Monthly Archives: April 2008

LOST: Something Nice Back Home Promo

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The Dark Knight Trailer Hunt Today

If you live in Boston, Los Angeles, Philadelphia, Chicago, Dallas, Seattle, New York, Kansas City, Toronto, San Francisco, or London you will want to read this. On Thursday night we the new poster for The Dark Knight debuted as part of the on-going viral marketing game.

The website where it was discovered was located at However, the site hinted that more would be coming and now its been updated. A new viral hunt will take place on Monday, April 28th in those cities mentioned above. The website now features 12 clickable defaced photos of presidents on the wall. Each one corresponds to a city. If you click each photo, it will open a new window that has instructions on how to play the game on Monday. Here is what each photo reads:

Gather with 300 of your closest friends at this exact spot on April 28th.

You’ll need to be in contact with a partner-in-crime who has online access to relay your instructions once you’re there. These instructions will give you the TRAIL to follow, but be sure to look both ways when crossing the street; we wouldn’t want you to make an unscheduled visit to the ER now, would we?

Put on a smile and plan to spend about an hour or so bonding with your fellow clowns.

Check back here often for updates or changes

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More powerful Apple iMacs announced today

Today Apple launched new iMacs, including a $2,200 24-inch model with a 3.06GHz Core 2 Duo and an NVIDIA GeForce 8800 GS graphics card with 512MB video RAM, potentially doubling video performance for certain apps. The full lineup, still starting at $1,200, will include 6MB L2 cache and a 1066 MHz front-side bus, and most models will also come standard with 2GB of RAM. On the 24-inchers, you can up the HDD to a full terabyte for $250 extra, and 4GB RAM for $200 more.

Pricing & Availability

The new iMac line is available immediately through the Apple Store(R) (, Apple’s retail stores and Apple Authorized Resellers.

The new 20-inch 2.4 GHz iMac, for a suggested retail price of $1,199 (US), includes:

* 20-inch widescreen LCD display;

* 2.4 GHz Intel Core 2 Duo processor with a 1066 MHz front-side bus;

* 1GB of 800 MHz DDR2 SDRAM expandable to 4GB;

* 250GB Serial ATA hard drive running at 7200 rpm;

* a slot-load 8x SuperDrive(R) with double-layer support (DVD+/-R DL/DVD+/-RW/CD-RW);

* ATI Radeon HD 2400 XT with 128MB GDDR3 memory;

* built-in iSight video camera;

* built-in AirPort Extreme 802.11n wireless networking & Bluetooth 2.1+EDR;

* mini-DVI out (adapters for DVI, VGA and Composite/S-Video sold separately);

* built-in stereo speakers and microphone; and

* the Apple Keyboard, Mighty Mouse and infrared Apple Remote.

The new 20-inch 2.66 GHz iMac, for a suggested retail price of $1,499 (US), includes:

* 20-inch widescreen LCD display;

* 2.66 GHz Intel Core 2 Duo processor with a 1066 MHz front-side bus;

* 2GB of 800 MHz DDR2 SDRAM expandable to 4GB;

* 320GB Serial ATA hard drive running at 7200 rpm;

* a slot-load 8x SuperDrive with double-layer support (DVD+/-R DL/DVD+/-RW/CD-RW);

* ATI Radeon HD 2600 PRO with 256MB GDDR3 memory;

* built-in iSight video camera;

* built-in AirPort Extreme 802.11n wireless networking & Bluetooth 2.1+EDR;

* mini-DVI out (adapters for DVI, VGA and Composite/S-Video sold separately);

* built-in stereo speakers and microphone; and

* the Apple Keyboard, Mighty Mouse and infrared Apple Remote.

