Last night, I watched The Ex on the Lifetime Movie Network.
Why Was I Watching It?
As I was feeling ill, I had already made myself a little pillow fort in the living room and I was curled up with my wonderfully soft Hello Kitty pillow. It just seemed, at that moment, that watching the Lifetime Movie Network was really the only appropriate thing to do. (Plus, quite frankly, my options are limited now that we’re between seasons of Survivor, The Amazing Race, Big Brother, and Hell’s Kitchen.)
What’s It About?
Psychotic Yancy Butler, having already committed two murders, decides to move to New York and stalk her ex-husband (played by Nick Mancuso). Since leaving Butler, Mancuso has married Suzy Amis and now has a five year-old son who is dealing with rage issues of his own. After befriending Amis, Butler forces her way into Mancuso’s life and kills a lot of people.
What Worked:
Yancy Butler gives a wonderfully over-the-top, campy performance that is full of arched eyebrows and sardonic smirks. She delivers every line as if she’s auditioning for a community theater production of Double Indemnity. She appears to be having so much fun with her role that you actually end up hoping that she’ll manage to kill both Mancuso and Amis (both of whom are far less entertaining).
Director Mark L. Lester is an exploitation vet (he’s best known for directing The Class of 1984) and, as a result, this film has a bit more flair than what you typically find on the Lifetime Movie Network.
What Didn’t Work
This is a Canadian film that apparently went straight-to-video in the States. As a result, New York City looks a lot like Toronto.
“Oh My God! Just Like Me!” Moment
I have almost the exact same outfit hanging in my closet that Yancy Butler wears in the 1st few scenes of this movie.
Lessons Learned:
Your man’s ex really is as much of a psycho bitch as you think she is.
Hi. This is the 1st edition of something that I like to call What Lisa Watched Last Night. Because, y’see, I not only love movies and books. I watch a lot of TV as well.
Last night, after we got home from spending the day at the holiday family reunion at my uncle’s, my sister Erin and I turned on Lifetime and watched an encore presentation of the “original Lifetime movie,” The Perfect Teacher.
Why Was I Watching This?
When this movie premiered back in September, I watched it because, based on the commercials, it looked silly and fun. Plus, it was on Lifetime and, no matter how much I love the Grindhouse, I’m a girly girl at heart. As for last night, I watched it mostly because I was too worn out from the holidays to do much of anything else.
What’s The Movie About:
Devon (Megan Park) is a spoiled rich girl who develops a crush on her new teacher, Jim Wilkes (David Charvet). Jim is also the coach of the Girl’s Volleyball Team and Devon volunteers to work as his assistant. Before leaving on a volleyball road trip, Devon buys sexy lingerie which apparently is meant to let us know that she’s crazy. (Though really, why wouldn’t you buy sexy lingerie before going on a road trip with David Charvet? I mean, he’s a terrible actor but look at him!) Anyway, the team’s staying in a hotel, Devon knocks on Charvet’s door, Charvet answers the door without his shirt on and…uhm, yeah. Okay, how stupid is David Charvet not to know that when he’s the only adult present with a group of female minors, he needs to answer the door with his shirt on? Seriously, way to be a tease, Charvet. Anyway, long story short — Devon declares her love for Charvet, Charvet rejects her because he’s married to boring, old Rachel (Boti Bliss) so Devon gets behind the wheel of an SUV and runs Rachel down while she’s jogging.
Some other stuff happens but basically, all you really need to know is: lingerie-clad Park, shirtless Charvet, and hit-and-run Bliss.
What Worked:
The movie not only looks silly and fun — it is silly and fun! Ever since I originally saw this, I’ve been taking advantage of any opportunity to quote Devon: “I can be your dream or I can be your …. NIGHTMARE!” Megan Park actually does a pretty good job playing Devon. David Charvet can’t act but he’s nice to look at. As the wife, Boti Bliss has really boring hair and is kinda whiney but then she gets run over by a rampaging SUV.
What Didn’t Work:
Hey, it’s Lifetime. It all worked.
“Oh my God! Just like me moment!”
