Finally! It’s time for Six More Trailers!


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It’s been about two weeks since our last edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers.  Personally, I blame the trailer kitties!  It’s difficult to find good help nowadays, especially when your help insists on sleeping for 12 hours a day.

However, despite taking way too long to do so, the trailer kitties have returned with six more trailers!

1) Sex Kittens Go To College (1960)

2) Girls Town (1959)

3) Vice Raid (1960)

4) Gun Girls (1956)

5) The Cool and the Crazy (1958)

6) Common Law Wife (1963)

What do you think, Trailer Kitty?

Lazy Trailer Kitty

Trash TV Guru : “Skywire Live With Nik Wallenda”


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Okay, I’m gonna step waaaaaayyyy out of my usual “comfort zone” as a self-appointed critic here — and probably step in it, quite literally, with some points I’m going to make about what the over-two-hours-in-length self-promotional, self-congratulatory pablum I just watched on the Discovery Channel, Skywire Live With Nik Wallenda — says about our society in general and our collective taste in television programming, but what the hell? I’m in the mood to piss off a lot of folks who deserve to have their delicate sensibilities prodded at worst, completely shattered at best, so here we go.

First off, Nik Wallenda , an umpteenth-generation daredevil and great-grandson of the legendary Karl Wallenda, has balls of brass. He just walked across a 1,400-foot gorge  that’s over 1,500 feet high on a fucking cable. It was incredible. It was an amazing feat I couldn’t undertake if the lives of myself and everyone I loved depended on it. Bravo, sir. That was some genuinely incredible stuff and I tip my cap to you with all the respect in the world. I’m not here to denigrate your amazing accomplishment, in and of itself, in any way, shape, or form. Unfortunately, the show that featured your breathtaking, heart-stopping, courageous, death-defying performance was complete shit. And a lot of that, Nik, is your own fault.

That’s because you allowed yourself, I’m guessing quite willingly, to be used. By a ratings-hungry cable network, a shove-it-down-your-throat segment of Evangelical Christianity (not that there’s really much of a mellow, “live-and-let-live” contingent among that bunch), your own fame-starved ego, and the American public’s passive-aggressive thirst to see our idols brought low at any cost — even and especially if it means their death.

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Taking those culprits for this show’s demise, then, in order : obviously there are a lot of worthless channels on the tube competing for our attention right now, but few are are as openly hypocritical and shamelessly self-aggrandizing as Discovery. During the numerous commercial breaks that peppered  the interminable,  90-plus-minute lead-up to Wallenda’s actual walk itself hosted by low-rent presenters Natalie Morales and Willie Geist (go on, say it with me — “whoever the fuck they are”), which was every bit as hype-inflated as the Super Bowl pregame and loaded with obviously staged “candid interviews” with Wallenda and his family and “actual behind-the-scenes footage” of his training (that just happened to include a shot of him parking a Mitsubishi car and Mitsubishi just happened to be the main sponsor of Skywire Live), they kept pimping the show debuting right after, Naked And Afraid, a “reality” program that apparently drops an overweight, middle-aged couple into the middle of the jungle with no clothes, no food, and no dignity, and dares them to survive. Real classy stuff. And this from a network that still tries to pretend to specialize in educational programming? Please. Discovery is a channel featuring lowest-of-the-lowest-common-denominator shows that are developed by greedy, shameless executives and watched and enjoyed by stupid people. Rumor has it that not only was Wallenda’s walk not over the Grand Canyon as advertised (actually, that’s not a rumor — it took place on Navajo Land  along the Colorado River that, frankly, isn’t part of the Grand Canyon, and the local tribal chief is apparently quite pissed about the network constantly referring to his area as being something it’s not), but that he had a light-weight emergency parachute hidden under his shirt in case he fell. I actually hope that’s true, because I like to think that there’s enough humanity left in the assholes that make these shows to at least not want to see their star performers get killed, although that same promise of potential death seems to be at the crux of Naked And Afraid‘s apparent “appeal,” as well. But more on that in a minute.

