Martini Shot

Whether it was Sally Field as The Flying Nun or Julie Andrews playing a novitiate in The Sound of Music, audiences used to watch priests and nuns and ministers — unremarkably — as part of American life on screen. But that all went away, and Rob Long is well aware why that is. Church attendance declined steadily for decades, and the stigma around religion has become unavoidable. Which made it all the more impressive how Rian Johnson brought faith to the screen in one particular scene of Wake Up Dead Man: an embodiment of what prayer does for people.

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Michael Lynton, the former CEO of Sony Pictures, has a new book that tells the story of greenlighting the Seth Rogen comedy that provoked North Korea into hacking his studio. He traces it back to an awkward childhood in Holland and a lifelong need to fit in with the cool kids. Rob Long also had an awkward childhood in Holland. He also ended up in show business. But he’s not sure Lynton’s story is really a cautionary tale. The entertainment business isn’t suffering from too much risk. It’s suffering from too little. Also: Puppets might have helped.
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Rob Long tries — unsuccessfully — to convince his Hollywood friends that seminary isn’t a branding exercise. His stint at Princeton, where he’s working towards a Masters in Divinity and ordination, has all the hallmarks of a great pilot. But according to Rob, it’s the opposite. Show business has prepared him well for studying the Bible — and led him to the unsettling realization that biblical scholarship and credits arbitration are basically the same thing.

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The late and irreplaceable Catherine O’Hara’s greatness lived in the microscopic choices — the mouthed lines, the half-beats, the emotions stacked on top of jokes — none of which were written down, and all of which made the comedy work. From Waiting for Guffman to Best in Show to Beetlejuice, she gave audiences “permission to laugh” by making even the most absurd premises feel emotionally true. Which is why the Home Alone franchise became a global phenomenon, and why for writers especially, her loss is painful in a very specific way: The best, funniest, most essential parts of a script aren’t written, if you’re lucky enough to have Catherine O’Hara reading your lines.

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Correcting others in public is an irresistible temptation — and almost always a mistake. Rob learned that lesson early, as a young writer on Cheers, when he pointed out that a character, a sort of ‘80s finance type, couldn’t actually be arrested for launching a hostile takeover as the line was written. He was right. But it annoyed everyone. The lesson however stuck: knowing when to let things go matters a lot more than knowing you’re correct.

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