A version of this story about “Bobby Kennedy for President” first appeared in the Miniseries/Movies issue of TheWrap’s Emmy magazine.
When Dawn Porter set out to make a documentary series about a man who ran for president in 1968, she didn’t expect to find a link to the man who occupies that office today.
But the director of Netflix’s “Bobby Kennedy for President” found a Donald Trump connection while working on the four-part Netflix series. In a twist that could startle viewers, the doc points out that the Ambassador Hotel, where Kennedy was shot and killed in 1968, was later owned by none other than Trump, before the Los Angeles Unified School District wrested it from him in a court battle.
“I couldn’t resist that,” said Porter of her decision to include the Trump factoid. “But also, I think Bobby’s story does speak to our times.
When Dawn Porter set out to make a documentary series about a man who ran for president in 1968, she didn’t expect to find a link to the man who occupies that office today.
But the director of Netflix’s “Bobby Kennedy for President” found a Donald Trump connection while working on the four-part Netflix series. In a twist that could startle viewers, the doc points out that the Ambassador Hotel, where Kennedy was shot and killed in 1968, was later owned by none other than Trump, before the Los Angeles Unified School District wrested it from him in a court battle.
“I couldn’t resist that,” said Porter of her decision to include the Trump factoid. “But also, I think Bobby’s story does speak to our times.
- 6/19/2018
- by Steve Pond
- The Wrap
Broadcast TV has, a bit surprisingly, been dominating the TV buzz over the past week thanks mostly to the huge premiere of “Roseanne,” in addition to several other midseason bows. But Netflix is gearing up for its own big push as it slides several premieres into April and May in order to make the Emmy eligibility cutoff.
This month’s big Netflix premieres include a high-profile remake, a new twist on a popular food series, the return of one of its buzziest international series, a new auto-themed show and more. Here are some of the key Netflix shows you’ll want to binge this month:
1. “Lost in Space” (available April 13)
Why Should I Watch It? Netflix has been angling for a sci-fi hit since “Sense8,” and its big-budget reboot of Irwin Allen’s ’60s CBS series may fill the void “Altered Carbon” couldn’t quite plug. Toby Stephens (“Black Sails”) plays John Robinson,...
This month’s big Netflix premieres include a high-profile remake, a new twist on a popular food series, the return of one of its buzziest international series, a new auto-themed show and more. Here are some of the key Netflix shows you’ll want to binge this month:
1. “Lost in Space” (available April 13)
Why Should I Watch It? Netflix has been angling for a sci-fi hit since “Sense8,” and its big-budget reboot of Irwin Allen’s ’60s CBS series may fill the void “Altered Carbon” couldn’t quite plug. Toby Stephens (“Black Sails”) plays John Robinson,...
- 4/1/2018
- by Ben Travers
- Indiewire
Director John Frankenheimer.
I'm often asked which, out of the over 600 interviews I've logged with Hollywood's finest, is my favorite. It's not a tough answer: John Frankenheimer.
We instantly clicked the day we met at his home in Benedict Canyon, and spent most of the afternoon talking in his den. A friendship of sorts developed over the years, with visits to his office for screenings of the old Kinescopes he directed for shows like "Playhouse 90" during his salad days in live television during the 1950s.
We hadn't spoken for nearly a year in mid-2002 when the phone rang. It was John, who spoke in what can only be described as a "stentorian bark," like a general. "Alex!" he exclaimed. "John Frankenheimer." He could sense something was amiss with me. It was. My screenwriting career had stalled. My marriage was progressing to divorce. I had hit bottom. John knew that...
I'm often asked which, out of the over 600 interviews I've logged with Hollywood's finest, is my favorite. It's not a tough answer: John Frankenheimer.
We instantly clicked the day we met at his home in Benedict Canyon, and spent most of the afternoon talking in his den. A friendship of sorts developed over the years, with visits to his office for screenings of the old Kinescopes he directed for shows like "Playhouse 90" during his salad days in live television during the 1950s.
We hadn't spoken for nearly a year in mid-2002 when the phone rang. It was John, who spoke in what can only be described as a "stentorian bark," like a general. "Alex!" he exclaimed. "John Frankenheimer." He could sense something was amiss with me. It was. My screenwriting career had stalled. My marriage was progressing to divorce. I had hit bottom. John knew that...
- 7/6/2015
- by The Hollywood Interview.com
- The Hollywood Interview
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