TV Review: The Dropout 1.7 “Heroes” (dir by Erica Watson)


This week’s episode of The Dropout was the most emotionally satisfying yet.

Seriously, after six episodes of Elizabeth and Sunny walking over their employees, lying to their investors, and basically getting away with all of it, it was deeply satisfying to watch everything start to unravel in episode 7.  Not only did Elizabeth and Sunny fail to kill the Wall Street Journal story about their fraud but, for once, their heavy-handed attempts at suppression made the situation worse for them.  Tyler Schultz refused to sign the new NDA.  Even if George Schultz is still too stubborn to admit that he was wrong about Elizabeth, he at least seems to suspect that he’s been played.  Even David Boies seems to be at the end of his limit as far as defending Theranos is concerned.  Perhaps that explains why he didn’t seem to be too upset when one of his associates made a very basic mistake that gave John Carreyou (well-played by Ebon Moss-Bachrach) the information he needed to keep his WSJ story alive.  Perhaps most satisfying of all was the scene where Phyllis Gardner finally got a chance to tell Elizabeth off to her face.  It was a stand up and cheer moment in a miniseries that, up until this point, has portrayed the world as being a very dark place.

This week’s episode also deserves a lot of credit for the perfect use of David Bowie’ “Heroes” over the opening montage.  Even when the proverbial walls closing on her and Sunny, Elizabeth still convinced a lot of people that she was a hero, a college dropout who has somehow managed to revolutionize the way that blood is tested.  To be honest, it was always too good to be true but, for many years, Elizabeth Holmes pulled it off.  Not only did she present herself as being a hero but she allowed her investors to feel that they were also heroes for supporting her.  As the song says, “We can be heroes …. if just for one day.”

This episode of features several clip of Elizabeth Holmes being fawned over by the members of the political and media establishment.  Cleverly, the show digitally inserted Amanda Seyfried into actual footage of Holmes being interviewed and praised by old men like Bill Clinton, Joe Biden, and Charlie Rose.  As the miniseries has made clear, Elizabeth Holmes’s biggest boosters were all older men.  Women easily saw through her but men like George Schultz, Ian Gibbons, and others took on an almost fatherly role with her.  When Tyler asked George if he secretly wished that Elizabeth was related to him instead of Tyler, George didn’t answer.  He didn’t have to.

On one final note, I do hope that this episode will be viewed by the people responsible for Inventing Anna because this episode’s portrayal of journalism and a working newsroom feels exciting authentic in a way that Inventing Anna doesn’t.  Unlike the neurotic and needy characters at the center of Inventing Anna, John Carreyou gets the story through his own hard work and he fights for the story because he knows that it’s true.  LisaGay Hamilton’s performance as Carreyou’s editor was one of the highlights of the episode and her scenes with both Moss-Bachrach and Kurtwood Smith were fun to watch.  They left the viewer wanting to know more about the character.  Indeed, one of the things that The Dropout does so well is that it creates the impression that everyone on the show is worthy of their own miniseries.  I would happily watch a show about Carreyou and his editor.

The Dropout finishes up next week as Elizabeth and Sunny finally face the consequences of their own bad actions.  I can’t wait!

Music Video of the Day: Want You Back by HAIM (2017, dir by Jake Schreier)


Wow, a Haim walking video that wasn’t directed by Paul Thomas Anderson!  In all honest, though, Jake Schreier did a fine job directing this video and it’s a good song as well.

Enjoy!

Some things are long forgotten
Some things were never said
We were on one endless road
But I had a wandering heart

I said we were opposite lovers
Said it from the beginning
You kept trying to prove me wrong
Said you’d always see it through
And I know that I ran you down
So you ran away with your heart

But just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
Just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you

I know it’s hard to hear it
And it may never be enough
But don’t take it out on me now
‘Cause I blame it all on myself

And I had a fear of forgiveness
Said it from the beginning
I was too proud to say I was wrong
Said you’d always see me through
All that time is gone, no more fearing control
I’m ready for the both of us now

So just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
Just know that I want you back
(Just know that I want you)
Just know that I want you back
(Just know that I want you)
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
(Just know that I want you back, baby)

Just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
Just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you

Just know that I want you back
Just know that I want you back
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
Just know that I want you back
(Just know that I want you)
Just know that I want you back
(Just know that I want you)
Just know that I want you
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you
(Just know that I want you back, baby)
(Just know that I want you)
(Just know that I want you back, baby)
I’ll take the fall and the fault in us
I’ll give you all the love I never gave before I left you

Film Review: Windfall (dir by Charlie McDowell)


I really hate home invasion movies.

