Tag Archives: capital-punishment

Judge Declares Mistrial In Penalty Phase Of Jodi Arias Trial

The Jodi Arias trial has had so many twist and turns. Mistrial Declared In Jodi Arias Sentencing Trial According to Fox News Jurors who spent five months determining Jodi Arias’ fate couldn’t decide whether she should get life in prison or die for murdering her boyfriend, sending prosecutors back to the drawing board to rehash the shocking case of sex, lies and violence to another 12 people. Judge Sherry Stephens gave a heavy sigh as she announced a mistrial in the penalty phase of the case Thursday and scheduled a July 18 retrial. “This was not your typical trial,” she told jurors. “You were asked to perform some very difficult duties.” The panel then filed out of the courtroom after 13 hours of deliberation that spanned three days, with one female juror turning to the victim’s family and mouthing, “Sorry.” She and two other women on the jury were crying. None of the jurors commented as they left court. The mistrial set the stage for a whole new proceeding to determine whether the 32-year-old former waitress should get a life sentence or the death penalty for murdering Travis Alexander five years ago. He was shot and stabbed nearly 30 times — his throat slit ear to ear — in what prosecutors said was a jealous rage because he wanted to date other people. A new jury will be seated to try again to reach a decision on Arias’ sentence — unless the prosecutor takes execution off the table and agrees to a life term. Jury selection for the next phase could take weeks, given the difficulty of seating an impartial jury in a death penalty case that has attracted global attention. Arias, who first said she wanted to die and later pleaded to the jury for her life, looked visibly upset about the mistrial and sobbed before it was announced. Her family didn’t attend Thursday but has been present for much of the trial. Family members of Alexander also cried in court. The same jury on May 8 found Arias guilty of first-degree murder in the death of Alexander, who was nearly decapitated in the bathroom of his Mesa home. The jury later determined the killing was cruel enough to merit consideration of the death penalty. Maricopa County Attorney Bill Montgomery thanked the panel in a statement after the mistrial was announced: “We appreciate the jury’s work in the guilt and aggravation phases of the trial, and now we will assess, based upon available information, what the next steps will be.” He said a status hearing has been set for June 20, “and we will proceed with the intent to retry the penalty phase.” Under Arizona law, a hung jury in a trial’s death penalty phase requires a new jury to be seated to decide the punishment. If the second jury cannot reach a unanimous decision, the judge would then sentence Arias to spend her entire life in prison or be eligible for release after 25 years. The judge cannot sentence Arias to death. A new jury would have to review evidence and hear opening statements, closing arguments and witness testimony in a condensed version of the original trial. Attorneys will also have to find prospective jurors willing to issue a death verdict. As the proceedings continue, Arias will remain in the Maricopa County jail system, where she has spent the past five years. Sheriff Joe Arpaio said Thursday she will be confined to her cell 23 hours a day and not be allowed to give interviews. The trial’s penalty phase also featured dramatic statements by Alexander’s sister and brother as they described how their lives were shattered by the loss of their beloved sibling. The judge had told jurors they could consider a handful of factors when deciding Arias’ sentence, including the fact that she has no previous criminal record. They also could weigh defense assertions that Arias is a good friend and a talented artist. Arias found it difficult to resist the spotlight throughout her case. She spoke to a Fox affiliate minutes after her conviction, and did a series of jailhouse interviews just hours after the jury got the case in the penalty phase. “The prosecutor has accused me of wanting to be famous, which is not true,” Arias told the AP on Tuesday in an interview where she combed her hair beforehand and wore makeup for the cameras. She also insisted that no images be transmitted of her from the waist down, showing her striped jail pants and shackled ankles. Hopefully this painful saga can come to an end.

