Fortunately, the car bomb did not detonate.

The terrorist turned out to be Faisal Shahzad, a Pakistan-born U.S. citizen. And, not surprisingly, Shahzad wasn’t upset about the health care bill. After pleading guilty in court he said, “I consider myself a Mujahid, a Muslim-soldier.” He was upset, as he put it, over “American occupation of Muslim Lands.”

Shortly after the attack, Bloomberg prematurely asserted that there was no evidence suggesting the bomber was part of any recognized terror network. Shahzad later told the court he trained with the Pakistani Taliban to learn bomb-making and other related skills.

Could it be that Bloomberg has underestimated the threat of Islamist terror, or is there another agenda?

The issue has again become relevant in recent days. The New York Times ran a series of articles and editorials blaming the NYPD for using the film The Third Jihad: Radical Islam’s Vision for America as part of their counter-terrorism training.

The articles calling the film “a Dark Film on U.S. Muslims” and a “Hateful Film” are riddled with inaccuracies and omissions.

Following publication of the articles, Mayor Bloomberg stated that NYPD used “terrible judgment” in showing the film, despite admitting that he had never seen it.

We were not aware that the NYPD was using the film, but when we learned of it some months ago, we were pleased that the officers would have an opportunity to learn about the indoctrination taking place in certain segments of Muslim society in America. The film reveals what viewers are unlikely to see on the evening news: What terrorists, radical preachers and Islamists are saying in their own words, in their own mosques and media, to their followers.

The film exposes how radicals employ the dual strategies of “violent Jihad,” along with a “cultural Jihad,” through which Islamist groups use coercion and non-violent means to gradually expand their influence over Western society.

Now, Mayor Bloomberg, The New York Times and others want to bar law enforcement officers from seeing the film. The question is, why?

We reject, outright, the charge that our film is anti-Muslim or that it casts a shadow over the entire Muslim community. In fact, we go to great lengths throughout the film to differentiate the radical Islamists from peaceful Muslims. The film is narrated by, Dr. Zuhdi Jasser, a devout Muslim-American, who has dedicated his life to exposing the threat of radical Islam.

Our critics have failed to mention these points and have chosen not to challenge the film on the merits of its thesis or content.

Perhaps the reason Mayor Bloomberg wants The Third Jihad banned is the same reason he insinuated the Times Square bomber was a health care terrorist — namely, CAIR.

CAIR (Council on American Islamic Relations) is one of many Muslim interest groups that purport to represent the Islamic community in America but in reality have well established ties to Hamas and other terror groups.

CAIR was designated by the U.S. Justice Department for its role in terror financing during the nation’s largest-ever trial on the subject. As a result, the FBI has officially severed all ties with the “advocacy organization.”

Outside of its support for terror organizations, CAIR works to quickly and effectively to silence any discussions about radical Islam by playing the racism card and accusing critics of Islamophobia. CAIR’s devices are effective.

As soon as the current story broke, CAIR immediately branded the film “anti-Muslim propaganda” in a press release. This was followed by a CAIR-led protest on the steps of City Hall calling for the resignation of the NYPD Commissioner Ray Kelly.

The entire episode could have been a chapter in The Third Jihad. We are now seeing “cultural Jihad” in action. In order to avoid agitating Muslim constituents, Mayor Bloomberg  and Commissioner Kelly are backing away from the film, regardless of its merits.

The net result is that CAIR, a designated Muslim interest group with ties to terror financing, is now telling the NYPD how it should go about fighting terror. If that’s not the ultimate act of subversion, I don’t know what is.

Director Roland Emmerich at his London home

The Times blames much of the problem on the economy, but as anemic as it’s been, the economy has improved some since 2008 and 2009, while attendance and revenues have not. In other words, that’s a stupid excuse. But at least it’s a new excuse. After years of blaming Redbox and piracy, you have to give Hollywood’s media friends credit for coming up with a new way to avoid admitting the obvious: People don’t like Hollywood or their product very much.

