TV Review 1.8 Pam & Tommy “Seattle” (dir by Gwyneth Horder-Payton)


Pam & Tommy comes to an end, not with a hard bang but instead with a flaccid whimper.

The final episode of Pam & Tommy opened with Seth Rogen’s Rand Gauthier wandering around with a pained expression on his face.  Apparently, this was the one thing that Rand was good at.  Rand has been beating up people who owe Butchie money but it’s starting to trouble him.  Rand believes in karma and thinks that being a glorified mob enforcer will turn karma against him.  Or maybe being a glorified mob enforcer is karma’s way of punishing Rand for stealing a sex tape and trying to sell it online in the first place.  It’s hard to say.  All I know is that there was way too much Rand and way too much karma talk for me.  The show may be based on what Rand claims actually happened to him but the idea of Rand, with his mom jeans and his mullet, becoming a feared debt collector is simply a bit too much.  Perhaps because he was just as sick of listening to Rand whine as the rest of us, Butchie offered to let Rand off the hook if Rand would simply pay him $10,000.  Rand, of course, doesn’t have $10,000, despite being responsible for coming up with the most profitable and lucrative use of the internet ever.  Loser!

Meanwhile, Tommy attempts to make a musical comeback by imitating the 90s Seattle sound while an actual resident of Seattle, Seth Warshovsky (Fred Hechinger), offers to buy the rights to Pam and Tommy’s sex tape.  On the one hand, selling the rights to Warshovsky will allow Warshovsky to sue anyone who is distributing and making money off of bootlegged copies.  On the other hand, it will also lead people to assume that Pam and Tommy were behind the video’s initial release.  Pam wants to do it.  Tommy refuses.  Their marriage starts to crumble.  The episode insinuates that the tape caused Pam to miss out on opportunities to appear in both L.A. Confidential and Austin Powers which …. yeah.  I’m honestly going to say that, as far as Pam not becoming a movie star and losing roles to Kim Basinger and Elizabeth Hurley, there may have been factors in play other than the sex tape and hypocritical American puritanism.  One can sympathize with what Pam went through while also still being honest about the fact that she was never a particularly good actress.  If anything, her talent and persona were perfect for television.

After 8 hours, the finale of Pam & Tommy didn’t add up too much.  We start to see that Pam is getting sick of Tommy’s immaturity and that Tommy can’t control his temper, even around Pam.  But it’s not until the end title cards that we’re informed that Pam and Tommy divorced after Tommy was arrested and did jail time for spousal abuse.  (We’re also told that both Pam and Tommy consider each other but the love of their lives, which is kind of a bold statement to make when neither Pam nor Tommy had anything to do with the production of Pam & Tommy.)  Seth Warshovsky pays Rand a total of $10,000 for the original copy of the sex tape and then goes on to make several million dollars off of it.  Rand considers using the money to settle his debt with Butchie but instead he gives the money to his ex-wife because that’s what karma would want him to do.  (One has to wonder if anyone involved with Pam & Tommy ever watched a little show called My Name Is Earl.)  Those helpful title cards inform us that Rand moved to North California and now works as a marijuana grower and that he still struggles to get people to believe that he’s the man who actually stole the tape.  It doesn’t mention whether he did anything about his hair.

The main problem with Pam & Tommy is that the story itself just wasn’t interesting enough to demand 8 hours of screen time.  The second biggest problem, and this is a problem with a lot of streaming miniseries, is that the show itself never really settled on a consistent tone.  Was it a drama or was it a live action cartoon?  The show couldn’t seem to make up its mind.  Themes were raised and then abandoned, as if the show itself was desperately trying to justify its existence.  Lily James gave a good performance as Pam.  Sebastin Stan has a few good moments as Tommy Lee.  Seth Rogen, Taylor Schilling, Andrew “Dice” Clay, and Nick Offerman all gave their characters one-note interpretations that didn’t add up too much.  Considering the talent involved, it’s all a bit of a shame.

Oh well.  It’s over now.

Spring Break on the Lens: You Get Me (dir by Brent Bonacorso)


Ah, the beach.

The beach is a beautiful and fun place and the perfect location to celebrate a spring or summer break.  But beware of getting carried away with your youthful revelries because it can lead to complications that will follow you into the fall.  And those complications can be deadly….

BLEH!

Okay, sorry for all the drama.  I’m just trying to make myself feel some sort of enthusiasm for reviewing the 2017 Netflix film, You Get Me.  You Get Me is technically not a spring break movie but it does take place on the beach and it does feature a moderate amount of drinking, drug-taking, and partying so, it’s close enough.  It also features a cast of 20-something actors cast as high school students.  Some are more believable than others.

