The re-release of the 1939 film "Gone With the Wind" comes to
the Michigan tonight. Maybe the film is a little long, but how can
you resist the passionate love affair between Rhett "Frankly, my
dear I don't give a damn" Butler and Scarlett "Fiddle-dee-dee"
O'Hara? The screening begins at 7 p.m., and the cost is $5,.25.

Z re aliu3«rs3 ttil
S'l

Tomorrow in Daily Arts:
® Breaking Records, a review of the music industries latest
releases, will feature Chris Issak's latest, "Speak of the
Devil."
Monday
September 21, 1998


Oosselaar can't save

By Erin Podolsky
Daily Arts Writer
You know you're in trouble when your show
experiences major changes in the few days
before it premieres. Such is the case with the
# ond coming of Zack Morris - excuse me,
ark-Paul Gosselaar - on the WB's new
series, "Hyperion Bay," nee "Hyperion." The
WB execs decided that adding "Bay" would
dupe the multitudes of "Dawson's Creek"
viewers, most of whom probably grew up
watching Gosselaar in the after-school staple,
"Saved by the Bell," into thinking that this was
a similar show with similar talent and similar
writing.

Hyperion
Bay
The WB
Tonight at 9 p.m.
i------

Not so much.
"Hyperion Bay" makes
"Dawson's Creek" look
like "Masterpiece
Theatre."
Gosselaar stars as
Dennis Sweeny, a com-
puter company manager
("It's not 'Muse One,' it's
Muse Prime,"' he says
when somebody mistak-
enly pronounces the
company name, "Muse
1") who has come back to
his hometown to oversee
the installation and

which apparently and pathetically haunts him
to this day. This, along with his dysfunctional
and uncommunicative family, spurred him to
recommend Hyperion Bay to his boss for the
location of his company's new office.
The name Hypertension Bay might suit the
place better. The city is slowly dying and its
people are acerbic and nasty, at least to not-so-
favorite son Dennis. His brother Nick (Dylan
Neal) has major issues with Dennis' return
and the two constantly wrangle over who their
father is more interested in (such touching
lines as, "You're the Sweeny in 'Sweeny and
Son,' not me!" and arguments over things like
moving the family "steak night" for Dennis
are thrown around).
Dennis' boss copters into town for a visit to
check out the new facility and impress the
local yokels. His only purpose is, quite possi-
bly, to inform viewers that computer geeks -
"albino freaks," as Nick so kindly puts it -
now run the world and are enjoying their
revenge on their teenage tormenters.
Since "Hyperion Bay" is about Dennis'
return home, nary a chance is wasted to show
Dennis triumphing over those who used to
attack him as a kid. The jock who used to beat
him up is now a glorified gas junkie (along
with his former cheerleader wife, who, we
learn in what turns out to be only one of many
gratuitously explicit comments, was Dennis'
high school nighttime fantasy du jour) who
gets to watch Dennis roll into town with his
gorgeous girlfriend and even more gorgeous
Mercedes convertible. No doubt the gorgeous

'Bay'
girlfriend will soon become the cheating gor-
geous girlfriend who is only with Dennis
because he's loaded.
Then, Dennis will get the opportunity to
squash her credit rating with his little finger
or something of that sort - computer geeks
have that power, you know.
The city manager refuses to lay three extra
feet of water pipe to connect the new building,
claiming that the town ran out of money. This
opens up yet another opportunity for Dennis
to stick it to the people who used to stick it to
him - the city manager is none other than his
former high school assistant principal. Funny
how so many of the people who used to cause
him nothing but pain and heartache are now at
Dennis' mercy, isn't it?
If this is what "Hyperion Bay" is all about,
then don't expect the show to last more than
three episodes.
Besides all of these idiotic plot lines, the
acting on the show is something short of
decent. Let's put it this way: Gosselaar is the
best thing in it, using a toned-down version of
his former teen persona to attempt to bring
life to a boring wannabe ex-nerd who is hav-
ing trouble shrugging off the "ex." The other
actors appear to be reading off of cue cards,
and poorly at that. The show screams bore-
dom, and that's about as emotional as it gets.
There are always hits and misses on televi-
sion, and it was only a matter of time before
the WB network was saddled with its first
dead-in-the-water show in a while. "Hyperion
Bay" is it. Skip it at all costs.

upkeep of a new corporate building. Dennis is
a far cry from the perennially smooth Zack
Morris, a total turn-around for Gosselaar. He
had a miserable high school experience,

'Thing isn't
true to real
emotions
# Ed Sholinsky
Daily Arts Writer
In order for tearjerkers to work, a person's tears
need to come from genuine pain, not manipulated
hurt. "Ghost" and "Terms of Endearment" work
because the audience's anguish is in no way forced
by the filmmakers. One of the places "One True
Thing" goes wrong is the creators have the audi-
ence crying due to the lack of story and big deal
props. They cue up the sad music and force the
tdience - trapped by the $7.75 they've shelled
out - into an emotionally vulnerable position.
Renee Zellweger plays Ellen Gulden, an aspiring
writer for New York magazine. She returns home to
celebrate her father's 55th birthday. Her mother,
Kate (Meryl Streep), is the ultimate domestic god-
dess and Ellen's polar opposite. Kate is so sweet
she drips honey - enough to make any kid sick.
It's the day after the party that Ellen finds out
from her father, George (William Hurt), who she