Seriously, it’s always the same thing.  Some mysterious stranger breaks into an empty house and hangs out for a few days, trying on clothes and smoking cigars and drinking whatever’s available in the refrigerator.  Eventually, the couple who own the house comes home.  They get held hostage.  The stranger wastes a lot of time trying to be intimidating.  The husband always tries too hard to take control of the situation.  The wife tries to keep everyone calm.  The stranger is poor.  The husband is rich.  The stranger and the wife form a connection.  Secrets are revealed.  Blah blah blah.

Don’t get me wrong.  There have been a few good home invasion movies.  There are some directors who can pull it off and make a film compelling despite telling an overly familiar story.  Ruggero Deodato brought some life to the genre, with a little help from David Hess and Giovanni Lombardo Radice, in The House At The Edge of the Park.  For the most part, though, the home invasion genre has led to some of the stagiest and most dramatically inert films ever made.

Consider Windfall, which premiered on Netflix earlier this month.  Starring Jason Segel, Lily Collins, and Jesse Plemons, the film has a talented cast.  It’s directed by Charlie McDowell, who previously made a very intriguing  film called The One I Love.  Like Windfall, The One I Love was largely confined to one location but, unlike Windfall, McDowell still managed to use that location to craft an intelligent and compelling film that never felt stagey.  The house in which Windfall takes place is lovely to look at.  The film has many of the ingredients to be a success but it doesn’t have a particularly clever or even interesting script and, as such, it falls flat.

Segel, Collins, and Plemons play three characters who aren’t actually given names.  Segel plays the home invader, who is credited as being “Nobody.”  Plemons is the CEO, a billionaire who is responsible for putting people out of work and who makes his employee signs NDAs.  Collins in the Wife, who is secretly taking birth control pills.  Segel may be a criminal but he’s not a very good criminal, as becomes clear as he continually finds himself being manipulated by his hostages.  Plemons is selfish and never stop talking down to Segel, even when the latter is pointing a gun at him.  Collins claims that she works very hard at running a charity that her husband set up but it’s obvious that she and and her husband have a strained relationship, even before Segel shows up.  There’s a few heavy-handed attempts at social relevance, with Segel and Plemons debating whether or not Plemons deserves to be a billionaire.  The film ends with a twist that Godard or Bunuel could have pulled off but here, it just falls flat.  The action is just too predictable and dramatically inert for Windfall to be anything more than a movie about three talented performers acting up a storm while trying to bring three boring characters to life.

Windfall is a very much a film of its time, both in its focus on inequality and it’s minimalist style.  Like Malcolm and Marie, it’s the type of one-location, small crew film production that was popular at the height of the COVID pandemic and the CEO and his wife heading to their vacation home to hide out from the world will undoubtedly remind some viewers of the wealthy people who were able to isolate themselves during the early part of the pandemic.  So, the film has some historical value if not much dramatic value.  In the end, Windfall serves as a reminder that, when combined with Malcolm and Marie, Netflix has pretty much cornered the market on pretentious, one-location films.

Music Video of the Day: You Know I’m No Good by Amy Winehouse (2006, directed by Phil Griffin)


Amy Winehouse, still missed. Her music touched my life. Her death broke my heart. Fortunately, her voice can still be heard.

I used to search for excuses to sing this song. Needless to say, my vocals were not quite as effective.

Congratulations! You Survived Oscar Sunday!


That’s it!  That’s a wrap!

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We hope everyone has enjoyed Oscar Sunday!

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Now that the Oscars are over with, it’s time to start a new year in entertainment!  Thank you everyone for reading us over the course of 2021 and the first three months of 2022!

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Now, let’s make 2022 the best year ever as we continue to celebrate the 12th year of the Shattered Lens!

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Love you!

A Few Random Thoughts On The Oscars


Let’s just be honest about this.

No matter what else you or I might have to say about the Academy Awards, the only thing that anyone is going to remember about this year’s ceremony is Will Smith walking up on stage and slapping Chris Rock.  That’s it.  That’s what these awards are going to be known for.  Whenever this ceremony is written about in the future, the accompanying picture won’t be of the cast and crew of CODA.  Instead, it’ll be Will Smith slapping Chris Rock.

The Slap, itself, was unpleasant to watch.  Will Smith sitting back down in his chair and continuing to shout at Chris Rock was unpleasant to watch.  It left me feeling awkward and uncomfortable and I was just watching it on TV.  I can only guess what it was like the celebrities sitting in the auditorium.  You know that they were probably terrified that something unexpected would happen with the vote for Best Actor.  At that moment, there was probably a lot of worry about what would happen if Andrew Garfield pulled off an upset.

Will Smith, however, did win Best Actor.  After making a few “fierce protector” excuses, he did, eventually, get around to apologizing to the Academy and “my fellow nominees.”  He also did a lot of God talk and I’m not sure if it’s a good idea to mention God twenty minutes after slapping someone on national TV.  He mentioned that Denzel Washington had apparently taken him aside and warned him that the Devil would come for him at the height of his success.  Which …. I mean, okay.  The thing is, Will Smith is 53 years old and he’s been a star longer than I’ve been alive.  By this point, the Devil should have moved on to someone else.

