped to engage the union in the political arena in an unprecedented way because of Short’s belief in the importance of establishing and maintaining relationships with city, state, and nationally elected officials. The IA has a flourishing relationship with Britain’s BECTU (Broadcasting Entertainment Cinematograph and Theatre Union), and an affiliation with UNI-MEI (the international media, entertainment and arts organization) which has enabled the Alliance to further engage with labor organizations from around the globe.

During Short’s tenure in office he has been recognized with the Lew Wasserman Spirit of Democracy Award, the DGA Honors Award, the Heart to Heart Award presented by Encore Community Services in New York City, the Motion Picture and Television Fund’s Silver Medallion Award, and the Actor’s Fund Medal of Honor.

Said Short in a parting statement, “I have put forth my energy and every effort to enrich this organization and enlisted the help of what I believe to be a phenomenal staff of intelligent, sophisticated and progressive individuals who have stood ready to work hard and assist in accomplishing the goals I believe we had to achieve in order to survive the many challenges facing this International.”

Thomas C. Short began his IA career in January 1968 when he was initiated into Stagehands Local 27 in Cleveland. He is also a Charter Member of Special Department Local B-27, founded in 1977, as well as having served as its Business Agent. He was elected to serve on the Executive Boards of Stage Local 27 and Studio Mechanics Local 209 of the State of Ohio in 1971, and in 1978 was elected to serve as Local 27’s President.

In August 1988, Short was elected Eleventh International Vice-President of the IA, and in 1993, the General Executive Board elected him to fill the vacated position of General Secretary-Treasurer of the Alliance. In July 1993, Short was elected to a full two-year term by the delegates to the Centennial Convention in New York City, continuing his tenure as General Secretary-Treasurer. Short has served as President of the IA since December 1994, when he was elected to fill the position after the resignation of the late Alfred W. Di Tolla. Short was re-elected to his first full three-year term as International President in 1995, and has continued to serve in that position since then.

Short stated that he “is extremely proud of these accomplishments and the IATSE has been such an important part of my life. As hard as it is for me to believe that this time has come, I am now prepared to move on. I am not leaving for political reasons or for health reasons, but rather because I have learned that life is short and there is a great deal that I have yet to experience and enjoy.”

Short’s future plans have not been announced. A successor to Short will be elected by the IA’s General Executive Board.

The IATSE is an International Union that represents members employed in the stagecraft, motion picture and television production, trade shows industries as well as a vast number of allied crafts throughout the United States, Its Territories, and Canada.

UPDATE: LAPD Skips Today's Confab On Paparazzi: Chief Blames Britney, Paris And Lindsay

I consider this public obsession with celebrities in our culture to be a sickness. So I see the photographers who cover them just a manifestation of the underlying disease. Now officials from celebrity enclaves like Beverly Hills and Malibu are meeting for the first time today to discuss tougher regulations against the stalkarazzi or wreckarazzi. News reports say the goal is for each city to adopt its own ordinances to punish aggressive paparazzi, while keeping the rules uniform in the places where celebrities live, work and play. But the already over-burdened police forces would have a hell of a time enforcing any new codes and can't even enforce the already existing regs like loitering used against the pic-takers. True, the incidents keep mounting of A-list celebs trying to protect their privacy. Meanwhile, the photographers themselves are encouraging the idea of certification program to separate the "legit" paparazzi from the non-legit. But I believe the only way to stop outrageous behavior by the photogs is to hold responsible the editors of those magazines and websites willing to pay outrageous prices for celebrity pictures. None of this would be happening if the photos weren't worth millions of dollars in newsstand sales. Of course, the public is at fault for wanting to see the snaps in the first place. But I say that if a stalkarazzi is getting too rough and tumble, then the mag or web editor who assigns or publishes those photos is as much morally and legally at fault as the picture taker. That'll end this crap once and for all.

