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Ellen in print, magazines, periodicals, newspapers, journals & whatnots. Some dates & places in mags where you can find Ellen are also included here. This section will always be a work in progress as we are always running accross Ellen items when researching. All content on this page will eventually be saved & relocated to the News Archives in the Ellen Muth Forum for future reference and research ... Thank You
Additional InformationTV GUIDE
January 24-30th, 2004
Page: 42
Article Title: TV Goes With God
Author: Mark Nollinger
Excerpt Segment: DEAD LIKE ME Killed by a toilet seat from space, cynical George (Ellen Muth) becomes a grim reaper, guiding souls of the newly dead. Afterlife lessons: George has unresolved family issues to sort out from limbo. (depicted bottom left: Ellen Muth as George Lass with Mandy Patinkin as her reaper boss Rube.)
See cover picture (Amber Tamblyn - Joan - "Joan Of Arcadia")
See insert picture (Ellen Muth & Mandy Patinkin - George & Rube - "Dead Like Me")
Additional InformationAP ONLINE
June 24th, 2003
Pages: n.a.
Title: "Teen Turns Grim Reaper in Showtime Drama"
Author: LYNN ELBER
Article: Angels don't like getting their hands dirty. You know, upper management types," declares Rube, one of the grim reapers who populate Showtime' s new drama "Dead Like Me." A little background: The series' executive producer, John Masius, created and was then ousted from "Touched by An Angel" because CBS thought his vision of the show overly dark.

So does the dialogue represent a bit of payback? No, says Masius. What about the wisecrack from Rube, "Hey, you don't see Della Reese sitting here"? "That still didn't feel like a shot," insists Masius. But, he adds, "This is not your mother's 'Touched by An Angel.'" That's for sure. While the CBS series was earnestly uplifting, "Dead Like Me," debuting 10 p.m. EDT Friday, specializes in black comedy, accented by adolescent surliness. That's because the focus is on Georgia, known as George, an 18-year- old college dropout who we meet in the dwindling hours of her aimless, unhappy life _ just before a space station's plummeting toilet ends it. But George remains reluctantly earthbound, tapped to work for an indefinite period as one of the reapers who pluck out souls from the dead and send them on to their next destination.

Ellen Muth, an intriguing young actress who appeared in the TV movie "The Truth About Jane" and the film "Dolores Claiborne," plays George. Her fellow reapers are team leader Rube (Mandy Patinkin), Roxy (Jasmine Guy), Mason (Callum Blue) and Betty (Rebecca Gayheart). (Gayheart leaves the drama after four episodes, with Laura Harris of "24" coming on board.) "Dead Like Me" focuses as well on George's bereaved family, including the mother (Cynthia Stevenson) whom she bickered with and the younger sister (Britt McKillip) she ignored. Greg Kean plays dad Clancy.

Death is in the forefront but Masius wants to focus on the show's humor and its capacity to be life-affirming, in a non-saccharine way. "In our culture, death is looked on as a negative. Part of the show says, `It's a part of the life process,' which is not a bad lesson, " Masius said. As for the conceit that souls are released by caring reapers, that's "a very sweet thought."

Patinkin, the stage, film and TV ("Chicago Hope," "Alien Nation") veteran, said he's looking on the bright side, too. "What appealed to me most about the show was that it was indeed about life, not about death, and about how to have fun and embrace it," Patinkin said. "If there's one umbrella the show lives under it's `Have fun.' Don't waste a minute of this life _ or this death, because it's the only death you're gonna get."

The hereafter seems to be a professional obsession for Masius. Besides "Touched by an Angel," he created and for four years was executive producer of "Providence," in which the lead character was visited regularly by her departed mother. "I don't know what this afterlife thing is with me," Masius said, with good humor. Perhaps it's a subject for a counseling session? "Believe me, I've talked about it with my therapist," he said. The delicate connection between the living and dead is an irresistible dramatic subject, Masius noted, quoting a former colleague. "As Tom Fontana wrote in 'St. Elsewhere,' death ends a life, but it doesn't end a relationship.' Closure doesn't come easy," Masius said.

It took time for him reconcile the loss of "Touched by An Angel" to Martha Williamson, who was brought in as executive producer and gave the 1994-2003 drama her own stamp. "I have two disabled kids, and when I wrote the pilot for 'Touched by An Angel' and cast Roma (Downey) and Della, I was very angry. What kind of God does terrible things to little kids?" CBS executives rejected his approach. "I got into 'My way or the highway' with the network and they said, 'Goodbye,'" he recalled. Williamson "turned it into something that was a little too fundamentalist for my taste." But the show was a success for CBS, and Masius benefited financially.