Next up, the Christians. Despite Wallenda’s wife insisting that her husband’s main goal with this spectacular stunt was too — yawn — “inspire other people to follow their dreams,” it’s quite clear that what he was really trying to do was promulgate his religious faith, and make a boat-load of money in the process. You’d think a guy in his position would be doing everything he could to keep the amount of weight he was balancing on that cable to a minimum, but he wore a heavy, dangling silver cross around his neck, thanked Jesus with every step he took and God with every fourth or fifth step, and indulged in some of the most purple, over-the-top, nauseating proclamations of faith you could imagine. “Dear sweet Jesus whose precious blood sanctified us all and in whose honor and glory I move forward across this gorge, please, I beg in your holy name, make these winds rising from the canyon floor die down and carry me across in safety to the other side so I can give you all the credit for the work that I’m out here doing” isn’t exactly a verbatim quote from Wallenda, but it may as well be. And did you happen to notice the not-exactly-camera-shy televangelist phony Joel Osteen on hand to pray with Nik, his wife, and his kids just before he went across? Of course you did, a snake like Osteen wouldn’t be there otherwise. It seems a little bit weird that a guy of Wallenda’s background — who uses his mother’s last name rather than his dad’s, a most non-traditional way of keeping the famous family name going , and who grew  grew up in the ribald world of carny performers — would throw his lot in with repressive, right-wing Bible-thumpers, but that certainly appears to be the case . You’ll find less overt religiosity in any given episode of the fucking 700 Club than there was on Skywire Live.

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And yet, for all the talk of wanting to give the “praise and glory” for his achievement to his “lord and savior,” Wallenda sure seemed to enjoy stroking his own ego, as well. Every one of the completely scripted “interviews” with his family before he actually hit the high-wire was a puff-piece designed to portray our ostensible hero in the most glowing — dare I say radiant — light, and when he did finally begin his perilous crossing, he first insisted that he just wanted to ‘quit talking” and be alone with his thoughts , before  duly proceeding to to yak (and, as we’ve already established, preach) to the camera the entire twenty-plus-minute duration of his trek. He complained of being thirsty when he was finished. Gee, wonder why that would be?

Finally, we need to focus some of the blame for this debacle not on its star, nor his hangers-on, nor his network bosses, but on ourselves. We watched Wallenda’s tight-rope act, at least in part, to see what would happen not if he made it, but if he didn’t. Just like the folks who are really watching NASCAR hoping to see a fiery and fatal crash. Or who are watching an NFL to see a gruesome, career-ending injury. Or who are watching Naked And Afraid to see the couple starve to death or be eaten by wild animals (another thing Discovery would, presumably, never allow to actually happen, at least for legal, if not moral, reasons). At least in the Roman gladiatorial arena they were upfront about why the crowds were there, but these days we don’t have the guts to look at ourselves that closely and honestly. There’s something deeply flawed within the human mind, or heart, or soul, or wherever it is, that the supposed blood of Nik Wallenda’s supposed savior can’t fix — in fact, the very notion that we think we need some poor schmuck’s blood to save us from anything (well, okay, specifically to save us from ourselves) is just further proof of what I’m talking about. We feel that the death of another somehow not only justifies our existence, but even more perversely sanctifies it. I’m no saint. I’m a flawed, contradictory, complex, perhaps even entirely unfathomable human being. And so are you. There’s no way that somebody’s demise is gonna change that and somehow make us “pure”  — whether that somebody is Nik Wallenda, John F. Kennedy, Dale Earnhardt or Jesus Christ. We may desperately want to think that seeing someone of great accomplishment die a very public and spectacular death somehow “proves” that we’r every bit as good and worthy as they are, but honestly, folks — that was never in doubt. Nik Wallenda puts his pants on one leg at a time just like you and me. He doesn’t need to die to prove that, and his “savior” — whether real or imagined, which is another debate for another time — didn’t need to die to prove it to him. Can we please just grow the fuck up as a species and leave all this blood sacrifice bullshit behind us one and for all? Countless “living gods” and heroes of one stripe or another have either mythically or actually sacrificed themselves for us by this point, and we’re still the same sorry-ass bunch as ever. This whole “purification by blood” thing just ain’t working. Can’t we try something else?