Basically, dumb and dull teenager Tyler (Taylor John Smith) is having the best summer of his life because he has a girlfriend named Ali (Halston Sage), who he is totally in love with.  (Ali could probably do better but whatever.  Everyone makes mistakes in high school.)  Tyler is also frustrated because Ali wants to wait before having sex with him and she also doesn’t understand why Tyler has been so hesitant to introduce her to his dysfunctional family.  When Tyler goes to a party and runs into a guy from Ali’s past, he learns that Ali used to be much wilder.  Angry that Ali hasn’t been honest with him, big dumb Tyler gets drunk and runs off with Holly (Bella Throne), a girl who he has only known for an hour.  They go dancing.  Holly offers Tyler a pill.  Tyler isn’t sure he’s ready for that.  “You swallow, I swallow,” Holly tells him.  Tyler and Holly spend a passionate weekend together but, afterwards, Tyler and Ali get back together, with Ali promising that she’ll tell Tyler everything about her past.  “No more secrets,” Tyler agrees, despite the fact that he’s now keeping a secret of his own.

Fortunately, Holly was only visiting for the summer and it’s not like Tyler will ever see her again so …. OH MY GOODNESS, LOOK WHO JUST SHOWED UP AT TYLER’S HIGH SCHOOL!  Holly now goes to the same school as Tyler and her new best friend is Ali!  Tyler asks Holly not to tell Ali anything about their weekend together.  Holly, however, has stopped taking her meds (seriously, that’s a plot point) and has decided that if she can’t have Tyler, no one will.  Soon, Holly is claiming to be pregnant and serving peanut-laced smoothies to people with food allergies.  Have you ever noticed how people in movies like this always have a best friend who suffers from a food allergy?

I’m probably making You Get Me sound more fun than it actually is.  It’s actually an extremely bland movie and a surprisingly tame one.  At her best, Bella Thorne is less an actress and more an agent of chaos.  She gets a few opportunities to be enjoyably evil in You Get Me but the script, for whatever reason, often seems to be more concerned with boring old Tyler.  Perhaps if Taylor John Smith and Halston Sage had at least a little bit of romantic chemistry, we would care about what happens to Tyler and Ali but they don’t.  Since they don’t really seem to be that into each other, it’s a little bit hard to get upset when Holly comes between them.

The beach, I will say, looked lovely.  And I really liked Holly’s house.  And, as I mentioned earlier, there were a few moments when Bella Thorne’s demented performance brought some life to the anemic proceedings.  But, for the most part, You Get Me is forgettable.  It did not get me.

Spring Break On The Lens: Shag (dir by Zelda Barron)


Welcome to Myrtle Beach, South Carolina, the setting of the 1989 film, Shag: The Movie!

We know that we’re in South Carolina because everyone is speaking with the type of overbaked Southern accents that you only hear in the movies.  And you know it’s the beach because of all the sand, the bathing suits, and the spring breakers.  Everyone’s listening to that rock and roll music.  Everyone’s dancing.  There’s a lot of Confederate flags around, mostly because the movie was made in the 80s and it’s taking place in the South.  If the movie were made today, it would probably take place in New Jersey and everyone would be debating whether or not Christopher Columbus was a hero or not.

Though the movie was made in 1989, it takes place in 1963.  We know that the movie takes place in 1963 because everyone in the movie keeps mentioning how it’s 1963.  One character mentions having sexual fantasies about President Kennedy, which scandalizes all of her friends.  Another character won’t stop talking about how much he enjoyed Paul Newman’s performance in The Hustler.  (The Hustler came out in 1961, though, so I think the dude needs to get with the times and watch Tom Jones.)  Everyone’s dancing the Shag.  Of course, since this is a film about how innocent the world was in 1963, there’s no talk of the growing American presence in Vietnam or anything like that.  This is the 1963 of the popular imagination, the 1963 that one visualizes after watching a hundred movies about spring break in the early 60s.

Anyway, Shag follows four friends as they have a wild week in Myrtle Beach.  They’re recent high school graduates.  Melaina (Bridget Fonda) is the wild preacher’s daughter.  Louanne (Paige Hannah) is the responsible one, who wears horn-rimmed glasses.  Pudge (Annabeth Gish) is the friend who needs better friends or, at the very least, friends who won’t give her a cruel nickname.  Carson (Phoebe Cates) is the responsible girl who is about to marry the level-headed Harley (Tyrone Power, Jr.)  After telling their parents that their going to Ft. Sumter to learn about the Civil War, they instead head down to Myrtle Beach.  Melania enters a beauty contest.  Pudge enters a shag contest with Chip (Scott Coffey).  Carson finds herself tempted by Chip’s friend, the Yale-bound Buzz (Robert Rusler).  And Louanne is tempted by Harley, who eventually comes to Myrtle Beach himself to try to understand why Carson is being so irresponsible.