Now the tables are turned and he's trying to make a go of another writer's concept. "Dead Like Me" was created by Bryan Fuller, who left to work on a broadcast network series. Ironically, Masius said, he's been given the job of easing the tale' s darkness and cynicism. The passage of years has allowed him the perspective needed, the 52-year-old writer observed. "Without taking shots at Bryan, because he's incredibly talented, he definitely reminds me of me when I was around 30." Masius cites the best-selling novel "The Lovely Bones," about a murdered girl observing how her family tries to cope, as one inspiration for his approach to the show. A far different work comes to mind when Masius observes scenes in which the reapers gather at a diner for food and conversation. "It feels at times like 'Seinfeld' on acid to me. It's so surreal" ...
Additional InformationENTERTAINMENT WEEKLY
(not actual cover image)
May 11th, 2001
Number 595 - Page: 53
Section: Movies/Quick Takes - "The Young Girl & The Monsoon"
Author: Bruce Fretts
Excerpt Quotes: "13-year-old daughter (played with unnerving believability by Ellen Muth)" ... When Terry Kinney (the dad in the movie) and Muth (daughter) share scenes, it's hard not to get caught up. COLOR PHOTO: THE YOUNG GIRL AND THE MONSOON: SHALHEVET MOSHE GIRL TALK Monsoon's Muth is swept up in the storm of adolescence.
Additional InformationPEOPLE
(not actual cover image)
August 7th, 2000
Pages: pp 31+
Section: Picks & Pans: Tube "The Truth About Jane"
Author: Terry Kelleher
Excerpt Quotes: "Muth gives a highly sympathetic performance that compensates for Jane's intrusive narration, which tends to explain emotions the actress has already made manifest" ...
ImagesNEWSDAY
November 13th, 1996
Pages: pp B02
Title: "Roots With Charm / A Warm hug In an Armenian Family"
Author: Linda Winer
Article: NINE ARMENIANS. By Leslie Ayvazian, directed by Lynne Meadow. With Linda Emond, Michael Countryman, Kathleen Chalfant, Ellen Muth, Cameron Boyd, Sophie Hayden, Richard Council, Ed Setrakian, Sevanne Martin. Set by Santo Loquasto, costumes by Tom Broecker, lights by Kenneth Coaster, music performed by George Mgrdichian. Manhattan Theatre Club, 55th Street west of Sixth Avenue. Seen at Sunday's preview.

IT IS A SCENE like countless Sunday after-dinner scenes in endless driveways over so many American maps. The exasperated father tries to corral his noisy brood into the family car and make his getaway before Grandma can remember to push another pot of leftovers, or Grandpa forgets how to get himself out of the bathroom again, or somebody decides to give someone another hug. Most of us recognize the comfort in the familiar repetitions of such loving separations, not to mention the boredom and amused impatience, the annoyance and ancestral headaches. For the family in "Nine Armenians," the preachy but sweetly unpretentious little American-immigrant play that opened last night at the Manhattan Theatre Club, the clinging has an undercurrent of clutching.

For all its comic hysteria, the parting scene that opens Leslie Ayvazian's 90-minute comic drama seems to linger, just an extra moment, near the desperate side of the lifeline. Before long, we come to understand what goodbye means to these people. We also appreciate the food. This surely is the nicest show in town. It's charming, the way the bickering of someone else's family is charming. And to any immigrant's child who ever wanted to know - and somehow didn't want to know - the real family stories (which probably means everyone), it will push a few buttons that stay pushed a while after you leave the theater. There is, however, a strong element of "After School Special" in the playwright's sincere exploration of her roots. She writes bouquets of sophisticated human details - beautifully funny turns of mind and graceful observations - which she then interrupts with a declaration about the Armenian massacre by the Turks in 1915 or a bombastic little speech about the starvation there today.

It is hard to imagine a more sensitive production than the one mounted here by Lynne Meadow, artistic director of Manhattan Theatre Club, whose own rare directing projects always remind us of the confidence, delicacy and force of her vision. In this simple, leisurely series of scenes from Armenian-American life, three generations - nine Armenians - grow up in a New Jersey that struggles and coexists with memories of the old country. The action revolves around Ani (Sevanne Martin), a politically aware teen who, after getting arrested for an anti-nuke demonstration, decides to go to Armenia to see what her scholar grandfather (Ed Setrakian) tried to teach her before he died. Thus, we have split-screen counterpoint scenes, with Ani huddled amid misery on one side, while her little brother and sister (the impressive young Cameron Boyd and Ellen Muth) argue about Ani's Roller Blades. An onstage folk musician (George Mgrdichian) plucks modal melodies on an oud between scenes. More than a little time is spent admiring a needlessly symbolic bird that has accommodated itself to modern life by building a nest from Kleenex.

WHEN NOT trying to get us interested in Armenia - or, by implication, in Bosnia or Zaire or any other deceptively faraway horror - Ayvazian wins us with the details. Each character is observed with a clear eye, and performed here with an appreciation of the difficulty of simplicity. Kathleen Chalfant, that master of unexpected versatility, is stately and playful as the grandmother. The always sympathetic Michael Countryman, as the doctor-father, makes us feel his impatience. Sophie Hayden is believably outrageous as the bejeweled sister-in-law, while Linda Emond, as the mother, finds the insecurity in the most ostensibly stable of the women. The stage has been designed by Santo Loquasto to be plain without being drab. We could imagine a whole set of such plays, telling a similar story by a family from every ethnic group in America. Each one would be different, yet hearteningly the same ...
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