Movies are a cyclical business and analysts say that 2010 benefited mightily from holdover sales for “Avatar,” which was released late in 2009 and became one of the most popular movies of all time. A decline of hundreds of millions of dollars is not catastrophic when weighed against the size of the industry. Over all, North American ticket revenue for 2011 is projected to be about $10.1 billion, according to Hollywood.com, which compiles box-office data.

That is only a 4.5 percent falloff from 2010. But studio executives are alarmed by the downturn nonetheless, in part because the real picture is worse than the raw revenue numbers suggest.

Revenue, for instance, has been propped up by a glut of 3-D films, which cost $3 to $5 more per ticket. Studios made 40 pictures in 3-D in the last 12 months, up from 24 last year, according to BoxOfficeMojo.com, a movie database. Theaters have also continued to increase prices for standard tickets; moviegoers now pay an average of $7.89 each, up 1 percent over last year.

Attendance for 2011 is expected to drop 5.3 percent, to 1.27 billion, continuing a slide. Attendance declined 6 percent in 2010.

And now you know why Hollywood kisses China’s backside.

The Hollywood left may make a lot of noise about human rights and the like, but the reason they offer to participate in Chinese propaganda, make movies about how awesome the Chinese are, refuse to insult the Chinese, and suck up to communist/socialist strong men all over the world is to open the floodgates of their markets.

Forced abortions, slavery, human rights shmooman rights — with a billion-plus paying customers just waiting to be picked up, China means not having to do the hard work of making better movies and it surely means not having to make movies that represent American values.

A win-win for the bad guys.

JAMES GARNER’S DAUGHTER OPENS TRIBUTE SITE TO HER AWESOME FATHER

The Mighty James Garner’s daughter, Gigi Garner (a successful talent manager in her own right), has opened a tribute website to her father. She seems to be updating it fairly regularly with a number of terrific family photos and excerpts from Garners’ new memoir “The Garner Files,” which I loved and reviewed here.

Please check the site out.

Anyone who’s been reading me for any amount of time (or who has seen my Twitter wallpaper), knows of my all-consuming affection for all things James Garner, most especially “The Rockford Files.” You can imagine how much this tweet meant to me.

Tell me how it gets any better than that. You can’t, because it doesn’t.

The only bad news is that if this photo on Ms. Garner’s site displays the actor’s real signature, that means I got robbed on Ebay.

Cue my well-rehearsed of-course-I-got-swindled-again Rockford face.

FINALLY: AN HONEST ASSESSMENT OF HOLLYWOOD’S BOX OFFICE BLUES

With all of Hollywood and most of their sycophant entertainment media blaming box office and DVD woes on everything but bad product, this is the rare break from that absurd narrative:

Basically, films aren’t the draw they once were. With streaming and cable and TV shows getting better and better, there’s a lot more competition now, and the longer studios ignore it and try to operate like they always have (releasing all their “smart” movies at the end of December, for instance), the more it’s going to continue to decline. Almost without exception, all the decent movies I saw this year were films that the distributors considered too niche for a broad audience and almost no one saw them, because they barely had a chance to. Meanwhile this week’s top three releases have a 2, 3, and 4 next to the titles, and all had concepts created in the 1960s or earlier. If films are going to compete long-term, they’re going to have to start giving the “niche” stuff that gets people excited about movies a chance to compete with the bland blockbusters that make money. There are only so many Dark Knights. The general public has a major ambivalence towards movies right now, and if it doesn’t get better soon it’s going to turn into a grandpa medium the way late-night TV has.

And let’s not forget Hollywood’s non-stop, 15-year assault against the 70% of their audience that isn’t liberal.

Goodwill is crucial to institutional brands and this industry has arrogantly worked overtime to squander almost all of it.

Chickens, meet the roost.

SIX MORE JAMES BOND FILMS FOR DANIEL CRAIG?

“Filming has gone very well so far and I’d love Daniel to surpass Roger’s record and do eight pictures,” Michael G. Wilson told the UK’s Sunday People. “Daniel’s been an absolute pleasure to be around because he takes the role so seriously. There’s really no one more passionate about making these films work than him – he’s a filmmaker’s dream.”

