Category: Television

Still Mad as Hell (with Truths to Tell.)

“It’s one thing to recognize capitalism for the powerful economic tool it is and to acknowledge that, for better or for worse, we’re stuck with it and, hey, thank God we have it. There’s not a lot else that can produce mass wealth with the dexterity that capitalism can. But to mistake it for a social framework is an incredible intellectual corruption and it’s one that the West has accepted as a given since 1980–since Reagan…People paid a much higher tax rate when Eisenhower was president, a much higher tax rate for the benefit of society, and all of us had more of a sense that we were included.”

By way of DYFL, Vice Magazine publishes an extended interview with David Simon on The Wire Treme, writing, political economy, health care reform, and other important matters. “Of course it’s socialism. These ignorant motherf**kers. What do they think group insurance is, other than socialism? Just the idea of buying group insurance! If socialism is a taint that you cannot abide by, then, goddamn it, you shouldn’t be in any group insurance policy.“

Like a Cake Shop without any Cakes.

“We’ve noticed the less we say about the future of the show, the more people want to talk about it, so in an effort to reverse this trend we are today announcing that we won’t be returning for a 3rd season. We’re very proud of the two seasons we made and we like the way the show ended.” Bret? Jemaine? Murray? Alas, nobody’s present: The Kiwi powers-that-be have pulled the plug on a Flight of the Conchords Season 3 (although they will remain, in real, non-HBO life, the bane of the novelty music paparazzi.) Ah well, it was a good run.

The Game is the Game, Always.

“For some cold-ass crook gangstaz, y’all carried it like Republicans and s**t.” Haven’t watched this yet, as volume is a consideration at work (and sad to read in the comments that the Slim Charles classic, “If it’s a lie, then we fight on that lie,” didn’t make the cut.) Nonetheless, by way of a friend, 100 great quotes from The Wire, distilled into 10 minutes. All in the game, you know.

Kenny wasn’t like the other kids.

“Van Toffler, the president of MTV Networks, said on Monday, ‘Ken was a great guy. His personality really brought “Remote Control” to life, as well as a new style of programming for MTV. We were really flying by the seat of of our pants then, and Ken was the reason it worked.’” R.I.P. Ken Ober, 1957-2009. Well, that’s surprising — and depressing — news.

The Great Equalizer.

“That integrity shone through in the roles he played. I can’t ever remember, in all the productions he undertook, anyone having a bad word to say about him and he never had anything bad to say about anyone else either.” Sgt. Howie (and TV’s The Equalizer) finally had his appointment with the Wicker Man: R.I.P. Edward Woodward, 1930-2009.

The Office, I’mma Let You Finish, But…

“The Simpsons is quite simply one of the best TV shows of all time. When people nitpick and say, ‘That wasn’t a very good season’, I want to go, “No, it wasn’t the best season. But it was still the best thing on TV that year”. It’s wickedly satirical, they take on everything and they nail it so that you can never go there again. It’s the only thing I’m a real nerd over.” In The Guardian, Ricky Gervais professes his love for Springfield.

Land of the Lost.

Ever wonder what Shaun of the Dead would’ve been like if it had been an American studio film? Well, I suspect it’d have been bigger and broader in every facet of the game. It’d have more action, more violence, more bodily humor, more star wattage. And it’d probably be less droll, less unconventional, and less memorable. In short, it would probably have been much like Ruben Fleischer’s well-meaning but frothy Zombieland. Don’t get me wrong — Zombieland is a decently fun Friday night, and most of the audience clearly enjoyed it more than I did. But it felt very by-the-numbers to me, and I suspect I’ll remember very little about it after a few weeks, even if the dread zombie apocalypse doesn’t happen between now and then.

So, what’s the rumpus? Well, after a quick breakdown of the rules of surviving said zompocalypse (For example, “Rule 1: Cardio…Fatties die first“), Zombieland basically follows the travails of five of the last humans on Earth. There’s:

