Saturday, June 26, 2010
Friday, June 25, 2010
Thursday, June 24, 2010
Wednesday, June 23, 2010
Tuesday, June 22, 2010
What Happens When the Camera is Still Recording After a Fail
Kids-- don't be stupid. This could happen.
Monday, June 21, 2010
TV 2009/2010: The #1
And, finally, my favorite show of the past 12 months:
Like last year, it may be a bit unfair to include a show I saw this past year on DVD as opposed to when it originally aired, but I’d be remiss if I didn’t include Doctor Who in my Top Ten again. Like the first season I watched last year, Seasons Two through Four got increasingly impressive as they progressed.
Season Two opened where Season One left off: Christopher Eccleston’s Doctor died and was regenerated in a new body (the body of actor David Tennant, the tenth Doctor in the long-lived show’s history)—all to the dismay of human companion Rose Tyler (played by Billie Piper). Because not only does a regeneration change the physical appearance of The Doctor, but there are also some behavioral changes as well.
In this case, The Doctor is a bit more emotional than the previous incarnation. Where Eccelston’s (Ninth) Doctor was more detached from the characters he saved or fought, Tennant’s (Tenth) Doctor takes things more personally. It’s hard not to turn away when he has that look in his eye that tells his opponents he’s not playing. I’m not saying it’s a bad thing; it’s actually a good reminder that this character we’re watching and rooting for is not human.
And that’s where Rose comes in. She is a constant source of humanity for the show; the character we can most identify with. She also becomes a love interest for The Doctor, and that was interesting to see. All season they got closer and closer until the end of Rose’s journey, which, just itself, made this entire show worthy of earning a Top Ten spot—I don’t know if I’ve ever been as heartbroken as I was at the end of Season Two. The final scene between Tennant and Piper was beautifully acted by them and emotionally draining for me. I can’t think of a more heart-rending ending to their journey.
Season Three begins with The Doctor getting a new companion thrust upon him; one who isn’t willing to put up with all of the danger that follows him. In a very interesting change of events, Donna Noble, the “Runaway Bride”, declines the invitation to travel with him after their first adventure. She finds him too dangerous and too scary—and she tells him such. And after losing his people—and Rose—The Doctor can’t disagree. So he continues, alone.
Until the next adventure, where The Doctor runs into the beautiful and brilliant Martha Jones, and she falls hard for him. But he can’t see her as anything more than a sidekick. Martha is somewhat stronger than Rose (Rose travelled as a way to escape her ordinary life, and Martha travelled more out of responsibility), and she can see the help she can give while working with him. And, she also hoped he’d finally notice her.
Season Three continued full-steam ahead, and there are some really wonderful episodes contained in the back half of it. Mid-way through the season, The Doctor had to hide from some enemies and became human with no recollection of his true self. He built a life and found a mate (all while under the eye of Martha, who was the only one who knew that “John Smith” was much more than a professor)—and then The Doctor came calling. But the newly human John Smith did not want to give up his life to become The Doctor again. Tennant had a number of really wonderful scenes as he struggles with the fact that John Smith must die in order to save the others at the school he works at. And we also got a very sad look at The Doctor’s life when Smith demands Martha answer why The Doctor even needs her. She replies with, “Because you’re lonely,” and Smith immediately responds with, “And you want that for me?” Of course, The Doctor returns—but there is much sadness that comes when we get to see what John Smith’s life could have been like had he been able to live it out. And The Doctor took out his frustration on the villains by giving them each a horrific punishment that further reminds us that he can act on emotions as much as any human.
After that episode, it moves right into the next adventure, “Blink”, which is one of the best hours of television I’ve seen in a while-- and, oddly, The Doctor and Martha are little more than presences in it as just-introduced Sally is the focal character. They need to get Sally to do certain things—but have to do it from the 1960s, where they’re trapped. It was a very unusual and disturbing episode.