THE HOBBIT: AN UNEXPECTED JOURNEY TRAILER ONLINE TUESDAY AT 7PM PST

Gentlemen, start your nerdgasms.

I kid because I love.

EVA GREEN EYES ‘300: BATTLE OF ARTEMISIA’

Ever since her memorable turn as Vesper in “Casino Royale,” I’ve been a fan. Unfortunately, Hollywood seems to be more interested in girls than women these days, and the ridiculously sexy and womanly Green hasn’t been in much.

Hopefully, everything will work out. Not that I’ll need another reason to see this.

NEW YORK TIMES BLAMES ‘LOST’ FOR EVERYTHING BAD ON TELEVISION

This is just silly:

A similar process is under way in the post- “Lost” television world. The first three seasons of “Lost” may have approached the imaginative charms of the original “Star Wars” trilogy, but the next three were nearly as awful as George Lucas’s catastrophic prequels. You could easily picture the stumped writers of “Lost,” helpless in the face of an ever-growing pile of unsolved mysteries, madly skimming Wikipedia entries on space-time geometries and black holes.

The show’s finale was the crowning disaster, the Scooby-Doo ending to end all Scooby-Doo endings. After hinting for years that their nonsensical mess would add up to something, not only did the producers Carlton Cuse and Damon Lindelof fail to address a tiny fraction of the trillions of mysteries they introduced, but they threw out the Lostpedia with the bath water, scrapping all of those riddles for the equivalent of Lucas’s teddy-bear victory dance: a celestial moment with the survivors, hugging and holding hands in the afterlife.

This is all ancient history — or would be, if not for the fact that the implosion of “Lost” was like a dirty bomb that made the world unsafe for serial dramas to this day.

The writer then goes on to blame “Lost” for what he sees as the sloppy execution of “Homeland” and “American Horror Story.”

First off, I caught “Lost” on DVD and while some individual episodes lacked (especially during the writers’ strike), as a whole I found the series and the finale very, very satisfying. This, I think, is the best way to watch programs that work like the old movie serials from yesteryear. Waiting a week and a full summer between chapters is a completely different experience than sitting down and devouring it like a good novel.

I haven’t seen “American Horror Story” or “Homeland” yet, but I have seen enough of Kelsey Grammer’s Starz series “Boss” and FX’s “Sons of Anarchy” (two series released after “Lost”) to argue that television’s current golden age is alive and well. The writing, acting and overall storytelling occurring on the small screen these days makes life worth living.

BROADCAST NETS DOWN, CABLE UP IN 2011

The major broadcast networks continued to see an erosion of their audiences in 2011, while cable networks saw theirs expand, according to TVbytheNumbers.com. The website said on Thursday that while ABC, CBS, Fox, and NBC saw their total household audience decline 3 percent this year, the audience for ad-support cable as a whole was up 3 percent and the top ten cable networks recorded a 4-percent gain.

A+ ‘EXTREMELY LOUD AND INCREDIBLY CLOSE’ MOVIE REVIEW

The largest issue I had with this film was figuring out how to describe the effect it had on me emotionally. It’s a crushing film that will leave many moviegoers in a heap, but I don’t look at it as an overly sad movie even though the level of sadness on display is undeniable.

‘SURVIVOR: SOUTH PACIFIC’ WINNER REVEALED

This show is still on the air?

MARSHALL FINE’S ‘DRAGON TATTOO’ REVIEW

Is Fincher’s film better than Niels Arden Oplev’s? Not really. It’s different; it’s probably as good as the Swedish version. But better? Nope, sorry – which brings us back to the issue of the movie as a commodity, rather than an artistic vision.

I’m not impugning Fincher’s intentions; I’m just saying that, as good as his film may be, it’s redundant and unnecessary.

Is it entertaining and well-made? Absolutely. For the audience that would never dream of seeing a foreign film, this movie will be the last word in “Dragon Tattoo” movie-making. And they’ll get a quality product.

