Bon Jovi’s long career documented, warts and all, in new Hulu series

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Jon Bon Jovi acknowledges that the new documentary “Thank You, Goodnight: The Bon Jovi Story” is “a little overwhelming, emotional.” It’s also a proverbial warts-and-all presentation of his life, as well as the 40-plus-year career of the band that bears his name.

But Bon Jovi wouldn’t have it any other way.

“All I’ve ever wanted to sell was the truth,” the 62-year-old New Jersey rock icon explains via Zoom. “If you’re not gonna show it warts and all, don’t bother. This wasn’t a VH1 ‘Behind the Music.’ I wasn’t interested in a puff piece.”

“Thank You, Goodnight” — premiering Friday, April 26 on Hulu — is anything but that.

Over four episodes weighing in at nearly five hours, director Gotham Chopra, the son of philosopher Deepak Chopra and best known for his sports documentaries, digs into all aspects of the band, which has sold more than 120 million albums worldwide and been inducted into the Rock and Roll Hall of Fame.

Jon Bon Jovi performs during Rock In Rio at Cidade do Rock on Sept. 29, 2019, in Rio de Janeiro, Brazil. (Photo by Alexandre Schneider/Getty Images)

Chopra had access to band members present and past, including former guitarist Richie Sambora, controversial former manager Doc McGhee, Bon Jovi’s rarely interviewed wife, Dorothea, and others in the band’s orbit.

It’s also framed around the voice problems Bon Jovi has encountered in recent years that required vocal cord surgery in 2022.

The band has a new album, “Forever,” due out June 7 but Bon Jovi isn’t sure he’ll ever be able to tour again.

“The ‘if’ is getting smaller and further in the distance on a daily basis, but it’s up to God at this point,” he said.

Jon Bon Jovi performs at the American Airlines Center in Dallas, Texas in 2013. Two years ago he discovered one of his vocal cords was atrophying and has since had surgery to repair it. The full story is chronicled in the documentary, “Thank You, Goodnight: The Bon Jovi Story,” premiering Friday on Hulu. (David Bergman/BonJovi/TNS)

Jon Bon Jovi performs in 2010. Two years ago he discovered one of his vocal cords was atrophying and has since had surgery to repair it. The full story is chronicled in the documentary, “Thank You, Goodnight: The Bon Jovi Story,” premiering Friday on Hulu. (David Bergman/TNS)

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He has no regrets about sharing that struggle — and other issues — in the documentary.

“It was uncomfortable,” he says. “People of our era, our age, we didn’t grow up with discussing mental health issues … alcoholism or anxiety. Now it’s commonplace, and so I don’t mind discussing those issues personally with our listeners because I find they’ve experienced the same things I have.

“If anything, I want them to feel closer to me as a man, as a writer, because I’m experiencing what you are — just differently.”

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Did Texas Police Violate First Amendment Rights of Pro-Palestine Protesters?

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On Wednesday, the Texas Department of Public Safety (DPS) arrested and charged 57 people, including one journalist, with criminal trespassing on the University of Texas at Austin’s campus during a protest against Israel’s ongoing attacks on Gaza and the university’s investments in weapons manufacturing. DPS and Governor Greg Abbott’s office did not immediately respond to an Observer request for comment.

Dr. Amy Sanders is a tenured associate professor at UT-Austin, a licensed attorney, and journalist. She has taught courses on media law, journalism ethics, and global protections on speech, press, and protest. In the aftermath of Wednesday’s arrests, Sanders talked to the Texas Observer about free speech protections and the First Amendment. 

TO: UT is a public university, and the protests yesterday were taking place outdoors. Isn’t that a public forum, fully protected for free assembly and free speech under the First Amendment?

So let’s not even talk about the First Amendment first. If you look at UT’s own policy regarding freedom of expression, they open up public outdoor common areas on campus for these kinds of activities. UT actually has a policy that says assemblies of the public are permitted in outdoor campus spaces. 

The real issue yesterday is whether or not you believe it was a peaceful protest. Universities, of course, have a right to ensure the physical safety of their students, staff and faculty. 

When expressive activities get out of hand and turn violent, or when people begin engaging in speech that is not protected by the First Amendment—true threats, fighting words—the university has the right to step in and stop that kind of protest. I have seen nothing to suggest that is what occurred yesterday.

What kind of speech would constitute a true threat or fighting words? 