Finally, the season ends with the return of The Doctor’s opposite: The Master. The Master takes control of the world, diminishes The Doctor into helplessness, tortures Captain Jack—and completely underestimates Martha, who proves her worth as a hero in a way very few people would have.
And just like the end of Season Two broke my heart, the end of Season Three did as well as The Doctor and Martha go their separate ways. It was especially troubling for me as I became a big fan of not only Martha, but of the actress who played her (the absolutely beautiful Freema Agreyma).
Finally, Season Four begins with Donna Noble searching for The Doctor. She realized she wants more from life than the dreary temp jobs she had before and after she met him. By some coincidence (or is it?), she and The Doctor reunite, and they go off on adventures together. Like Martha and Rose were different from each other, so, too, is Donna, who may not be all that bright—or brave—but brings her own brand of “anchoring” to The Doctor. She is very compassionate and also is not willing to blindly follow The Doctor like Rose and Martha were. Not only does that make the dynamic between the two different—it also really helps the viewers get into the mind of The Doctor because Donna constantly questions him—and he has to respond, giving us a view into his past and his rationales.
And while Donna may not be as typically heroic as previous companions, she proves herself time and again in their adventures; with high points being in an alternate universe she was in where she— and only she— can save The Doctor. And we can’t discount the role she played in the season finale.
The end of Season Four is a monster epic which brings back many previously seen characters—and is a great capper to Tennant’s run as The Doctor (he starred in a few made-for-TV movies between Season 4 and Matt Smith’s run beginning Season 5, but this was supposed to be the big finale). And, like the seasons before, The Doctor loses his current companion; this time in an interesting—and very tragic—way.
And, finally, the final episodes of Tennant’s run were extra-length specials with different companions, all culminating in the “End of Time” movie event (co-starring the absolutely wonderful Bernard Cribbins), where The Doctor knows he’s going to die, and fights it with every fiber of his being. But, no matter how many twists and turns he had, the prophesies were true; his “song” comes to an end—and it was excruciating, even if the show gave Tennant a very respectful send-off.
Tennant’s tenure ended one of the greatest runs of television episodes I’ve ever seen, so I was a bit worried about what would come next. But the 11th Doctor, Matt Smith, hit his first episode out of the park. So while I’m not caught up with the new Doctor, I knew this franchise is in good hands when Smith’s Doctor basically told an alien invasion force that it had better leave before he kicks their asses after showing them a fantastic mini-history of this long-lived franchise.
Doctor Who
Like last year, it may be a bit unfair to include a show I saw this past year on DVD as opposed to when it originally aired, but I’d be remiss if I didn’t include Doctor Who in my Top Ten again. Like the first season I watched last year, Seasons Two through Four got increasingly impressive as they progressed.
Season Two opened where Season One left off: Christopher Eccleston’s Doctor died and was regenerated in a new body (the body of actor David Tennant, the tenth Doctor in the long-lived show’s history)—all to the dismay of human companion Rose Tyler (played by Billie Piper). Because not only does a regeneration change the physical appearance of The Doctor, but there are also some behavioral changes as well.
In this case, The Doctor is a bit more emotional than the previous incarnation. Where Eccelston’s (Ninth) Doctor was more detached from the characters he saved or fought, Tennant’s (Tenth) Doctor takes things more personally. It’s hard not to turn away when he has that look in his eye that tells his opponents he’s not playing. I’m not saying it’s a bad thing; it’s actually a good reminder that this character we’re watching and rooting for is not human.
And that’s where Rose comes in. She is a constant source of humanity for the show; the character we can most identify with. She also becomes a love interest for The Doctor, and that was interesting to see. All season they got closer and closer until the end of Rose’s journey, which, just itself, made this entire show worthy of earning a Top Ten spot—I don’t know if I’ve ever been as heartbroken as I was at the end of Season Two. The final scene between Tennant and Piper was beautifully acted by them and emotionally draining for me. I can’t think of a more heart-rending ending to their journey.
