To every thing, turn, turn, turn. There was once a time at the evil empire when Ryan and I used to amuse ourselves when we had a free moment. One afternoon, we nearly pissed our pants over this gem which stays in our hearts and lexicon today. Bubb, we'se onna pour out a fo'ty on the curb for y'alls.
For one delightful year, Filmation studios put forth an animated version of the series using all the original actors. Some of the best-loved storylines are reworked in this half hour series. Everyone is well aware of the camp of the original, which has been lampooned to death, but somehow the animated version just works. The storytelling is tighter, the voice work is better than the onscreen presence of some of the iconic actors, and the fantasy seems more plausible. Perhaps it doesn't believe its own hype, and that's something it has over the original. Here's part one of a classic episode. Others are a google away.
We're all familiar with White Trash. It's not hard to see or make fun of WTs because the humour is so base. But what about the other 1/3 of society? What about those who live comfortably, but can't seem to make things leap from the pages of Instyle magazine seamlessly into their daily lives? In the words of Kim of Australia's Kath and Kim, "It's not easy being a hornbag." Kath and Kim takes place in suburban Melbourne where Kath lives a highly erotic life with partner/purveyor of fine meats Kel (and one damned fine hunk of spunk.) Kath's adult daughter intermittently lives at Kath's townhouse, depending on whether her and her husband are speaking, and depending on their "effluence." The show is a perfect pastiche of middle class suburban life regardless of location. The characters are all broadly drawn, but it is a pleasure to watch whereas most American familial sitcoms have been long dead since the Simpsons rolled into town to eviscerate the medium. They also take turns answering the tough questions, like "The Jade Tikis vs the Fuzzy Kiwis" (vis-a-vis which earrings are more appropriate with a Mango Espadrille) It's well worth searching about a bit to get your hands on. More info here, and clip follows:
It's the answer to the question noone asked: "Who is the best matchmaker in Buffalo, New York?" Patti Novak is the tough-talking (and rough-accented) matchmaker with the mostest, and the subject of the eerily addictive show Confessions of a Matchmaker on A&E. In addition to a parade of midwestern shit shows who are SINGLE FOR A REASON, there are incredibly compelling candidates, like John, the subject of the pilot (it's easy to see how this show was sold.) John, after relaying his 41-year-old virgin status and BOMBING on a date with a girl, who, by Patti's own admission "has to have it," John is subjected to an heart to heart, the product of which lands him a date with a man. What happens next is simply incredible. The show is gripping. Set your Tivos to get it Saturdays at 10.
check it out here:
We’ve all done it. You pony up 13 bones for a film and settle down with your over salted snacks, hoping for a good time. Two hours later, you’re sorely disappointed and you overspend on drinks afterward. Attendance is trending downward, due to the dearth of decent comedies on the market, and the weed-like proliferation of remakes. The good news is, unless you are a big screen junkie, or a devout audiophile, the entertainment you are craving is within your own living room. The overseas sales of famous UK Television shows and cable shows in the US means that television’s quality and variety is greatly improving. Here are ten Reasons you might want to ditch the multiplex in favour of home popped popcorn and a night in.
1. Innovative Formats: From the pot dealing MILF on Weeds, to the detective who went into a coma and back in time in Life on Mars, to the Polygamous hardware franchise owner on Big Love, it’s clear that TV trumps movies when it comes to original ideas. In the case of the detective, he must solve crimes in the past without any of the mod cons (like forensic testing.) This series has turned the genre on its ear. A genre, which has all but died on the big screen (Clint prefers to spend his time behind the camera.)
2. Language: It seems childish to take the subject of foul language up as a selling feature, but given the extreme focus toward removing it from movies (for more on this, I encourage you to see “This Film Is Not Yet Rated) but someone’s job in America is to count the myriad “cuss-words” (whether they are motivated is not the issue, it’s a numbers game) and also “suggestive language” from studio films. I have never met anyone who has stubbed their toe and said “fiddle dee dee!” Limiting language is limiting ideas, and the proof is on the screen. Certain words help to define characters. Even Rhett Butler said “damn.” Some words can only describe some of the “cluster” type of situations which these characters find themselves in. (Remember Showcase’s “fuzzy sock sucker” ads? Sometimes it’s better to use the actual words)
3. Bold plot choices: A man visits Nip Tuck’s plastic surgeons to voluntarily remove a leg, with the threat that, if they don’t do it within the week, he will. The dope dealing mother from Weeds has a one night stand with the father of a child who her son savaged in karate… and he’s a DEA agent. Not only are there higher stakes in these plots, but they don’t always end tidily. (The series finale of Huff chills, to the Sinatra classic “The Good Life”)
4. Sex: Television has carte blanche when it comes to its portrayal of the essence of human behavior: sex. A devout Christian has surprisingly limber intercourse with all 3 of his wives on Big Love. On Nip/Tuck, a plastic surgeon visits his shrink and manages to bend her over her desk by the end of the session. On Rescue Me, a 9/11 widow who drugs her lover with a combination of roofies and Viagra to have a love child. The doctor’s son on Nip/Tuck moves in with his lover, only to later find out she is a transsexual. The MPAA seeks to keep any and all “deviant types of sex” (deviant basically means anything not missionary and anything that looks fun onscreen) to an absolute minimum and has a “thrust limit.” If you want to see some diverse sexual adventures, you’ve got to turn on your TV.