The new 24-inch 2.8 GHz iMac, for a suggested retail price of $1,799 (US), includes:

* 24-inch widescreen LCD display;

* 2.8 GHz Intel Core 2 Duo processor with a 1066 MHz front-side bus;

* 2GB of 800 MHz DDR2 SDRAM expandable to 4GB;

* 320GB Serial ATA hard drive running at 7200 rpm;

* a slot-load 8x SuperDrive with double-layer support (DVD+/-R DL/DVD+/-RW/CD-RW);

* ATI Radeon HD 2600 PRO with 256MB GDDR3 memory;

* built-in iSight video camera;

* built-in AirPort Extreme 802.11n wireless networking & Bluetooth 2.1+EDR;

* mini-DVI out (adapters for DVI, VGA and Composite/S-Video sold separately);

* built-in stereo speakers and microphone; and

* the Apple Keyboard, Mighty Mouse and infrared Apple Remote.

Build-to-order options and accessories include: a 3.06 GHz Intel Core 2 Duo processor, up to 4GB DDR2 SDRAM, NVIDIA GeForce 8800 GS with 512MB of video memory and up to a 1TB Serial ATA hard drive on the 24-inch iMac; up to 4GB DDR2 SDRAM and up to 750GB Serial ATA hard drive on the 2.66 GHz 20-inch iMac; and up to 4GB of DDR2 SDRAM and up to 500GB Serial ATA hard drive on the 2.4 GHz 20-inch iMac. Additional options include: Apple Wireless Keyboard and Wireless Mighty Mouse; AirPort Express(R) and AirPort Extreme Base Station; the AppleCare Protection Plan; and pre-installed copies of iWork(R) ’08, Logic(R) Express 8, Final Cut(R) Express 4 and Aperture(TM) 2. 


Free Cone Day

As Ben & Jerry’s celebrates its 30th anniversary across the globe, the socially-minded ice cream maker, with the fun and funky flavors, asks what better way to share the love? They’re giving it away. No, this is not one of those internet pranks that makes you send ten emails to your friends for a free pair jeans. This is as plain and simple as vanilla. “Jerry and Ben started their first Free Cone Day as a thank you to their customers,” said Debra Heintz, Retail Operations Director. “It’s cool,” added Heintz with full pun intended, “we get to continue the peace, love and FREE ice cream tradition every year across the world.” Free Cone Day is Tuesday, April 29th, 2008.


Apple celebrates fifth anniversary of iTunes Store

Apple has launched a special promo section on the iTunes Store celebrating the fifth anniversary of the store’s launch.iTunes Turns Fivefeatures a look back at bestselling and staff-recommended media from each of the store’s five years of operation. Launched on April 28, 2003, the iTunes Music Store initially offered “more than 200,000 songs and a handful of exclusive tracks.” Over the years it has grown to offer more than 10 million songs, as well as movies, TV shows, iPod games, podcasts, audiobooks, and music videos, a diversification reflected when the store dropped the word “Music” from its name. As such, each year spotlighted in the promotion represents the content available that year; for instance, 2003’s promo page features only music, while 2005’s page spotlights music as well as TV programming (launched on October 12 of that year), podcasts, and audiobooks. The iTunes Store is now the largest music retailer in the U.S., and has sold more than 4 billion songs.  (Found on iLounge)


Vanity Fair interviews Bob Odenkirk and David Cross

If you’re younger than 40 and had access to cable during the mid- to late-90s, you’re probably familiar with the names Bob Odenkirk and David Cross. As the hosts and stars of Mr. Show with Bob and David, which ran on HBO from 1995 to 1998, they became synonymous with absurdist sketch comedy. In a style reminiscent of Monty Python’s Flying Circus, Mr. Show was a seemingly random hodgepodge of skits and half-baked ideas, all loosely tied together by a common theme. The show’s comedy was irreverent and sometimes viciously subversive.