Who hasn’t had a crush on a teacher? Me, I pretty much developed a crush on every male teacher/professor that I ever had. However, when I think about teenage crushes I had on older men, I always end up thinking about Mark. Mark wasn’t a teacher but he was engaged to marry Ms. Conn, who was our Speech and Debate coach. I was 17 at the time and he was 23. Eventually, Mark accompanied us when we went to a speech tournament in San Antonio. Much as in The Perfect Teacher, the entire team stayed at a motel and, for me, the highlight of the trip was the night when I put on the pink Victoria’s Secret nightie I’d bought specifically for the trip, snuck out of my room, pulled the fire alarm, and met Mark as he came running out of his room clad only in his boxers.
I guess that’s not as extreme as getting behind the wheel of an SUV and running down someone’s wife but still, we’ve all played the role of obsessive stalker chick at least once or twice in our life.
Lessons Learned:
It’s not a Lifetime movie unless there’s some sort of lesson learned or deeper truth revealed by the end of the film. The lesson of The Perfect Teacher appear to be that even if you do marry a really nice, handsome guy who doesn’t cheat on you or plot your murder, chances are that he’s still going to unintentionally lead on some psycho bitch who will end up running you down in her car while you’re out jogging. In short, even good men are idiots and anyone younger and/or prettier than you is psychotic and looking to ruin your life.
Anyway, since this is Lifetime, you can be sure that The Perfect Teacher will be rerun at least three or four times a year until the end of time. I know a few readers might be saying, “But, Lisa, we wouldn’t be caught dead watching Lifetime.” And, to you, I say…I can be your dream or I can be your….NIGHTMARE!
The Golden Globes nominations were announced today and, as usual, they were a strange combination of the expected nominees and a few that seem to have literally come out of thin air. (Check out that Best Picture nomination for The Tourist.) The Golden Globes are awarded by the Hollywood Foreign Press Association, an organization that seems to be about as shadowy and obscure as an Illumnati splinter group. That said, I’ve always wanted to be nominated for Golden Globe just so I could get in front of a tv camera, thrust out my boobs, and say, “I’ll show you a pair of Golden Globes!”
Anyway, as I looked over the nominations earlier today, three things came to mind.
First off, the Walking Dead was nominated for Best Dramatic Television Series. Yay!
Secondly, I was kinda hoping that Noomi Rapace might be able to sneak in as one of the Best Actress nominees. There is a small campaign going on to win her an Oscar nomination for The Girl With The Dragon Tattoo and she was nominated for best actress by yet another shadowy group, the Broadcast Film Critics. Unfortunately, a Golden Globe nod was not to be.
Third, I was a little bit surprised to discover that Toy Story 3 was not nominated for Best Picture (Comedy). In the past, the Hollywood Foreign Press has been far more willing than the Academy to nominate animated films and Toy Story 3 seemed like a far more likely choice than The Tourist. In fact, not even the film’s theme song picked up a nomination. Of course, Toy Story 3 did pick up a nomination for best animated film but I still wonder if maybe this could be evidence of a Toy Story 3 backlash. Up until a week ago, I would have said that Toy Story 3 is guaranteed an Oscar nomination for best picture. Now, I’m starting to have my doubts.