I'm told that the DreamWorks financing deal with India's media and entertainment conglomerate Reliance ADA -- for at least $500 million -- is almost completed and will be announced in the next week to 10 days. The Reliance people were in Los Angeles last week meeting with DreamWorks. I hear they also met with Jeffrey Katzenberg (whose public company DreamWorks Animation has an "out" clause from its Paramount distribution deal after 10 films...). However, David Geffen officially severs his ties with Paramount as soon as August, and Spielberg can leave in October. Then DreamWorks has to make a distribution deal, probably with Universal where Spielberg still keeps his office. To refresh your memories, Geffen had on speed dial the newest Big Media mogul names of Rajesh Sawhney and Anil Dhirubhai Ambani (one of the world's Top 10 richest men) to help with a planned $1.2 billion total financing for DreamWorks 2.o, the new independent film company the principals are starting post-Paramount. The intent is to make about 6 movies a year. Meanwhile, DreamWorks and Paramount will battle over Spielberg's exit and all that joint development. For instance, I just heard that Spielberg starts directing Tintin as soon as October -- and there's already confusion if this is a DreamWorks/Paramount or a DreamWorks 2.0 production.

1. DreamWorks Finds Indian Big Bucks To Form New Film Biz
2. Spielberg vs Paramount: The Real Story
3. Still More Inaccurate Info Re DreamWorks
4. Zucker Hints At Uni-DreamWorks Reunion
5. NY Times Reports DreamWorks All Wrong
6. Anchors Aweigh: Geffen & Murdoch Cruise
7. Geffen Hits Back Redstone In Vanity Fair
8. DreamWorks & NBC Universal Break Bread In Very Public Forum
9. Spielberg Tells Grey He's "Very Happy"
10. Now Paramount/DreamWorks Deal Looks Better With Benefit Of 20/20 Hindsight
11. 'How High Do We Jump, Mr. Spielberg?'
12. Their Dinner About Brad... Sumner Feasts
13. NYT: Par Not A Dream Deal For Spielberg
14. Finke/LA Weekly: Brad's Boorish Globes
15. Geffen To Redstone: Hire Jeffrey. Redstone to Geffen: No.

UPDATED: I'm told that Mike Myers has started writing Austin Powers 4 which will be an homage to his late father. "It's very personal with a father and son theme loosely based on his own life," an insider tells me. As Myers has previously said, this fourth installment of the super spy spoof movie series will focus on Austin's arch-villain Dr. Evil, who was based on Blofeld of the Bond films. But what hasn't been known is that the AP4 plot is really about Dr. Evil and his son (introduced already as Scott Evil, played by Seth Green). (NEW) Myers said this week he conceived the film’s plot during a “spiritual quest” of self-discovery to help him cope with his dad’s death in 1991 following a long battle with Alzheimer’s disease. And it was during this time in his life that he said he was inspired to create the character of The Love Guru. “In many ways, The Love Guru is honouring him by dealing with his loss, because making silly movies is how I deal with things.”

Myers is penning his idea with Baby Mama's Mike McCullers, who collaborated with Myers on Austin Powers 2: The Spy Who Shagged Me and Austin Powers 3: Goldmember. There's no deal in place yet but New Line is panting after No. 4 despite Myer's recent box office bomb, The Love Guru, for Paramount. But does Myers realize he may no longer be a draw? (Probably not. Before the pic opened, he reportedly made diva demands from Conan O'Brien staffers last month for stupid stuff like Twizzlers and raspberry seltzer. Ugh.) Interestingly, I'm told that Myers had a character in the original Austin Powers: International Man Of Mystery script called The Love Guru but decided not to shoot it and then wrote it out of the series. Nevertheless, when Paramount decided to make The Love Guru, it demanded that New Line sign a pledge that it had no claims to the character. 