Although it had a loyal (if small) cult following, Mr. Show was cancelled after just four seasons. Since then, Bob and David have collaborated on the occasional project—such as the underwhelming straight-to-video 2003 movie Run Ronnie Run—but they mostly went their separate ways. Bob moved behind the camera, directing the films Let’s Go to Prison (2006) and The Brothers Solomon (2007). As for David, he achieved semi-mainstream success, partly for his controversial standup routines (documented in the 2003 tour film Let America Laugh) and partly for his role in another short-lived but beloved cult TV classic, Arrested Development.

It’s taken 10 years, but Bob and David are finally have a new show of their own. They’re returning to HBO this fall with David’s Situation, a sitcom about a standup comic named David Cross (played by—wait for it—David Cross) who leaves Hollywood to live in the suburbs, where he writes for in-flight airline magazines and argues with his roommates, one of whom is a bleeding-heart liberal and the other a fire-breathing conservative.

Co-written with Odenkirk, who also directs, the show is a big departure from the sketch-based madness that made them cult-comedy gods. Still, in a sign that they haven’t completely abandoned their Mr. Show roots, every episode will be interrupted by parodies of commercials. “There could be ads for scissors or a new fictional movie or a public service announcement,” Cross said. “It could be anything.”

I spoke with Bob and David as they were preparing to audition actors for David’s Situation. Although they’re both acutely aware of the pressure to repeat Mr. Show’s success, they seemed calm, relaxed, even downright goofy.

VF Daily: David’s Situation sounds very different from Mr. Show. Are you worried about not living up to the expectations of your longtime fans?

David Cross: Not really. I hope people aren’t expecting Mr. Show 2.0, because they’re going to be disappointed.

Bob Odenkirk: I’m not intimidated by people’s expectations of us anymore. I probably should be, but it just doesn’t matter to me as much as it used to. I feel like this show is really solid, and it’s already a lot stronger than Mr. Show was in its first season. It took us about three seasons to really capture the rhythm and comedy tone of Mr. Show, but David’s Situation already has a strong comedic voice just with the pilot episode.

No chance you’ll get bored writing for the same character again and again and again?

BO: No, not at all. Because that character is based on David. I like to compare it to The Jack Benny Program or The Burns and Allen Show, or any of those classic TV shows where the lead was pretty much playing himself. It’s not realistic—it’s still a comic character—but David is doing a version of himself. He’s David Cross, standup comic, but it’s a fictionalized, heightened version of himself.

Just how much of this show is based on reality?

DC: The first episode is entirely made up. But I’m sure that as we continue to do this, it’ll begin to reflect our experiences. There’ll be episodes devoted to those adorable, cherubic, anecdotal experiences we’ve had in Hollywood. And we both love Hollywood.

Really? I kind of got the opposite impression.

DC: Oh no, we love it. Bob’s closer to it than I am. He’s up on the Hill. I can see it from my window. You know what I love about Hollywood? It’s similar to when you live in, say, Nebraska or the Alps and it’s a particularly clear night and you look up and you can see the Milky Way. You’re not in the Milky Way, but you can still see the Milky Way as if it’s right in front of you. But in Hollywood, it’s much more surreal. You’re living in Hollywood, and you can look up and see the Hollywood sign, which is visible almost anywhere you live in the city, and at that moment, you’re in Hollywood and you’re looking at Hollywood.

BO: And you don’t want to be there.

DC: No, you don’t want to be there. Every fiber of your being is saying, “Move! Get out of here! Move your legs in one direction and don’t stop!” But you’ll never really get away because it’s always in your heart.

David’s Situation, like a lot of your comedic collaborations, takes satiric aim at fame and celebrity. Is that a coincidence or a conscious choice?

BO: Well, Hollywood is a weird town, without a doubt. All the clichés about this place are true, and that’s kind of wild.

DC: But it’s also where we work and live, and our friends are involved in it. If we did a sketch show and we lived in Flint, Michigan, I’m sure that a lot of our observations would be about the dying auto industry. We live and work and breathe in Hollywood. Bob’s wife is a manager, and his son is the star of Cake.

Cake? What’s that?

DC: It’s a reality show.

I’ve never heard of it.