‘THR’ REVIEWS JOLIE’S DIRECTORIAL DEBUT

Jolie deserves significant credit for creating such a powerfully oppressive atmosphere and staging the ghastly events so credibly, even if it is these very strengths that will make people not want to watch what’s onscreen. All the director’s decisions were taken in the interest of heightened verisimilitude, from working in the Bosnian language (an English-language version is available as well) to using as many authentic locations as possible (some in Bosnia, others in Hungary) and having cinematographer Dean Semler employ a combat-ready style.

SHERLOCK RETURNS TO THE BBC: ‘HE’S DEFINITELY DEVILISH’

Superb series. Season one is, I think, still on Netflix.

There’s so much good television these days, you can hardly keep up.

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LAST NIGHT’S SCREENING

“A Christmas Carol” (1984) – Most people choose Alistair Sim’s 1951 version of “A Christmas Carol” as their favorite, and for good reason. But after watching the 1984 television adaptation again last night, I have to say that George C. Scott is my favorite Ebenezer Scrooge. The Academy Award-winner’s interpretation is the most human and down-to-earth, which gives an added impact to those classic lines of dialogue we all know by heart.

Scrooge’s redemption scene is especially poignant in this version, which was directed by Clive Donner, the editor of the 1951 film.

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SCOTTDS’ EPIC LINKTACULAR

‘THE DINGO STOLE MY BABY! — PART DEUX’

BRAD BIRD GIVES AN UPDATE ON HIS EARTHQUAKE MOVIE, 1906

RIDLEY SCOTT TALKS ‘PROMETHEUS’

FIRST PHOTO OF SYLVESTER STALLONE IN ‘BULLET TO THE HEAD”

‘HOMELAND’ SEASON 1 FINALE REVIEW

WILLIAM SHATNER IS COMING TO BROADWAY

‘DEXTER’ SEASON 6 FINALE REVIEW

PROFILE: PAM GRIER

‘IT TAKES A THIEF’: THE DVD DEBRIEF REVIEW

MAX VON SYDOW LOOKS BACK AT HIS WORK ON ‘FLASH GORDON’ AND ‘STRANGE BREW‘

RIDLEY SCOTT SAYS THERE WILL BE NO ALIENS IN PROMETHEUS

REAL-LIFE RUDY ACCUSED OF SCREWING INVESTORS OUT OF $11 MILLION

8 GREAT TV CHRISTMAS SPECIALS

NEW FOOTAGE FROM ‘THE AVENGERS’ IN GERMAN TRAILER

WHY ‘PERSON OF INTEREST’ IS A SUPERHERO SHOW DONE RIGHT

REJECTED GREEN GOBLIN MAKE-UP TESTS FOR SAM RAIMI’S ‘SPIDER-MAN‘

100 GREATEST JEWISH FILMS

TOP 100 CULT FILMS

10 GREAT PERFORMANCES IN BAD 2011 MOVIES

MEET THE NEW POP CULTURE, SAM AS THE OLD POP CULTURE

JOHN WILLIAMS: THE LAST MOVIE MAESTRO

6 AWESOME MOVIE AMUSEMENT PARK RIDES AND THEIR REAL LIFE LOCATIONS

TOP 15 JAMES BOND DEATHS

REVISITING THE ‘LETTERMAN’ EPISODE FEATURING ANDY KAUFMAN AND JERRY LAWLER

A LOOK BACK AT JOHN FRANKENHEIMER’S ‘SECONDS‘

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CLASSIC PICK FOR TUESDAY, DECEMBER 20

TCM:

12:30 PM  EST: Age of Innocence, The (1934) –  A young attorney risks his career for love of a glamorous divorcee. Dir: Philip Moeller Cast:  Irene Dunne, John Boles, Lionel Atwill. BW-81 mins, TV-PG, CC.

This is a rare opportunity to see the first film adaptation of Edith Wharton’s 1920 Pulitzer Prize-winning novel about an aristocratic New Yorker who meets the only woman he’ll ever love after it’s too late. However, I only recommend this as a rare curiosity.

While many films produced during the same Production Code-era (like 1936’s “Dodsworth”) were able to tell stories that covered similar themes of adultery and divorce in a mature and dramatic way, 1934’s “Age of Innocence” is pretty lacking. For starters, Dunne is miscast and the overall production is stagy and surprisingly slow moving for an 81-minute film.