Courtesy of The W8
The cast of "Hyperion Bay," which includes "Saved By the Bell" veteran Mark-Paul Gosselaar, has a
stormy season ahead.
Faculty art exhibit
rocks the RC

By Jennifer Curren
For the Daily
"You rock my world!," read one of
the many enthusiastic reviews of the
Residential College Fine Arts
Faculty exhibit found in the exhibit's
guest book. The statement reflects to
visitors the close-knit support of
artistic expression in the Residential
College community.
Nestled in back of the Benzinger
Library in East Quad, the new
gallery was a long-time vision of
staff and students, finally completed

this past fall. Until
IRes-idenial
College
FacuAly
RC Gallery
Sept. 11 -Oct. 6

Courtesy of Universal Pictures

Meryl Streep and Renee Zellweger star in the weepy "One True Thing."

this past year, the
space was occu-
pied with study
cubicles inside
the library.
Student and fac-
ulty art was dis-
played in
makeshift exhi-
bitions in two
large lecture
rooms.
The creation
of the gallery
offers RC mem-
bers a profes-
sional space to

sors: Mike Hannum, Susan Crowell,
Larry Cressman and Ann Savageau.
The multimedia show focuses on
themes of alternative and subtle
communication.
Ceramics Prof. Susan Crowell
explores the idea of language with-
out script in her series of ceramic
pages, "Crack Language" and
"Sensuous Paper/Sexy Text."
Although molded from clay, the
pages seem to beckon to viewers
with human-like gestures, the page
communicates without words.
Ann Savageau and Larry
Cressman both make use of ordinary
elements, such as paper and staples.
as well as natural objects like stone,
and thorns. Savageau's "Sticks
Stones, Words, Bones" plays inter-
estingly on the popular clich6, with 1
collection of thorns hanging above i
bed of shredded paper, rocks, bones,
and wood.
Cressman also uses shredde
paper and other odds and ends t(
recreate the artistic process u
"Drawing in Transition."
Mike Hannum captures the urbar
language of graffiti in his "Pari
1998" photography series
Unconventional angles, close-range
shots and vibrant colors brings the
character of Parisian streets to life.
The exhibit as a collective demon-
strates the infinite and varied meth
ods of both verbal and non-verba
expression, the display enhances the
impact by interspersing the differen'
pieces of each artist.
The art faculty exhibit will rut
through Oct. 6.

worships, that Kate
One True
Thing
At Briarwood
and Showcase

has cancer and needs surgery.
At his insistence, Ellen returns
home to care for her ailing
mother.
"One True Thing" has the
makings of a good movie, but
strays too far from its core.
Screenwriter Karen Croner
decides to tell the story as a
flashback from Ellen's per-
spective as she recounts for
the District Attorney (James
Eckhouse) Kate's decline. The
DA wants to "clear things up"
(whatever that means) regard-
ing her death.
The DA's investigation only

mother Ellen barely knows, Croner has thrown in
every device she can to make the movie weepier.
The film dabbles too much in cliche instead of
character development; by the end of the film it's
clear the writer and director have done everything
in their power to tug at the audience's heartstrings.
The film is a distinct disappointment largely
because director Carl Franklin ("Devil in a Blue
Dress") is one of the best directors working today.
"One True Thing" won't do anything for his
career. The film's pacing is off, so the two hours
feel like an eternity. Perhaps this is because "One
True Thing" is Franklin's first attempt at the melo-
drama and he hasn't mastered the details of the
genre.
The only thing that makes the film worth watch-
ing is the acting. Streep and Zellweger are terrific,
but can't carry the movie by themselves. While
Streep has a significant chance at winning a well-
deserved Oscar for her role as Kate Gulden, a
Zellweger nomination is questionable. It's more
likely that Streep's will overshadow Zellweger's
performance.
Streep plays the dying Kate with both the grace
and the pathos necessary for the part. At the start

of the movie Kate is the glowing picture of health.
By film's end her hair is gone and she can't even
get out of the tub by herself. By transforming Kate
from her goody-goody, suburban housewife into a
woman desperately clinging to life just long
enough to touch her daughter, Streep adds dimen-
sion to this shallow character. The truth about her
marriage comes out when Ellen confronts Kate
about George's affairs; Kate tells Ellen, "You
know he's not the person you thought he was, but
he's your whole life." She goes on to tell the
moody Ellen that "It's so much easier to be
happy."
Zellweger demonstrates that she's someone to
watch in the coming years. Her Ellen is ambitious
and resistant to the domestic life her mother has
created. It's not that she doesn't love her mother,
it's that she's afraid she will become her. Zellweger
manages the comedy and drama equally well in
this losing effort; it's apparent she worked much
harder than the film's creative team.
At the heart of "One True Thing,' there was the
making of a good movie. But the saddest part about
this film is watching Streep and Zellweger squan-
der their abundant talent on this loser.

display their creative efforts, often a
culmination of a semester's worth of
student work from RC fine arts
classes.
Although small, the gallery fea-
tures large expanses of wall space, as
well as niches and shelves for three-
dimensional pieces and an adjustable
track lighting system.
This year's lineup begins with an
exhibit by the four RC arts profes-

adds to the sprawling subplots that take the focus
off the mother-daughter relationship at the heart of
the film. By dealing with Ellen's dysfunctional
relationship with her boyfriend, Ellen tracking
down a coke-addicted senator who crashed his car
and George asking Ellen to write the introduction
for his new book, the story is too busy.
Instead of focusing on the trauma of losing a

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