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Judge Declares Mistrial In Penalty Phase Of Jodi Arias Trial

Old Faithful: 6 Joss Whedon Stand-Bys Revived For Cabin in the Woods

The Cabin in the Woods is mind-blowing, daring and revelatory – unless you’re a nerdy girl who grew up watching Joss Whedon’s television series. Then it’s just kind of nostalgic and occasionally tiresome, like talking to an ex at a high school reunion. Yes, the movie’s a lot of fun, especially if you didn’t start watching Buffy the Vampire Slayer from its low-budget beginnings. But if, like me, you’re intimately familiar with Whedon’s works and regular crutches, you’re going to see a lot of things you recognize in Cabin , which he co-wrote with longtime collaborator and director Drew Goddard. My Whedon bona fides: I introduced all of my high school friends to Buffy and liked much of it, more of Angel , lost interest in the problematic Dollhouse before it supposedly got good , loathed Firefly but liked Serenity , and found Dr. Horrible’s Sing-Along Blog terribly sour. Haven’t paid any attention to the comics, and I’m sure I’ll see Avengers along with the rest of humanity . On that basis, I offer six tired tropes that Whedon overuses in Cabin in the Woods . If you’ve seen some or all of those previous works, you might already know what you’re getting in for with Cabin , but for the rest of you, spoilers ahead. Serious, serious, Village Voice -style spoilers . 1. The Banality of Evil Cabin in the Woods starts with two office drones, hitting the vending machines and alternating complaints about their wives with complaints about office politics. So of course they’re flunkies engineering murderous ritual sacrifices on behalf of vengeful gods, right? By the time the office drones (Bradley Whitford and Richard Jenkins) started taking bets on how exactly the five sacrificial college students were going to die, I had really, really gotten the message: corporations are evil, and evil is often mundane. Whedon has made a career out of juxtaposing the horrific and the ordinary: there’s the evil mayor in Buffy , worried about personal hygiene while plotting world domination, or the demonic law firm controlling the Angel characters’ lives, or the high-tech, rapist corporation running the Dollhouse . Firefly and Serenity even made “big damn heroes” out of the space equivalent of Confederate soldiers, fighting the good fight against the ominously bland central government that won a civil war. We get it: those of us in jobs with benefits have probably sold our souls to get them. 2. The Have-Your-Cake-And-Eat-It-Too Attempts at Feminism “Women’s issues.” That’s one of the first lines in Cabin in the Woods , a sly nod to some of the coming plot twists but also a succinct summary of a lot of what the movie gets wrong. There are some particularly lascivious camera shots up the long legs of one character, whose blonde hair dye literally turns her into a sex-crazed “whore.” (Yep, the two main women in the movie are slotted into the ritual-sacrifice roles and horror-movie tropes of “virgin” and “whore.”) Having one character snark in a corner about how sexist or gross something is does not absolve you of writing those sexist or gross jokes. Having your bad guys beg an invisible cameraman to show the “whore’s” breasts – and then showing us, the audience, those breasts – doesn’t make you any less complicit in exploiting that actor’s body, however much you want us to think that you’re intellectually mocking horror movies’ tendencies to do so. Whedon’s written some good women characters, but for someone who calls himself a feminist, he’s wildly inconsistent . Yes, he gave us the powerful blonde cheerleader vampire slayer, but he also gave us the rape fantasy of Dollhouse , not to mention the regular slut-shaming of Firefly . (Prostitution is honorable in this futuristic society – but you should still be ashamed of your profession!) Cabin ’s definitely another step backwards: the central character is a “virgin” who spends the movie reacting to things rather than demonstrating any agency. Her one potential hard decision is taken away from her by the diffident slacker boy who’s really the moral compass of the movie. Which brings me to… 3. The Lovable Slacker Hero Or, Xander Harris saves the day. Can I blame Whedon and his Xander and Wesley and Wash and Topher for helping beget the era of Judd Apatow and Seth Rogen? Yes, boys: Sometimes girls will find you attractive if you’re awkward and funny and nerdy and into comic books. And sometimes your crippling lack of self-confidence and ambition is neither funny nor sweet, but please feel free to keep on telling us how very special you are and how you’re the only one worthy of saving the day (as your bong hits allow). Of course the moral compass of Cabin in the Woods would be the friends’ lovable-loser pothead – the “fool” in the parlance of the movie’s ancient gods – who sees more clearly than any of them. And of course smoking pot, through some fantastical plot device, actually become the smartest defense mechanism any character could have in the movie. Of course. 4. What Lies Beneath? The Big Bads The gradual revelation that the ultimate villains are underground, ancient gods was probably Cabin ’s least surprising twist for me. It’s not your usual horror movie reveal – unless you’ve watched the very same thing over twelve cumulative seasons of Buffy and Angel . Once Whitford and Jenkins reacted to the first student’s death with a prayer, it became obvious that this whole thing hinged on some sort of ritual sacrifice to serve the old gods. I know I’m supposed to think this is inventive, but it really just made me wonder where Buffy Summers was on vacation and why they couldn’t call her in. She would have found a way to kill the old gods, plug the Hellmouth, sass Sigourney Weaver and walk away in five minutes, flat. 5. The Humor in the Face of Horror Some of this works, some doesn’t. I enjoyed watching wave after wave of nightmare creature gleefully wipe out pretty much every character in Cabin ’s last thirty minutes — it was like a wacky Pitch Black . And of course Whitford’s character, who’s been rooting all movie for a Merman to kill the sacrificial college students, meets his own demise at the hands (or mouth) of the Merman. Which was funny. But then Whitford reacts to the sight of his impending doom with… a quip. I mean, seriously? You see a demon coming to attack you as your friends die all around you, and you spend your remaining seconds of life on sarcasm? Whedon’s TV shows have always been adept at marrying the humorous with the horrific, but that moment pulled me out of the movie more than anything else. 6. The Dark Ending To end on a laudatory note – I loved Cabin ’s ending, and it was one of the more surprising aspects of the movie. Our heroes failed to die as planned, thus dooming the rest of the world; the last shot shows an angry god’s hand, deprived of its ritual sacrifice, reaching up to destroy all of humanity. Although I shouldn’t have been that surprised — Whedon is good at these unexpectedly dark endings. Angel still has one of the best, most memorable finales on television, leaving its ragged band of heroes in a dark alley as they prepare to fight the mustered forces of darkness. I also loved Buffy ’s first network ending, in which she sacrificed herself to save her family and friends. (She then switched networks, got resurrected, and put on a musical, but I still remember that fifth-season finale much more than the series finale two years later.) Some of Whedon’s dark endings haven’t felt as earned – my eyes are still rolling from the predictable, woman-in-refrigerator plot of Dr. Horrible – but for Cabin , it worked. Even if it did prove that the main characters were horribly self-centered little twerps. I can’t wait till Whedon kills off all of the Avengers! Maria Aspan is a writer living in New York whose work has appeared in The New York Times, Reuters and American Banker. She Tweets and Tumbls . [Photo: Getty Images]