Season Three begins with The Doctor getting a new companion thrust upon him; one who isn’t willing to put up with all of the danger that follows him. In a very interesting change of events, Donna Noble, the “Runaway Bride”, declines the invitation to travel with him after their first adventure. She finds him too dangerous and too scary—and she tells him such. And after losing his people—and Rose—The Doctor can’t disagree. So he continues, alone.
Until the next adventure, where The Doctor runs into the beautiful and brilliant Martha Jones, and she falls hard for him. But he can’t see her as anything more than a sidekick. Martha is somewhat stronger than Rose (Rose travelled as a way to escape her ordinary life, and Martha travelled more out of responsibility), and she can see the help she can give while working with him. And, she also hoped he’d finally notice her.
Season Three continued full-steam ahead, and there are some really wonderful episodes contained in the back half of it. Mid-way through the season, The Doctor had to hide from some enemies and became human with no recollection of his true self. He built a life and found a mate (all while under the eye of Martha, who was the only one who knew that “John Smith” was much more than a professor)—and then The Doctor came calling. But the newly human John Smith did not want to give up his life to become The Doctor again. Tennant had a number of really wonderful scenes as he struggles with the fact that John Smith must die in order to save the others at the school he works at. And we also got a very sad look at The Doctor’s life when Smith demands Martha answer why The Doctor even needs her. She replies with, “Because you’re lonely,” and Smith immediately responds with, “And you want that for me?” Of course, The Doctor returns—but there is much sadness that comes when we get to see what John Smith’s life could have been like had he been able to live it out. And The Doctor took out his frustration on the villains by giving them each a horrific punishment that further reminds us that he can act on emotions as much as any human.
After that episode, it moves right into the next adventure, “Blink”, which is one of the best hours of television I’ve seen in a while-- and, oddly, The Doctor and Martha are little more than presences in it as just-introduced Sally is the focal character. They need to get Sally to do certain things—but have to do it from the 1960s, where they’re trapped. It was a very unusual and disturbing episode.
Finally, the season ends with the return of The Doctor’s opposite: The Master. The Master takes control of the world, diminishes The Doctor into helplessness, tortures Captain Jack—and completely underestimates Martha, who proves her worth as a hero in a way very few people would have.
And just like the end of Season Two broke my heart, the end of Season Three did as well as The Doctor and Martha go their separate ways. It was especially troubling for me as I became a big fan of not only Martha, but of the actress who played her (the absolutely beautiful Freema Agreyma).
Finally, Season Four begins with Donna Noble searching for The Doctor. She realized she wants more from life than the dreary temp jobs she had before and after she met him. By some coincidence (or is it?), she and The Doctor reunite, and they go off on adventures together. Like Martha and Rose were different from each other, so, too, is Donna, who may not be all that bright—or brave—but brings her own brand of “anchoring” to The Doctor. She is very compassionate and also is not willing to blindly follow The Doctor like Rose and Martha were. Not only does that make the dynamic between the two different—it also really helps the viewers get into the mind of The Doctor because Donna constantly questions him—and he has to respond, giving us a view into his past and his rationales.
And while Donna may not be as typically heroic as previous companions, she proves herself time and again in their adventures; with high points being in an alternate universe she was in where she— and only she— can save The Doctor. And we can’t discount the role she played in the season finale.
The end of Season Four is a monster epic which brings back many previously seen characters—and is a great capper to Tennant’s run as The Doctor (he starred in a few made-for-TV movies between Season 4 and Matt Smith’s run beginning Season 5, but this was supposed to be the big finale). And, like the seasons before, The Doctor loses his current companion; this time in an interesting—and very tragic—way.
And, finally, the final episodes of Tennant’s run were extra-length specials with different companions, all culminating in the “End of Time” movie event (co-starring the absolutely wonderful Bernard Cribbins), where The Doctor knows he’s going to die, and fights it with every fiber of his being. But, no matter how many twists and turns he had, the prophesies were true; his “song” comes to an end—and it was excruciating, even if the show gave Tennant a very respectful send-off.