5. Diversity: Life on Mars shows what diversity means with its use of outdated slurs and shows us how far we’ve come since 1973. In one episode, the man who would become Sam Tyler’s’ mentor is newly promoted in the force, making some reticent to work with a “Darkie.” In Six Feet Under, we see a gay interracial romance. An entire episode of Entourage takes place at a Bat Mitzvah. Most films don’t like to get “too ethnic” for fear of alienating middle class sensitivities. Television has pushed this in addition to all other boundaries.
6. Messy Characters: Denis Leary in Rescue Me fireman who lost a brother in 9/11 and schtups his widow (But he’s likeable!). Hank Azaria’s Huff is a Beverly Hills Psychiatrist bored silly with his practice who witnesses a child’s suicide in his office. Julian MacDonald plays Christian Troy in Nip/Tuck. This Miami plastic surgeon was once the victim of clergy abuse. These complicated characters are found on television, but it’s becoming increasingly harder to find on the big screen. Characters who aren’t affable have a hard time attracting A-list talent. Television takes more risks. Sympathetic characters don’t make great stories… look at the runaway success of House. Characters on cable tend to have more layers and depth than the average film hero.
7. Production Design: Most films now lack intentional design. Since television is more about branding than films are, they need to distinguish themselves in the marketplace. Enter the green idyll of Weeds, the Wallpaper magazine inspired Hotel Babylon, the dirty grit of Rescue Me and the exquisite Life on Mars, whose look is based on untouched transfers of 1970 films.
8. Ensembles/Casting: Ricky Gervais’ Extras is a triumph of casting, showcasing A list stars making fun of themselves in almost appalling ways (Kate Winslet’s erotic tales are a high point.) “Stunt” casting aside, many of these shows are populated by great actors who perhaps don’t have “action star” or “sweetheart” potential. A standout ensemble cast is the cast of Huff. Hank Azaria is fantastic in his departure from Apu, Blythe Danner is absolutely brittle in her portrayal of Mrs. Huffstodt, and Anton Yelchin is haunting as Huff’s son, Byrd. Also of note were guest performances by Angelica Huston and Lara Flynn Boyle.
9. Title Sequences: “Little boxes, on the hillside…” If you can watch an episode of Weeds and not sing the theme song at least once the following week, then you are not human. The design of the credits sequence in Weeds is also stellar, with its repeating characters all in a row. Big Love’s credits sequence says it all. Opening with the Beach Boys’ “God Only Knows,” it shows Bill ice skating with his first wife, then his second wife joins the circle. Once the third wife joins, the ice begins to crack.
10. Comedy that’s actually funny: The UK’s Peep Show (whose format has since been purchased by US television) is shot using the visual point of view of the lead characters, which leads to some of the best sight gags (ass prints in flour on the kitchen countertop comes to mind.) Ricky Gervais’ sophomore comedy Extras takes comedy of embarrassment to the extreme (Daniel Radcliffe throws a condom which ends up in Dame Diana Rigg’s hair) and, if that isn’t enough for you, there’s always Louie CK calling his 4 year old daughter a “little asshole” when she causes a tantrum on Lucky Louie. It’s edgy, to be sure, and it might not play everywhere, but it’s a riot, and it’s available at home.
I’m not personally going to stop going to the movies altogether (what, with Judd Apatow continuing to direct them) but this might make you reconsider that “idiot box” in your living room.
I effing hate the term "Jump The Shark." It's last acceptable use was when Henry Winkler actually bunny hopped over a dead one on Arrested Development. I have used, and prefer to use the term "Rossed" or "Rossed Up" tp refer to the sudden change of a character, plotline, o situation that went from normal/plausible to effing stupid. The Genesis of this, is of course, Ross Geller, who during his tenure on Friends, went from nervous nerd, but with semi-redeeming qualities, to complete miscreant and otherwise dirtbag of society.
More recent examples of "Rossing" include
Hot Damn. Rescue Me is back TODAY! It has been too long, Tommy, you asshole.
I didn't want to love this show, because I thought The Job was so effing good (who else would put a main character eating "head soup" and the being conflicted when he later had cravings for it?) But Goddamnit, I love an unapologetically awful protagonist! (See Nip/Tuck, Arrested Development, Curb Your Enthusiasm)
This is not just about Jonathan Rhys-Meyers setting my loins ablaze since Match Point. The Tudors explores the seamiest and most explosive time in the history of the British Empire and exposes to most just how horny people in history always have been. (If it wasn't for Historical boners, none of us would be here. show some respect.) I know it's a tough sell, but if you're not watching this, you're missing out on what the NYT called the best series since the Sopranos. Here's what it's got:
