
The poster art for 1951’s The Day the Earth Stood Still.
In September 1951, 20th Century-Fox‘s sci-fi drama The Day the Earth Stood rolled out in theaters following its premiere opening on Sept. 18 at New York’s Mayfair Theatre (where it grossed $6,500 that day). At the beginning of the month, the film screened at the World Science Fiction Convention in New Orleans, where 250 attendees “universally acclaimed the picture.”
The 92-minute feature, directed by Robert Wise, was released as Cold War fears were at the top of the headlines and was intended as a cautionary tale (decades later, the studio remade the film with Keanu Reeves and an aughts sheen in 2008). The Hollywood Reporter’s original review is below:
In The Day the Earth Stood still, producer Julian Blaustein and director Robert Wise have a highly exploitable, suspensefully entertaining drama that will ride the crest of the current cycle of science films with the ease of a space ship.
Adapted from a story by Henry Bates, the drama is an intriguing science fantasy, made believable by touches of genuine humor and the faint suggestion of a romance between a pretty American widow and a mysterious visitor from another planet. The overtones of social significance are adroitly handled and make real sense in an era of tragic international quarrels.
Physically, the production is all science saga should be — Blaustein supervises the special effects with telling results; the Washington locale is excellently fulfilled; and the thoughtful choice of actors accounts for convincing performances throughout. Wise’s direction imbues the narrative with the compelling atmosphere of the documentary; he creates an illusion of presenting the real thing rather than a fictional motion picture. Inevitably, the Wise technique heightens suspense values and writes terrific punch into the action scenes involving a powerful robot who accompanies the human visitor to the U.S.
Michael Rennie is the visitor, a man who whirls into the center of Washington in a space ship accompanied by his robot. His mission is one of peace — he wants to talk to the President. An hysterical soldier shoots him, Rennie is carried to Walter Reed Hospital. Here, by administering medicine brought from his outer-planet home, Rennie recovers. He tells the President’s secretary that he wishes to speak to representatives of all nations on earth. The secretary informs him this is impossible. Rennie casually leaves the hospital, takes a room in a boarding house where he meets Patricia Neal and her young son, Billy Gray. His adventures with the lad are amusing; one includes a visit to Sam Jaffe’s home where, by working an intricate scientific problem within seconds, he identifies himself as a super-intellect. Jaffe agrees to bring men of science from the four corners of the globe to hear him speak.
Meanwhile the police are searching frantically for him. Though wounded again, he escapes to his ship and before flying off tells those who hear him that the world must solve its petty political problems; otherwise, action by other planets in the universe will destroy the world.
Rennie’s quiet dignity in the part of the space visitor brings conviction to the interesting role. Miss Neal is vibrant and lovely as the young widow, and Hugh Marlowe is vigorous as her ambitious suitor. Jaffe’s scientist is portrayed with the actor’s usual resourcefulness. Gray is fine as the youth. Supporting players include some of Hollywood’s best character actors. Commentators Drew Pearson, Gabriel Heatter, H.V. Kaltenborn and Elmer Davis are on deck to implement the air of authenticity.
Leo Tover’s work in the trick photographic department is exceptional. Lyle Wheeler and Addison Hehr, allowing imagination to run wild, perform a superb job of art direction. Bernard Herrman’s eerie score and the editing of William Reynolds are other outstanding contributions to the success of the production. — Staff byline, originally published on Sept. 4, 1951.

The poster art for 1951’s The Day the Earth Stood Still.

The Hollywood Reporter‘s original review of The Day the Earth Stood Still in 1951.
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Civilian sports fans can now apply to play the latest version of Jeopardy! after it was revealed that ESPN Jeopardy! is returning for a second season.
Disney+ and Hulu premiered the first season of the show in July with stars such as Jon Hamm, Hannah Storm, Manti Te’o and Adam Pally.
It will now return with everyday sports fans facing off against each other in order to win a $300,000 prize. In the first season, celebrities and ESPN talent competed in the tournament-style event for a $500,000 prize for the charity of their choice.
Joe Buck, who hosts the show, announced the renewal on Monday Night Football as the Philadelphia Eagles prepare to take on the Chicago Bears at Soldier Field.
The series, which is also available to watch on the ESPN app, is the latest spinoff of the classic gameshow. It comes after Sports Jeopardy!, which ran for three seasons and over 100 episodes on Crackle, Rock & Roll Jeopardy!, which ran for four seasons on VH1, and, more recently, Celebrity Jeopardy! and Pop Culture Jeopardy!, which is hosted by Saturday Night Live’s Colin Jost and moved from Amazon to Netflix for its second season, which debuted in May. There was also a recent YouTube digital edition.
The series is produced by Sony Pictures Television and Michael Davies, who exec produces the main Jeopardy!, serves as executive producer. It is shot on the Alex Trebek Stage, the official name of Stage 10 at Sony Pictures Studios in Culver City.
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Sylvester Stallone is weighing in on seeing his life’s story retold on the big screen in the upcoming biopic I Play Rocky.
The film, which premiered to much fanfare at the Toronto International Film Festival earlier this month, follows the making of 1976’s Rocky, with Anthony Ippolito playing a young version of Stallone as he develops and pushes the film through a tumultuous production.
During a chat at 92NY on Monday promoting his new memoir The Steps, Stallone reacted to the project, admitting he was initially “kind of mixed because I’m going, ‘I’m not dead yet. Aren’t we jumping the gun a little bit?’ And then I saw this video of this kid [Ippolito]. I actually thought it was me the first moment; there were a couple of angles. I go to my daughter and say, ‘That’s unbelievable.’”