BLACK SWAN
Protozoa Pictures & Cross Creek Pictures & Phoenix; Fox Searchlight Pictures
THE FIGHTER
Paramount Pictures and Relativity Media; Paramount Pictures and Relativity Media
INCEPTION
Warner Bros. Pictures UK LTD.; Warner Bros. Pictures
THE KING’S SPEECH
See-Saw Films and Bedlam Productions; The Weinstein Company
THE SOCIAL NETWORK
Columbia Pictures; Sony Pictures Releasing
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
HALLE BERRY
FRANKIE AND ALICE
NICOLE KIDMAN
RABBIT HOLE
JENNIFER LAWRENCE
WINTER’S BONE
NATALIE PORTMAN
BLACK SWAN
MICHELLE WILLIAMS
BLUE VALENTINE
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
JESSE EISENBERG
THE SOCIAL NETWORK
COLIN FIRTH
THE KING’S SPEECH
JAMES FRANCO
127 HOURS
RYAN GOSLING
BLUE VALENTINE
MARK WAHLBERG
THE FIGHTER
BEST MOTION PICTURE – COMEDY OR MUSICAL
ALICE IN WONDERLAND
Walt Disney Pictures; Walt Disney Studios Motion Pictures
BURLESQUE
Screen Gems; Sony Pictures Releasing
THE KIDS ARE ALL RIGHT
Antidote Films, Mandalay Vision, Gilbert Films; Focus Features
RED
di Bonaventura Pictures; Summit Entertainment
THE TOURIST
GK Films; Sony Pictures Releasing
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
ANNETTE BENING
THE KIDS ARE ALL RIGHT
ANNE HATHAWAY
LOVE AND OTHER DRUGS
ANGELINA JOLIE
THE TOURIST
JULIANNE MOORE
THE KIDS ARE ALL RIGHT
EMMA STONE
EASY A
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
JOHNNY DEPP
ALICE IN WONDERLAND
JOHNNY DEPP
THE TOURIST
PAUL GIAMATTI
BARNEY’S VERSION
JAKE GYLLENHAAL
LOVE AND OTHER DRUGS
KEVIN SPACEY
CASINO JACK
BEST ANIMATED FEATURE FILM
DESPICABLE ME
Universal Pictures, Illumination Entertainment; Universal Pictures
HOW TO TRAIN YOUR DRAGON
DreamWorks Animation; Paramount Pictures
THE ILLUSIONIST
Django Films, Ciné B and France 3 Cinéma; Sony Pictures Classics
TANGLED
Walt Disney Animation Studios; Walt Disney Studios Motion Pictures
TOY STORY 3
Disney * Pixar; Walt Disney Studios Motion Pictures
BEST FOREIGN LANGUAGE FILM
BIUTIFUL
(MEXICO/SPAIN)
Menageatroz, Focus Features International; Roadside Attractions
THE CONCERT
(FRANCE)
An Oï Oï Oï Productions, Les Productions Du Tresor, France 3 Cinema, Europacorp, Castel Films, Panache Productions, RTBF (Belgian Television), BIM Distrubuzione Co., Canal +, Cinecinema and France 3; The Weinstein Company
THE EDGE (Kpaй)
(RUSSIA)
Teleshow/Rock Films; Central Partnership (Russia)
I AM LOVE (IO SONO L’AMORE)
(ITALY)
First Sun; Magnolia Pictures
IN A BETTER WORLD (Hævnen)
(DENMARK)
Zentropa Entertainment; Sony Pictures Classics
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
AMY ADAMS
THE FIGHTER
HELENA BONHAM CARTER
THE KING’S SPEECH
MILA KUNIS
BLACK SWAN
MELISSA LEO
THE FIGHTER
JACKI WEAVER
ANIMAL KINGDOM
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
CHRISTIAN BALE
THE FIGHTER
MICHAEL DOUGLAS
WALL STREET: MONEY NEVER SLEEPS
ANDREW GARFIELD
THE SOCIAL NETWORK
JEREMY RENNER
THE TOWN
GEOFFREY RUSH
THE KING’S SPEECH
BEST DIRECTOR – MOTION PICTURE
DARREN ARONOFSKY
BLACK SWAN
DAVID FINCHER
THE SOCIAL NETWORK
TOM HOOPER
THE KING’S SPEECH
CHRISTOPHER NOLAN
INCEPTION
DAVID O. RUSSELL
THE FIGHTER
BEST SCREENPLAY – MOTION PICTURE
DANNY BOYLE, SIMON BEAUFOY
127 HOURS
LISA CHOLODENKO, STUART BLUMBERG
THE KIDS ARE ALL RIGHT
CHRISTOPHER NOLAN
INCEPTION
DAVID SEIDLER
THE KING’S SPEECH
AARON SORKIN
THE SOCIAL NETWORK
BEST ORIGINAL SCORE – MOTION PICTURE
ALEXANDRE DESPLAT
THE KING’S SPEECH
DANNY ELFMAN
ALICE IN WONDERLAND
A.R. RAHMAN
127 HOURS
TRENT REZNOR, ATTICUS ROSS
THE SOCIAL NETWORK
HANS ZIMMER
INCEPTION