DC: It’s about who can eat the most cake in five years.

Bob, you must be very proud of your son.

BO: Well, he’s not winning.

Do you have any theories on why Mr. Show failed?

BO: That’s not entirely accurate. Mr. Show was, I think, artistically successful. And that’s why it continues to matter to at least a small group of people.

I don’t mean creatively. Why was such a critically-lauded show cancelled by HBO?

BO: Because it didn’t succeed financially. It did not make money. It never made HBO any money and it never made us any money. People come up to me and ask why we don’t just make a Mr. Show sketch movie. They’ll say, “I’m sure it’s funnier than the other movies you’ve made, Bob.” But we can’t do it—nobody is going to put money into a Mr. Show movie. It doesn’t matter how funny it is if it’s a bad financial investment.

DC: I don’t think that’s true. I don’t know what the schematics are at HBO for making money, and I don’t know what they were between ‘95 and ‘98 [when Mr. Show aired] and I don’t know what they are today. But I would be very, very, very surprised to learn that HBO did not make money on Mr. Show. That’s absurd to me.

BO: Oh, it made money. No, no, David, you’re right, Mr. Show has made them money and it continues to make them money. My point is, it hasn’t made enough of a profit. It hasn’t made the kind of money that’s even a blip on the Hollywood radar. And then there are the factors that have absolutely nothing to do with money. I think there’s a certain level of massive fame you need to achieve before you can make inroads into the upper echelons, and that’s not something we’ve ever come close to.

Well, you’ve come close. You have some notoriety.

BO: To a very small minority, yes, we have notoriety. But it’s not the kind of notoriety that matters.

DC: It’s helped at HBO. Ten or 13 years ago, when we first got Mr. Show, we weren’t known entities at all. Just promoting the show was kind of an uphill battle for HBO. But this time, with David’s Situation, people actually know who we are. We’re not like international household names, but when it comes to American comedy, you know who Bob and David are.

BO: I agree, but it still feels like we’re lacking the right kind of fame.

What’s the “right” kind of fame?

BO: There’s a sketch show on the BBC called Little Britain, and if they wanted to come to America and make a feature, they could do it. They could get all the money they wanted, even though their show hasn’t really played in the States at all. They have a certain level of massive fame in the U.K. They even have a deal with HBO. They’re shooting a domestic version of the show called Little America or something, and they’re doing 13 episodes or so. We’re shooting a low-budget pilot for HBO, and this is a place that knows us and loves us. But all the support and belief in us doesn’t mean anything if we don’t have the fame to back it up.

Do you secretly wish for mainstream success, or do you like the credibility of being cult-comedy icons?

DC: Well, I lost a lot of my credibility when I did Scary Movie—which is fine. That’s part of the territory if you want to be a working actor. When I was in my early 20s, being respected by a small audience was really gratifying. But as I get older, and I am getting significantly older, it means less and less and less to me. I remember what I was like at 23. I was an idealist and purist. I almost considered not going to Hollywood to work on The Ben Stiller Show, because I was doing my own comedy theater group in Boston, and it was so pure and perfect, and “fuck TV,” you know? But I was just immature and naïve and stubborn and fucking stupid.

BO: We didn’t make Mr. Show to please a tiny cult fan base. We did it because it was the show we really wanted to do. We did it by making mistakes and not listening to anybody and taking some big chances. Mr. Show never would have happened if we hadn’t followed our instincts and attempted every crazy, bad idea that occurred to us, and never worried about what people would think. I like having this loyal cult audience, but sometimes they have this purified version of who you are and what you should be doing with your career, which exists entirely in their imagination. Anything that contradicts that assumption just makes them angry. That says a lot more about them than it does about me. But sometimes they can keep you in check.

I’m not trying to lure you into biting the hand that feeds you, but why would you go back to HBO after your history with them?