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Well, no, apparently we can’t. Not as long as there are TV networks willing to tease the possibility of death in order to grab ratings, and not as long as there are people willing to prostitute out their talents to said networks for that purpose. Wallenda can pray with Joel Osteen to find any other angle on why people were watching his show tonight all he wants to, but the ugly truth of the matter is that lots of folks were secretly hoping to see him perish, and 2,000-plus years of the kind of Jesus-freaking he was doing tonight haven’t changed that fact. It’s said that every society gets the monsters it deserves, and while Nik Wallenda hardly qualifies as a monster by any stretch of the imagination, his show tonight — and all its ilk — are definitely monstrosities that exploit the darkest recesses or our human nature, stoke them to a fever pitch, and make suckers of us all. They pervert even the most astonishing feats and twist them into something cheap, ugly, degrading, and degraded. And we respond by loving every minute of it and lining up for more.

What Lisa Marie Watched Last Night #84: Jodi Arias: Dirty Little Secret (dir by Jace Alexander)


Last night, I turned over to Lifetime and I watched the world premiere of Jodi Arias: Dirty Little Secret. 
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Why Was I Watching It?

If you know me then you know that I can’t resist a trashy Lifetime film.  And could anything be trashier than a film about Jodi Arias?

What Was It About?

The film is based on the true story of the most hated woman in America.  Mentally unstable fake blonde Jodi Arias (Tania Raymonde) meets motivational speaker Travis Alexander (Jesse Lee Sofer) and eventually becomes obsessed with him.  Finally, Jodi goes back to her natural hair color and, in a disturbingly graphic scene, murders Travis.

What Worked?

In the role of Jodi Arias, Tania Raymonde (who is probably best known for playing Ben’s daughter on Lost) gave a genuinely unsettling performance.  Not only did Raymonde look a lot like Jodi but she was convincingly crazy as well.

What Did Not Work?

Honestly, this film left me feeling incredibly icky.  Does Jodi Arias really deserve to have a film made about her?

Perhaps I would have felt differently if the film had provided any sort of psychological insight into either Jodi or Travis (who remains a cipher for the majority of the film).  However, the film is content to just reenact all of the sordid details that we’ve already heard about.  The end result is a film that’s occasionally watchable but ultimately disappointing.

“Oh my God!  Just like me!” Moments

I refuse to acknowledge seeing any “Just like me!” moments while watching a movie about Jodi Arias.  Judging from the response on twitter to this movie, I was not alone in this.  For the most part, people seemed to be watching specifically so they could point out how little they had in common with Jodi Arias.  Perhaps that’s the true appeal of films like this, the chance to say, “I may be fucked up but at least I’m not Jodi Arias!”

Okay, I will admit that, much like the film version of Jodi Arias, I believe that dancing can be a great tool of seduction and emotional expression.

However, judging from the moves displayed in this movie, I’m a much better dancer.

Lessons Learned

I’ll watch just about anything that’s on Lifetime.

Review: True Blood 6.2 “The Sun” (dir by Daniel Attias)


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After last week’s anemic season premiere, I have to admit that I was a bit worried about the direction of season 6 of True Blood.  I watched that episode and I thought to myself, “I don’t want to have to spend an entire season with Bill acting weird, Eric not having sex with Sookie, and Jason chasing around Rutger Hauer.”

What a difference a week can make!

Tonight’s episode was a return to form for True Blood.  Tonight’s episode reminded me of what made me fall in love with this show in the first place.  In short, tonight’s episode was True Blood the way I wanted it to be.

It helps that this episode featured a lot of Eric acting like Eric.  But I’ll get to that in a minute.

First off, tonight’s biggest revelation was that, despite what he said last week, Rutger Hauer is not Warlow.  Instead, he’s Sookie and Jason’s faerie grandfather and he’s specifically come to help Sookie defeat Warlow.

And I have to say that this is brilliant casting.  We, as viewers, have been so conditioned to automatically view Rutger Hauer as a villain that it’s actually surprisingly refreshing to see him playing a good guy and Hauer seems to be having a lot of fun with the role.

