Lisa Marie’s Week In Television: 12/11/22 — 12/17/22


I did a lot of binge watching this week so the list below probably less impressive than it actually is.  Anyway, here’s some thoughts on what I watched this week:

California Dreams (YouTube)

Yay!  I’ve finally reaches season 3, which is what most people consider to be the start of “classic” California Dreams.  I like season 3 because it’s the season that introduces the character to whom I most relate, Lorena.

Casey Anthony: Where The Truth Lies (Peacock)

I finally watched the Casey Anthony documentary on Peacock.  This was basically a three-episode interview with Casey and the creepy weirdos who have been supporting her since she got away with murdering her daughter.  Whoops, did I just show my bias?  Oh well.  Casey claims that she has spent the last ten years in hiding but now, she’s finally ready to tell her story and try to get people to blame her father for Caylee’s death.  Of course, as many people have pointed out, Casey has frequently been seen at bars, concerts, and protest marches over the past ten years so I’m not really sure I’m buying into her social anxiety argument.  Nor am I buying that Casey suddenly decided that it was time to present her side of the story.  We all know that she got paid to appear in this documentary.  Time are tough, especially when your claim to fame is that you probably got away with murdering your daughter.

Here’s a few thoughts I jotted down:

Casey cries a lot but she never actually gets any tears in her eyes.

Casey does a lot of performative cursing whenever she’s trying to convince the viewer that she was treated unfairly but it all sounds forced.

If nothing else, Casey obviously understands the power of presenting yourself as being a victim in today’s society.

After her acquittal, Casey was more or less adopted by two older men and two older women who worked on her defense team.  The scenes in which they all meet and tell Casey how proud they are of her are creepy.  One gets the feeling that Casey played on their paternal and maternal instincts in much the same way that she tries to manipulate the people watching the show.

The documentary makes one valid point, which is that the case against Casey was made up largely of innuendo and appeals to emotion.  But then, the entire third episode uses the exact same technique to smear George Anthony as being a pedophile and a murderer.  The documentary mentions that neither George nor Casey’s brother chose to respond to Casey’s accusations against them but, to be honest, why should they?

A few cops are allowed to explain why they think Casey is guilty.  As opposed to when Casey speaks, they don’t get the benefit of heroic music playing in the background during their interviews.  As well, there are no animated recreations of the police’s theory of what happened.  Casey, however, not only tells her side but is helped by animated recreations of her story.

Not mentioned during the program was the claim that lead defense attorney Jose Baez told one of his investigators that 1) he was sleeping with Casey and 2) Casey had confessed to murdering Caylee.  Indeed, for all the time that the program spent detailing how the members of Casey’s defense team have “adopted” Casey, it appears that she’s no longer in contact with Jose Baez.

Also not mentioned was that a real-life woman named Zenaida Gonzalez received death threats due to Casey lying about where she had left Caylee.

I never thought I’d see a true crime documentary as one-sided and smarmy as A&E’s The Murder of Laci Peterson but Casey Anthony: Where The Truth Lies proved me wrong.  Shame on everyone involved and shame on me for watching it.

Don’t Pick Up The Phone (Netflix)

This disturbing, 3-part documentary from Netflix took a look at the so-called Strip Search Phone Call Hoaxes of the 90s and the early aughts.  For several years, someone repeatedly called fast food restaurants and, after claiming to be a cop, said that one of the female employees had been accused of theft and that it would be necessary for the managed to strip search them.  A lot of managers saw through the hoax and hung up but, disturbingly, a large number of them followed the orders of the caller.  (The film Compliance was based on one such call.)  This was a disturbing and sad documentary but an important one.  It took a look at what happens when authority is blindly trusted.  There’s very little people won’t do under the pretense of “just following orders.”

Fantasy Island (Tubi)

I wrote about Fantasy Island here!  And then I watched several more episodes, reviews of which will appear over the next few weeks.