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Old Faithful: 6 Joss Whedon Stand-Bys Revived For Cabin in the Woods

Cannes Selects SXSW Winner For Shorts Competition

Grainger David’s The Chair is the only American filmmaker to make the shorts lineup cut for this year’s upcoming Cannes Film Festival, though U.S. territory Puerto Rico also made the list for the first time with Mi Santa Mirada by Alvaro Aponte-Centeno. The Chair debuted last month at South by Southwest where it won the Short Film Jury Prize. The 12-minute film revolves around a mysterious outbreak of poisonous mold in a small town and one boy’s attempt to understand his mother’s death, his grandmother’s obsession with a discarded recliner and the roots of this mysterious plague. In all, 10 films will compete for the Short Film Palme d’Or in Cannes this year, selected from 4,500 submissions. Drop back by Movieline on Thursday for the Cannes 2012 feature-film competition lineup. 2012 Cannes short films in competition : Mi Santa Mirada by Alvaro Aponte-Centeno (Puerto Rico) Gasp (Souffle) by Eicke Bettinga (Germany) Ce Chemin Devant Moi by Mohamed Bourokba  (France) Waiting For P.O. Box by Bassam Chekhes  (Syria) The Chair by Grainger David  (United States) Night Shift by Zia Mandivwalla (New Zealand) Chef de Meute by Chloé Robichaud (Canada) Yardbird by Michael Spiccia (Australia) Cockaigne by Emile Verhamme (Belgium) Silent by L. Rezan Yesilbas (Turkey)