BO: Listen, you can’t blame HBO entirely for what happened to Mr. Show. I can’t psychoanalyze the company. There are a lot of people who work there. All of the lower-level executives at HBO knew about Mr. Show, but zero percent of the upper-level execs had ever heard of it or knew what it was. Because there were some executive who didn’t get it and didn’t like it, we were always fighting an uphill battle to be accepted as a legitimate project. And in the fourth season, when they moved us to Monday at midnight, it was such a demoralizing thing. But our experience with HBO this time has been really great. We’ve got a lot of really positive energy from them, and I think maybe things will be a little different.

Do you think HBO has gotten unfairly bashed for its treatment of Mr. Show?

BO: I do! Whenever people say negative things about HBO because of what happened with Mr. Show, I’ll agree that maybe it ended a season or two too early, but you have to give them credit for making it at all. Nobody else was going to make that show.

That may be true, but you could also argue that it’s just another example of a network undervaluing a classic comedy show. You and David were both involved in a lot of great programs that were yanked off the air prematurely. Mr. Show’s fate seems eerily similar to Arrested Development and The Ben Stiller Show.

BO: No, no, no it isn’t! No it isn’t at all!

You don’t think so?

BO: The Ben Stiller Show was a complete fucking mess. Watch that show. Just watch that show. Please!

A mess in terms of its comedy content or how it was handled behind the scenes?

BO: The content. It was not a cohesive show. The voice of one scene was completely different from the voice of another.

So you think its cancellation was deserved?

BO: Look, I think the show was not completely realized, and we were all very young and we didn’t know what the hell we were doing. None of it held together. I mean, c’mon, what was your favorite moment of Ben hanging out with celebrities between scenes? Was that non-stop hilarity for you? People talk about that show like it was comedy genius, but in my opinion it never even came close. It had some high points and sometimes it could be offbeat, but it was mostly a lot of comedy sludge.

Also, should it have aired on prime time opposite 60 Minutes? If you want to accuse Fox of anything, they should have given us a late-night slot. That’s where it might have worked. What the hell were they thinking, putting this mess up against 60 Minutes? C’mon!

Dave, you were a writer on The Ben Stiller Show. Do you agree?

DC: Well, Bob’s correct that it wasn’t very cohesive at all. I don’t know if I’d describe it as a mess, but it definitely wasn’t our best work. As for why it got cancelled, and why a lot of beloved comedy shows got cancelled, that’s a very different issue. I can’t believe I’m about to say what I’m about to say, but there are some legitimate and valid reasons for why a network would cancel a show. Take something like Arrested Development. I wish it wasn’t the case, but I do have some empathy for the network. Fox is not a charity. As much as I hate the idea that commerce should come ahead of art, it’s true. I wish they could say, “Hey, let’s just take some of that Simpsons money and put it into Arrested Development,” but that would be the dumbest fucking move ever. That’s not how a business operates.

I guess you’re right. A business doesn’t need to be fair.

DC: No, it doesn’t need to be fair at all. It’s not the fucking network’s responsibility to carry dead weight. They’re the ones who pay for this shit. They can pull the plug whenever they want. I’ve never seen Jericho, but I imagine it costs a shitload of money to make. If only 25,000 diehard fans are watching it, well, sorry guys. They gave it a shot, but it didn’t work.

You sound like you’re becoming a company man.

DC: Not at all. But you can’t be surprised when a business acts like a business. Sometimes networks have crazy, random, arbitrary, myopic reasons for yanking a show. And sometimes their reasons are entirely valid. When a network executive is looking at something like The Ben Stiller Show, which didn’t really evolve or change from the first episode to the thirteenth, they have to be thinking, “O.K., are we gonna put all of our resources into this thing and pump it full of money and hope it pays off? Or should we just cut our losses and cancel it and try something else?”

If you had a chance to do it all over again, based on what you’ve learned over the past decade, would Mr. Show be more successful today than it was in the late 90s?

DC: You mean hypothetically?