Law & Order: SVU (Hulu)

After watching Don’t Pick Up The Phone, I watched a 2009 episode of Law & Order: SVU that was inspired by the Strip Search Caller.  Robin Williams played the caller.  It was a pretty uneven episode, as SVU tends to be sometimes.  Williams had some good moments but overall, it was a bit too heavy-handed.  At one point, Williams’s caller became a political activist and appeared on Morning Joe.  “Did you guys catch Morning Joe?” Captain Cragen asked his detectives and I had to laugh.  I’m sure blue collar New York cops schedule their entire day around catching the MSNBC lineup.

The Love Boat (Paramount)

I watched a few episodes this week.  Check out my latest review here!

Survivor (Wednesday Night, CBS)

I was surprised when Gabler won but the more I think about it, the happier I am with the result.  I wrote about the finale of Survivor at Reality TV Chat Blog!

 

Retro Television Reviews: California Dreams 2.18 “Indecent Promposal” and 3.1 “The Unforgiven”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing California Dreams, which ran on NBC from 1992 to 1996.  The entire show is currently streaming on YouTube!

Finally, it’s time for season 3 and the Lorena Years!  But, first, we’ve got one final season 2 episode to get out of the way….

Episode 2.18 “Indecent Promposal”

(Dir by Miguel Higeura, originally aired on February 5th, 1994)

Both the 2nd season and the school year are coming to an end!  That means that it’s time for prom!

Tiffani can’t wait to go to the prom.  Jake thinks the prom is stupid.  When Glenn, one of Tiffani’s patients from her days as a candystriper, offers to take Tiffani to the prom as a friend and to arrange for the Dreams to have a permanent summer gig, Tiffani reluctantly agrees.  Jake, however, can’t shake the feeling that Glenn is going to try to make a move on Tiffani, which is just what Glenn does.  Glenn kisses Tiffani.  Tiffany rejects Glenn.  However, Jake (who has decide to come to the prom afterall), witnesses the kiss and he gets so upset that he and Tiffani break up.  This would be a big emotional moment if there had been any consistency, during season 2, as to when Tiffani and Jake were actually dating.  Since the episodes were shown out of order, Tiffani and Jake would be a couple one week and then single the next.  As a result, it never really seemed like Jake and Tiffani were together in the first place.

The prom didn’t work out.  That’s too bad.  Fortunately, season 3 is right around the corner!

Episode 3.1 “The Unforgiven”

(Dir by Patrick Maloney, originally aired on September 10th, 1994)

Finally!  The third season has begun!  And with it, we get a new title sequence:

This is the season that marked the beginning of what most people consider to be classic California Dreams.  Frustrated with his diminished role on the series, Brent Gore declined to return for season 3.  As a result, Matt was written out of the series with the excuse that the Garrisons moved.  The California Dreams soldiered on without him, with Jake now at the center of the band and the show.

When the Garrisons left, foreign exchange student Sam moved in with the Costa family and became best friends with my favorite character on the show, Lorena.  Lorena Costa (played by Diana Uribe) is the character to whom I most relate on this show.  We’re both of Spanish descent.  (My grandmother was born in Spain.)  We’ve both got good hair.  We both love to dance.  We both tend to refer to ourselves in the third person.  Lorena’s the best character ever!

Lorena is willing to allow the Dreams to practice in her loft but the Dreams still have two huge problems.  They don’t have a replacement for Matt.  And they need $500 to get their equipment back from a pawnshop.  Why is their equipment at a pawnshop?  I’m not sure but somehow, it’s Sly’s fault.

Fortunately, Sly has a solution.  His musically gifted cousin, Mark (Aaron Jackson), has moved to California.  Unfortunately, Mark has never forgiven Sly for ruining a performance that he was giving at Carnegie Hall.  Apparently, Mark was playing the William Tell Overture and Sly yelled, “Hi-ho, Silver, away!”  The only way to get Mark to forgive Sly is for Mark to give the performance again without Sly ruining things.  Unfortunately, for reasons that are never exactly clear, Sly once again yells, “Hi-ho, Silver, away!”