Anyway, Grandpa explains to Sookie and Jason that Warlow is obsessed with the Stackhouse family, specifically because the Stackhouses are actual royalty (making Sookie into a literal faerie princess).  However, Grandpa explains, Sookie can defeat Warlow by harnessing all of her light and literally going supernova.  The only side effect is that Sookie can only do this once and she’ll no longer be a faerie after doing so.  Sookie, who spent most of last season trying to deplete all of her power, immediately starts practicing harnessing her light.

And that’s probably a good idea because Warlow is already in Bon Temps.

Speaking of Sookie, before she meets her grandfather, she meets another faerie.  This one is named Ben (Rob Kazinsky) and when Sookie comes across him, he’s lying on the ground after being attacked by vampires.  Sookie nurses him back to health and it becomes obvious that the two of them are attracted to each other.  I have to admit that I groaned a little when Ben showed up.  It’s not that Rob Kazinsky isn’t cute, because he is.  And it’s not that he and Anna Paquin don’t have a lot of chemistry because they do.  However, Ben is not Eric.  For that matter, he’s not even Bill.

Speaking of Bill, he began tonight by going into a catatonic state and he remained that way for most of the episode, despite the best efforts of Jessica to wake him up.  At one point, Jessica even brought in a hilariously trashy prostitute named Veronica so that Bill could feed.  Even in his catatonic state, Bill still ended up graphically drawing out every drop of blood from her body.

While catatonic, Bill has a vision where he stands in the middle of sun-drenched field and talks to Lillith.  Lillith explains that Bill’s purpose is to save all the vampires from destruction.  The scenes between Bill and Lillith were perfectly filmed and acted, with an obvious emphasis being put on the fact that the bright sun was effecting Bill and Lillith not at all.  When Bill finally does wake up, he tells Jessica that he can now see the future.

And what is that future?

Every vampire in Bon Temps being herded into a stark, white room where, once the roof opens up, they are all burned to death by the sun.

Meanwhile, Eric has also taken it upon himself to try to prevent the future that Bill has seen.  Eric sneaks into the Governor’s mansion, confronts the governor, and attempts to hypnotize him.  The Governor (and have I mentioned how much I love Arliss Howard’s villainous performance) responds by laughing.  It turns out that the Governor is wearing special contact lenses that make it impossible for him to be hypnotized.

After managing to escape the Governor’s armed guards, Eric tracks down the Governor’s daughter, Wilma.  In a nicely gothic touch, Wilma looks out her bedroom window and sees Eric floating outside her window.  Eric asks for permission to enter and she gives it.

And seriously, who wouldn’t?

I got so caught up with the vampires tonight that I nearly forgot that some pretty important things happened to Sam as well.  I always feel bad for Sam because he literally cannot catch a break and tonight was not any different.  First off, he found himself being harassed by Nicole, a political activist from L.A. who wants Sam to come out publicly as a shape shifter.  (I have to admit that I have a sinking feeling that, with Luna dead, Nicole is going to become Sam’s new love interest.  I’m not looking forward to this development because Nicole is kind of self-righteous and annoying.)  Then, Sam ended up getting beaten up by Alcide, who has taken it upon himself to make sure that Emma is raised among the werewolves.

Seriously — bad Alcide!

I loved tonight’s episode.  If last week’s premiere felt like True Blood fan fiction, The Sun felt like true True Blood.  Hopefully, the rest of Season 6 will follow its example.

Random Thoughts and Observations:

  • Unofficial Scene Count: 53
  • That precredits sequence with Warlow appearing on the bridge was pretty effective, I thought.
  • Rutger Hauer deserves an Emmy for his delivery of the line “I am your fucking faerie grandfather.”
  • Alexander Skargard is so hot and sexy!  Oh.  My.  God.
  • The sudden appearance of Patrick’s wife reminded me of how much I disliked last season’s Iraqi smoke monster subplot.
  • I’m sure that the writers of True Blood meant for the Governor to come across as some sort of right-wing boogeyman but, to be honest, he reminds me more of our current President.
  • I love the way Jason got so excited when he said, “That makes me a faerie prince!”
  • It’s interesting to note that both True Blood and the Walking Dead feature a villain called “The Governor.”
  • “They attacked the Chuck E. Cheese yesterday.”
  • “You’re not going to read me my rights?” “You don’t have no rights, vampire.” “Well, that’s not nice.”
  • The performers on True Blood never get enough credit.  Tonight’s standout was Deborah Ann Woll.  Jessica’s episode ending prayer is definitely the highlight of the season so far.