Tennant’s tenure ended one of the greatest runs of television episodes I’ve ever seen, so I was a bit worried about what would come next. But the 11th Doctor, Matt Smith, hit his first episode out of the park. So while I’m not caught up with the new Doctor, I knew this franchise is in good hands when Smith’s Doctor basically told an alien invasion force that it had better leave before he kicks their asses after showing them a fantastic mini-history of this long-lived franchise.
Sunday, June 20, 2010
TV 2009/2010: National Parks
There are a number of worthy shows that could justify the last slot before #1. A great thinking show like Real Time With Bill Maher. Funny shows like The Big Bang Theory and Cougar Town—or a unique one like Better Off Ted. A fantastically written and hosted satire like The Soup. Or one with a very unique concept like 30 For 30.
But I’m going to go with one that just floored me, visually: National Parks: America’s Best Idea. It’s one of the few shows I watched in HD (I watch so many shows, my DVR can’t handle the space needed for High Def), and it was just beautiful to see.
I was also very intrigued by the vast amounts of information presented in the mini-series. I probably don’t remember 20% of the facts—but I do remember the struggle to develop a National Parks system (and America was the first country to do so). This is the first Ken Burns documentary series I have ever seen, and it was a great introduction to his work (some of which I hope to catch up on over the summer).
I read a little squawking about the miniseries; that Burns was too political in some regards (actually suggesting that the Federal Government was good for something)—and not enough in others (ending the series before Ronald Reagan’s turnaround on the concept—at least his non-support). And while maybe there was a bit of an agenda in his mind, I got the feeling that Burns was honest when he said he just wanted to remind us the parks are still there.
And he couldn’t have presented them much better. I had a very serious longing to explore for weeks after I watched the series) and my usual exploring is in my basement, looking for a book or DVD. I hope people took him up on his hope to get out and travel to a park. I’m not sure if the average person can get all the spectacular views he was able to get—but it would sure be worth trying.
But I’m going to go with one that just floored me, visually: National Parks: America’s Best Idea. It’s one of the few shows I watched in HD (I watch so many shows, my DVR can’t handle the space needed for High Def), and it was just beautiful to see.
I was also very intrigued by the vast amounts of information presented in the mini-series. I probably don’t remember 20% of the facts—but I do remember the struggle to develop a National Parks system (and America was the first country to do so). This is the first Ken Burns documentary series I have ever seen, and it was a great introduction to his work (some of which I hope to catch up on over the summer).
I read a little squawking about the miniseries; that Burns was too political in some regards (actually suggesting that the Federal Government was good for something)—and not enough in others (ending the series before Ronald Reagan’s turnaround on the concept—at least his non-support). And while maybe there was a bit of an agenda in his mind, I got the feeling that Burns was honest when he said he just wanted to remind us the parks are still there.
And he couldn’t have presented them much better. I had a very serious longing to explore for weeks after I watched the series) and my usual exploring is in my basement, looking for a book or DVD. I hope people took him up on his hope to get out and travel to a park. I’m not sure if the average person can get all the spectacular views he was able to get—but it would sure be worth trying.
TV 2009/2010: Inside Studio 42 With Bob Costas
Inside Studio 42 With Bob Costas
I’ve mentioned more than once before that I’m not a sports-guy, but I do appreciate good sports journalism (like HBO’s Real Sports With Bryant Gumbel) or good storytelling (like ESPN’s 30 For 30). Bob Costas is great at both. But what he really excels at is interviews. And when you combine that talent with his biggest passion—baseball—you get a magical show.
And this show is pure magic. When Costas can glue me to my TV set while talking to someone I had never even heard of about baseball games that happened well before I was even born, that’s pretty special. And he can; every episode.
Costas has a savant-like recall of stats and games from decades ago, but unlike most hosts, he never makes the show about himself. He’s just a tool that gets these great Hall of Fame players to talk about their pasts.