A few notes on the rest of the show:

It was good to see the show taking place in a theater, as opposed to a train station.  Just by using an actual theater, this year’s Oscar ceremony was a significant improvement over the previous year’s.

The hosts were pretty boring.  There was nothing gained by having three of them.  Amy Schumer needs to fire whoever picked out her first outfit.  If Schumer picked it out herself, she needs to hire someone to pick out her outfits.  Regina Hall looked lost.  Wanda Sykes was okay but that museum segment bogged down the whole show.

CODA is a likable film and it’s obvious that the audience appreciated its heartwarming approach more than the emotionally detached style of The Power of the Dog.  The fact that this tiny little indie film managed to defeat the expensive Netflix slate was gratifying in a David vs. Goliath sort of way.  CODA, if we’re going to be honest, really does feel more like a made-for-TV movie than a feature film but I think that, emotionally and mentally, people were just ready for a positive movie that wouldn’t leave them feeling disturbed or depressed.  After two years straight of pandemic panic, voters were perhaps not inclined to honor a film that ends with its main character dying on anthrax poisoning.

Dune swept the technical awards and ended the night with the most Oscars.  Dune II is probably going to win Best Picture.

Troy Kostur’s acceptance speech was definitely the most moving part of the night.  It’s a bit of a shame that it’s going to be forever overshadowed by The Slap.

Politically, it was pretty much a typical Oscar ceremony.  At this point, I think anyone who cares enough to be offended by Hollywood’s liberalism has probably already stopped watching the Oscars.

As the Academy promised, the cut categories (i.e., the Oscars there were awarded before the start of the live show) were edited into and shown during the show.  They were awkwardly inserted, so that we would see the people in the auditorium reacting to a speech that was given two hours earlier.  It just came across as weird and fake and, whenever the hosts did anything, I found myself thinking, “They cut categories for this.”  Even a brilliant hosting trio would have suffered as a result.  In this case, you had Amy Schumer dressed like Spider-Man on live TV while the winner for Best Film Editing had to make due with edited highlights of his speech.

What’s hilarious is that, even with all of ABC’s new measures, this year’s Oscar run longer than the previous two years.  The total show clocked in at nearly 220 minutes.  For comparison, that’s 20 minutes longer than The Godfather, Part II.  Will Smith’s acceptance speech alone ran for seven minutes.  Of course, would you want to be the person tasked to tell Will Smith to wrap it up?

It was hard to tell but I guess Army of the Dead won the Twitter Poll and Zack Snyder’s Justice League won the Oscar Cheer Moment thing.  Even from just watching on TV, it was obvious how annoyed everyone in the auditorium was with them.  Personally, I have to respect the ability of the Snyder fandom to game the system.

The interpretive dance that went along with the In Memoriam segment was distracting and annoying.  If I’m ever included in a memoriam segment, I’m hoping there will be no gospel music and no interpretive dancing.

The Godfather tribute was nice but I wish they had gotten Sofia Coppola to do the introduction instead of Sean “Whatever” Combs.

In the end, the Oscars weren’t as much of a train wreck as I thought they would be but it was still a fairly unfortunate ceremony.  The category cutting didn’t sit well and I doubt I’ll ever be comfortable with that.  (It’s something that I hope will be abandoned in the future.)  This ceremony will always be known for The Slap and probably not much else.  I would say that I would hope the Academy and ABC would learn from this but the only thing they care about is ratings.  If the ratings are good, ABC will take the credit.  If the rating are bad, the Academy will get the blame.  Who knows what next year will bring?

Speaking of next year, that’s what I am now concentrating on!  There’s a lot of good movies coming out over the next few months and a whole new Oscar race to prepare for!  Let’s get to it!

AMV of the Day: A Good Song Never Dies (Black Butler)


As Oscar Sunday comes to a close, let’s just remember that, like a good song, a good movie never dies.  Here’s an AMV of the Day to remind us of that.

Anime: Black Butler

Song: A Good Song Never Dies (Saint Motel)

Creator: AMV World

(As always, please consider subscribing to this creator’s YouTube channel!)

Past AMVs of the Day

Lisa Marie’s Week In Review: 3/21/22 — 3/27/22


Congratulations to all of the Oscar winners!