Yes, hypothetically. If you and Bob were doing Mr. Show for the first time in 2008, how would it be different?

BO: Oh, it’d fall apart. After just the first few episodes, I’d start to get really upset with David. Because this time, I’d fall in love with him, and I’d be upset because he’s clearly not returning my affections and advances.

DC: We have to talk. We have to talk.

BO: If this projected future happens, I promise you, David, I will talk to you about this.

O.K., in the third projected do-over, when you can correct the errors you made in the first actual reality and second projected reality, does Mr. Show make it to a fifth season?

BO: Oh God, yeah. We do four more seasons and David and I finally get married in Hawaii. David doesn’t want to have sex, but I’m O.K. with that.

So the third time was the charm?

BO: I guess it was. Thank you for just giving Mr. Show another chance—in a completely hypothetical, nonexistent way.



Free Comic Book Day May 3, 2008

Free Comic Book Day is a single day when participating comic book shops across North America and around the world give away comic books absolutely free to anyone who comes into their stores.

The annual event is the perfect opportunity to introduce your friends and family to the many worlds of wonder available at your local comic book store. From super-heroes to slice-of-life to action/adventure and beyond, Free Comic Book Day has a comic book for everyone!

Here’s a sneak peak at some of the titles.


What is Steampunk?

Technophiles are tapping into a movement known as Steampunk, where computers, keyboards and other gadgets are re-imagined as if built during the Victorian era.









Jimmy Kimmel Grills the Lost Bosses (Part 2)

This is part two of funnyman Jimmy Kimmel‘s interview with Lost producers Carlton Cuse and Damon Lindelof.

Jimmy Kimmel: Will Walt continue to grow until he’s 9, 10, 11 feet tall?
Carlton Cuse:
That’s one of our favorite lines of the whole show: ” Who told you that, Taller Ghost Walt?” You know, we went and had lunch at Arnie Morton’s with Malcolm David Kelley, the actor who plays Walt.
Damon Lindelof: This was before the finale last year.
Cuse: And he was still the same size. We were like, “Thank God!” So we wrote him into the finale and then somehow, in that intervening six weeks, he hit puberty hardcore. He shows up [to shoot the episode] and it’s like, “Wow, can he slam dunk?”

Kimmel: See, you should’ve gone for an Emmanuel Lewis or a Gary Coleman. [Laughs] In my opinion, the episode where Nikki and Paolo were buried alive was the most different of all the episodes. It almost seemed like a Twilight Zone with a little Romeo & Juliet thrown in or something.
I think what you’re responding to is that it was the one episode that sort of acknowledged that this is just a TV show. We were responding very directly to the fans’ criticism of those characters. I think some people really appreciated it as a satiric exercise and some were kind of offended that we would —
Lindelof: Break the fourth wall.
Cuse: We take the show very seriously, but we do so with a spirit of fun. And I think we have to acknowledge that sometimes we make mistakes. Nikki and Paolo were a mistake. I mean, we’re trying to push the envelope — some things work, others crash.

Kimmel: I doubt there’s ever been a show more responsive to its audience.
It has to be. Because Lost is highly-serialized, we can jump the shark in such a way that people would stop watching forever. And some people have. If you were to poll them all, the common answer would be it got too complicated. People are constantly threatening to leave the show. It’s not the most stable relationship. [Laughs] At a certain point, you go, “Come on! You’re four years in. We’re almost home. Just stick it out with us!”

Kimmel: By the final season [in 2010], it may get down to like 175 really hard-core viewers.
[Laughs] As long as you’re one of them.

Kimmel: I will be. I’ve never wavered. Some episodes blow me away more than other ones, but I try to look at the big picture. I defend it when people say, “Oh, this episode’s not as good.” Maybe it’s because I have to do a show every night and I know it can’t knock your head off every single time.
Do you feel like there’s a creative decision we could make that would make you stop watching?