This is in stark contrast to Martin Scorsese’s beautifully realized 1993 adaptation that captures the longing and loss of its source material as well as any film ever could.

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Please send comments, suggestions and tips to jnolte@breitbart.com or Twitter @NolteNC.

NOTE: There will be no Call Sheet tomorrow. I am taking a vacation day.

New York Times:

Harry Morgan was born Harry Bratsburg on April 10, 1915, in Detroit. His parents were Norwegian immigrants. After graduating from Muskegon High School, where he played varsity football and was senior class president, he intended to become a lawyer, but debating classes in his pre-law major at the University of Chicago stimulated his interest in the theater. He made his professional acting debut in a summer stock production of “At Mrs. Beam’s” in Mount Kisco, N.Y., and his Broadway debut in 1937 in the original production of “Golden Boy,” starring Luther Adler, in a cast that also included Karl Malden and Lee J. Cobb.

After moving to California in 1942, he was spotted by a talent scout in a Santa Barbara stock company’s production of William Saroyan’s one-act play “Hello Out There.” Signing a contract with 20th Century Fox, he originally used the screen name Henry Morgan, but changed Henry to Harry in the 1950s to avoid confusion with the radio and television humorist Henry Morgan.

Mr. Morgan attracted attention almost immediately. In “The Ox-Bow Incident” (1943), which starred Henry Fonda, he was praised for his portrayal of a drifter caught up in a lynching in a Western town. Reviewing “A Bell for Adano” (1945), based on John Hersey’s novel about the Army in a liberated Italian town, Bosley Crowther wrote in The New York Times that Mr. Morgan was “crude and amusing as the captain of M.P.’s.”

He went on to appear in “All My Sons” (1948), based on the Arthur Miller play, with Edward G. Robinson and Burt Lancaster; “The Big Clock” (1948), in which he played a silent, menacing bodyguard to Charles Laughton; “Yellow Sky” (1949), with Gregory Peck and Anne Baxter; and the critically praised western “High Noon” (1952), with Gary Cooper. Among his other notable films were “The Teahouse of the August Moon” (1956), with Marlon Brando and Glenn Ford, and “Inherit the Wind” (1960), with Spencer Tracy and Fredric March, in which he played a small-town Tennessee judge hearing arguments about evolution in the fictionalized version of the Scopes “monkey trial.” In “How the West Was Won” (1962), he played Gen. Ulysses S. Grant.

After a personable performance as Glenn Miller’s pianist, Chummy MacGregor, in “The Glenn Miller Story” (1954), starring James Stewart, he often played softer characters as well as his trademark hard-bitten tough guys. There were eventually a number of comedies on his résumé, among them “John Goldfarb, Please Come Home” (1965), with Shirley MacLaine and Peter Ustinov; “The Flim-Flam Man” (1967), with George C. Scott; “Support Your Local Sheriff!” (1969), with James Garner and Walter Brennan; and “The Apple Dumpling Gang” (1975), a Disney movie with Tim Conway and Don Knotts.

He returned as Bill Gannon, by now promoted to captain, in the 1987 movie “Dragnet,” a comedy remake of the series starring Dan Aykroyd and Tom Hanks.

Mr. Morgan’s television credits were prodigious. He once estimated that in one show or another, he was seen in prime time for 35 straight years. Regarded as one of the busiest actors in the medium, he had continuing roles in at least 10 series, which, combined with his guest appearances, amounted to hundreds of episodes. He reprised the role of Sherman Potter in “AfterMASH” (1983-85), a short-lived spinoff.

Full obit here.

The New York Times piece Lee refers to here is the most appalling piece of race-baiting I’ve read in years. You can read my write-up about it at Big Journalism. The reaction the Times was looking for is exactly this kind of thing from Spike Lee. They want high-profile, left-wing black Americans to take after Herman Cain. They want to toxify him as a sell-out in order to hurt his standing among black voters. The Times also wants to make damn sure Tea Party Republicans get no credit for embracing a black man. That would kill a cherished narrative the corrupt MSM has spent two years creating about us being racist.