BEST ORIGINAL SONG – MOTION PICTURE
“BOUND TO YOU” — BURLESQUE
Music by: Samuel Dixon
Lyrics by: Christina Aguilera, Sia Furler
“COMING HOME” — COUNTRY STRONG
Music & Lyrics by: Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges
“I SEE THE LIGHT” — TANGLED
Music by: Alan Menken
Lyrics by: Glenn Slater
“THERE’S A PLACE FOR US” — CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER
Music & Lyrics by: Carrie Underwood, David Hodges, Hillary Lindsey
“YOU HAVEN’T SEEN THE LAST OF ME” — BURLESQUE
Music & Lyrics by: Diane Warren
BEST TELEVISION SERIES – DRAMA
OARDWALK EMPIRE (HBO)
Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions, HBO Entertainment
DEXTER (SHOWTIME)
Showtime, John Goldwyn Productions, The Colleton Company
THE GOOD WIFE (CBS)
CBS Television Studios
MAD MEN (AMC)
Lionsgate Television
THE WALKING DEAD (AMC)
AMC
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
JULIANNA MARGULIES
THE GOOD WIFE
ELISABETH MOSS
MAD MEN
PIPER PERABO
COVERT AFFAIRS
KATEY SAGAL
SONS OF ANARCHY
KYRA SEDGWICK
THE Closer
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
STEVE BUSCEMI
BOARDWALK EMPIRE
BRYAN CRANSTON
BREAKING BAD
MICHAEL C. HALL
DEXTER
JON HAMM
MAD MEN
HUGH LAURIE
HOUSE
BEST TELEVISION SERIES – COMEDY OR MUSICAL
30 ROCK (NBC)
Universal Media Studios in association with Broadway Video and Little
Stranger Inc.
THE BIG BANG THEORY (CBS)
Warner Bros. Television
THE BIG C (SHOWTIME)
Showtime, Sony Pictures Television, Perkins Street Productions, Farm Kid, Original Film
GLEE (FOX)
Ryan Murphy Television, Twentieth Century Fox Television
MODERN FAMILY (ABC)
Twentieth Century Fox Television
NURSE JACKIE (SHOWTIME)
Showtime, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber, Caryn Mandabach Productions
EST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL
TONI COLLETTE
UNITED STATES OF TARA
EDIE FALCO
NURSE JACKIE
TINA FEY
30 ROCK
LAURA LINNEY
THE BIG C
LEA MICHELE
GLEE
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
ALEC BALDWIN
30 ROCK
STEVE CARELL
THE OFFICE
THOMAS JANE
HUNG
MATTHEW MORRISON
GLEE
JIM PARSONS
THE BIG BANG THEORY
BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
CARLOS (SUNDANCE CHANNEL)
Film En Stock and Egoli Tossell Film, Sundance Channel
THE PACIFIC (HBO)
Playtone and DreamWorks in association with HBO Films
PILLARS OF THE EARTH (STARZ)
Starz, Tandem Communications, Muse Entertainment Scott Free Films
TEMPLE GRANDIN (HBO)
A Ruby Films, Gerson Saines Production, HBO Films
YOU DON’T KNOW JACK (HBO)
Bee Holder, Cine Mosaic and Levinson/Fontana Productions, HBO Films
BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
HAYLEY ATWELL
PILLARS OF THE EARTH
CLAIRE DANES
TEMPLE GRANDIN
JUDI DENCH
RETURN TO CRANFORD
ROMOLA GARAI
EMMA
JENNIFER LOVE HEWITT
THE CLIENT LIST
BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
IDRIS ELBA
LUTHER
IAN MCSHANE
PILLARS OF THE EARTH
AL PACINO
YOU DON’T KNOW JACK
DENNIS QUAID
THE SPECIAL RELATIONSHIP
EDGAR RAMIREZ
CARLOS
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
HOPE DAVIS
THE SPECIAL RELATIONSHIP
JANE LYNCH
GLEE
KELLY MACDONALD
BOARDWALK EMPIRE
JULIA STILES
DEXTER
SOFIA VERGARA
MODERN FAMILY
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
Since we all just watched the season finale of the Walking Dead (you did watch it, didn’t you?), I figured I’d highlight two scenes from one of my favorite “zombie” films, 1973’s Messiah of Evil.
The first scene is one that I never fail to think about whenever I find myself going down to Wal-Mart at 3 in the morning.