The Hollywood Reporter's annual "Leadership" issue features Ron Meyer tomorrow -- and the usual sycophantic gushing about his 13 years as prez/COO of Universal Studios all the while equating the release of Bruce Almighty with curing cancer. Geez, I always thought the 63-year-old former marine was one of those rare moguls who didn't need his ego fed like the rest of the Big Media weenies. But how pathetic to see that he, too, succumbed to such a nauseating suck-up. I hear Meyer initially turned down the issue only to reconsider when he was told THR would work its way down the list of other moguls with a still healthy advertising budget. Meanwhile, I'm told Meyer's issue sold more ads than past honorees like Rupert Murdoch, Bob Iger and Jerry Bruckheimer. Shame on Meyer for subjecting all his friends (and enemies) to be held up for ransom by THR's rapacious ad salesmen. If only all the studio bosses stopped congratulating each other long enough to personally step in and solve the AMPTP-SAG stalemate and put this town back to work. In my estimation, Ron just lost his street cred. I hope he enjoys the tiara and sash and the traditional stroll through The Grill clutching a bouquet of long-stemmed roses.

EXCLUSIVE: I'm hearing that longtime IATSE president Tom Short may be leaving his position with an announcement coming as soon as this week. The union won't confirm or deny, but below-the-liners are telling me they got word from their Union BAs starting last Friday that this was happening. Short is right now in San Diego at the Midsummer General Executive Board meeting which began yesterday and continues through Friday. In an unusual move, he began preliminary talks with Big Media's negotiating clique AMPTP this summer, more than a year before the contract expired on July 31st, 2009. But I'm told those talks are now "suspended until further notice" when they didn't reach a resolution. The IATSE is the labor union representing technicians, artisans and craftspersons in the entertainment industry, including live theatre, motion picture and television production, and trade shows.

Short has been alternately praised and criticized for his relationships with Hollywood CEOs. Either he's lambasted for being too in their pocket, or he's lauded for being able to successfully work with them. Before, during and after the writers strike, Short took up the AMPTP's cause and blamed the WGA for the repeated breakdown in contract talks even though the moguls reps walked away from the negotiations. (For background on the terrible relations between the WGA and IATSE, see my previous, Bitchslapping Between IATSE & WGA.) Certainly, Short's membership is hurting from the current stalement in negotiations between SAG and the AMPTP. Yet he's remained quiet. 

Short has been a member of the International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories, and Canada, AFL-CIO, CLC since January 9, 1968 when he was initiated into Stagehands Local No. 27, Cleveland, Ohio. In August 1988, Short was elected to the position of Eleventh International Vice President, moved up in 1993 to General Secretary-Treasurer, and in 1994 to International President when the late President Alfred W. Di Tolla resigned. Short was re-elected, unopposed, to his fourth term in July 2005.

Under Short's administration, the union  has been restructured to include five divisions - Stage Craft, Motion Picture and Television Production, Organizing, Trade Show & Display Work, and Canadian Affairs - and increased membership from 65,000 to nearly 110,000, with  over 1500 national term agreements with industry employers. He was recently elected to serve as a VP on the Executive Council of the AFL- CIO -- the first time in 31 years that the IATSE has held a seat on the panel.

Coming... I'm only one person, remember... I've got lots of info to post on this story, and SAG-AMPTP, and Endeavor agency, and my Dark Knight contest winner...

After years of complaining about partner Rick Nicita, CAA's original Young Turks have pushed him out of the agency and foisted him onto Morgan Creek where he'll be co-chairman and chief operating officer. It must have been a desperate situation for the 63-year-old Nicita who, after years of rumors that he's on the outs, is now willing to work for James Robinson, one of the worst bosses in Hollywood and one of the biggest assholes in the movie biz. (Kudos to LA Times' Claudia Eller who got online first with the announcement... without analysis.)