There aren’t really many surprising moments to be found in Shag.  From the minute that we first see Carson trying on her wedding dress, we know that there’s no way she’s still going to be engaged by the time the movie comes to its conclusion.  By that same token, we also know that Melaina is not going to be as wild as she tries to present herself as being and that Pudge is going to find her confidence and that Louanne is eventually going to let her hair down, if just for a few minutes.  It’s a predictable movie but the cast is likable and there’s a lot of dancing, which is always a plus as far as I’m concerned.  Admittedly, Cates and Rusler are a bit bland as the main couple.  Instead, Annabeth Gish and Scott Coffey are the cast stand-outs.  I also have to say that I really liked the performance of Tyrone Power, Jr.  Harley is kind of a thankless role but Power manages to make him at least a little sympathetic.  At the very least, Carson doesn’t come across like a fool for considering him as a possible husband.

Shag is a likeable film, even if it’s not exactly groundbreaking.  And did I mention that there’s dancing?

Spring Break On The Lens: The Real Cancun (dir by Rick de Oliveira)


Remember The Real Cancun?

This 2003 film tells the story of 16 good-looking and not particularly intelligent college students who go to Cancun for spring break.  For 8 days, they all live in the same beach house and they get to know each other.  They drink.  They flirt.  A few of them hook up but perhaps not as many as you would expect.  The dorky virgin dude says that he just wants to see “boobies” and then gets drunk off of one shot.  Two platonic friends debate whether they should take their relationship to the next level.  The women wear bikinis.  The men wear speedos.  There are bare boobs and behinds galore.  Snoop Dogg makes a special guest appearance.  One spring breaker get stung by a jelly fish so her new roommate pours a cup of urine on her ankle.  Good thing he had already had ten beers that morning!  What fun!

If this sounds like a typical spring break film, that’s because it is a typical spring break film but with one big difference.  It was produced by the people behind MTV’s The Real World and, as such, the 16 spring breakers are sold as being real people who are spontaneously acting like a bunch of movie characters.  In 2003, reality tv was still a relatively exotic concept and this film was an attempt to take the genre’s cheap aesthetic to the cinematic level.  Even more importantly, it was an attempt to duplicate the success of Girls Gone Wild, without actually admitting to being inspired by that sleazy enterprise.  As such, there’s a lot of nudity but there’s a strange lack of actual sex.  There’s a lot of drinking but there’s not much drunkenness.  It’s an oddly tame look at spring break, one that promises debauchery but which doesn’t deliver anything that would have kept the film out of theaters or off the cable networks.  I got more wild on my spring breaks than anyone in this film and I don’t even drink.

The film’s “stars” are all pretty bland and it’s not a surprise that, with one exception, none of them have appeared in anything other than The Real Cancun.  (That one exception is Laura Ramsey, who went on to have a somewhat busy acting career after appearing as herself in this film.)  The film manages to make nudity boring.  Seen today, The Real Cancun works best as a time capsule, largely because it was filmed at a time when there was no social media and, even more importantly, no phones.  Everyone is attracted to the crew and their bulky film cameras because there aren’t any other cameras around to record them and make them famous.  Today, anyone can make their own Real Cancun and post it to YouTube.  In 2003, if you wanted a shot at that type of fame, you had to audition and be selected to appear in a “documentary.”

Apparently, The Real Cancun was meant to be the first part of a Real World cinematic franchise.  The first Jackass film had come out the previous year so MTV was enthusiastic about producing cheap reality movies.  However, The Real Cancun was such a huge flop at the box office that it killed those plans.  There would be other Jackass films, of course.  But the Real World Cinematic Universe imploded as soon as it began.  And for that, we should probably be thankful.

Lisa Marie’s Week In Television: 2/27/22 — 3/5/22


Yes, I watched a lot this week.  Here’s some thoughts:

Allo Allo (Monday Morning, PBS)

Rene attempted to abandon his wife and his café so that he could elope with Yvette but Michelle had one “last” mission for him.  It involved smuggling the Enigma machine to the British via the sewer system and, needless to say, it involved a lot of digging.  It made me laugh, that’s what is important.

The Amazing Race (Wednesday Night, CBS)

You can read my thoughts on the finale here!  I wasn’t particularly happy about who won but that’s the way it goes sometimes.