There’s been a lot of confusion about anti-Semitism. Anti-Semitism is hate speech against Jewish people—and it is fully protected by the First Amendment. 

Unless we’re getting into actual targeted threats of physical violence, protesters have a right to engage in antisemitic speech. Again, I haven’t seen evidence that that’s what was occurring yesterday. But even if it was, that speech is protected by the First Amendment.

The First Amendment does not protect any kind of physical action that would harm someone’s safety. You have no First Amendment right to push, shove, kick, hit other people. But, often in the case of peaceful protests, like we saw yesterday, there is of course pushing, and people are moving. Oftentimes, police exercise restraint in allowing some of this movement to happen, understanding that you can be in a crowd and come into contact with someone without intending to hurt them. 

I think the presence of armed riot police always increases the tension in these kinds of situations—and I think it’s the wrong move.

A pro-Palestine rally at the Texas Capitol in February Gus Bova

Does the First Amendment differentiate between journalists and other members of the public? There was a reporter arrested yesterday—he’s a photojournalist for Fox7, and he was arrested and charged with criminal trespassing.

That arrest in my opinion is absolutely unlawful. Police obviously have the right to ask journalists to move to keep them safe. But from the video I have seen, he was doing nothing unlawful, other than engaging in the practice of journalism. The First Amendment protects journalists who are in the process of covering a news story on public property.

Did you see any basis for a dispersal order yesterday?

Obviously, I wasn’t everywhere—I haven’t seen everything. But I suspect that that was a tactic to try to calm the situation. I don’t know that it was lawful. I also don’t think it was effective. 

(Note: The Observer was present on campus when one of the dispersal orders was read out around 6:15 p.m. Wednesday. The crowd of protestors moved off campus, and then police left en masse—and protestors promptly returned to UT’s South Lawn in the heart of campus where many of the arrests took place, according to videos posted on social media by local journalists. The group continued to peacefully protest, while a couple drones buzzed overhead.)

Can police or elected leaders in Texas declare public forums to be criminal trespass zones?

Generally speaking, when members of the public are engaged in a peaceful protest in a public space—assuming they are not obstructing traffic, or disrupting campus activities—there is very little legal basis for law enforcement to demand they leave. 

For the protesters and journalists arrested yesterday, are the charges likely to be dropped? 

Having spent time in a prosecuting attorney’s office, I would anticipate that nearly all of these charges will be dropped. 

(As of mid-morning Thursday, nearly 50 of the charges had been dropped, according to the Austin Chronicle.)

Then what was the point of sending riot police and arresting people?

The point is absolutely to intimidate the students and other protesters into not exercising their First Amendment right to speak. The whole goal of sending in riot police, of making the statements that the governor of Texas made, is to chill freedom of expression. 

It is to make clear that you don’t approve of their views, and that you will attempt to punish them for expressing their views—even if what they’re doing is protected by the First Amendment. It’s an extremely effective tactic.

The fear of getting arrested—the fear of spending a night in jail—without a doubt discourages some people from participating.

A pro-Palestine demonstration in Austin in 2021 Ivan Armando Flores/Texas Observer

Can police arrest protesters on public property when they’ve not broken any laws? And can police arrest protesters on public property if they believe that protesters plan to break laws?

The idea that we would take all of this action preemptively to try to prevent harm is not something that the First Amendment permits. This standard when we’re talking about incitement speech, for example, which is not protected by the First Amendment, is extremely high.

The phrase that the courts use is “imminent, lawless action”—and that has two components to it: lawless action requires unlawful behavior. Imminent means the the threat is real, and it’s happening now. 

I just don’t see, based on the posts from protesters and organizers that I’ve seen, based on what happened yesterday—I just don’t see it rising to the level of incitement speech, where you could attempt to take action preemptively. 

That’s not the way our country works. We don’t allow the government to censor speech before it happens. There are instances where you can be punished for speaking after the fact, but this country has a long history of not allowing the government to preemptively silence people.

Editor’s Note: This interview has been edited for length and clarity.

How does Zendaya tennis film ‘Challengers’ rank with other Hollywood love matches

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“Challengers,” a sexy tennis love triangle from acclaimed director Luca Guadagnino and budding superstar Zendaya, has generated enough buzz and rave reviews that it may reach No. 1 in the rankings. 

But even if the story, directing and acting are all aces, to achieve greatness the movie still needs to provide genuine excitement and realistic drama on the court.