This horrible job culminates Nicita's 42-year career as an agent for first William Morris and then CAA, where he became a partner in 1995 when Ovitz left to become the short-timer prez of the Walt Disney Co. That's when the agency was handed over to the so-called Young Turks -- Jay Moloney, Richard Lovett, Bryan Lourd, Kevin Huvane, David "Doc" O'Connor -- as well as to head of music Tom Ross, head of television Lee Gabler, and veteran agent Nicita. Even though Moloney at one point was touted to take over the agency, he was fired in 1996 because of his hopeless drug habit. Since then, the Young Turks have slowly but surely consolidated their grip on CAA, pushing out first Ross, then Gabler, and now Nicita.

Though considered a diligent agent within the movie biz, I've been hearing for years those CAA insider complaints about how "lazy" and "unaggressive" Nicita is, not to mention "overpaid". (Remember, they're saying this, not me...) So it was just a matter of time before he exited. Of course, now is an opportune moment for CAA to give the ol' heavy-ho since Tom Cruise isn't the star he once was and his United Artists is on the skids (Rick's wife and Cruise's longtime producing partner Paula Wagner is CEO there.) Meanwhile, Huvane is fielding what few leading man offers there are for Tom.

Nicita is generally liked within the Industry, so he'll be a good antidote to Robinson who is loathed. But Nicita should have tried to buy himself more time, because he could have walked into a gig as No. 2 at a major agency (which I know was thinking about hiring him). But then Nicita would have been a competitor, and CAA couldn't have that -- which is why the Young Turks find production jobs for agents they want to jettison. Even Universal, which distributes Morgan Creek's incredibly lousy product in exchange for a fat fee, are bewildered why Nicita would land at Morgan Creek. "What motivates Robinson these days? I don't honestly know. It used to be to hobnob with stars..." one exec snarked to me.

Oh, and for the record, I just received this email from a CAA bigwig: "You have no idea how hurtful you are. Rick Nicita is one of the great guys of our business. He is beloved by all of us. He wasn't pushed out of anything. He is actually excited about his new job. He created it. He's been very good friends with Jim Robinson for a long time. Because of what you wrote and made up, he will now spend the rest of the year answering stupid questions about whether he was 'pushed out' or not...."

 Their first choice was Amy Winehouse. But she was too busy doing drugs. Instead, the theme song for the latest James Bond movie Quantum Of Solace will be the first duet in 007 history of 22 films. Sony/MGM announced today that artists Jack White  of  the  rock band The White Stripes, and Alicia Keys, have recorded "Another Way To Die", the movie's theme song which was written and produced by White (who is also featured  as  the  drummer on this track). The soundtrack  to Quantum  of  Solace will be released by J Records on October 28th. 

UPDATE: Early reports peg it at a 5.8 5.4 at 11:42 AM. My phone service has been interrupted is back to normal (after I pulled out my Juno hamburger phone).
Send me any reports of Hollywood production interruption...

EXCLUSIVE: Talk about flattering. I've just learned that Warren Leight has been replaced by not one but two executive producers on Law & Order: Criminal Intent. Sources tell me that Dick Wolf's plan is to break the 16-episode season into two sets of 8 episodes each. Walon Green will exec produce the 8 episodes starring Vincent D'Onofrio, while Robert Nathan will exec produce the episodes starring newcomer Jeff Goldblum who replaced Chris Noth. And of course Wolf supervises everyone. I broke the news back on May 31st that, within days of USA Networks renewing CI and in the middle of hammering out his new CI deal, Leight jumped to HBO's In Treatment. (See my previous, Leight Leaves 'Criminal Intent' For HBO.) But CI is in great hands: both Green and Nathan are Law & Order veterans.

While I'm on the subject of the Los Angeles Times, the newspaper is engaging in another bit of synergy with its Tribune-owned local TV station KTLA -- this time about Hollywood. I'm told that LA Times chief film critic Kenny Turan is teaming up with KTLA Morning News entertainment reporter Sam Rubin for a half-hour television show based around the print version of "Sneaks", the LA Times' four-times-a-year look at movies coming out. The show will be called Sneaks and produced four times a year with the first one airing September 7th. One past bit of successful synergy between the newspaper and KTLA was to promote LA Times columnist Steve Lopez's series about Skid Row. 