Well, I guess that’s it for the Dreams, right?  Unfortunately, Sly has booked the Dreams to play at a party being given by one of Lorena’s friends.  With Mark refusing to join the Dreams, Lorena’s friend’s boyfriend is planning on beating up Sly.  To save his cousin’s life, Mark agrees to forgive Sly, join the Dreams, and play the party with them.  

I have to admit that I’m a little surprised that it took the Dreams that long to find a replacement for Matt.  Considering that the Dreams already had a following at the end of the second season, I would imagine they would have a lot of people wanting to join the band.  Maybe they’re all scared of getting on Jake’s bad side.  Well, no matter.  Things work out in the end!

As for the episode itself, it succeeds in doing what it needed to do.  It introduces the viewers to Lorena and Mark and let’s everyone know what the show’s new direction is going to be.  The humor is overly broad but the cast has genuine chemistry and Michael Cade’s portrayal of Sly attempting to fake sincerity while apologizing is genuinely funny.

I’m looking forward to the rest of season 3!

 

Banshees Rises From The Ashes in Phoenix


Yesterday, the Phoenix Critics Circle announced their picks for the best of 2022!  You can see the winners below and the nominees by clicking here!

BEST PICTURE
THE BANSHEES OF INISHERIN

BEST COMEDY FILM
GLASS ONION: A KNIVES OUT MYSTERY

BEST SCIENCE FICTION FILM
EVERYTHING EVERYWHERE ALL AT ONCE

BEST HORROR FILM
BARBARIAN

BEST ANIMATED FILM
GUILLERMO DEL TORO’S PINOCCHIO

BEST FOREIGN LANGUAGE FILM
RRR

BEST DOCUMENTARY
FIRE OF LOVE

BEST ACTOR
BRENDAN FRASER, THE WHALE

BEST ACTRESS
CATE BLANCHETT, TAR

BEST SUPPORTING ACTOR
KE HUY QUAN, EVERYTHING EVERYWHERE ALL AT ONCE

BEST SUPPORTING ACTRESS
KEKE PALMER, NOPE

BEST DIRECTOR
DANIEL KWAN AND DANIEL SCHEINERT, EVERYTHING EVERYWHERE ALL AT ONCE

BEST SCREENPLAY
MARTIN MCDONAGH, THE BANSHEES OF INISHERIN

BEST CINEMATOGRAPHY
CLAUDIO MIRANDA, TOP GUN: MAVERICK

BEST SCORE
JUSTIN HURWITZ, BABYLON

Here Are The 2022 Nominations of The Online Association of Female Film Critics!


Yesterday, the Online Association Of Female Film Critics announced their nominations for the best of 2022!

The winners will be announced on the 20th.  Here are the nominees!

BEST PICTURE
The Banshees Of Inisherin
Everything Everywhere All At Once
Nope
The Woman King
Women Talking

BEST DIRECTOR
Park Chan-wook – Decision To Leave
Daniel Dwan & Daniel Scheinert – Everything Everywhere All At Once
Martin McDonagh – The Banshees Of Inisherin
Sarah Polley – Women Talking
Gina Prince-Bythewood – The Woman King

BEST BREAKTHROUGH FILMMAKER
Elegance Bratton – The Inspection
Mimi Cave – Fresh
Alice Diop – Saint Omer
Nikyatu Jusu – Nanny
Charlotte Wells – Aftersun

BEST BREAKTHROUGH PERFORMANCE
Austin Butler – Elvis
Frankie Corio – Aftersun
Mia Goth – Pearl
Thuso Mbedu – The Woman King
Daryl McCormack – Good Luck To You, Leo Grande

BEST FEMALE LEAD
Cate Blanchett – TÁR
Viola Davis – The Woman King
Danielle Deadwyler – Till
Emma Thompson – Good Luck To You, Leo Grande
Michelle Yeoh – Everything Everywhere All At Once

BEST MALE LEAD
Austin Butler – Elvis
Colin Farrell – The Banshees Of Inisherin
Brendan Fraser – The Whale
Park Hae-il – Decision To Leave
Paul Mescal – Aftersun

