ScottFeinberg.com

By Carson Blackwelder
Television Contributor

Every Friday, Rachel recaps the week’s major TV-related news, announcements and gossip! This week, Carson fills in.

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By Rachel Bennett
Television Editor & Columnist

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By Roger Friedman

The greatest American play? Quite possibly Arthur Miller’s “Death of a Salesman,” set in 1949 and revived last night on Broadway in a production that is outstanding. Mike Nichols directed and reinvented Miller’s classic, with Philip Seymour Hoffman as Willy Loman, Andrew Garfield (the new movie Spider Man) as Biff, Linda Emonds as Willy’s wife Linda, and Finn Wittrock as Happy. This is a historic production, quite possibly the best ever (and there have been many great ones starring Dustin Hoffman, Brian Dennehy, Lee J. Cobb, George C. Scott).

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By Scott Feinberg (@ScottFeinberg)

Over the past two years, Twitter.com, the free micro-blogging service that first launched in March 2006, has became a full-blown cultural phenomenon. The first time most Americans heard of it was in April 2009, when the celebrity Ashton Kutcher (@APlusK) challenged the cable news network CNN (@CNNBrk) to a race to one million Followers — and won. Just two months later, when news broke of Michael Jackson’s sudden death, so many people were Tweeting their reactions that the site actually crashed. And, over the time since, millions more have begun employing Tweets of 140 or fewer characters as a way to share their thoughts and feelings with the world — including a considerable number of 2010 awards contenders and industry pundits. (See below for our directory of “must-Follows.”)

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Keith Bearden’s “Meet Monica Velour” premiered on Sunday at New York’s School of Visual Arts as part of the ninth annual Tribeca Film Festival. After just a few minutes of establishing material, the film began to look a lot like other low-budget indies that recently clicked: its protagonist is a veritable — and virginial — nerd (very similar to the title character in “Napoleon Dynamite”); it constantly employs sight gags like a decades-old Weenie-mobile (not a far stretch from the VW-bus in “Little Miss Sunshine”); its script calls for hip/irony-laden dialogue and terms like “Homeslice” (which is embarassingly similar to “Homeskillet” in “Juno”); and the list goes on. The reality is that this film cannot compete with those films on their strengths, but it does have a few of its own — and none is greater than the actress who plays its eponymous character, Kim Cattrall.

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