Kimmel: I mean, if the Globetrotters sailed up on to the island or if Tony Danza became a castaway….
Lindelof and Cuse:
Uh-oh. [Laugh]

Kimmel: Is everyone on the island from the planet Earth?
[Long pause] Yes. That may be one of the best Lost questions we’ve ever been asked.
Lindelof: When you get asked questions like that, you have to be very careful how you answer.

Kimmel: Will we see the process of the Oceanic Six coming home and becoming international celebrities?
We will probably not see them hanging out with Paris Hilton.
Lindelof: But you will see that period of excitement when they first come back before the end of the year. We really thought about, what would happen if there was a plane crash and everyone was believed dead and then six survivors turned up?

Kimmel: Someone would probably write a book. They’d do Good Morning America. And they’d get a big settlement from the airline.
The settlement does actually come into play. That’s a big plot point in the finale.
Lindelof: Would you book the Oceanic Six on Jimmy Kimmel Live!?

Kimmel: Absolutely. No question about it.
The overriding goal of the characters in Season 5 is to get on Jimmy Kimmel Live!
Lindelof: That’s what Jack is talking about in the flash-forward. He’s not talking about the island.

Cuse: [Laughs] “We’ve gotta go back…on Kimmel!” And Kate’s like, “No!”

TV Guide: Do you feel pressure to live up to last year’s finale? How do you beat the flash forwards?
I don’t know if you beat it. But the audience has been waiting to find out what happens after that scene between Jack and Kate [at the end of Season 3], and we’re gonna deliver on that in the finale. We’re doing some pretty cool s–t. It’s just gonna be on a different bandwidth than last year. It’s not about the M. Night Shyamalan trick.
Lindelof: Jimmy, that’s actually a question I wanted to ask you. Do you find now that you’ve done the Ben [Affleck] and Matt [Damon] videos, everyone’s saying, “How are you gonna top yourself?”
Kimmel: Yeah, but because that’s a departure from my usual show, I have the luxury of not doing anything. So we’re just gonna leave it alone. Certainly, if there were some spectacular idea, we’d do it. But there isn’t anything better than what we did the last time.
Lindelof: That’s the way we feel about last year’s finale — that it’s a special moment in time. That moment when Kate gets out of the car is a once-in-a-lifetime show experience.

TV Guide: The Internet has played a role in the buzz surrounding both of your shows.
I don’t think Lost could’ve existed in the pre-Internet era. Now you have the ability to both catch up with the show and also discuss and explain it. The camaraderie of the fans that come together over the Internet to discuss Lost is a huge factor in its success.
Lindelof: Lost has always been a cult show in its DNA. It started out as being the band that everybody was listening to and is sort of migrating down to the people who are just fans of punk rock.

Kimmel: When the series wraps, is there any chance of a Lost movie?
Our goal is to finish the show and have it feel satisfying. We have no plans at this point to do a movie.
Lindelof: We don’t wanna do “and then” storytelling. Like, “Yes, that’s the entire thing. And then the one thing we didn’t tell you was this.”
Cuse: When the show ends, it’s over.
Lindelof: But I think it goes without being said that [until then], the show is gonna get weird. Weirder.
Cuse: [Laughs] I’m glad you added that amplification. Recently, we were doing [an interview for] a clip show and after about two hours of explaining plot, I was like, “This show is insane! We are certifiably insane people.”

Kimmel: Then I’m insane, too, because I’m all in.


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Stephen King’s Dolan’s Cadillac to begin filming

Christian Slater and Wes Bentley are set to headline and Emmanuelle Vaugier will play the female lead in an adaptation of Stephen King’s short story Dolan’s Cadillac.Dolan’s Cadillac is a thriller about a man (Bentley), who plots to avenge the murder of his wife (Vaugier) by notorious and untouchable Las Vegas mob boss Jimmy Dolan (Slater).

Erik Canuel is directing Dolan’s Cadillac from an adaptation written by Richard Dooling. Production is scheduled to begin May 14.



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