BEST SUPPORTING FEMALE
Jessie Buckley – Women Talking
Hong Chau – The Whale
Dolly de Leon – Triangle Of Sadness
Stephanie Hsu – Everything Everywhere All At Once
Keke Palmer – Nope

BEST SUPPORTING MALE
Brendan Gleeson – The Banshees Of Inisherin
Barry Keoghan – The Banshees Of Inisherin
Ke Huy Quan – Everything Everywhere All At Once
Mark Rylance – Bones And All
Brian Tyree Henry – Causeway

BEST ACTING ENSEMBLE
The Banshees Of Inisherin
Everything Everywhere All At Once
Glass Onion: A Knives Out Mystery
The Menu
Women Talking

BEST ORIGINAL SCREENPLAY
Martin McDonagh – The Banshees Of Inisherin
Cooper Raif – Cha Cha Real Smooth
Daniel Dwan & Daniel Scheinert – Everything Everywhere All At Once
Jordan Peele – Nope
Todd Field – TÁR

BEST ADAPTED SCREENPLAY
David Kajgnich – Bones And All
Rian Johnson – Glass Onion: A Knives Out Mystery
Guillermo del Toro & Patrick McHale – Guillermo del Toro’s Pinocchio
Samuel D. Hunter – The Whale
Sarah Polley – Women Talking

BEST CINEMATOGRAPHY
Grieg Fraser – The Batman
Kim Ji-yong – Decision To Leave
Roger Deakins – Empire Of Light
Hoyte van Hoytema – Nope
Claudio Miranda – Top Gun: Maverick

BEST STUNTS
Everything Everywhere All At Once
RRR
Top Gun: Maverick
The Batman
The Woman King

BEST EDITING
Decision To Leave
Elvis
Everything Everywhere All At Once
TÁR
Top Gun: Maverick

BEST COSTUME DESIGN
Black Panther: Wakanda Forever
Elvis
Everything Everywhere All At Once
Mrs. Harris Goes To Paris
The Woman King

BEST VISUAL EFFECTS
Avatar: The Way Of Water
Everything Everywhere All At Once
Guillermo del Toro’s Pinocchio
RRR
Top Gun: Maverick

BEST INTERNATIONAL FEATURE
Corsage
Decision To Leave
EO
Holy Spider
RRR

BEST ANIMATED FEATURE
The Bad Guys
Guillermo del Toro’s Pinocchio
Marcel The Shell With Shoes On
Puss In Boots: The Last Wish
Turning Red

BEST DOCUMENTARY
All The Beauty And The Bloodshed
All That Breathes
Fire Of Love
Good Night Oppy
Moonage Daydream

The Boston Online Film Critics Honor Banshees!


Earlier today the Boston Online Film Critics Association announced their picks for the best of 2022!

And here they are:

​Top 10 of 2022
1. THE BANSHEES OF INISHERIN
2. EVERYTHING EVERYWHERE ALL AT ONCE
3. THE FABELMANS
4. AFTERSUN
5. TÁR
6. TOP GUN: MAVERICK
7. DECISION TO LEAVE
8. NOPE
9. CRIMES OF THE FUTURE
10. GLASS ONION: A KNIVES OUT MYSTERY

Best Director
Daniel Kwan and Daniel Scheinert, EVERYTHING EVERYWHERE ALL AT ONCE

Best Actress
Cate Blanchett, TÁR

Best Actor
Colin Farrell, THE BANSHEES OF INISHERIN

Best Supporting Actor
Ke Huy Quan, EVERYTHING EVERYWHERE ALL AT ONCE

Best Supporting Actress
Kerry Condon, THE BANSHEES OF INISHERIN

Best Screenplay
Martin McDonagh, THE BANSHEES OF INISHERIN

​Best Ensemble
GLASS ONION: A KNIVES OUT MYSTERY

Best Score
Justin Hurwitz, BABYLON

Best Cinematography
Claudio Miranda, TOP GUN: MAVERICK

Best Editing
Paul Rogers, EVERYTHING EVERYWHERE ALL AT ONCE

Best Documentary
ALL THE BEAUTY AND THE BLOODSHED

Best International Feature
DECISION TO LEAVE

Best Animated Film
GUILLERMO DEL TORO’S PINOCCHIO

Live Tweet Alert: Watch Jack Frost with #ScarySocial


 

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, for #ScarySocial, ArtAttackNYC will be hosting 1997’s Jack Frost!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime.  I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Film Review: Fang (dir by Richard Burgin)


Poor Billy.

