Donald Trump

It was clear at the outset of the 2005-2006 season that the TV career of domestic diva Martha Stewart had not been injured in the least by her recent five-month prison stay. No fewer than two series starring Stewart debuted that year: one of them was the daily, syndicated talkfest Martha; the other was the weekly, hour-long NBC reality show The Apprentice: Martha Stewart. In the tradition of the original Apprentice, which of course was presided over by zillionaire Donald Trump, the new series found Martha Stewart selecting a protégé to run one of her many business enterprises amongst 16 contestants (ten female, six male). These worthies were first divided into teams and given job tasks of increasing importance to test their abilities, helped along in these endeavors by input from a variety of high-profile corporate sponsors. And as in the Trump version of The Apprentice, one of the contestants was eliminated at the end of each episode, with Martha doing the firing honors (at the time the series aired, Stewart claimed she'd never dismissed anyone face to face, leaving that unpleasant task to her subordinates). The series' highly appropriate theme song was Annie Lennox' "Sweet Dreams Are Made of These." Executive produced by Survivor's Mark Burnett, The Apprentice: Martha Stewart debuted September 21, 2005. ~ Hal Erickson, All Movie Guide

Although created by Mark Burnett of Survivor fame, the extremely popular reality series The Apprentice bore the unmistakable signature and imprimatur of its host, billionaire real-estate mogul Donald Trump. Each of the series' 13-episode program cycles found Trump presiding over 16 to 18 young, budding business executives, who would function as his temporary apprentices. The players were divided into two teams, each coming up with catchy corporate names like "Versacom," "Protégé," "Mosaic," and "Apex." The Donald and his corps of faithful subordinates -- notably Carolyn Kepcher and George Ross -- would assign the teams a variety of moneymaking projects, from developing and marketing a new product to establishing and managing a start-up business. A different player from each team would be the project manager each week, and would often behave in as dictatorial and ruthless a manner as possible to get results (in other words, the managers often acted like "Mini-Trumps"). At the end of every episode, the contestants would be gathered into a dimly lit boardroom, whereupon Trump would cold-bloodedly assess their successes and failures -- and then dismiss the week's least efficient contestant from the losing team with a terse "You're fired!" (supplanting Who Wants to Be a Millionaire's "Is that your final answer?" as TV's most quoted catchphrase). "You're fired!" gained such widespread popularity that Trump seriously considered copyrighting the phrase so that no one else could use it! At the end of the season, the one person who had curried the lion's share of Trump's favor would be given a 250,000-dollar-per-year job within the vast Trump Organization. Not surprisingly, many viewers tuned into The Apprentice not to see who would win, but to wallow in the humiliations of those who failed. Backbiting, backstabbing, and nervous breakdowns became the order of the day, with the least popular of the contestants -- notably the first season's infamous Omarosa Manigault-Stallworth -- often becoming the biggest "instant" celebrities. For those not interested in that sort of thing, the series was also a star-watchers' paradise, with guest appearances by dozens of Trump's high-profile friends and business associates. Making its NBC debut on January 8, 2004, The Apprentice ran anywhere from 60 to 90 minutes per episode. Even while new episodes were produced, the series was rebroadcast on NBC's sister cable service CNBC. ~ Hal Erickson, All Movie Guide

It was the fire that sparked reform; after 146 people -- mostly women and girls -- died in the ferocious 1911 blaze that gutted the Triangle Shirtwaist Factory, it was discovered that the exits had been locked by the management to prevent theft by the workers. At the time, there were no fire laws in the city, and few laws protecting workers. As this fourth episode in the PBS documentary series about New York reveals, citizen anger at the tragedy led to public hearings and a state commission recommending safety reforms such as automatic sprinklers in buildings over seven stories high, more frequent fire inspections, and a shorter, 54-hour week for women. Also covered in this episode is the fledgling motion picture industry led by companies such as Biograph, for which D.W. Griffith shot hundreds of short films; the continued problem of overcrowded slums, a blight exacerbated by the arrival of 10 million new immigrants in just a couple of decades; and the building of modern urban emblems: the subway system and skyscrapers. Highlights include archival motion picture footage, period photographs, archival paintings, and engravings, as well as commentary by numerous guests including Academy award-winning director Martin Scorcese; Ruth J. Abram, founder of the Lower East Side Tenement Museum; novelist Caleb Carr (The Alienist); architect Robert A. M. Stern; writer Jean Strouse; and historian John Kuo Wei Tchen. Other features include dramatic readings by guests including Robert Sean Leonard, Frances Sternhagen, Eli Wallach, and George Plimpton. Directed by Ric Burns and narrated by David Ogden Stiers. ~ Steve Blackburn, All Movie Guide

Calling Prohibition a "noble experiment," New York congressman Fiorello La Guardia then declared the law unenforceable. Throughout most of New York City, this was the correct assessment. This is the fifth episode of the epic PBS documentary series about the "Big Apple." Also covered in this program is the deportation of pacifist and anarchist Emma Goldman during the "Red Scare" of 1919; the horse-drawn wagon bombing of the Morgan Bank in 1920, which killed 30 people; the change of Harlem from a German-Jewish neighborhood to a mostly black one; the "Harlem Renaissance"; the "Jazz Age"; the rise of radio as entertainment; the invention of the Broadway musical; and the construction of the Empire State Building. Highlights include archival newsreel footage and photographs, as well as commentary from a variety of guests including historian David Levering Lewis, construction consultant Joel Silverman, architect Robert A.M. Stern, historian Ann Douglas, and historian Joshua Freeman. Directed by Ric Burns and narrated by David Ogden Stiers. ~ Steve Blackburn, All Movie Guide