EXCLUSIVE: Reliable sources tell me that Eddy Hartenstein, the ex-chief of DirecTV, is under serious consideration to be the new Los Angeles Times publisher, replacing David Hiller who was fired this month. A deal for him isn't done yet but he's first choice on the short list. The 57-year-old rocket scientist (yes, really) is a name well-known to Hollywood since he was the Big Kahuna  in the development of modern-day satellite television, serving as DirecTV's CEO, chairman, vice chairman and president from the company's inception in 1990 until 2004 when he left after Rupert Murdoch's News Corp bought the company. OK, so why Hartenstein for LA Times publisher?

I'm told it's because he understands subscription-based product and new media distribution after taking DirecTV from zero to 12.5 million subscribers despite facing very stiff competition from cable. Hiring Hartenstein would seem to be a smart move on the part of Tribune Co owner Sam Zell. But why is Hartenstein jumping on board journalism's equivalent of the Titanic? "He doesn't need a job, he needs an adventure," one source explained to me. "He's looking for the next bounce." Hartenstein also served in senior executive positions at the satellite-based communications provider Hughes Communications and Equatorial Communications Services Company, a provider of telephony and data distribution services. Hartenstein was inducted into the Broadcasting and Cable Hall of Fame in 2002 and received an Emmy for lifetime achievement from the National Academy of Television Arts and Sciences in 2007.

I desperately needed a day off. Or two. Lots of informative posts upcoming...
(and, yes, the Comic-Con coverage is finished...)

(Regular DHD readers know I don't do geek. But frequent LA Weekly film reviewer and comic book expert Luke Y Thompson does. He spends all year waiting for Comic-Con and this time he's covering it for me. Here's his latest report.) 

DC Comics' Dan DiDio
As I write this, Comic-Con 2008 has just concluded. Before everything ended, I had to check in on a couple of panels with DC Comics president Dan DiDio. Would nit-picky fans rake him over the coals for not getting DC's act together regarding their movie properties? (And yes, yes, I know: THE DARK KNIGHT was great. But where's The Flash? Green Lantern? Martian Manhunter? Marvel's even getting to third-tier guys like Ant-Man.)

But I reckoned without a few factors.
Factor #1: This has been a remarkably easygoing convention crowd this year. They'll cheer anything.
Factor #2: DiDio, a loud-talkin' New Yorker who looks like a construction worker and casually drops profanity, is very good at working the crowd and becoming their best friend.
Factor #3: Yes, comic fans are nit-pickers, but given the chance to talk to the head of DC, they ask nit-picky comic questions.

We did find out that there won't be a Justice League movie any time soon, which is for the better. Having a movie with a different Batman and Superman than Christian Bale and Brandon Routh would be weird while their franchises are still going.

So here's some actual comic-book news. At a comic convention. Had to happen eventually:

-- Kevin Smith will be writing a three-issue Batman series featuring a villain he created in a previous title named Onomatopeia. A fan asks "Will we get more than one issue a year?" Yes, it seems two scripts are in hand already.

-- J. Michael Stracynzski will be writing a crossover in which superheroes from some of the old Archie Comics titles will team with Batman.

-- There is not now, nor will there be, a comic book adaptation of THE DARK KNIGHT movie. Reason? they wanted the movie to be big, and didn't want "to give anyone the opportunity to say 'I already read that.'"

-- A fan asks if Dan will get in a steel cage and "kick the shit out of [Marvel's] Joe Quesada." Dan laughs.

-- Several fans say they had stopped reading DC Comics but are back in the fold again, thanks to writers like Geoff Johns.

-- The big event for the year is "Batman RIP," written by fan-fave Grant Morrison, so it should be a bit more sophisticated than the Death of Superman. It concludes in November, but it will be followed by "Whatever Happened To The Caped Crusader," written by comic-book rock star Neil Gaiman. The title is an obvious allusion to "Whatever Happened To The Man Of Tomorrow?", Alan Moore's imaginary tale of Superman's last adventure, in which he gives up his powers, marries Lois, and they grow old together.