The second scene is one that really hits home for me because it takes place in a movie theater. If nothing else, it perfectly illustrates why you should always have a date (preferably a strong one) if you’re going to the movies. As sidenote, the unfortunate actress in this scene was named Joy Bang.
Willard Huyck, director of this film, also co-wrote the script for American Graffiti.
So, we’ve finally reached the season finale of a very short inaugural season of Frank Darabont’s tv adaptation of Robert Kirkman’s critically-acclaimed and very popular comic book series, The Walking Dead. AMC ordered an initial 6-episode for this season which made setting up the world for the non-fans of the comic book a top priority. This could be seen in the first five episodes as each one explained the rules of this new post-apocalyptic world and how it has changed how people have now begun to behave.
The tv series has stayed mostly loyal to its comic book source, but some divergence from the source material has caused some grumblings amongst the comic book’s legions of fans. It doesn’t matter to them that the comic book’s creator has been ok with the changes and actually an active participant with said changes. These changes have been somewhat minor in the show’s five episodes but as episode five rolled to an end we got a major departure to the source material. Rick has taken his band of survivors back to Atlanta where the CDC (Center for Disease Control) is headquartered at. This never happened in the comic book and it’s inclusion to the story has driven many a fan of the source material batshit crazy.
They ask why make the changes, both minor and major, to a story that was already full of story-arcs, subplots aplenty and enough characters down the line that new ones weren’t needed. I can’t blame them for asking such questions for I, too, are a major fan of the comics right from the very beginning. But these changes is exactly why the story being told by this tv adaptation look and seem fresh to me. The end of the last episode was such a major departure that I can now honestly say that I have no idea what Darabont and Kirkman have in store for Season Two. It’s that element of the unknown and the surprise of not knowing what’s around the corner why I don’t rail against these changes. If I wanted a page-by-page, panel-by-panel adaptation then I’d rather just bring out the comics and re-read them for the umpteenth time.
Now we get to the season finale and whether the major change will actually improve or just ruin the series.
I must say that I was guarded in my optimism about this major departure and the inclusion of the CDC. What I’ve liked about some of the best zombie stories ever put on film or on paper is that the zombie apocalypse never truly gets a definite explanation as to how it began or what caused it in the first place. This season finale episode titled “TS-19” seemed like Darabont’s attempt to try and explain the cause of the zombies and who or what let it loose in the first place. Very bad zombie stories try to over-explain and end up tripping over themselves in the process and thus ruining the experience.
With “TS-19” we get Dr. Edmund Jenner (Noah Emmerich), last surviving researcher in the CDC, give a brief explanation as to the process of when a person goes from living to dead to reanimated corpse. While the fancy computer-enhanced imagery seemed to explain much it really doesn’t. It just scientifically showed what everyone already knew. They still don’t know if it’s a viral or bacterial disease or if it’s even a disease at all. Even Jenner doesn’t discount Jacqui (one of those new characters added in that fans of the comics railed against) mentioning that it could be the wrath of God. The sequence even answers viewers’ question about how long it takes for a recently dead to return back as a “walker”. The answer to that is that they don’t know.
This episode highlighted how ineffectual the very institutions people depended on for help, security and safety when the zombie apocalypse finally hit critical stage. We see this in the show’s cold start prologue as we go back in time to see the final moments at the King’s County Hospital where a comatose Rick Grimes was being kept at for observations. Shane, his partner and best friend, sees the brutal solution the military has for those either infected but alive and/or unwilling to vacate the hospital as it began to be overrun by the “walkers”.
This sequence answered questions about why the military was so inefficient. It’s also a damning condemnation about the rigidity of such a major governmental institution unable to adapt to an ever-changing situation where the enemy didn’t sleep, didn’t stop to rest or wasn’t afraid about being fired on. This was an enemy that was conducting the true meaning of “total war” on a people who were already on the ends of their last rope. The fact that their solution only swelled the ranks of those they fought just showed how doomed the world is when something this apocalyptic occurs without warning and without a means to fully understand and combat.
Even Jenner doesn’t know what made the zombie apocalypse begin and the source of what scientists thought was something they could find a cure for. This ambiguity needed to be shown to stop question from the audience about the “why’s” and “how’s” and instead get the series back onto the road where survival and holding onto their humanity remains their ultimate struggle.