And of the handful he talked with, I learned there is a great dignity about them—especially with the older men. I think that’s still part of the appeal of baseball—the great men who played in the past. When asked about being stuck in a very racist time in America, most of the black former players just said they dealt with it—and thanked the black men who played before them for paving the way. I was also struck by the men who left very successful baseball careers to fight in World War II and then came back and continued playing. And, to a man, none said they regretted losing the best years of their playing lives to fight a war. The very idea of that regret is not a consideration to them.
Not many modern athletes have that kind of humility. Yes, there are probably more humble, dignified players in pro sports than it seems, but I think every athlete—in fact every person—would benefit from watching these men talk about their lives, struggles, and triumphs. We could all learn something from them.
Saturday, June 19, 2010
TV 2009-2010: 10 Things I Hate About You
10 Things I Hate About You
Again, this is a show I shouldn’t like. A high-school show based on a movie that was released ten years ago (how often are those shows any good?). But this isn’t a typical CW-type teen show with bad acting, ridiculous situations, and insane sexual situations. This is a modern show with an old-school heart.
Teen sisters Kat & Bianca move to a new city with their widower father and try to fit into their new school. Bianca dreams of being in the popular crowd—by way of the cheerleading squad—but always manages to inadvertently insult the team captain, who makes her do humiliating things as penance. Kat wants nothing to do with petty high school desires; she’s out to save the world.
The show is very clever, and even the “seen it before” plots are given facelifts by the tight lines and the actors’ abilities to raise their game. Meaghan Jette Martin plays Bianca perfectly. She can have a bit of “over-her-head” moments and yet remain strong in our minds. She usually plays the “straight girl”, and has the ability to make us like her while pining for one boy—and rebuffing another who pines for her. That’s tough to manage; to be lovesick in one scene and confidently managing to not break someone else’s heart in another. Larry Miller plays the father, Walter, and I can’t think of another actor who could fill the role as perfectly as he does. He got thrown in the deep end of the pool with the death of his wife (which does not define the character as it normally would on a TV show; it happened, and he misses her—but he has two teenage daughters to raise), but he deals with it as most real fathers would.
The supporting actors also play their characters well. Unfortunately, the characters didn’t get the chance to progress beyond the surface stereotypes (headstrong/bitch cheerleader captain, befuddled/lovesick boy pining for someone out of his league, good-looking idiot football captain, goofy). Of note is Ethan Peck’s Patrick, the “loner”, brooding love interest of Kat. He, too, hasn’t had much to do to make his character more than the “rebel without a cause”, but he holds himself incredibly well in scenes with Lindsey Shaw’s Kat—and was been given some more to do in the back half of the season (which, sadly, lacked the magic of the first half).
And that brings us to Lindsey Shaw, who gained my attention in a big way in the fantastic Aliens in America a few years back. In that show, she was a supporting character, but on this one, she’s the center of attention. Bianca and Kat both have their plotlines, but the show focuses on Kat’s life more. And it’s well-deserved because Shaw is fantastic. She has an incredibly magnetic presence on screen—even when the scripts let her down a little. I don’t want to jinx her career or anything, but I could see big things from her. Maybe not on the big screen (yet), but she could be a major force on TV for years to come if she keeps finding great shows to be on. Unfortunately, this show, like Aliens in America, didn’t get a second season, so she’ll have to try to find another one to shine in.
Premieres and Notables; June 21-27
Monday, 6/21
BrainSurge; Nickelodeon. 5 pm CST. 2nd Season Premiere.
Saving Grace (TNT; 8 pm CST). Series Finale.
Inedible to Incredible; TLC. 9 pm CST. Series Premiere.
Another cooking show...
Tuesday, 6/22
Wipeout; ABC. 7 pm CST. 3rd Season Premiere.
Downfall; ABC. 8 pm CST. 2nd Season Premiere.
Some sort of gameshow...
Hawthorne; TNT. 8 pm CST. 2nd Season Premiere.; TNT. 9 pm CST. Series Premiere.