Billy (Dylan LaRay) lives in Chicago and, at first glance, he’s typical of the many anonymous young men who we see everyday, working in dead-end jobs and just trying to make it day-to-day without having to deal with too much trouble.  Billy works at a meatpacking plant, for a condescending boss who brags about being able to pay his daughter’s Princeton tuition while, at the same time, telling Billy that he needs to work harder sweeping up the place.  “Do you think my daughter got into Princeton by taking sick days?” the boss asks, not seeming to realize that Billy will never be going to Princeton regardless of how many hours he spends pushing his broom around the warehouse.  Indeed, Billy dropped out of school a few years ago.  His mother, Gina (Lynn Lowry of I Drink Your Blood and Crazies fame), is suffering from Parkinson’s-related dementia and Billy is constantly rushing home to check on her.  Billy never knows if he’s going to be embraced or attacked when he steps through his front door.  Billy takes a daily regimen of pills to keep his mind stable.  He obsessively washes and sanitizes his hands.  He needs everything to be in its proper place but he lives in an increasingly chaotic and unpredictable world.

The one thing that Billy has going for him is that he’s an artist.  He’s created an entire fictional world through his drawings, one in which a group of people escape from a dying Earth but then continue to make the exact same mistakes in their new home.  His mother’s maid, Myra (Jess Paul), even suggests that Billy should try to get his work published but Billy is resistant.  His art is his escape and, though it’s never specifically stated, one gets the feeling that it’s an escape that he wants to keep only for himself.  If Billy ever gets out of this world, he’s not planning on taking anyone along with him.

Billy is haunted by the things that he sees as he walks to and from work.  Death, whether represented by a dead rodent under a car or by the run-down neighborhood in which he lives, seems to be all-around.  After a rat invades his room and bites him, Billy is rushed to the hospital and, despite his frantic protests, he’s injected with the rabies vaccine.  (The film’s use of rabies and it’s close-up of a hypodermic needle piercing Billy’s skin will remind some viewers of another Lynn Lowry film, I Drink Your Blood.)  Whenever Billy is alone, he sees a hole growing on his arm, one that is full of coarse hair, almost as if there is something living within Billy’s skin.  Fang mixes Cronenbergian body horror with visions of Romero-style urban decline.  Billy’s Chicago is almost as run-down and bleak as Romero’s Philadelphia was in Martin.  The stark imagery leaves little doubt that Billy, at the young age of 23, has basically advanced as far as he’s going to advance in the world.  He’s hit a dead end and Billy’s sudden visions of open wounds, vacuous comedians, and rats would seem to suggest that, if there is another world out there, it’s not much of an improvement on the one in which Billy is leaving.  Much like the characters in his artwork, Billy is trapped in a never-ending cycle of mistakes and decay.  

Fang is a well-directed, well-acted, and well-visualized portrayal of life on the fringes of society, one that captures both the timeless theme of loneliness and the uniquely paranoid atmosphere of today.  Though the COVID fears of the past two years are never explicitly mentioned, it’s hard not to think of them as Billy obsessively washes and sanitizes his hands and as he panics over getting the rabies shot.  Billy, like so many people today, feels lost and powerless and even his fantasy of escape is tempered by the knowledge that a fantasy can still go wrong.  Dylan LaRay does a good job of capturing Billy’s fear and his anger and Jess Paul is sympathetic as one of the few people to actually cares about what Billy and his mother are going through.  Lynn Lowry steals the film, playing Billy’s mother as someone who is both frightening and heart-breakingly sad.  Much like Billy, she’s no longer is control of her fears and her actions.  Fang is a film that captures the horrors of everyday life.