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Cannes Selects SXSW Winner For Shorts Competition

Vince Vaughn is the New James Garner in The Rockford Files Movie

This should be interesting (or completely familiar, depending on how they play it): According to Deadline, Vince Vaughn is set to star in a feature adaptation of The Rockford Files , the ’70s-era detective series that starred James Garner as a disheveled Los Angeles private eye. The involvement of scripting duo David Levien and Brian Koppelman ( Rounders , Ocean’s Thirteen , Solitary Man ) is somewhat promising, though Vaughn hasn’t shown any desire to move away from his tired Vince Vaughn shtick of late — and do audiences really want a Vince Vaughn-ified Jim Rockford? Besides, if Steve Carell and David Shore couldn’t make a Rockford reboot work, how will Vaughn & Co. fare? [ Deadline ]

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Vince Vaughn is the New James Garner in The Rockford Files Movie

Nellie McKay: The Musician, the Myth, the… Movie Star?

On the last day of her twenties, Nellie McKay paused to contemplate the milestone before her — or not. Taking a deep breath that soon escaped as a halting laugh, the singer/songwriter/actress and all-around pop polymath brought to mind another benchmark that loomed in her decade past. “In P.S. I Love You ,” McKay began, citing the 2007 film in which she co-starred, “we go over to my sister, played by Hilary Swank, and we surprise her. And she’s really down and out. So I hold up a ‘Happy Birthday’ sign, and I say, ‘You’re 30!’ It’s a big laugh line — or it’s supposed to be a big laugh line. I don’t know if it landed. So that’s kind of surreal to have done that. But I don’t know if…” She trailed off. “Who knows?” McKay finally asked. ” I don’t know.” McKay’s feelings about 30 are reflected in her art, a trademark blend of genuine wonder and calculated mystique enveloping myriad styles and influences — musical, historical, cultural and otherwise. Eisenhower-era gloss? Check. Nixon-era rage? Check? Jazzy, postmodern feminist fusillades against the crises of capital punishment and environmental wreckage? Er, check ? The sweet irrepressibility of following your dreams, even if the path detours into fetching your next meal from a dumpster in Brooklyn? Check — at least for Ramona, the spunky songstress played by McKay in this week’s microindie Downtown Express . “It’s the land of plenty!”, Ramona coos with ironic relish to her new bandmate and beau Sasha (Philippe Quint), himself a Russian immigrant and subway busker whose forthcoming classical violin recital conflicts with his more rockin’ aspirations for the good life in America. The almost obsessive balance of passions and principles that has characterized McKay’s work since her 2004 breakthrough album Get Away From Me undergirds much of director David Grubin’s Express , but it’s the consequences — the privation, the insecurity, the searing frustration of it all — that stand out in McKay’s haunted screen persona. For all the creative and romantic capital that Ramona and Sasha may accrue, her eyes reflect the bitter awareness that utopia is out of reach. McKay is reticent about Ramona’s ghosts. “I have my own theory,” she said, “but I don’t want to interfere with what anyone might think while watching it. I guess I think there is something like that, but I think people should just invent it for themselves.” And McKay knows a few things about invention. The daughter of a British director and an American actress, her mythology commenced with a very public battle to release her debut as a double album (“Should have signed with Verve instead of Sony,” she sang in one typically melodic lament; Verve has since rescued her from the Sony deal’s scorched wreckage) and meandered through confused reports about her age, her upbringing, her activism and even the true meaning of her songs. What ratio of caustic social criticism to earnest romanticism was to be found in a ballad like “I Wanna Get Married,” and how were listeners to reconcile such schisms with album-length tributes to the