Films I Watched:

  1. A Nightmare On Drug Street (1989)
  2. The Atomic Brain (1963)
  3. The Canyons (2013)
  4. The Deer Hunter (1978)
  5. Fatal Instinct (1993)
  6. Escape from New York (1981)
  7. Happy Gilmore (1996)
  8. Llamageddon (2015)
  9. Moonrunners (1975)
  10. Sgt. Pepper’s Lonely Hearts Club (1978)

Television Shows I Watched:

  1. The Academy Awards
  2. Allo Allo
  3. American Idol
  4. Beyond the Edge
  5. The Brady Bunch
  6. The Dropout
  7. Last Man Standing
  8. Open All Hours
  9. Saved By The Bell
  10. Survivor
  11. Talking Dead
  12. The Walking Dead

Music to Which I Listened:

  1. Britney Spears
  2. The Chemical Brothers
  3. Elle King
  4. Hatchie
  5. KAS:ST
  6. King Princess
  7. The Killers
  8. Lady Gaga
  9. Lindsey Stirling
  10. Lorde
  11. Muse
  12. New Radicals
  13. Nine Inch Nails
  14. Saint Motel
  15. Sigrid
  16. Subsonica
  17. Taylor Swift

Awards Season:

  1. Lisa Marie’s Oscar Predictions
  2. Paddie’s Oscar Predictions
  3. The Oscar Winners

Trailers:

  1. 6 Classic Trailers For 3/25/22
  2. The Offer
  3. The Ambulance
  4. Moon Knight

6 Times The Academy Got It Right:

  1. 1920s
  2. 1930s
  3. 1940s
  4. 1950s
  5. 1960s
  6. 1970s
  7. 1980s
  8. 1990s
  9. 2000s
  10. 2010s

Live Tweets:

  1. The Shattered Lens Live Tweets The Oscars

Links From Last Week:

  1. Celebrating Oscar Sunday With Celebrities Eating Food! — Bite! Eat! Repeat!
  2. The World’s Common Tater’s Week in Books, Movies, and TV 3/25/22

Links From The Site:

  1. Paddie shared his Oscar predictions!
  2. Leonard reviewed West Side Story!
  3. Erin shared A Killer Among Us, Crusher’s Girl, The Girl From Mimi’s, He Learned About Women, Honey Broadway Playgirl, Terror Detective Story, and The Producer!
  4. Erin profiled artist Shannon Stirnweis!
  5. Erin reviewed Coffee Shop!
  6. Doc welcome you to Oscar Sunday!
  7. Jeff reviewed Sliver, The Last Castle, Montana Incident, The Great Outdoors, Conspiracy: The Trial of the Chicago 8, and Locked Door Part VII!
  8. Jeff shared a great moment from comic book history, a great moment from TV history, and a great moment from Gary Oldman history!
  9. I shared music videos from Lady Gaga, KAS:ST, Hatchie, King Princess, Subsonica, William Shatner, and Sigrid!
  10. I reviewed Llamageddon, Happy Gilmore, A Nightmare on Drug Street, The Dropout, The Walking Dead, Shooting Midnight Cowboy, Icahn, Lucy and Desi, and Oath of Office!
  11. I shared 6 performers who I hope win an Oscar by 2032, 6 directors who I hope win an Oscar by 2032, a scene from Reservoir Dogs, a scene from Doctor Zhivago, a scene from Mulholland Drive,  4 Shots From 4 Films About Being A Star, and my week in Television!
  12. I paid tribute to Quentin Tarantino, David Lean, Akira Kurosawa, and Russ Meyer!

More From Us:

  1. Ryan has a patreon!  Check it out!
  2. At Days Without Incident, Leonard shared Happy Birthday Alan Silvestri, Cold Day in the Sun, and Nobody Like U!
  3. For the Reality TV Chat Blog, I reviewed the latest episode of Survivor!
  4. At my music site, I shared songs from New Radicals, Nine Inch Nails, The Killers, Public Service Broadcasting, Muse, Taylor Swift, and Arcade Fire!
  5. At Horror Critic, I reviewed Monster Portal!
  6. At SyFyDesigns, I shared I’m Going To Be A Wordle Hustler and Last Night!
  7. At my dream journal, I shared Did I Dream Last Night?, and Lost Laundry Dream! 
  8. At Pop Politics, Jeff Shared Hugh Grant As The Doctor, Hugh Grant Will Not Be The Doctor, The Worst Job In Politics, Filemon Vela Resigns, Help From The Dead, Jeff Fortenberry Resigns, and Zelenskyy and the Oscars!
  9. At her photography site, Erin Shared passing by, be happy, Wasps, Creek in Black-and-White, Creek, Flower Power, and Driving in the Rain!

Want to see what I did last week?  Get a time machine!  Or click here.

Here’s The Trailer For Moon Knight


Here’s the trailer Moon Knight!

Oscar Isaac and Ethan Hawke both should have an Oscar by now.  Well, they won’t win any for Moon Knight because it’s a miniseries.  They might get some Emmy love but eventually, everyone wins an Emmy so it’s not as big of a deal.  I mean, I’ve got an Emmy somewhere around here.  It arrived in the mail and I was like, “Cool, I guess I won something.”

My point is, Oscar Issac and Ethan Hawke should both be in a lot of stuff.  Anyway, here’s the trailer: