Kevin Spacey Makes Surprise Return in Tucker Carlson Christmas Video, Pokes Fun at Netflix

The Christmas Eve episode of Tucker Carlson’s video series on social media platform X (formerly Twitter) featured a surprise appearance by actor Kevin Spacey in a tongue-in-cheek analysis of the presidential election.

Spacey, who has been out of the public spotlight the past half decade due to sexual misconduct allegations, appears to be playing Frank Underwood, his corrupt politician character from the Netflix series “House of Cards” (though he is never named in the video, thus avoiding any copyright issues).

The seven-minute satirical video, which had garnered 13 million views within 12 hours, is styled as “The Tucker Carson Interview,” with the host stating that the 2024 presidential campaign seems a foregone conclusion and wondering if there’s anyone “who could jump in at this late date and rescramble the calculus of electoral politics.”

Tucker then points to Spacey, who speaks with Underwood’s trademark southern drawl and affectations (including his penchant for turning toward the camera to address the audience directly).

“I’ve always believed nothing should be off the table in life or in art,” Spacey says with a touch of double meaning. “We need to get some adults back in the room.”

Amid a brief discussion of some of the candidates and the need to filter out the noise of social media, Carlson references previous Christmas Eve videos posted by Spacey in 2018, 2019 and 2020, before claiming the two of them have something in common.

“We both got canned by our network,” Spacey replies in agreement.

Carlson’s top-rated show on Fox News was canceled in April 2023 in the wake of lawsuits over coverage of the 2020 presidential election. Carlson subsequently started his X show as well as his own streaming service, Tucker Carlson Network.

Spacey was fired by Netflix in 2017 following the first claims of sexual abuse levied against him, just prior to the start of production of the sixth and final season of “House of Cards.”

“But they actually tried to kill you,” Carlson says, referring to “House of Cards” altering its storyline to have Underwood die offscreen in between the seasons.

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After some criticisms of the media landscape, the pair turn their attention toward Netflix.

Spacey, still speaking as Underwood, claims that Netflix’s iconic “tudum” logo sound was based on him pounding his fist on his desk at the end of season two of “House of Cards.”

“So it is bizarre that they decided to publicly cut ties with me on allegations alone,” Spacey says. “Allegations that have now been proven false.”

A British jury in July found Spacey not guilty of several sexual assault allegations.

“I don’t think there’s any question,” Spacey continues, “Netflix exists because of me. I put them on the map and they tried to put me in the ground.”

“When are you getting back to work, by the way?” Carlson asks, seemingly addressing the question to Spacey more than Underwood.

“I’ve been back at work from the moment we started talking, Tucker,” Spacey replies, still in character though blurring the lines of reality a bit. “What’s true? What’s false? What’s life? What’s art? What’s real? What’s performance? I love it when these things intersect because then it gets interesting.”

Tucker then asks what role Spacey/Underwood sees himself in going forward.

“I will play whatever role the public wants me to play,” Spacey answers.

Spacey is slated to make his acting comeback in 2024 in the thriller Peter Five Eight, which was completed in 2022.

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Glengarry Glen Ross: Collector’s Edition

BLU-RAY REVIEW 

Street Date 6/2/20;
Shout! Factory;
Drama;
$22.97 Blu-ray;
Rated ‘R’ for language including sexual references.
Stars Al Pacino, Jack Lemmon, Alan Arkin, Ed Harris, Kevin Spacey, Alec Baldwin, Jonathan Pryce, Jude Ciccolella, Bruce Altman.

Some movies just have a way of getting in your head and wrapping themselves around your brain. Glengarry Glen Ross, based on David Mamet’s stage play, is such a film. With a powerhouse cast (including four Academy Award winners) delivering juicy dialogue, how could it not be? Don’t be surprised if you find yourself quoting the film with regularity after a viewing.

In the 1992 film, as with the play, we meet four real-estate salesmen who will do anything to sell worthless property to customers who don’t want it.

Mamet has found a way to cram so many worthwhile themes, from transition to desperation, into such a simple framework. Jack Lemmon plays Shelley “The Machine” Levine, an elderly salesman who has fallen on hard times. Al Pacino plays smooth-talker Ricky Roma, who is in the midst of a winning streak. Alec Baldwin plays a hotshot from downtown who shows up in a classic cameo written specifically for the actor for the screen version. All are pitch perfect.

Baldwin puts the fear of God into the salesmen by telling them to close a deal or they’re fired. The next day, the office has been ransacked. Sensitive documents have been stolen. The subsequent investigation quickly gives way to one of the classic verbal beatdowns in cinema history, when Pacino berates the inept office manager, played by Kevin Spacey, after he costs Roma a big sale.

These are scenes you could watch again and again with continued fascination at the skill with which these performers give life to the words on the page. Mamet’s screenplay, which he adapted himself, is often hailed as being better than the stage version due to the inclusion of the Baldwin scene, which crystalizes the stakes of the story in a way the stage production only hints at.

Surprisingly, despite its legacy and acclaim, the film earned just one Academy Award nomination, Pacino for Best Supporting Actor. Pacino would lose that race to Gene Hackman in Unforgiven, but got the last laugh the same year when he took home Best Actor for Scent of a Woman. For some people it’s just in the cards. (When the movie came out, Lemmon had been the only Oscar winner in the cast. After Pacino, Spacey and Alan Arkin would later win Oscars, with Baldwin, Ed Harris and Jonathan Pryce earning Oscar nominations).