Memphis Beat
Jason Lee, Alfrie Woodard, and D.J. Qualls star in this show about a man who is a detective during the day who sings Elvis tunes during night.
Primetime: Mind Games; ABC. 9 pm CST. Mini-series.
A five-part look at how people can be brainwashed.
Real Sports With Bryant Gumbel; HBO. 9 pm CST. Season Premiere.
One of the best shows airing. Check it out.
Thursday, 6/24
Futurama; Comedy Central. 9 pm CST. Season Premiere.Series Return
Seven years after FOX cancelled, it Comedy Central made an order for 26 new episodes.
Boston Med; ABC. 9 pm CST. Mini-series.
An eight-part look at surgeries in three Boston hospitals.
Friday, 6/25
Party Down (Starz; 9 pm CST). Season Finale.
Saturday, 6/26
Dinocroc vs. Supergator; Syfy. 8 pm CST. Movie.
I have a friend who's a little bugged that "Sci Fi Channel" changed to "Syfy".
I wasn't all that excited about it either-- but shit titles (and I'll give this a 99% likelihood this is a shit movie as well) like this one is one more reason to keep the word "sci fi" away from it.
Sunday, 6/27
Hung; HBO. 9 pm CST. 2nd Season Premiere.
Entourage; HBO. 9:30 pm CST. 7th Season Premiere.
BrainSurge; Nickelodeon. 5 pm CST. 2nd Season Premiere.
Saving Grace (TNT; 8 pm CST). Series Finale.
Inedible to Incredible; TLC. 9 pm CST. Series Premiere.
Another cooking show...
Tuesday, 6/22
Wipeout; ABC. 7 pm CST. 3rd Season Premiere.
Downfall; ABC. 8 pm CST. 2nd Season Premiere.
Some sort of gameshow...
Hawthorne; TNT. 8 pm CST. 2nd Season Premiere.; TNT. 9 pm CST. Series Premiere.
Memphis Beat
Jason Lee, Alfrie Woodard, and D.J. Qualls star in this show about a man who is a detective during the day who sings Elvis tunes during night.
Primetime: Mind Games; ABC. 9 pm CST. Mini-series.
A five-part look at how people can be brainwashed.
Real Sports With Bryant Gumbel; HBO. 9 pm CST. Season Premiere.
One of the best shows airing. Check it out.
Thursday, 6/24
Futurama; Comedy Central. 9 pm CST. Season Premiere.Series Return
Seven years after FOX cancelled, it Comedy Central made an order for 26 new episodes.
Boston Med; ABC. 9 pm CST. Mini-series.
An eight-part look at surgeries in three Boston hospitals.
Friday, 6/25
Party Down (Starz; 9 pm CST). Season Finale.
Saturday, 6/26
Dinocroc vs. Supergator; Syfy. 8 pm CST. Movie.
I have a friend who's a little bugged that "Sci Fi Channel" changed to "Syfy".
I wasn't all that excited about it either-- but shit titles (and I'll give this a 99% likelihood this is a shit movie as well) like this one is one more reason to keep the word "sci fi" away from it.
Sunday, 6/27
Hung; HBO. 9 pm CST. 2nd Season Premiere.
Entourage; HBO. 9:30 pm CST. 7th Season Premiere.
TV 2009/2010: Community
Community
This season brought us a good number of great new comedies, but the one I enjoyed the most was NBC’s Community. Not since the early seasons of the U.S. The Office have I looked forward to the random hilarity of a network comedy as much as I did for this show.
At first, I came for Joel McHale, who was able to maintain that snarky attitude that has served him so well over the years on The Soup on this show as a lawyer who got knocked down a few pegs. But the show quickly became an ensemble piece that is eclectic enough to allow this very limited concept (following a Spanish study group and their adventures within the community college campus) to go in many directions. I honestly had no idea what was going to happen next, and that’s pretty impressive for a network comedy.