  • Columbus (Jesse Eisenberg), a nebbishy UT student who survived the initial outbreak mostly by dint of being an OCD Warcraft shut-in. (Eisenberg has put in some good performances in movies like Roger Dodger and The Squid and the Whale, but he’s slumming it here. In fact, I like them both, but Zombieland makes a strong case for staging a “two-man-enter-one-man-leave” arena deathmatch between Eisenberg and Michael Cera. They’re becoming redundant.)\
  • Tallahassee (Woody Harrelson), a Twinkie-loving good-ole-boy who’s atoning for a family tragedy by cutting a swath through the undead and being damn good at it. (Harrelson seems to be channeling his Mickey Knox from Natural Born Killers again — not sure what it says that the same guy’s gone from being creepy lunatic anti-hero in NBK to unironic, even compassionate hero here. Tone is everything, I guess.)
  • Wichita (Emma Stone), an alluring grifter (she’s basically Mila Kunis’ character from Extract) who’ll double-cross everyone around and do whatever she has to to protect her little sister. (I started thinking of her as Left 4 Dead‘s Zoey after about five minutes of screentime.)
  • Little Rock (Abigail Breslin), said little sister, wise beyond her years yet still really looking forward to a trip to Pacific Playland (a.k.a. Wally World.) (FWIW Breslin, most memorable as Little Miss Sunshine, seems to have made it across the child-star gap that swallowed Jake Lloyd, Haley Jo Osment, and Jonathan Lipnicki whole, and appears to be settling well into a young-Jodie Foster vibe.) And…
  • “Hollywood” (Semi-Secret Cameo), a movie star who the first four encounter along their road trip. As most other reviews have noted, this extended second-act sequence is probably the highlight of the film, and the biggest laugh I enjoyed was when this character is asked at one point about his/her regrets. Still, I also found this section not as funny as it’s being made out to be, for the same reason — my bro and I have a long-standing argument about this — that I don’t much like Family Guy and think Robot Chicken is lame: Just making some random pop-culture reference willy nilly — oh, yeah! I recognize that! — isn’t, to my mind, all that funny. (Imho, the South Park guys pinned this problem to the wall with their classic manatee episode.) Similarly, just recreating moments from this particular star’s back catalog, as happens a few times here, just feels sorta ho-hum to me.I’ll concede that I’m probably being harder on Zombieland than it deserves. It’s a harmless thrill-ride-type entertainment, and I’ll bet it was quite a bit better than a lot of the past summer’s tentpole releases, most of which I skipped. (I’m looking at you, X-Men Joeformers: Salvation.) Still, maybe I’m just an insufferable zombie-snob — this isn’t The Walking Dead or World War Z by any means — but I left Zombieland feeling underwhelmed. To me, it just felt by-the-numbers, with a tired “family is what you make it” plot and a certain laziness — how is the power on everywhere, by the way? — about it. And if anything, the zombies, never once very frightening, seem like a plot convenience more than anything else.

    Also, it’s hard to escape the nagging sensation that this movie is basically just Shaun of the Dead for mooks. This feeling isn’t helped by the earlier-mentioned Family Guy-isms, or the Beavis-and-Butthead-y “I like breakin’ things!” messaging of the middle-going. (Sometimes it’s not even Fleischer’s fault — On its own, the slo-mo credit sequence is good, imaginative fun, but it also can’t help but recall the very similar Watchmen opening, which then involuntarily brings to mind the current mook-King of Hollywood, Zack Snyder.)

    Lemme put it this way: Throughout the movie, the previously-established Zombie Rules — “Beware of Bathrooms,” “Double-Tap,” “Don’t be a Hero” — will flash up on the screen whenever they become pertinent. This often gives Zombieland the feel of the introductory levels — “Press X to jump” — of a not-very-interactive xBox game. And, while I can’t say I had a bad time at Zombieland, it’s hard to shake the sense that that 81 minutes would’ve been much better spent at home, playing Left 4 Dead. Now there’s a zombie-killing quartet I can get behind

Welcome to the Team.

Some of Summer 2009’s new faces get their first Hollywood marching orders: Sharlto Copley of District 9 will play “Howling Mad” Murdock in Joe Carnahan’s totally unnecessary movie version of The A-Team. He joins Liam Neeson (Hannibal), Bradley Cooper (Face), Quinton “Rampage” Jackson (B.A.) and Jessica Biel. And Inglourious Basterds‘s Christoph Waltz replaces Nicolas Cage as the Big Bad in Michel Gondry’s The Green Hornet, joining Seth Rogen (Hornet), Jay Chou (Kato), Cameron Diaz, Edward James Olmos, David Harbour, and Tom Wilkinson.

Neither flick sounds all that memorable, but, after The Science of Sleep, Dave Chappelle’s Block Party, and particularly Eternal Sunshine, Gondry still has a lifetime pass in this corner.

The Boys are Back in Town.

“A more interesting measure of the show’s impact is the fact that its title has become a kind of shorthand: you can now talk about a Mad Men skirt or lampshade or pickup line where once you might have used ‘space age’ or ‘Kennedy era’ or ‘Neanderthal.’ But while the show, like its subject, has many surface pleasures–period design, period bad behavior (if you like high modernism, narrow lapels, bullet bras, smoking, heavy drinking at lunch, good hotel sex, and bad office sex, this is the series for you)–at its core Mad Men is a moving and sometimes profound meditation on the deceptive allure of surface, and on the deeper mysteries of identity. The dialogue is almost invariably witty, but the silences, of which there are many, speak loudest.“

It’s that time of year again: As seen pretty much everywhere of late — the quote above is via Bruce Handy at Vanity Fair — AMC’s Mad Men returns for Season 3 this Sunday.