likes of Doris Day ? That’s just for starters. More recently, McKay has explored the vicissitudes of notoriety with acclaimed tributes to Barbara Graham (the murderess put to death in California in 1955; her story inspired both the Oscar-winning film I Want to Live! and McKay’s 2011 song cycle of the same name) and the conservationist and writer Rachel Carson. The latter show, Silent Spring—It’s Not Nice to Fool Mother Nature , is touring presently, its own heroine reflecting Ramona’s brassy vulnerability in Downtown Express — and, in turn, reflecting much of McKay’s own complex, confrontational character. But ultimately, while McKay may have mellowed out slightly since her politically aware broadsides of eight or nine years ago, she seems to acknowledge that her sprawling worldview has only gathered more focus and strength when distilled through real-life subjects. “We’re just starting the Rachel Carson [show], so I’m still finding it,” McKay said. “But to be able to tell their stories and channel them some way is a relief and a pleasure. I think those shows are far superior to solo shows.” Asked what relief and pleasure she could take from such turbulent, troubled stories, McKay didn’t flinch. “Well, Rachel’s was troubled because we live on a devastated planet,” she replied. “But I think she found a lot of joy. And actually, Barbara did, too. Barbara knew how to have a good time.” Fundamentally, McKay said she cherishes the “relief from yourself” that her acting efforts have afforded her. “I don’t want to be myself,” she told me. “I have to live with her.” Yet she does hesitate when asked about the real Nellie McKay — the one Grubin cast after seeing her perform on Broadway in The Threepenny Opera in 2006, or the one who generously tips NYC subway musicians for making her commute “a beautiful thing” (as well as “to make up for the people who don’t give anything”), or the one who self-effacingly credits vodka for the chemistry shared with her Russian co-star Quint, or the one who even wants to put “the real Nellie McKay” in any kind of perspective at all. “I think you try to find what works, and that can be very elusive,” she said. “I mean, gee…” McKay paused again. “I have…” And then followed a longer, struggling pause, relieved only by invoking yet another pseudorealist icon: “I feel like Woody Allen tearing up the driver’s license in Annie Hall .” (Did I mention McKay also used to be a stand-up comic?) Which brings us back to 30 — or “57,” as McKay cheekily replies about her milestone before going a little darker about its meaning (or lack thereof). “I don’t know that any thing means much,” she said. “I don’t see that anything leads to much. I mean, I don’t really feel that things change . They just mutate. For instance, if you look through the century, certain things have gotten better and certain things have gotten worse. I wouldn’t say overall that things have gotten better. I think you could say things have gotten worse, but I don’t think you could say that things have gotten better. Overall. You can’t say that.” Does McKay — this ivory-tickling, ukulele-slinging avatar of ’50s class, millennial angst and every fraught neurosis in between — even think she was born at the right time? Another pause. “Well,” she said, “I think maybe you do choose your parents. I know I chose the right mother. But born at the right or wrong time? Gee, I don’t know. Do you think you were born at the right time?” Maybe? Would I like to have experienced the Jazz Era? The Renaissance? Sure. Slavery? The plague? Not so much. “I guess you deal with what you get,” McKay said. Indeed. And as tough and mercurial a nut as she is to crack, Nellie McKay’s art makes her mystery worth it. On screen, on stage, on record, you deal with what you get. The payoff is worth it. Downtown Express opens Friday in New York . PREVIOUSLY: Nellie McKay Plays My Favorite Scene [Top photo of Nellie McKay: Danny Bright; bottom photo of McKay and Philippe Quint: Susan Meiselas] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Nellie McKay: The Musician, the Myth, the… Movie Star?