This episode does get them back onto that lonely road with some deciding to stay as the facility began a countdown towards a final decontamination. We get also get a nice scene between Jeffrey DeMunn’s Dale and Laurie Holden’s Andrea that should make fans of the comics happy. The same goes for showing just how ineffectual Rick has been as their leader as every decision he has made has put the group in danger. It shows Rick’s intractable belief in doing the right things and holding on to the vestiges of civilized behavior could be just a front to give his wife and son hope that things will be better. This episode shows Rick that what’s better is to stay for that final decontamination instead of going back on the road where only death and suffering will await him and his group. Jenner’s comment that was heard was like a prophetic announcement that Rick will regret going back out.
So, we finally end Season One of The Walking Dead and have a very long wait (hopefully AMC make the decision to air Season Two not on October but at least a month sooner, if not a couple of months.) til the series picks up again with the convoy of survivors headed to parts unknown. Parts unknown not just for the characters in the series but for fans of the comic book as well. Here’s to hoping that while Darabont and Kirkman uses the comic book as the main path for the series moving forward that they also deviate from it from time to time if there’s a good story to tell on those small paths and tributaries.
Extras
* “Dude, you are such a buzzkill.” – Glenn finally gets backhis witty ways as he reacts to Shane’s questioning of Jenner during a celebratory dinner.
* “Man, I’m going to get shitfaced drunk, AGAIN.” – Daryl’s reaction to Jenner’s news that there may be no one left anywhere.
* I found it quite ironic that of all the people to hold out the longest as the rest of the world gave up it would be the French.
* There was quite the Lost In Translation moment towards the end as Jenner whispers something into Rick’s ear before the group bolted to escape. Theories on what already has odds on Lori’s physical situation after the tests Jenner gave the group.
* As a military nut I smiled at the use of the acronym H.I.T. to literally mean a hit of a high-impulse thermobaric high explosive. That’s what I call a hit.
* Scene as Rick tries to plead with Jenner to let them go one can see Daryl still axing away at the blast doors.
* “The world runs on fossil fuel. How stupid is that!” – Jenner pointing out that places still doing research to find a solution failed because the power grids which run on fuel stopped due to lack of it.
* “This is what takes us down. This is our extinction event.” – Jenner finally voicing what everyone in the show has been avoiding and should give a clue as to the true meaning of the show’s title.
* The episode ends with a Bob Dylan song, Tomorrow Is a Long Time, that was very appropriate.
I recently discovered that Dallas’s own Newy Scruggs has become something of a Youtube cult figure as a result of a report he filed from San Francisco shortly before the start of the World Series.
I think Newy is the sports reporter for one of the local stations down here. I’m not sure which station because, to be honest, I make it a point not to watch the news. (I rely on rumor and street innuendo for my knowledge of current events…) However, I do know about Newy because when there’s somebody living in your city with a name like Newy Scruggs, you better know about it.
So, now the question is this — what lies in the future for Newy Scruggs? Will he become a famous, legendary Youtube messiah like the Garbage Day Guy from Silent Night, Deadly Night Part 2?
Or will Newy Scruggs suffer the same tragic fate as past Youtube stars?
One thing is for sure. I will always enjoy randomly saying “Newy Scruggs.”
So, of course, me being the little contrarian that I am, I had to stick my big Italian nose into it all and comment about how much I hate The Shawshank Redemption and about how Stephen King is an insecure whore. And this, of course, led to all of the boys fighting over whether or not The Mist had a good ending.
Anyway, I’ve already taken my side in the argument, which is that The Mist had a terrible ending but that terrible ending was scored with a really good and haunting song.
And here that song is : The Host of Seraphim by Dead Can Dance.
Season One of The Walking Dead is just days away from concluding. The show has been a runaway hit for AMC. It’s ratings since the pilot premiered on Halloween night has tripled the numbers posted by AMC’s other critically-acclaimed hits like Mad Men and Breaking Bad. It’s showrunner in Frank Darabont with veteran Hollywood producer Gale Anne Hurd the show had the firepower to allow a basic cable network to take a chance on a tv series based on a long-running comic book series about survivors in a post-zombie apocalypse world.
