Delta Air Lines is denying it censors pay-per-view movies made available aboard its flights.
The issue emerged on social media this week when actress Olivia Wilde questioned on Twitter why a lesbian sex scene and the words “vagina” and “genitals” had been cut from her directorial debut, Booksmart.
The coming-of-age comedy about two high-school girls (Kaitlyn Dever and Beanie Feldstein) attempting to ditch their studious ways is executive produced by Will Ferrell and Jason Sudeikis. It has generated about $25 million at the box office worldwide since its May theatrical release.
“I finally had the chance to watch an edited version of Booksmart on a flight to see exactly what had been censored,” Wilde tweeted on Oct. 30. “Turns out some airlines work with a third party company that edits the movie based on what they deem inappropriate. Which, in our case, is … female sexuality?”
Similar accusations against Delta surfaced regarding editing out gay references in the Elton John biopic Rocketman and the Chris Rock comedy Carol.
Delta, in a media statement, said it routinely offers edited and non-edited versions of movies on flights. It insisted it does not mandate any “homosexual content” be removed from in-flight entertainment.
“We value our inflight entertainment options as a means to reflect the diversity of the world,” the Atlanta-based carrier stated. “We are reviewing the processes of our third-party editing vendors to ensure that they are aligned with our values of diversity and inclusion.”
Booksmart was released into retail channels on Sept. 3 by Disney/Fox Studios.
The teen coming-of-age comedy Booksmart will come out on digital Aug. 20 and Blu-ray and DVD Sept. 3 from Twentieth Century Fox Home Entertainment.
Olivia Wilde’s directorial debut, the unfiltered comedy follows best friends and academic overachievers Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) who realize they’ve missed out on pretty much all fun during high school. On the eve of graduation, they decide to make up for lost time with one wild adventure. The film also stars Lisa Kudrow, Will Forte, Billie Lourd and Jason Sudeikis.
Disc bonus features include audio commentary by Wilde, “Booksmart: The Next ‘Best High School Comedy,’” “Pliés and Jazz Hands: The Dance Fantasy,” “Dressing Booksmart,” deleted scenes and a photo gallery.
The film made $22.2 million at the domestic box office.
Street Date 2/12/19; Sony Pictures; Drama; Box Office $2 million; $30.99 DVD, $34.99 Blu-ray; Rated ‘R’ for language including some sexual references. Stars Hugh Jackman, Vera Farmiga, J.K. Simmons, Alfred Molina, Sara Paxton, Mamoudou Athie, Spencer Garrett, Ari Graynor, Kaitlyn Dever, Steve Zissis, Bill Burr, Mike Judge, Kevin Pollak, Tommy Dewey, Molly Ephraim, Josh Brener.
The bright future of a rising political star runs smack into the maxim that “a lot can happen in three weeks” in director Jason Reitman’s exploration of the relationship between politics and media.
The Front Runner isn’t much of a political movie, in that it doesn’t overtly deviate into policy debates. Nor does it lay out any easy answers or preach to the audience what to think.
The docudrama relates the brief campaign of former Colorado senator Gary Hart (Hugh Jackman) for the presidential election of 1988, when he was considered the most likely nominee upon entering the race in April 1987.
Hart had come close to becoming the Democrats’ presidential nominee in 1984 and was considered a favorite for securing the spot for 1988. However, dogged by rumors of womanizing, Hart challenged a Washington Post reporter to follow him around, claiming anyone who did so would be “very bored.” Subsequently, a team from the Miami Herald decided to do just that after receiving an anonymous tip that Hart was having an affair was planning to host the girl in Washington, D.C.
When the Herald reported that Hart had been seen at his home with a potential campaign worker named Donna Rice (Sara Paxton), the story exploded, though Hart denied having any inappropriate relationship.
Hart bristled at the notion that the public and the media should have any interest in a politician’s private life, but the exposure took a toll on his family, and within a week his political career was over (save for a brief return to the presidential race in December 1987, which the movie doesn’t get into, and some appointments during the Obama administration).
Reitman, who co-wrote the screenplay with journalist Matt Bai and political operative Jay Carson, describes the event as a defining moment of tabloid journalism swerving into politics, fueled by the expansion of telecommunications technology and the rise of the 24-hour news cycle.
In the past, members of the media had made an almost tacit agreement to ignore the infidelities of the politicians they covered. But at some point, notions of character and morality began to intertwine with notions of policy and perceptions of leadership, shining an ever-wider spotlight on the personal lives of those seeking the public trust.
As relayed in the bonus materials, in Reitman’s eyes, the Hart incident serves to presage a modern media environment in which every scrap of social media will be scoured, every statement dredged up and over-analyzed, and every stone unturned in an effort to extract a partisan toll.
In terms of framing the story, then, Reitman asks two competing questions: “what is important?” versus “what is entertaining?” Accordingly, he constructs almost every scene to give the audience more than one thing to focus on, putting it on the viewer to decide what is more important to the story, and how it reflects the overall message of the film.
But in leaving so much for the audience to decide, The Front Runner ends up as more of a conversation starter than a definitive statement on the issue.
Fortunately, the regular trappings of cinema on hand make for an otherwise entertaining movie. The performances are spot on, and Reitman does a nice job handling an all-star cast whose orbs of influence only occasionally intersect.
Likewise, Reitman deftly captures the feel of the 1980s with some subtle camerawork that reinforces the costumes and set design in evoking the mood of the period. In particular, Reitman notes, is his insistence on letting the rawness of the film as a medium speak for itself, and not to clean up the image using modern computer editing.
The Blu-ray includes an audio commentary with Reitman, producer Helen Estabrook, production designer Steve Saklad, costume designer Danny Glocker and cinematographer Eric Steelberg, in which they delve into all the techniques and artistic touches they layered into the film.
There’s also a 15-minute featurette called “The Unmaking of a Candidate” that touches on the making of the film and the themes it’s exploring.
There are also three deleted scenes, including a slightly alternate opening sequence, that run about four-and-a-half minutes.