To provide an air of credibility, the film hired former pro and veteran analyst Brad Gilbert to consult on the film and to train Zendaya for three months; Guadagnino says she got so good he barely had to use her tennis stunt double in the film.

It should be an improvement over “Wimbledon,” with Kirsten Dunst and Paul Bettany, and not just because of “Wimbledon’s” flimsy dialogue. When Bettany reaches the Wimbledon finals, director Richard Loncraine relies on quick cuts, distracting camera movement, and close-ups of footwork and foreshortened shots from the players’ backs – they feel like shortcuts and drain away any sense that real tennis was played.

By contrast, “Battle of the Sexes,” which is less about tennis and more about Billie Jean King (Emma Stone) and the fight for women’s equality, gives its tennis showdown between King and Bobby Riggs (Steve Carell) its proper due. Directors Valerie Faris and Jonathan Dayton often shot from above and behind like a typical tennis match on television. This provides a familiar vantage point and allowed them to use tennis doubles, future pro Kaitlyn Christian and former pro Vince Spadea to have real rallies. (Rigg’s former coach and King herself consulted on the grips the players used and other details.) They also trusted the viewer and let points develop, including the moment of triumph where King shrewdly lobs to Riggs’ backhand and then finishes him off with a slice down the line. 

Good tennis cannot save a bad movie like “16-Love,” an insipid 2012 teen romance featuring Lindsey Shaw and Chandler Massey. Massey was cast partly because of his tennis skills and Shaw’s rival was played by Susie Abromeit, who had been a top-ranked junior but a weak script and poor directing renders all that irrelevant. 

On the other hand, good tennis can enhance a stronger movie, like the acclaimed 2020 French drama “Final Set.” Director Quentin Reynaud had played competitively as a youth and the star, Alex Lutz, trained enough to look believable during practice. For Lutz’s opponent in the big match, Reynaud cast French pro Jurgen Briand, who gives the points a thrilling realism, which makes Reynaud’s arty shots – swinging shadows and fancy footwork in the red clay as well as balletic slo-mo close-ups – feel earned, adding to the drama instead of distracting from it. 

There are plenty of movies and TV series that give tennis a cameo, typically for main characters who are amateurs. They frequently play the scenes for laughs – it’s often clichéd as in “Sabrina the Teenage Witch,” which wastes Andy Roddick as a coach in a scene that falls flat. But when done well, or with charming stars, it can still be effective: a brief scene in “Annie Hall” with Diane Keaton’s title character playing with a carefree glee perfectly introduces her “la-di-da” character; on “Seinfeld,” Jerry’s one good forehand launches a ball machine attack that nails Kramer in the head; and “Bachelor Party” is silly and forgettable but watching Tom Hanks childishly launch home runs while playing his future in-laws is still a delight. 

Then there’s the tennis as combat, whether played broadly in “Bridesmaids” to the soundtrack of AC/DC’s “Dirty Deeds Done Dirt Cheap,” or with more nuance as dramatic marital warfare between Jeff Daniels and Laura Linney in Noah Baumbach’s “The Squid and The Whale.” (The cheesiest version of this is “Hart to Hart,” the 1980s crime show that once featured Martina Navratilova as herself playing in a mixed doubles match; the overuse of closeups wasted Navratalova’s talent before the contrived plot devolved into an on-court shooting.) 

The exception is “Red Oaks,” a coming-of-age series that featured tennis prominently, with Craig Roberts as a tennis pro at the club and Paul Reiser, as a wealthy but aging weekend warrior. Set in the 1980s, it was able to capture the game as played at that level in that time. (Reiser’s opponent in the big season finale club match is none other than Brad Gilbert.)

Most movies with tennis as a notable part of the plot focus on elite athletes. Alfred Hitchcock’s 1951 classic, “Strangers on a Train,” depicts a tennis star Guy Haines (Farley Granger) caught up in the murder scheme of a psychopath, Bruno Anthony (Robert Walker). Taut and tense, but with little tennis, Hitchcock starts off the climactic match with long shots that capture the sport’s dramatic potential. But as the tension builds, Hitchcock, intercutting between Guy’s match and Bruno’s escapades, dilutes the tennis with close-ups, odd angles that don’t suit the sport and intrusive music. 