The star emphasized he has “nothing to do” with the movie, which was directed by Peter Farrelly. “I said, ‘I’ll just sit back and watch.’ I talked to the kid. I said, ‘If you want any questions, here I am,’ and that was it. But they did it all on their own,” as Stallone joked that in seeing Ippolito’s portrayal, “I go, ‘Do I talk like that?’ Now I get it. Now I get it.”
Elsewhere in the conversation, Stallone spoke about what it’s like for him to watch the Rocky movies now (“It’s like you look at a photo of yourself, everyone else likes it, but you go [growl]”) and revealed he’s trying to get Amazon to let him recut 1990’s Rocky V, calling the movie “a thorn in my side.”
“It bothers me to death because I know I took my foot off the gas,” he said, noting that he should have directed it himself and “I should have been more aware of not trying to be cool to the audience.” He joked that if he’s able to do a recut, “It’s not going to be great. It’ll be acceptable.”
Stallone was also asked by the moderator, CBS Sunday Morning’s Tracy Smith, if he thinks he could make it to the top of Hollywood if he was just starting out today.
“It’s a whole different ideology out there… I don’t think so. It’s a whole different mindset,” he replied. “The actors look different. They act different — not the mentality, but the subject matter isn’t something that I could relate to. Like action right now is kind of anachronistic.”
He continued, “For example, if you were going to make The Godfather today, try casting it. Impossible. The whole premise — it just came at a certain time, and that’s why it makes it so unique. So quite often when they do remakes, they’re fundamentally forgetting that that film was based on the social climate, the thing, the look, the ethnicity, everything that there was going on at that time. Today, you couldn’t cast the film.”
The Steps hits bookshelves on Tuesday.
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Sports fans of a certain age can readily recall NBC‘s coverage of the Major League Baseball playoffs regularly pre-empting the network’s “Must-See TV” primetime lineup in the 1990s.
While today’s ratings and programming landscape has changed dramatically in the intervening decades, this year’s playoffs (starting Tuesday) are shaping up as a back-to-the-future milestone for NBC Sports. Its exclusive coverage of the wild card round (which aired on ESPN and ABC from 2022 to ’25) will deliver boosts to the broadcast network and streaming flagship Peacock.
Four games a day, starting at 2 p.m., 5 p.m., 8 p.m. and 10 p.m. ET, will be carried on Tuesday and Wednesday. Depending on the status of each best-of-three series, Thursday will see between one and four games before later playoff rounds shift to Turner and Fox. Viewership of MLB has been on the rise, with all rights holders seeing improvement over 2025 levels through the second half of the season. Last year’s World Series comeback by the L.A. Dodgers against the Toronto Blue Jays benefited from going the maximum seven games, but its average of 15.71 million viewers a game was the best for any Series since 2017, demonstrating the sport’s recent momentum.
Two of the Tuesday and Wednesday games (at 2 and 8) will air on NBC, with the other two airing on cable TV’s NBC Sports Network. If series move to a deciding third game on Thursday, NBC will air between one and three games, depending on where things stand. It’s a step up for broadcast TV compared with recent years, when only one game per day aired on ABC and extends a pendulum swing back to broadcast for the sport, whose entire pre-World series playoffs in 2019 aired on cable TV except for one game.
Peacock will stream every inning of the wild card round, between eight and 12 games. It will be the latest injection of live sports in a year that has already seen the Winter Olympics, the Super Bowl, NBA and NHL playoff games, and Spanish-language World Cup coverage. The streaming service ended June with 48 million subscribers after adding 2 million in the second quarter, which included Love Island USA and the start of the World Cup. It also increased prices in August during the runup to college football and NFL season, with MLB playoffs and the NBA not much farther down the line.
Six years after launch, Peacock finally turned a profit in the second quarter. NBCU Media Chairman Matt Strauss said live sports has been a key part of the company “playing to our strengths” in streaming.
NBCU reached a 3-year rights deal with MLB worth a reported $600 million in November 2025. “We are excited to reignite NBC Sports’ storied Major League Baseball history through this comprehensive and innovative partnership that will honor the past and create new traditions,” NBC Sports President Rick Cordella said at the time.
All wild card series have used the best-of-three format since 2022, replacing the prior set-up that pitted select lower-seeded teams against each other in a single-elimination game.
NBCU not only has more wild card games to work with; it also got lucky this year with the markets and teams represented in the kickoff to the postseason. Two longtime rivalries will be renewed, with the Boston Red Sox taking on the New York Yankees and the Philadelphia Phillies playing the Atlanta Braves. The other series also feature major markets and marquee teams, as the Chicago White Sox face the Houston Astros and the Chicago Cubs battle the San Diego Padres.
The presence of both the Cubs and the White Sox is just the fourth time that both Chicago teams have made the playoffs in the same year. The last time was in the Covid-altered 2020 season. Before that, the teams both made it in 2008 and when they dueled in the 1906 World Series (which was won by the White Sox).
The Astros are also the first team in MLB history to finish a full 162-game regular season without a winning record and still make the playoffs. Houston had 81 wins and 81 losses.
During a media conference call on Monday, play-by-play announcer Jason Benetti, analysts Anthony Rizzo and Joey Votto, and senior producer Matt Borzello talked about their approach to the wild card games. One feature similar to those incorporated into NBA and NHL telecasts is “Inside the Pitch,” in which players and former players positioned next to the field break down the action.
The combination of physical proximity and playing experience allows the broadcasters to “pick up on things like the conversations players are having that don’t reach the broadcast booth,” Rizzo said. Vatto said he and Rizzo pick up on the “little nuances” and the “tendencies and mannerisms” in a way they hope can benefit the viewer.
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