Most comedies take the majority of their first seasons to click, but I think Community hit its stride as early as November as the Halloween episode was the one that stood out for me; the one that made me love this show. Bookended with the equally excellent paintball episode from May, and you have a really great season. I can see this show being the Thursday anchor that NBC needs when The Office and 30 Rock end (which I believe will be sooner rather than later).
Friday, June 18, 2010
TV 2009/2010: Glee
Glee.
I shouldn’t like this show. It’s about high school. It’s a musical. There are a number of silly-- to ludicrous-- plotlines…
But I highly enjoed it. I’ve laughed out loud more at this show than at almost any other show this year.
There is an incredible type of magic working behind this show. The characters are broad and stereotypical at first (and at second and third), but the actors and the writers somehow make them feel fresh. They manage to find that perfect song for the moment that makes it very difficult to not stand up and clap after it’s sung. If you would have told me a year ago that I would think Journey’s “Don’t Stop Believin’” or Neil Diamond’s “Sweet Caroline” are great songs, I would have laughed. But somehow, in the context of the show and how the songs work into the plot, they are pretty great.
[Of course, the show may be beginning to suffer from “too much of a good thing” as the back half of the season had musical numbers jammed into the episodes a bit more noticeably than the front half. I hope the show doesn’t go overboard with songs just to sell a few more of them on iTunes. In fact, had it not felt so cluttered in the back-half of the season, it would have been in the running of my favorite show of the year.]
Even the fact that the show absolutely plays on my emotions is magical. I know that certain scenes or lines were done just to get me to feel one way or another. I can see it coming a mile away. But I can’t help feeling how I am “supposed” to feel when the moment arrives. I fight that kind of blatant manipulation as much as I can with everything I watch or read—but this show hooks me damn near every time.
It’s wonderful to just, plain feel good while watching a show.
Of course, I’m making it sound like it’s all sunshine and roses, and this show is not. One of my favorite elements is the dark humor. These kids are kids. They constantly rip on each other. No one can ever get a break. That’s how teenagers behave; they can’t let someone else get the upper hand.
And while the entire cast is capable, for the most part, I have to single out Jane Lynch as being one of the most reprehensible, evil villains in my many years of television watching. Her cheerleading coach is so wildly over-the-top, you have to love her. You can’t look away. Lynch is usually excellent in any role I’ve seen her in, but this may be a career highlight for her. Loud, sarcastic, and sharp as a knife.
And I also have to mention my favorite character, Brittany. The prototypical dumb cheerleading blonde. She doesn’t get to say much, but I looked forward to her one line an episode, such as “Dolphins are gay sharks” or “I think my cat is reading my diary.” Never makes sense, never has anything to do with anything. She’s just, plain hilarious.
So, yeah, the show has its silly moments-- and its downright “what the Hell were they thinking?” moments (fake pregnancies, anyone?)-- and the cast doesn’t always ring completely true… But the show is fun, it’s smart, it makes you feel for the characters and the situations, it uses music in ways that not many other TV shows (or movies) have used it, and it has made pretty great use of guest stars or recurring actors (Mike O’Malley really impressed me). It’s definitely worth watching.
TV 2009-2010: Modern Family
Modern Family
I’m not sure if I enjoyed this one any more than I enjoyed The Middle before it or Cougar Town after it, but I do think Modern Family is a great new way to return to an old-style comedy concept. It was also the most consistent of the three new ABC comedies.
First off, you’ve got a great cast. Every single actor knows his/her role in the series—and knew it from the very beginning. Props, too, to the writers and directors who didn’t play around with the concept or the characters. This show knew what it was from the wonderful pilot and continued in that same tone throughout the season.
But the most “magical” part about it was while it kept its mostly-grounded sense of reality, it also wasn’t mean-spirited. I’m all about funny, scathing humor—but I also appreciate a show that can maintain a level of warmth while remaining very funny. This is one of very few recent shows that is able to do that. I’m also impressed that the children are active participants in the humor. Most shows have the kids appear once or twice and then are forgotten about; this one not only keeps them on screen (such as the constant presence of the baby Lily), but often uses them to move the plot or as be active in the humor (such as the wonderful Manny).
