Entertainment
At KTLA, Sam Rubin was a local morning news pioneer who covered Hollywood with zeal
KTLA entertainment reporter Sam Rubin was at the center of a local TV news revolution.
Rubin, who died Friday of a heart attack at 64, became a central member of “KTLA 5 Morning News” soon after its launch on July 8. 1991. The early morning broadcast was a bold experiment: Local news stations had usually focused on their evening newscasts, feeling that morning viewers would be more likely to tune into national programs like NBC’s “The Today Show” or ABC’s “Good Morning America.”
But the Channel 5 broadcast instantly struck a chord with its emphasis on news and events around Los Angeles. Its success was due to its loose approach and a collection of anchors and reporters who interacted with breezy banter.
The original team included anchors Carlos Amezcua and Barbara Beck, weatherman Mark Kriski, traffic reporter Jennifer York and reporter Eric Spillman. Rubin joined the unit three months after its premiere, and he made an instant impression with his energetic delivery and clear enthusiasm for Hollywood news and gossip.
The format became so popular that KTTV Channel 11 soon started its own morning broadcast. The two stations became rivals, turning the local TV landscape into a fierce ratings battleground. Years later, it’s now common for TV stations to have extensive local coverage in the early morning hours.
Amezcua reflected on the legacy of the broadcast during its 20th-anniversary celebration in 2011, which reunited several members of the original team.
“I can’t believe it’s actually been that long,” said Amezcua, who left the station in 2007. “When it started, it was such a scary time, we were sure it was going to be a short-term gig.”
In a separate interview, Rubin said initial ratings for the newscast were so bad “that we were pretty sure we wouldn’t last more than a year.”
He added, “There was just this sense that no one was watching. What we were doing maybe didn’t merit watching. There was this tremendous freedom in letting go. Our boss Joel Tator told us we were all going to get fired anyway, so we might as well do what we want.”
That freedom allowed the on-air talent to be informal in broadcasts, particularly Rubin, who would talk about his wife and daughter. Their home life became part of the self-promotion that often found its way into his reports.
As an entertainment journalist, Rubin’s principal approach was geared toward positive coverage of the subjects he interviewed. He was a favorite of publicists, and his interviews rarely featured probing questions. He would file reports on press junkets that would take him around the world and were paid for by studios, a practice that’s repudiated by members of the press in an effort to provide fair and balanced coverage. But he denied that he was influenced by the free travel or accommodations he enjoyed.
One of Rubin’s most famous segments was one of his most uncomfortable: In an 2014 remote interview with Samuel L. Jackson, who was promoting his new film, a remake of “RoboCop,” Rubin confused the “Pulp Fiction” actor with Laurence Fishburne.
“You’re as crazy as those people on Twitter,” scolded Jackson, pointing a finger at the camera. “I’m not Laurence Fishburne! We don’t all look alike!”
Embarrassed, Rubin tried to make light of the mistake, but a gleeful Jackson continued to tease him.
“You’re the entertainment reporter?” he said to Rubin in an incredulous tone. “You’re the entertainment reporter for this station and you don’t know the difference between me and Laurence Fishburne?”
Rubin frequently projected an edge, which often landed him in hot water inside and outside KTLA.
In 1993, the station’s veteran anchor Hal Fishman threatened to quit his job if station management did not take steps to punish Rubin for what he called “a shocking and appalling slander.” He was angered by Rubin’s joke that Fishman once “wore a skirt for a co-anchor job in Spokane.” It was part of a bit in which Rubin compared Fishman to Dustin Hoffman, who dressed as a woman in the movie “Tootsie.”
In 2004, Rubin was suspended for a week after he made satirical remarks on Monday’s morning news program about the show’s temporary news set, thanking a local high school for sending it to him.
Rubin would also take on-air swipes at Los Angeles Times entertainment coverage and TV columnist Howard Rosenberg, declaring he could do a better job. The Times and KTLA at that time both were owned by Tribune Company.
Regardless of his run-ins and remarks on- and offscreen, for viewers, Rubin managed to maintain an unflappable onscreen image of a television journalist who appreciated his access and enjoyed his job.
Entertainment
‘Clayface’ trailer teases DC Studios’ first proper horror movie
The DC universe is going full on body horror.
DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.
Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.
The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.
According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”
“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.
Who is Clayface?
Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”
Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.
Other versions of Clayface have been introduced in various media since.
Who is in ‘Clayface’?
The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.
Who are the ‘Clayface’ filmmakers?
Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).
The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Entertainment
Review: Monica Lewinsky, a saint? This devastatingly smart romance goes there
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
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First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
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