With Season 2 already approved for a 13-episode pick-up the only question now is whether the show will be able to take the foundations laid by Darabont and his writers this first season and continue to improve on the product. This question may have just taken on a certain significance as Deadlinehas reported that Frank Darabont has fired all the writers of this first season and plans on writing the second season by himself with freelance writers being brought in to work on each episode’s scripts.
For a show that has garnered great reviews from critics and fans alike, not to mention ratings that it’s sister shows on the network could only wish for, this change in how the upcoming season would be written might just put the shadow of worry over it’s growing legion of fans.
For some, this news might seem like a panic move designed to placate the vocal minority of blog reviewers who have pointed out how the show’s writing didn’t pass muster after a powerful pilot episode. How the series’ first season seem to have a Jekyll and Hyde tone to it. One episode being great then the next just so-so. Could the negative criticism (some justified and others just criticism for criticism’s sake) have reached the heads of AMC and the show’s producers and a decision for a change was made off the cuff.
This report, if confirmed by Darabont and the network as true, does mean Darabont becomes the sole writer for the show with hired freelancers doctoring finished scripts then it could be a blessing for the show moving forward. There will now be a singular voice that will dictate how the show goes forward. Some will think this may just ruin the quality of the show not having a staff of established writers on-board like the first season had, but it’s those very same writers who the show’s detractors have been blaming for the show’s missed opportunity to create a brave new show on tv.
Also, it’s not such a rare thing to have a show written by one individual and for a series that’s really one long story with some very complicated subplots thrown. Having that one writer could keep things from getting too confusing. It could also solve the up and down nature of the episode quality.
AMC, hasn’t stated that the show will not have a staff of writers. There’s a chance that Darabont will hire both freelance and series writers to help smooth the transition from Season One to Season Two. The good thing is that the network and the producers pretty much have 11 months to decide on exactly how to proceed.
Don’t get me wrong, I love them both. James Franco was great in 127 Hours and Anne Hathaway starred in the story of my life, Rachel Getting Married. But what exactly about either one of them screams “Oscar host?”
To be honest, Oscar Host has always seemed like a thankless job. Jon Stewart did a pretty good job a few years ago (and it was really cool how he brought Marketa Irglova back out on stage so she could give her speech after winning the award for best original song) but otherwise, is it really a job that anyone wants?
(And, even if Stewart was a great Oscar host, he’s been getting progressively more and more smug, annoying, and self-important ever since.)
Remember when Hugh Jackman hosted and he sang that song that just went on and on and then we all realized that we didn’t really like Hugh Jackman that much in the first place?
And I guess last year it was Steve Martin and Alec Baldwin and … yeah, that was really memorable.
Ellen DeGeneres hosted the Oscars and suddenly, she was a judge on American Idol and did that do anyone any good?
Actually, I think the ideal host would be someone like Jeff Probst, someone who would just smirk after the winner’s announced and ask the other nominees what it felt like to be losers.
Seriously, I’m worried for Franco and Hathaway. I think that perhaps in the future, the role of Oscar host should be reserved for people who are already generally acknowledged as being annoying. That way, at least, nobody will shed any tears when the Oscar Host Curse kicks in.
We’ve now come to the penultimate episode of The Walking Dead‘s first season. If there’s been one thing about this tv adaptation — of the Robert Kirkman comic book series which it’s based on — has proven it’s that the show is willing to go off the reservation when it comes to following the source material. The show has made some interesting storytelling and character choices right from the start. Scenes which occur later in the comic book have been moved up and combined with others. New characters, both recurring and disposable ones, have been introduced to the original numbers from the book.
Some of these changes have been welcomed by old fans of the book, but there’s a vocal minority who don’t see why there’s a need for such changes and additions. To new fans whose experience with this franchise has been just through the show the changes don’t mean a thing. They’re coming into this fresh and with open eyes. For long-time fans this need to watch this show with open eyes instead of clutching at the strict canonical material that are the books it would be a hard time going. I’m one of those who have been reading the books since the beginning and for the most part I’ve accepted these changes. Even the major departure introduced to end this episode I find quite interesting and with guarded optimism that it will lead to a surprising season finale and set-up season two properly.