Black-and-white Sven Nykvist cinematography highlights this Woody Allen comedy about fame and obscurity among Manhattan celebs. Journalist Lee Simon (Kenneth Branagh), makes a play for actress Nicole Oliver (Melanie Griffith), subject of his current story. Lee is separated from his wife Robin (Judy Davis), a schoolteacher who's totally lost and insecure -- until TV producer Tony Gardella (Joe Mantegna) becomes fascinated with her. Concerned about her possible sexual inadequacies, Robin recruits a prostitute (Bebe Neuwirth) to instruct her on oral sex techniques. On the town, Lee becomes transfixed by a blond supermodel (Charlize Theron), who teases him throughout the night, eventually dropping him before they get home. Lee's relationship with book editor Bonnie (Famke Janssen) is solid, and she's due to move into his place. However, he suddenly becomes romantically involved with waitress-actress Nola (Winona Ryder), complicating his agreement with Bonnie. Lee's efforts to sell his screenplay take him to the Stanhope Hotel, where he arrives just as spoiled young movie star Brandon Darrow (Leonardo DiCaprio) is fighting with his girlfriend (Gretchen Mol), trashing his hotel room, and insulting hotel staffers. When Darrow and his entourage head off to Atlantic City, Lee tags along, but as life swirls about him, a dismal dawn awaits. In addition to the Stanhope, locations included Barbetta's Restaurant, Ziegfeld Theatre, Soho's Serge Soroko Gallery, Flamingo Club, Jean-Georges Restaurant, and the Trump Marina Hotel and Casino (donated by Donald Trump, who portrays himself in a cameo at the Jean-Georges). Shown at the 1998 Venice Film Festival, this was the opening night selection of the 1998 New York Film Festival. ~ Bhob Stewart, All Movie Guide

In this comedy, a basketball fan figures she could be a better coach than the guy getting paid millions to do the job -- and then gets the chance to prove it. Edwina "Eddie" Franklin (Whoopi Goldberg) is a limousine dispatcher and sometime driver who is a passionate New York Knicks fan; she loyally follows their every move, attending as many home games as possible from the cheap seats and radioing game updates to her drivers when they play during her working hours. The Knicks are purchased by eccentric Southern millionaire Wild Bill Burgess (Frank Langella) in the middle of a long losing streak; when Wild Bill calls for a limo, Eddie arranges to drive him herself, and gives him a piece of her mind about the sad state of the team. Impressed, Wild Bill makes Eddie an honorary coach for the night, and her spitfire attitude and encouragement of the players impresses her. However, Wild Bill thinks putting on a show to boost attendance is more important than having a winning team, and eventually Knicks coach Bailey (Dennis Farina) quits in disgust. Wild Bill gets the bright idea of hiring Eddie as the team's new head coach; she considers it an honor, and at only $50,000 a year, he considers it a bargain. While Eddie is hardly an experienced leader, she soon learns how to motivate her team, and against all odds she helps pull the Knicks out of their losing streak -- but now has to face Wild Bill, who is losing interest in the team and wants to sell. Several real-life NBA stars make cameo appearances, including Dennis Rodman, John Salley, Rick Fox, and Mark Jackson, while prominent New Yorkers David Letterman and Donald Trump play themselves. ~ Mark Deming, All Movie Guide

This is the second dramatic feature to be made in Imax 3-D. The plotline, of a Russian immigrant boy who has come to New York to search for his long missing relatives only provides a thin excuse to offer an unparalleled, spectacular show case of the Big Apple, past and present. The past images were created from an enormous assortment of old stereoscopic photographs that offer the audience a rare glimpse of the city's early history and the fascinating lives of those who lived there. The present images are presented from a wide variety of viewpoints as Thomas, the 11-year-old protagonist, rides the roller coasters of Coney Island, experiences his first subway ride, and imagines that he is a bird over Manhattan. ~ Sandra Brennan, All Movie Guide

Spanky, Alfalfa, Buckwheat, and the other characters made famous in the Our Gang shorts of the 1920s and 1930s are brought back to life in this nostalgic children's comedy. Although the setting is the present day, the characters remain much the same, down to their old-fashioned clothing and their membership in the "He-man Womun Haters Club." When Alfalfa (Bug Hall) starts to question his devotion to the club's principles after falling for the beautiful nine-year old Darla (Brittany Ashton Holmes), the rest of the gang sets out to keep them apart. An attempt to win the grand prize in a go-cart race also comes into play, providing opportunities for physical comedy, while Darla's and Alfalfa's story trades on the humor of innocent puppy love. Most critics found the film less a tribute to the original series of shorts than a blatant attempt to capitalize on the familiar name, though younger audiences may be entertained by the simple gags and child-like attitude. ~ Judd Blaise, All Movie Guide

The final cinematic abomination from the late John Derek and his legendary non-actress wife Bo Derek turns out to be their worst collaboration ever, beating out even Bolero for sheer incomprehensible awfulness and ranking as one of the silliest monstrosities ever committed to film. Though no recognizable plot exists, the central premise seems to involve Bo's ongoing obsession with finding a suitable replacement body for the soul of her late husband (a sleepwalking Anthony Quinn), who killed himself after learning that a bum ticker would prevent him from having constant sex with her. The most likely candidate seems to be a handsome but oily thief (Leo Damian), but Bo can't seem to bring herself to murder him outright; fortunately, he kicks the bucket on his own. Lacking both the rampant nudity and laugh-out-loud campiness of John & Bo's previous erotic anti-masterpieces, there is literally nothing to recommend this film, even to bad-movie aficionados. ~ Cavett Binion, All Movie Guide