American Idol (Sunday Night, ABC)

I am as stunned as anyone by the fact that American Idol still exists.  I stopped caring about the show a lifetime ago but I still watched the premiere of the latest season on Sunday because I was cleaning around the house and I thought it would make for acceptable background nose.  I love Katy Perry but the rest of the judges are pretty dull.  No one’s willing to be as mean as Simon Cowell was back in the day.  The whole thing is just too damn positive.

The Bachelor (Monday Night, ABC)

I haven’t really been keeping up with this season but I did watch Monday’s episode, just to see if the Claytonbot had developed any sort of individual personality over the past few weeks.  He has not but apparently, everyone can still see themselves falling in love with him and spending the rest of their life with him.

Bar Rescue (Friday Morning, Paramount)

It had been a while since I watched Bar Rescue so I watched the Friday morning bloc of reruns.  I guess, due to the fact that I don’t drink, I always find it amusing how worked up everyone on the show gets over the mismanaged bars.  Whenever Taffer starts to yell about a bartender not knowing how to make a certain cocktail, I’m always like, “Well, can’t you just order something else?”

Couples Court With The Cutlers (Sunday Afternoon, OWN TV)

I had forgotten this show existed but when I stumbled across it on Sunday, I have to admit that I immediately got sucked into the case of Bacon vs. Bacon and the question of whether or not Mrs. Bacon was cheating on Mr. Bacon.  They even brought in a cybersecurity expert to go through Mrs. Bacon’s phone and it was discovered that she was using an app to send out secret text messages!  Mrs. Bacon claimed she was talking to other men but not actually cheating with them.  However, “licensed polygraph examiner Kendall Shull,” (as he’s called in every single episode) determined that she was cheating.  Mr. Bacon walked out on her husband while the audience gasped.  Poor Mr. Bacon!  I later looked this episode up on the imdb and I discovered that it was 5 years old so I can only imagine how the Bacons feel whenever they come across it playing on TV.

Court Cam (Wednesday, A&E)

To be honest, I thought this show had been canceled but, on Wednesday, I discovered that it still exists and it’s going strong.  Featuring actual court footage and breathlessly narrated by Dan Abrams, Court Cam is the equivalent of true crime junk food.  I watched about four episodes.  Judges yelled.  Defendants yelled.  The bailiffs were ready to spring into action.  The lawyers were usually smart enough to stay out of the way.

The Dropout (Hulu)

I wrote about the latest Hulu miniseries here!

Full House (Sunday Afternoon, MeTV)

Uncle Jesse was upset that he wasn’t getting to spend as much time with his cool friends as he wanted to because he was always spending all of his time taking care of Danny’s children.  So, Jesse went skiing with his old friends but they all turned out to be just as dorky as Joey and Danny so I kind of think Jesse was fooling himself as far as the old gang was concerned.  Jesse’s life didn’t get any better in the episode that followed, as he was forced to take a job as an Elvis impersonator to pay the bills.  Poor Jesse!  At least he had adequate hair.

Inventing Anna (Netflix)

I watched episodes 3, 4, and 5 of Inventing Anna early Monday morning.  They didn’t do too much for me, largely because Vivian isn’t a very interesting character and every minute that we have to spend listening to her whine about her career is a minute that we’d rather be spending with Anna and her wealthy friends.  This show makes a lot more sense once you know that the journalist upon whom Vivian Kent is based is also one of the producers.  She made the mistake of thinking she was the star of the story.

King of the Hill (Hulu and FXX)

On Sunday morning, I watched three episodes of King of the Hill on Hulu.  The first featured the possibility of Bobby being a reincarnated holy man.  The second found Peggy getting involved with a pyramid scheme.  (“No, it’s a triangle.”)  And the third featured Hank getting a haircut from Bill and then demanding that the Army charge him for it.  It turns out that it costs $900 for the army to give a man a haircut.

I watched two episodes of FXX on Wednesday.  One episode featured Hank becoming the substitute shop teacher and teaching the kids how to fix things.  Unfortunately, he had the kids bring tools from home and that got him fired.  I love this episode, largely because of the wonderful voice over work of the late Dennis Burkley, who played Principal Moss.  This was followed by Aisle 8A, in which Connie spent a memorable few days with the Hills and Hank had to find the courage to take a trip down Aisle 8A.

Law & Order (Thursday Night, NBC)

I watched the latest episode of Law & Order to see if McCoy had gotten around to firing his ludicrously idealistic Executive D.A. yet.  He had not.

This week’s episode was based on the relationship of Elizabeth Holmes and Sunny Balwani so it was interesting to watch it after having binged the first three episodes of The Dropout.  It was an okay episode, even if it still sometimes seemed to be trying a bit too hard.  The Law & Order revival needs to calm down a little and give the new characters (and the actors playing them) a chance to define who they are.