Excusive Poster Debut: Fly Into the Abyss With Werner Herzog

Movieline is pleased today to bring you your first look at the new poster for Into the Abyss , director Werner Herzog’s acclaimed documentary foray into the intellectual, spiritual, emotional and legal wilds of capital punishment in America. Or Texas, more specifically, where Herzog digs into the case of convicted murderer and condemned inmate Michael Perry.

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Excusive Poster Debut: Fly Into the Abyss With Werner Herzog

Death Penalty Is A GOP Crowd Pleaser

http://www.youtube.com/v/MZlDF9VCbrg

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Buzzfeed notes : “Rick Perry being the most prolific practitioner of capital punishment in the United States received spontaneous and rapturous applause at the Republican presidential primary debate. They weren’t applauding Rick Perry’s response, mind you, but Brian Williams simply stating the Texas governor’s record of sending 234 people to their death. Your modern GOP, ladies and gentleman.” Subscribe… Broadcasting platform : YouTube Source : Joe. My. God. Discovery Date : 08/09/2011 14:24 Number of articles : 3

Death Penalty Is A GOP Crowd Pleaser

Illegals rob elderly citizen, citizens fires gun, prosecutors charge the citizen–and not the illegals

This is a CLASSIC example of how, in cities like Denver where the politicians have promoted sanctuary city policies, illegal aliens are given more rights than citizens. There is a local news video on the page below: http://www.kdvr.com/news/kdvr-elderly-man-shoots-thieves-txt,0,1105363.story *** Elderly man facing serious charges for shooting at thieves Julie Hayden Investigative Reporter 7:22 PM MDT, July 7, 2010 WHEAT RIDGE, Colo. – Legal analyst Dan Recht said he believes the Jefferson County District Attorney is “seriously overcharging” a Wheat Ridge homeowner, accused of attempted first degree murder for shooting at two thieves. 82-year-old Robert Wallace said he fired two shots at two men when they tried to run him over while stealing his flatbed trailer. Wallace now faces twelve felony counts, including four counts of attempted first degree murder, for what he described as an act of defending his property and his life. If convicted, he could spend the rest of his life in prison. One of the thieves, Damacio Torres later admitted to the theft. He and his partner in crime, Alvara Cardano both have prior arrest records and are believed to be in the country illegally. But they are not facing any charges. Recht said, in his experience, prosecutors overcharge cases to force a person to plea bargain. He argued that it's just not right to put a person through that kind of mental and financial stress. Jefferson County DA, Scott Storey, indicated he'll take a closer look at his office's decision to throw the book at the homeowner and hinted the charges could be reduced. He said the investigation continues into the confessed thieves. *** There are additional details you need to know: 1) the two illegal aliens had many prior arrests for theft. At one point recently they stole a $60,000 piece of farm equipment on a trailer in a very similar theft. 2) investigators said they believe the two criminals are part of a car theft ring, and wanted the trailer for additional thefts. 3) the driver of the truck was hit by a bullet and is now paralized, and wants to sue the elderly man “for everything he has” 4) First Degree Murder is a capital punishment offense, so this 82 year old gentleman could go to jail for the rest of his life or even receive the death penalty for defending his life and property. http://answers.yahoo.com/question/index?qid=20070817192825AAdnJoq 5) In interviews on Denver radio programs, local defense lawyers, former prosecutors and former Congressmen in colorado have stated that had the “victims” been anything other than illegal immigrants, Mr Wallace would not be charged at all. 6) the prosecuting attorneys have pressed NO CHARGES against the illegal immigrant theives. NONE. . added by: curtisreed

Supreme Court to review cases of juveniles sentenced to life in prison

Lawyers for two Florida men who were sentenced to life without parole as juveniles will argue to the U.S. Supreme Court Monday that the penalty is cruel and unusual

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Supreme Court to review cases of juveniles sentenced to life in prison