We begin the show the very morning after the zombie attack on the camp which ended the previous episode. The survivors are cleaning up the bodies of both the “walkers” put down and those people they lost. The scenes showing how both Carol deals with her abusive husband’s corpse and how Andrea deals with her younger sister Amy were quite powerful in their own way. In one scene, we see an abused and beaten down wife taking out her anger and relief on the source of her problems with a pickaxe. In another, we see an older sister remembering past regrets of never being there for her much younger sister despite promises to do so. The scene with Andrea goes against much of what most zombie survival aficionados would do, but it brings to light just how much the Andrea loved her sister and even if it means seeing her come to a semblance of life just one more time to say her goodbyes she would do it. Knowing what she would need to do in the end just made her tearful final goodbye that more powerful.
The third farewell doesn’t happen until 3/4’s of the way into the episode (though we do see Morales and his family go their own way. Going to miss him going for the fences with that baseball bat) and involves Jim. An injury incurred from the fight during the night leaves him and the group with a problem that gets resolved in one of the more poignant scenes in this series, so far. As Morgan Jones from the pilot episode instructed Rick the “walkers” and their bites are a death sentence. The two competing leaders of the group in Rick and Shane want to solve their Jim problem using different methods. Rick wants to take the group to the one place he thinks could still help Jim and that’s the CDC near Atlanta. While Shane, with enthusiastic support from Daryl, wants to put Jim down before he becomes a dangerous liability.
In a scene reminiscent of a similar one from Romero’s original Dawn of the Dead, Jim makes the final and ultimate decision about his life. The goodbyes made by everyone to Jim after he’s made his decision to be left behind was very heartbreaking. Jim might have been a secondary support character but the last couple episodes have fleshed out his character enough that we care what happens to this man who has lost everything and thinks his predicament will reunite him with those he has lost.
The growing schism between best friends Rick and Shane gets a few more nails added to it as we see Shane gradually losing his command of the group. The group looks to be gravitating towards Rick as their leader now and even the wildcard in Daryl seem to look to Rick for the answers. The scene between the two as they patrol the woods near the camp definitely widens the gulf between the two even if Rick looks to be unaware of what’s really going on with Shane. The sudden appearance of ever stalwart and ever watchful Dale sure thinks something is amiss.
It’s the final ten minutes of the show where we finally know why the episode was titled “WildFire”. In another departure, one that would be called huge by fans of the comic books, we see the lone surviving researcher within the CDC sending video reports on what’s being called “Wildfire” and how research on the so-called “disease” has remained useless with no answer in sight.
The whole entire sequence reminds me of the early parts of Stephen King’s own apocalyptic epic novel, The Stand, as scientists desperately try to stem the tide of the approaching apocalypse to no avail. It’s little subtle references to other apocalyptic stories and tales like this which keeps some of the changes and departures from the source material bearable and, at times, even welcome.
It’s this major departure that will send some long-time fans of the comic book apoplectic. The vocal minority will definitely get even louder as to why Darabont and the writers are messing with the timeline and the stories in the original comic book. As one of those fans I should be screaming just as loudly, but the zombie and apocalyptic genre fan in me actually like how this show has gone off the beaten path of the original source material.
If they had stayed word-for-word and panel-for-panel true to the comic book then there’s no surprises to be experience. Knowing how everything unfolds right from the start could get boring even if it is about something read and re-read with love. There’s still no guarantee that the final pay-off of this particular major detour from the comic book will end in a good way, but the possibility of not knowing how this story-arc will end this first season is both exciting and tense-inducing. It could succeed in the best way, but also fail in an epic one. Either way the path now is not set in stone and everything moving forward will be undiscovered country.
Extras
* Quote of the night: “I think tomorrow I’m gonna blow my brains out, I haven’t decided. But tonight, I’m getting drunk!” – nameless CDC researcher.
* For once Glenn doesn’t have a witty quip or remark which just highlights the somber mood of this episode.
* There’s still no news on the whereabouts of one Merle Dixon though he gets name-dropped a couple times.
* A sneaking suspicion that Merle will not appear again this season, but may in the next or later ones.
* Bear McCreary’s score and choices of music for the episode the best in the series, so far to date. Especially, the use of John Murphy’s Adagio in D Minor from the sci-fi drama Sunshine which was recently used in Kick-Ass.