This could have been a headline on November 7th, 2012:
Romney Wins the Presidency 286-252 Despite Losing Popular Vote
How is this possible? It’s easy when politicians are willing to engage in trickery. Let me explain. Last week, the Virginia Senate made news by advancing Senate Bill 723. The bill is aimed at changing the way the state allocates its electoral votes in presidential elections. Currently, the winner of the popular vote statewide wins all of the state’s 13 electoral votes. In the new legislation, electoral votes would be allocated based on who won the popular vote in each congressional district, with the state’s two at large votes (based on U.S. Senate membership) allocated to the candidate who won the most congressional districts. Continue reading “Oval Office Thunderdome: Electoral Shenanigans”

Gritty New York City cop dramas are stylistically different from gritty Los Angeles cop dramas. It’s only partly due to setting. It would be hard for a film to ignore the differences between the coasts, but as far apart as the Eastern Seaboard and SoCal are, geographically and culturally, these differences are not what set cross-continental police flicks and television series apart. Just doing a loose word association, when I think NYC cop drama, my first thought is Law & Order and all of its iterations — police procedurals that follow detectives. After that I drift back to films from the past like The French Connection, Serpico, Fort Apache the Bronx, The Taking of Pelham One Two Three, Across 110th Street, even Bad Lieutenant. These films represent my own personal biases, but they all adhere to a palate of sorts that is broadly representative of New York City cop films.
Taylor Kitsch just had a bad year. He starred in three major release films. How can that possibly be bad? The three films were Battleship, John Carter, and Oliver Stone’s latest ham-fisted effort, Savages. Three films, three disappointments, and Mr. Kitsch has suddenly moved into Ryan Reynolds territory as the latest bankable star that turned out to be not so bankable. It isn’t all his fault, though. John Carter was doomed from the start, and Battleship was so awful, a cavalcade of thespians from the Royal Shakespeare Company couldn’t have saved it.