The Times thinking is simple: racists love “minstrelsy” Black people, so by portraying Cain as such, the dishonest narrative that the Tea Party is racist lives on… in spite of Cain being our guy.

The price black people pay for being free thinkers in this country is a very, very cruel one.

Ask Clarence Thomas.

So remember the Coffee Party – the liberal, media-generated answer to the Tea Party?

CNN covered it, so did the New York Times.

And around the same time, Jon Stewart organized his rally to Restore Sanity, as a reaction to, again, the Tea Party.

Neither the party or that rally meant squat.

In fact they were lagging indicators of a dead world – a group of shiny, happy people who didn’t see the train heading their way.

The tea party and the health care protests were the train – future predictors that saw the road ahead – and all signs pointed to Greece.

To me, the Tea Party really is the punk rock moment of politics – harkening back to simple math – rescuing us from 20 minute organ noodling found on Emerson Lake and Palmer records.

Yep, in a bloated world typified by Yes’s Roundabout on F-M circa 1977, the Tea Party offered “Beat on the Brat,” a jolt of Ramones wisdom that reminded us of what worked before.

It also exposed a key problem with “hope and change” of 2008. When an organic American movement rose up to question the direction of the Administration, those ephemeral “good feelings” of 2008 withered against simple principle.

If you aren’t for shrinking government, then what are you for?

Turns out “not shrinking government!” is a lousy bumper sticker.

Now… I got issues with this deal.

Some people worry over Defense cuts. I’m one of them. That stuff matters. But that debate reminds you of one key truth: The left prefers to increase dependence through expansion of entitlements. The rest of us see independence through strength.

A howitzer over handouts.

Lastly, one sad fact: the government will still grow 70 percent over the next decade. And there may be new taxes as soon as 2013.

So this budget debate’s a lot like using Febreze.

Masking the stench doesn’t erase the pile of crap at your feet.

And if you disagree with me you’re a racist homophobe.

Tonite:

Larry Gatlin

Courtney Friel

Chris Rovnar

New York Times:

James Arness, who burnished the legend of America’s epic West as Marshal Matt Dillon, the laconic peacemaker of Dodge City on “Gunsmoke,” one of the longest-running dramatic series in television history, died on Friday at his home in Los Angeles. He was 88.

A family spokeswoman, Ginny Fazer, confirmed the death. Mr. Arness was terribly shy and had almost no training as an actor. A wartime leg wound made it painful for him to mount a horse. But he became the best-known tin star of his era, portraying the towering, weathered marshal for 20 years, from 1955 to 1975. He also made some 50 films and television movies, mostly westerns, in a career that stretched across five decades.

To a generation of television viewers, Mr. Arness and “Gunsmoke” embodied a new, more adult vision of the mythic Old West: a quiet, vulnerable lawman facing not stereotyped villains and clichéd situations but a chaotic frontier freighted with moral judgments and occasional failure. He might be too late to stop a killing. He could save a girl from kidnappers, but not from her father’s brutality.

Audiences had long been accustomed to Western heroes who never were, having been sanitized by the trail songs of Gene Autry and Roy Rogers and the righteous gunplay of the Lone Ranger and Hopalong Cassidy. But Marshal Dillon never got the girl, did not love his horse, wore only one gun and fired it reluctantly, usually drawing last but shooting straightest in dusty street duels. Over the years, the marshal was shot 30 times.

Full article is here.

So the father of John Walker Lindh, the “American Taliban,” had a column in the New York Times, making the case for freeing his son from prison.

Now that bin Laden is dead, he says, why should his son be behind bars?

After all, he’s done enough time.

Plus – he’s spiritual!

But let’s assess this plea, thoughtfully. I mean – most dads would do the same thing.

However, most sons aren’t traitors, so tough poop.

Now, not only does pop say “John was a scapegoat,” he romanticizes his crimes. He says of his “idealistic” son…

“Like Ernest Hemingway during the Spanish Civil War, John had volunteered for the army of a foreign government battling an insurgency.”