-- A fan asks if The Maxx will ever be seen in the DC Universe. Dan doesn't think so.

And then we were out of time.

(Regular DHD readers know I don't do geek. But frequent LA Weekly film reviewer and comic book expert Luke Y Thompson does. He spends all year waiting for Comic-Con and this time he's covering it for me. Here's his latest report.)  

FRIDAY THE 13TH Remake 
Sometimes, I just cannot predict what panels will and won't draw crowds. Like, the HAROLD AND KUMAR DVD panel filled up Ballroom 20. I would not have called that one. Got in at the very tail end, just in time to hear Kal Penn say that if he hadn't gotten the role of Kumar, Dr. Sanjay Gupta and Fareed Zacaria would have had to fight it out between themselves.

I was there for the FRIDAY THE 13TH remake panel, and much as I resent that they didn't keep the numbered sequels going till 13, I have to admit that this could be the best Jason movie yet. Looking to have a budget about the size of the first five movies combined, and lots of gore effects, it certainly can't be any worse than some of the existing movies, and has a good shot at kicking certain amounts of ass.

I'm not crazy about the way the producers went on and on about how this is a "realistic" Jason. Because zombie Jason was always my favorite version, and isn't his defining characteristic the fact that he keeps coming back? That said, a Jason who runs, thinks, and sets traps could be scary. Star Jared Padalecki compared the difference between new and old Jason to the difference between being attacked by a hippo versus a lion. Both could kill you, but the faster one is more dangerous. Dunno if I buy that; it's like arguing that zombies aren't scary unless they can run, and while i'm no James Gunn basher, I think there's something to be said for a slow yet relentless adversary. Remember that the tortoise beat the hare.

The footage shows Jason discovering the hockey mask for the first time, and a candlelit shrine with Momma's corpse. Though we have been promised that this won't be as origin-heavy as Rob Zombie's HALLOWEEN, you will get to see glimpses of what made Jason the way he is. Also, the trademark "ki,ki,ki, ma,ma,ma" is still on the soundtrack. And actor Derek Mears, who plays him, certainly looks intimidating, despite the fact that facially he resembles Mr. Clean.

Anyway, the hall was barely half full for Jason. Horror is a real niche thing here, not as much crossover appeal as one might think. I've been to horror conventions; hardcore gorehounds look like bikers. And I don't see many here who resemble that remark.

(Regular DHD readers know I don't do geek. But frequent LA Weekly film reviewer and comic book expert Luke Y Thompson does. He spends all year waiting for Comic-Con and this time he's covering it for me. Here's his latest report.) 

HAMLET 2
Now, when it comes to movies not really appropriate to the Con, there's HAMLET 2. A comedy from Andrew Fleming (DICK) about a despondent high school drama teacher prone to staging pathetic stage interpretations of big-budget movies like ERIN BROCKOVICH, he's driven to the edge when drama is cancelled, and decides to go out in a blaze of glory with an original work, the titular seuel, which is a musical that involves Jesus using a time machine to save Hamlet.

One of the musical numbers is called "Rock Me Sexy Jesus," and that angle is being pushed hard here, with various Sexy Jesuses walking around in costume, presumably looking to appeal to fans of DOGMA or SOUTH PARK (co-writer Pam Brady is also a SOUTH PARK writer). Had this been a cartoon, perhaps it would have a better shot. But the problem is that it doesn't commit to its cartoonishness. Though Fleming and Brady talk a lot about grounding it in reality, Coogan's character is a walking Saturday Night Live skit. The kids he mentors are very real, but it's impossible to care much about their moronic maestro. With that said, there are moments that are laugh-out-loud funny, notably any time Coogan straps on roller skates, but the movie also wants to have heart, and it doesn't, much.

Plus, I liked the concept better when it was called THE PRODUCERS.