“ABC wants me to do a blog, I’m accepting possible names for my blog. I’m leaning toward “Bill Lawrence’s “I can’t believe my show is still on” blog”—Bill Lawrence, Scrubs creator. New season on ABC Jan 6.
I love observations like this. From Peter Sciretta at slashfilm…
Much has been made of the opening sequence of the new movie trailer. A young kid jumps out of a moving car as it zooms off the edge of a cliff. The reveal is that the kid is the future Captain of the USS Enterprise, James T Kirk. The sequence is constructed to get a specific reaction: “This doesn’t look like any Star Trek movie I’ve ever seen before.” But I think many people are missing the possible metaphor. Kirk could have been driving a car from any decade in history — the 2000’s, the 1990’s, the 1980’s, or the 1970’s, but for one reason or another, Abrams chose a 1960s Corvette.
Could it be that the corvette represents something more than just a fast car? Is it just a coincidence that the car was released during the same decade that the original Star Trek television series premiered? I believe that by throwing the 1960’s era car off a cliff, Abrams was making a statement - “this is not your father’s Star Trek movie - we’re throwing all that stuff away, off a cliff no less. This is the new Star Trek.
“On Nov 7, production on NBC’s Medium was temporarily shut down when an extra kept interrupting a tense courtroom scene involving series star Patricia Arquette. Security stepped in and forcibly removed the troublemaker from the jury box, and it’s only then that everyone’s sixth sense kicked in: The unruly actor was actually Sacha Baron Cohen in disguise as his latest Borat-like creation, flamboyant fashion reporter Bruno. “No one had a clue it was Sacha playing Bruno,” whispers a Medium insider. “It’s amazing he was able to infiltrate the set and pull this off.”—
Tonight, I attended a screening of The Dark Knight at Goldstein Student Center on South Campus. Forty plus people crammed into a classroom to watch a poor projection of the smash hit film. My housemate (who had not yet seen the film) and myself (who went at midnight July 18th, and haven’t looked back since) took two seats in the second row. Despite the poor quality of the print and some obtrusive lights that just wouldn’t shut off, I can confidently say that Christopher Nolan’s epic holds up just as well as it did on that warm summer night.
Right off the bat (pun intended), it’s clear that the glare off Heath Ledger’s blazingly brilliant performance has started to fade. My initial summer complaints of him stealing the Batman film away from Batman have been severely diminished. Don’t get me wrong, he deserves the Oscar nom, but this movie is appropriately titled The Dark Knight and not The Joker.
Themes and metaphors, that I missed the first time around, also have started to come out with age. A lovely dog motif played out very well, supported by that sickening shot of the Joker panting with his head out the car window. Integrated cinematography reads better the second time. The spinning camera, as a recurring theme, works wonders. Made more poignant, in one early scene, by stopping right when Batman shows up. Does anyone remember that drama about the New York Times claiming The Dark Knight to be a parable for the Bush administration? It would seem that American sentiment on the brink of a new administration holds up those claims as well.
Some of my qualms from the summer still linger. The editing leaves something to be desired. Give me more Heath, easier to read action sequences, and lose those cut-aways to over acting extras. Oh and that third act still drags.
It should be noted that most of the audience tonight was female. I’m not entirely sure of the relevance of this fact, but it did make for a good change up from the fan-boy infested screening I saw over the summer. But the greatest joy of all came from witnessing my housemate see this film with fresh eyes. Her enthusiasm perfectly echoed the summer excitement and hype around this movie. When Warner Bros. re-releases the film in January, you can bet I will be in line to see it in IMAX.
Those of you watching NBC’s comedy block last night may have noticed a peculiar little spot for Rosie O’Donnell’s upcoming variety special, Rosie Live! coming Wednesday 11/26.
Others may have noticed a news story that broke concerning John Mayer being in discussions to host a variety series for CBS.
All of this seems kind of fishy. The celebrity variety hour died with the seventies. Let’s leave it be. Funny, yes, in an SNL sketch (a la Jessica Simpson and Nick Lachey) but for real? I don’t know. And while this is the kind of thing I’d expect from Rosie, I hoped for something better from Mr. Mayer. Though his blog, MTV show, and spots on Chappelle definitely showcased some comedy chops. Color me skeptical, until it actually happens.
As for Rosie, I’d like to say I’m not going to watch, but I probably will. If for nothing but the “car accident, can’t look away” effect. Actually, that’s a lie - I’m going to watch because of my undying love for musical theater.
It’s Always Sunny In Philadelphia. For doing a Revolutionary War period piece. So many fantastic things occurred in this episode. Besides the “blow your mind” ending (pun intended), I thoroughly appreciated the fact that they titled the episode, “The Gang Cracks The Liberty Bell,” and then completely abandon that premise until the end when they threw it in almost as an after thought. Purposely done of course, hilarious and unexpected.
While the Mad Men finale was superb, and appropriately haunting, the TV winner of this week goes to The Simpsons Treehouse of Horror XIX. Nineteen years into their annual Halloween special you’d think things would be getting stale, but you’d be wrong…dead wrong. We saw pop culture grabs from Transformers, Charlie Brown, and yes, Mad Men. Insidey entertainment industry jests at intellectual property rights. And even socio-political commentary (shocker!).
But the funniest joke was none of these. You see, every year it has become a Treehouse of Horror tradition for the cast and crew spook-ify their names. They’ll add “dead” or “blood” to their normally, not-scary names. If you catch these, they’re usually pretty good, this year, the scariest and funniest had to be someone who used Washington Mutual as their prefix. Truly terrifying. And hilarious.