The new Shout Select Blu-ray presents the film with a gorgeous new 4K digital transfer from the original camera negative that offers a crisp, vivid image. Being sourced from a loquacious stage play, the film’s visual splendors are secondary concerns, though director James Foley and cinematographer Juan Ruiz Anchía do their best to enhance the dreary ambiance of the piece with moody shadows and reflections of rain while bathing the characters in various shades of neon.

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In terms of bonus material, the new Blu-ray offers a healthy mix of old and new extras.

The first of the new additions is a 30-minute interview with Foley as he reflects on the development of the film version and the relative ease of the production since he was working with such a talented cast and a tight screenplay. The other is “God Bless Ricky Roma,” a 24-minute interview with actor Joe Mantegna, who won a Tony playing Roma on Broadway in the 1980s.

The Shout Blu-ray also includes two half-hour documentaries from the old 10th anniversary DVD from 1992 that were subsequently included on Lionsgate’s 2016 Blu-ray edition: the “ABC: Always Be Closing” documentary about the psychological intersection of fictional and real-life salesmen, and the “Magic Time: A Tribute to Jack Lemmon” documentary.

The disc also includes two commentary tracks. One comes from Foley that originated on the 10th anniversary DVD and was included on the Blu-ray as well. He offers some good stories about the production, some of which he also recounts in the new interview, but there are lengthy gaps where he just lets the film run without saying a word.

The other commentary is by Jack Lemmon, originally recorded for the 1992 Laserdisc of the film but missing from subsequent disc releases, so it makes a welcome return here. Lemmon is effusive in his praise for his fellow cast members, whom he calls the most talented bunch he ever worked with. His commentary is a fantastic intermingling of stories from the set with tales of old Hollywood from the 1950s and ’60s.

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As to what didn’t make it from previous releases, the new Blu-ray jettisons a 10-minute clip of Lemmon on the Charlie Rose show talking about the movie in 1992, and a two-minute bit of Kevin Spacey reciting his “Go to lunch” scene with an audience member on “Inside the Actors Studio.” Both were featured on both the previous DVD and Blu-ray releases, but their absence here is understandable given the problematic revelations regarding both Rose and Spacey that have popped up in recent years. It’s a shame to lose the reflections from Lemmon in the Rose piece, though.

In addition, a couple of extras from the old DVD that didn’t carry over to the 2016 Blu-ray also aren’t resurrected here. These include a scene-specific commentary from the cast and crew, and filmmaker Tony Buba’s short documentary “J. Roy: New and Used Furniture.” So completist collectors who have that 10th anniversary DVD might want to pair this new Blu-ray with the second disc from that set (which offers the pan-and-scan version of the movie along with the extras missing from the later Blu-rays).

Netflix Releases Teaser Video Clip for ‘House of Cards’ Final Season

Netflix Sept. 5 released a brief trailer (19 seconds) for the pending (Nov. 2) final season of “House of Cards” that is noteworthy for what it reveals happened to lead character President Frank Underwood, played by disgraced actor Kevin Spacey.

Frank’s wife, Claire, played by Robin Wright, assumes her husband’s role in the new season.

The critically-acclaimed Netflix original series was turned upside down when allegations of inappropriate sexual behavior by Spacey decades ago and on the “Cards” set surfaced. Netflix shut down production of the show and subsequently fired Spacey.

Netflix Resumes ‘House of Cards’ Production; Diane Lane, Greg Kinnear Join Cast

Netflix Jan. 31 announced it has resumed production on the sixth and final (abbreviated) season of original series “House of Cards” in Baltimore following a forced three-month hiatus. The SVOD pioneer added Diane Lane and Greg Kinnear to cast, playing siblings in yet undisclosed storylines.

Production on the show came to a standstill last October when lead actor Kevin Spacey was publicly accused of inappropriate sexual conduct with a minor in the 1980s.

Subsequent revelations resulted in Netflix shutting down production, firing Spacey and shelving the actor’s biopic Gore, about writer Gore Vidal, among other projects. The actions contributed to Netflix reporting a $39 million write-down in its most-recent fiscal period.

“Cards,” along with “Orange Is the New Black,” helped put Netflix on the map creatively, winning myriad industry awards for Spacey as scheming politician Frank Underwood, and Robin Wright as his wife, Claire.

Wedbush Securities media analyst Michael Pachter contends the show can succeed despite likely losing viewers since the Spacey scandal broke and the storyline still being in the middle of its stride.

“My guess is that their audience going forward will be half as big as in the past” said Pachter.

The series is distributed at retail by Sony Pictures Home Entertainment.

Netflix Wrote Off $39 Million Due to Kevin Spacey Scandal

Lost in the euphoria of Netflix’s record fourth-quarter subscriber growth, was a $39 million impairment charge management characterized as “unreleased content we’ve decided not to move forward with.”

It’s now been reported the charge related to fiscal fallout from sexual harassment allegations against Kevin Spacey, which included shutting down production on the sixth season of “House of Cards,” and canceling the release of Spacey’s Gore biopic, which he starred in, among other projects.

On the streaming behemoth’s investor webcast, CFO David Wells didn’t mention Spacey, opting instead to walk around the issue declaring content write-offs as an “ongoing facet” of CCO Ted Sarandos’ job overseeing original content production.

Indeed, the non-cash charge had no material impact as Netflix exceeded operating income and contribution profit targets for the quarter.

“We just hadn’t had [an impairment charge] of this magnitude, related the societal reset around sexual harassment,” Wells said. “It was somewhat unusual in that respect.”

Sarandos added that the charge was “probably a good indicator” of Netflix’s diverse content portfolio.

“When you have a lot of high-profile projects going … we’ve moved away from much concentration risk from any one project having a material [fiscal] impact,” he said.