More impressive, tennis-wise, was “Pat and Mike,” the 1952 romcom with Spencer Tracy and Katharine Hepburn. While the movie pales compared to their other films like “Adam’s Rib,” it was written to display Hepburn’s tennis and golf skills. Hepburn had no stunt double and in one big match played Gussie Moran, a recent Wimbledon finalist. The rallies are realistic and well shot and there’s also an entertaining section when Hepburn’s character’s controlling fiance shows up and she becomes so distracted that her game falls apart as she hallucinates her fiance in the umpire chair and her racket shrinking while Moran’s grows.

Wimbledon, unsurprisingly, frequently commands center stage… or Centre Court. Beyond “Wimbledon,” there’s “Borg-McEnroe,” about the epic 1980 Wimbledon final. John McEnroe (Shia LaBeouf miraculously pulls out a 20-minute fourth set tiebreaker, 18-16, before Bjorn Borg (Sverrir Gudnason) coolly prevails 8-6 in the final set. 

While the film devotes 20 minutes to the match, it fails to do the tiebreaker justice. It does show dynamite points like McEnroe nailing a leaping backhand volley off a Borg lob, or Borg whipping a passing shot down the line. While the scenes can appear like actors doing impressions of the players in between their tennis doubles hitting the real shots, the rallies have an air of authenticity. But as tension mounts, director Janus Metz Pedersen loses interest in the tennis itself, shifting to close-ups to show emotional and physical strain along with montages that feel cliche. 

In “7 Days in Hell,” the tennis, such as it is, exists outside of criticism. This riotous Andy Samberg mockumentary parodies the longest match in tennis history, a three-day Wimbledon battle between John Isner and Nicholas Mahut that finished with the score of 70-68 in the final set. Samberg’s Aaron Williams ups his game by snorting cocaine he had hidden in his water bottle and the court’s lines. In this never-ending match, Williams and Kit Harrington’s Charles Poole have a lengthy rally at the net while both are prone after diving for shots. It’s as far from realistic as possible but it works perfectly on its own terms.

Ultimately, the greatest tennis film of all time is “King Richard,” directed by Reinaldo Marcus Green. In telling the story of Venus and Serena Williams and their father, Green featured more drilling and match play than any other film. He also frequently shot the tennis shots with a low camera angle from behind the players, allowing the viewer to see the action in a way that, say, “Wimbledon” did not, while still creating a sense of immediacy and urgency.

And in the final match at the end between 14-year-old Venus and Arantxa Sanchez-Vicario, he repeatedly mixed in mid-range shots with long shots while giving the points time to build dramatically as they would in a real tennis match. While the teen loses that match, it is fitting that when it comes to tennis movies, the undeniable champ features the unsurpassable Williams sisters. 

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Ashley Judd, #MeToo founders react to ruling overturning Harvey Weinstein’s conviction

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NEW YORK (AP) — A New York appeals court overturned Harvey Weinstein’s 2020 rape conviction on Thursday, saying the trial judge should not have allowed other women to testify about alleged assaults the movie mogul wasn’t charged with. Here is some of the reaction to the decision:

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“This is what it’s like to be a woman in America, living with male entitlement to our bodies.” — Ashley Judd, whose on-the-record statement accusing Weinstein of sexually harassing her as a young actor helped launch the case.

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“Judges throughout this nation are going to scale back what they allow to come into evidence because it’s a constitutional right to tell your side of the story without having so much baggage from your whole life being put on display to a jury .. Harvey will, under this new ruling, be able to take the stand, will be able to tell his side of the story and be very consistent with what he said all along, which is, ‘Yes, there was the sexual encounter … But I never forced her to do anything.’ ” — Weinstein lawyer Arthur Aidala.

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“Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.” — Tarana Burke, who founded the #MeToo movement at large.

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“A jury was told in California that he was convicted in another state for rape … Turns out he shouldn’t have been convicted, and it wasn’t a fair conviction. … It interfered with his presumption of innocence in a significant way in California.” — Weinstein lawyer Jennifer Bonjean, who is appealing his Los Angeles rape conviction.

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“Today’s decision does not erase the truth of what happened. It doesn’t alter the reality that Weinstein is a serial sexual abuser who exploited his power for decades.” — Fatima Goss Graves, CEO of the National Women’s Law Center, which runs the Time’s Up Legal Fund, providing legal help and resources for people facing sexual harassment and violence.

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“Today’s decision reinforces what we already know through our survey of over 13,000 entertainment workers. We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.” — Anita Hill, chair and president of The Hollywood Commission.