Like most comedies, I expect to become a little more comfortable with the show in subsequent seasons (forgetting how original it is in this climate), but this show definitely is a different animal for being normal, and it should be commended for it.
Thursday, June 17, 2010
TV 2009/2010: Justified
Justified.
I tried to curb my excitement for what on paper sounded like a “sure thing” because more often than not, those “sure things” end up being duds. But I should have let myself get excited. I mean, Graham Yost adapts an Elmore Leonard short story, damn near to the letter, for FX; a studio that can easily allow for a grittier show—but not so uncensored that anything goes. Yost chooses Timothy Olyphant to play Rayland Givens, a U.S. Marshal who has a tendency to come out of shootouts without a scratch—and the other person comes out in a body bag. What makes Olyphant a great choice is not only the fact that he’s a great actor, but his work on Deadwood showed he can play not only a likeable, but an honorable, character that has rage simmering just below the surface. Then Yost takes an actor that FX fans love (Walton Goggins) and gives him a character that is hard to love— which Goggins transforms into a character that is impossible to resist. And, finally, Yost surrounds Olyphant with actors playing characters that are fun (and funny, in some cases) to watch.
The writing and directing are great, but Olyphant owns this show. I’ve been a big fan since Deadwood, and it’s good to know his work there wasn’t an aberration. Raylan Givens, as noted before, is an angry man. He doesn’t seem like it, but look at his eyes as he deals with people he considers threats, and you can see it bubbling. But he also has a smart-aleck quality such as when dealing with people he knows he’s smarter than. His eyes dare the other character to do “something stupid”. Olyphant has the eyes and the purposeful walk that served his Deadwood character (Seth Bullock) so well. And the hat... Leonard was against Givens’ Stetson at first, but Yost overruled him as well he should have. Givens is not defined by the hat, but it adds a certain lawfulness to the character. You know who the good guy is on the show.
TV 2009/2010: Attack of the Show
Attack of the Show
I had seen it a few times here and there throughout its run, but I began watching it regularly inJanuary (watching almost every ep since then). I started watching for the Around the Net feature, where five video clips are shown each day (many of which I pause during to run to the computer to find and embed in this very blog), and that’s worth the price of admission. And while the clips are normally pretty good (or bizarrely horrible), hosts Keven Pereira and Olivia Munn’s intros and outros are usually very funny.
But after I started watching a few episodes in a row, I noticed just how clever Pereira and Munn can be. They have a great chemistry and a similar attitude, so it’s fun to see their reactions to each other when either goes “off script”. Both are pretty fearless and are willing to bomb for the sake of a joke. But usually the humor works. Even Kevin, dry humping new tech devices at an electronics convention, is funnier on screen than you’d think it would be.
Aside from ATN clips and stunts, AOTS (better start learning the acronyms if you want to be a fan) features such weekly segments as “DVDuesday” where movie critic Chris Gore gives his take on that day’s new releases; “Gadget Pr0n”, with the always silly Chris Hardwick reviewing tech items; “The Loop”, where experts in a particular subject discuss the latest big news and its impact on consumers; “Epic Fail” (video clips of stunts gone awry), and “Moments on DeEvolution” (video clips of stunts purposely designed to hurt people—or at least of people doing really stupid things). And Pereira and Munn have great interviews with actors and musicians that go beyond the usual tripe you’d see on most talk shows.
While the segments are fun and/or informative enough, the real gems of the show are Pereira and Munn. Either can play the “straight man” while the other goes off on some tangent. Like I said before: great chemistry. The show itself seems to have a great feel for what’s required, so when Chris Hardwick and (my newest crush) Alison Haislip are tapped to fill in, they don’t miss a beat.
So if you dig tech, video clips, movies, and games, check out this show. And if you can't commit to four hours a week, check out the review episodes that air on Friday. They take the best clips and best skits, interviews, and segments of the week and squish them all together in one big hour.
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