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The Wasteland

July 11, 1993

Regarding "All Ears, All Day in TV Hell," by Howard Rosenberg (June 27):

I generally switch the dial between Channels 2, 4 and 7 trying relentlessly, but usually in vain, to get some semblance of intellectualism. When I tire of the Big 3's pretentious, inquisitional social and political pundits, I switch to the Looney Tunes on Channel 5 for some respite.

As for looking at anything objective after 9 a.m., other than an occasional "MacNeil/Lehrer," I find more objectivity in cleaning the commodes and pulling weeds.


West Covina

Rosenberg's bizarre stunt of watching 41 talk shows in one day should have been accompanied by a warning that he is a professional idiot and that amateurs should not try to imitate the feat.

Parents should keep that issue of Calendar away from small children. As it is, I'm sure there will be reports of brain injuries and fatalities. How irresponsible can you get?



It is interesting to note the talk shows with which Rosenberg spent so much time. For instance, a full 36 minutes with "Jenny Jones" at 2:25 p.m. and fully 40 minutes with "Oprah" from 3:01 to 3:40 p.m. (excluding a five-minute break for "Donahue").

By omitting the 3:30 p.m. "Rush Limbaugh Show" from all that drivel, Rosenberg obviously feels that it deserves more serious discussion.


Lake Elsinore

Rosenberg writes: "On June 16, I did my best, monitoring and keeping a journal on portions of every talk or talk-oriented show available in the area of Los Angeles where I live."

Oh, really? Considering Rush Limbaugh's popularity (his national ratings beat Arsenio's and Letterman's) and that he appears twice daily in the Los Angeles market, one can only imagine Rosenberg's logic in excluding him from the article. "He doesn't have guests, that's it! Whew!" The absence speaks volumes.



"Rush Limbaugh" was not included in Howard Rosenberg's roundup of talk shows because he chose to focus on programs in which hosts interview guests.

Death to Drivel

Hooray! Let's celebrate the rumored death knell of "action" films that glorify aggression in the male personality. As if it needed encouragement ("Endangered Species," by Peter Rainer, June 27).

The concept of such films "becoming terminally muscle-bound and knuckleheaded" was too funny. Becoming? Hasn't critic Rainer been paying attention? I refuse to give 2 cents of my movie-going dollar to such moronic drivel, obviously aimed at the obstreperous 12-year-old (male) mentality.

Let's hope that what rushes in to fill the (long-awaited) void can best be described as "thinking people's" pictures. (Dare I say it, "women's films"?)



What seems to have escaped The Times' critics (and others) regarding "Jurassic Park" is that it's the first pop culture movie in a long time that has real educational content.

Steven Spielberg is exposing audiences all over the world to new theories about dinosaurs, their possible relation to birds, DNA research and more, all while entertaining the hell out of us.

Critics, you've been complaining about the vacuousness of popular entertainment for years. Here's a thrill ride that may actually inspire some of our children to become scientists. This type of filmmaking should be lauded, not lambasted.


Universal City

Gale is co-writer and co-producer of the "Back to the Future" trilogy.

Saur Loser?

Dinosaurs are curious things. So are human beings. Invariably, whenever something becomes insanely popular, there are always people who can't resist hopping up on soapboxes to gleefully denigrate it, their words laced with an attitude seeming to say, "I'm above all this!"

William Simpson's letter regarding the "dino-sized blunders and curiosities" in "Jurassic Park" (June 27) is a case in point. He takes such delight in taunting the movie, but to attack it on a technical level is a risky proposition, and in some ways a self-defeating argument.

Maybe the jeep was wet in one shot and dry in the next, or its door was hanging open in one shot and closed in the next, but such things aren't all that unusual. Ever since the first footage of the first movie was shot, mistakes have been made. Entire books have been written on the subject, cataloguing goofs and bloopers in even the best of movies and television shows. It's simply a fact of cinematic life.

Dramatic license also comes into play, hence the scene with the velociraptor crashing into Lex's reflection. That scene is meant to be suspenseful and cause fear within the audience. If we could see the raptor's reflection as well, the trick would be blown, and there would be no suspense, no shock.

Well, Mr. Simpson, I hope that at least your seat was comfortable, the air conditioning was to your liking and the popcorn wasn't too overpriced. In the meantime, it would help to take the advice contained in the letter that followed yours: It's only a movie! And a damn good one.


Santa Maria

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