Ten Years #42: Burzum


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Decade of last.fm scrobbling countdown:
42. Burzum (756 plays)
Top track (42 plays): Key to the Gate, from Det Som Engang Var (1993)

I remember watching some comedy in the early 90s where a cave man frozen in ice gets thawed out and has to adapt to life in modern Los Angeles. I don’t really remember any details about it, except that it was bad. This has pretty much been Varg Vikernes’s fate since being released from prison in 2009, and no one ought to feel the least bit sorry for him. Varg ultimately made his name known through his crimes, not his music, but he used to deliver a sound to match. There is a tinge of the deranged in classic Burzum. Albums like Det Som Engang Var carry such a lasting appeal because they simultaneously capture the pagan spirit of early 1990s black metal and the air of madness that overtook the scene, landing many of its participants in coffins or jail. Varg’s first new recording after his release, Belus, was sufficiently better than anyone expected to open the door for a potential second chance at a successful musical career. But after more than a decade with no means to record, Varg let his longing for creative expression take him, pumping out five new albums in the four years that followed with little quality control, coupled with an endless sea of writings. The overwhelming majority of this material was ho-hum, and for any other aging artist this would be fine. Plenty of other later-career heavy metallers have earned sufficient respect in their younger years to maintain a fan base as their capacity for greatness dwindled. Plenty of revolutionary thinkers have maintained a right to social commentary extending beyond their original mode of expression. But no one respects Varg Vikernes nor views him as a revolutionary, and no one really should. In spite of the quality of his early albums, he remained rightly subject to criticism, leaving prison to run head first into a sea of high expectations and further demands for proof of talent. He failed to rise to the occasion, and now no one cares. He is busy writing treatises and filming documentaries that no one will ever grant the time of day. He is chugging out album after album that most of us will never bother listening to. Sorry Count Grishnackh. It is too late for your opinions to ever matter.

We can certainly continue to derive enjoyment from select Burzum material while rolling our eyes at any mention of its creator, but for me Varg is a bit of a disappointment. Black metal is something of the thinking man’s sledgehammer–a genre which oddly entangles disgust for intellectualism with ideas which require a great deal of formal dialogue to express in other-than-artistic ways. But if the fault lines of egotism render my favorite forms of music necessarily esoteric, I have always preserved the hope that some musician might have something intelligent to say about it. Varg runs his mouth ceaselessly, and I think it a shame that nothing substantive has ever come out of it. No one has ever been in a greater position to serve as the spokesman for the genre than Varg Vikernes, granted for all of the wrong reasons. The murder of Euronymous and Varg’s outrageous, self-incriminating comments which followed propelled him to a level of stardom that his music alone could have never achieved. Sure, he was entirely at odds with the genre; he could never, unlike artists such as Ihsahn, point to unlawful actions in the early 90s scene as an immature expression of an entirely justifiable state of mind. But he had the one thing no other black metal artist could hope to achieve: extensive public attention beyond his niche genre.

I guess I hoped that more than 15 years in prison would have given him the opportunity to grow up a little. I thought maybe he would fess up to having been a dumb-shit teenager who ruined the Norwegian scene by letting his emo jealousy of Euronymous get in the way of his commitment to its values. I thought he might very carefully and very professionally take his time crafting an outstanding album as proof that he was moving on to bigger and better things. Belus succeeded in buying time, but Fallen and the works that followed proved beyond a doubt that the dumb-shit teenager was nothing more than an educated, bearded, dumb-shit adult. He never acknowledged his debt to metal–and his potential for adding a substantial new flame to a musical movement that has since rapidly left him in the dust. In short, it irks me that a man of so many words, once returned to the spotlight in 2009, had so little to say and show for it. Nevertheless, classic Burzum has stood the test of time and remains a quintessential example of the sound that swept Scandinavia in the early 1990s and continues to influence countless bands today.