That distant sound you hear?

A river of retching, across the U.S. By humans, and pets.

It makes me wonder – what was in the original draft?

“Like Jesus Christ, John sacrificed his comfortable life for a dangerous journey in the desert!”

“Like Ghandi, he rarely wore pants.”

Worse, to court lefty support, pop also blames George Bush and America, saying

He was subjected to physical and psychological abuse – a precursor to the mistreatment of many prisoners… by the American military during the George W. Bush era.

Sorry Frank – that military you blamed helped bring down bin Laden. Which, oddly, you now see as a reason to free Johnny.

Do you think the Seals would have been okay with that deal, beforehand?

“So, if we kill bin Laden, we’re letting this creep go?”

Nope.

Finally, it’s got to be great to have a powerful lawyer for a dad, who not only supports you when turn Taliban, but gets the Times involved when caught.

I don’t have that luck.

My dad was an accountant.

Lucky for him, I wasn’t “idealistic.”

Tonight:

Sherrod Small

Mike Baker

Patti Anne Browne 

fun fun fun!

Netflix posted a first-quarter profit of $60.2 million on Monday and said it had added 3.3 million subscribers in the United States in three months’ time, its fastest rate of growth yet.

“It took us four years to get to 3.3 million subscribers,” Reed Hastings, the company’s chief executive, said in an interview Monday evening. “Now we did it in one quarter.”

Mr. Hastings said the online streaming business “is just racing ahead.” But earlier in the day, in a letter to shareholders, the company cautioned that its torrid pace of growth might be tempered in the months ahead. It said it expected to add 1.2 million to 2 million subscribers in the next three months. Netflix shares declined about 5 percent in after-hours trading.

Although some analysts were disappointed by Netflix’s outlook for the second quarter, its results in the first quarter were generally above expectations. At the end of the first quarter, Netflix had 22.8 million subscribers in the United States, giving it as big a footprint as the biggest American cable operator, Comcast, which reported 22.8 million subscribers at the end of last year.

That subscriber milestone was the best proof to date that Netflix has responded more quickly and more effectively than any other media company to customers’ demands for video-on-demand. Yet the milestone is largely symbolic because Comcast and Netflix do not directly compete; Comcast is available only in certain parts of the country, and Netflix is largely supplemental to the services provided by cable and satellite operators.

Still, the comparisons made by analysts underscored just how fast Netflix has picked up customers. Two years ago, it had 10 million customers and was largely a DVD-by-mail service; today it is a force in video streaming.

Read the full piece here.

So The Center for Science in the Public Interest, a group full of fusspots and nannypants, has asked the government to ban artificial coloring.

According to the New York Times, the group claims the dyes might worsen hyperactivity in some children.

Now the key to that sentence is “might,” and “some.” Meaning you’d find more real science in an episode of Blossom than in a CSPI press release.

A government advisory panel has stated that there’s no proof dyes cause these issues, and even if there was a slight connection, it would be inconsequential. Most of this is anecdotal stories – the medical equivalent of urban legends.

But that doesn’t matter to health crusaders, for they do not care if they’re on the wrong side of statistics. All they need to do is shout, “what about the children,” and assume we’ll fall in line. It’s a ruse not born from concern, but envious disdain for industry, for success.

Health fascists like CSPI hate human creativity, productivity, consumption and exploitation of resources for the betterment of man, because that stuff works. And success is the polar opposite of a watchdog group, where a scold’s only job is to undermine the jobs of others.

In contrast, today McDonald’s just announced the hiring of 50 thousand new workers. By offering economic opportunity to so many people, that corporation saves more lives than CSPI could ever dream of with their shrill pronouncements.

And while some blogs scoff at these “McJobs,” that says more about the smugness of those who blog, than whose who work.

Bottom line: CSPI wants to ban pleasure because they seem incapable of experiencing it. They want food to be as colorless and bland, as the lives they lead.

If they were a cereal, they would be Fiber 1.

And if you disagree with me, you’re a racist homophobe.

TONIGHT:

Mahsa Saeidi Azcuy

Paul Mecurio

Marc Lamont Hill