I kept hoping the ghost of Adam Schiff would materialize and rasp, “Take the deal….”

Law & Order: SVU (Thursday Night, NBC)

What if Joe Rogan confessed to a decades-old murder!?  Well, I guess you’d have to send someone in undercover to catch him.  This was not one of SVU‘s better episodes.

The Love Boat (Sunday Evening, MeTV)

On Sunday’s cruise, Kim Richards played a 13 year-old who, after putting on a good deal of makeup and taking off her glasses, could pass for a 22 year-old.  Fortunately, Gopher found out the truth about her age before committing a crime.  Meanwhile, Eve Plumb learned to forgive the man who she thought was her father for walking out on the family 20 years earlier.  Yay!  Quite a cruise.

Open All Hours (Monday Morning, PBS)

A woman wished Granville a happy birthday so Arkwright pushed Granville off of a step ladder.  This is something that appeared to happen fairly frequently with Granville.  He was always getting shoved off something.  Poor guy.

Pam and Tommy (Hulu)

I reviewed the latest episode of Pam & Tommy here.  Unfortunately, the character of Rand Gauthier has returned.  I’m glad this show is almost over.

The SAG Awards (Sunday Night, TNT)

I caught the second airing of the awards.  It was nice to see CODA win the award for Best Ensemble.  I loved Marlee Matlin’s speech.

Secrets of Playboy (Monday Night, A&E)

This A&E docuseries is all about exposing Hugh Hefner as being kind of a creep.  The episodes that I saw on Monday certainly accomplished that goal.  It’s kind of amazing that, for years, Hefner was able to get away with presenting himself as being some sort of benevolent father figure when basically, he was just a jerk with a mansion and smoking jacket.

Silk Stalkings (IMDB TV)

On Wednesday, I returned to binging Silk Stalkings.  I started with the 35th episode of the series, which was called Dead Weight and featured Chris and Rita investigating the murder of a businessman who was played by John O’Hurley.  I was pretty sure that I had seen this episode before but no matter.  It was fun and trashy and O’Hurley played his brief role like a soap opera villain come to life.  The 36th episode was called Kid Stuff and it told the story of a 17 year-old prostitute who shot her older lover’s wife.  The older man was a doctor who was played by the great Andrew Stevens.  Even by the standards of Silk Stalkings, this was a sordid episode but that’s one of the fun things about Silk Stalkings.  It may have been shameless but it also clearly wasn’t meant to be taken seriously.  Later, that night, I watched the 37th episode, in which Chris and Rita investigated a shooting that was connected to a couple’s kinky sex game.  That said, Chris was more concerned that Rita might accept a job offer and move to San Diego.  Awwwww!  No need to worry, Chris!  Rita would never leave you!

Thursday, I watched Episode #38.  After a murder turned out to be connected to a shady modeling company (which was actually a front for a trafficking scheme), Chris and Rita went undercover!  Chris pretended to be a mobster!  Rita pretended to be a model!  Any episode in which Chris and Rita go undercover is guaranteed to be a gem, especially if it requires Chris to wear a red suit and talk tough.  This was followed by an episode in which Chris and Rita investigated a death at a birthday party and Rita dealt with some issues from her traumatic childhood.  It was actually a pretty effective episode.  As silly as the mysteries on the show were, both Mitzi Kapture and Rob Estes were good actors who managed to find a sort of emotional reality amongst all the neon and lingerie.

Finally, on Friday, I watched Episode #40, “Soul Kiss.”  Chris and Rita investigated what appeared to be a suicide but what was actually a murder that was connected to a tantric sex seminar.  Rita was intrigued but Chris thought it was silly to suggest that he needed a seminar to learn anything new.  Rob Estes and Mitzi Kapture both kind of laughed their way through this episode.

Snowpiercer (Sunday Night, TNT)

I watched Snowpiercer while waiting for the second showing of the SAG Awards to begin.  Visually, it’s an impressive show and there’s a lot of actors in the cast who I like.  And I also liked the movie upon which the show is based.  That said, I don’t have the slightest idea what was going on in the majority of the episode.

South Park (Wednesday Night, Comedy Central)

This week, South Park not only took on Russian aggression but it also took a look at the way adults specialize in scaring and emotionally traumatizing children “for their own good.”  As usually happens in a time of crisis, South Park was the only show to come across as being the least bit sensible.  The new episode was followed by the “Zipline” episode from 2012.  That episode was only ten years old but seemed to come from a totally different universe.

The State of the Union (Hulu)

I skipped the State of the Union address on Tuesday and I wasn’t planning on watching it at all but then I heard from several people about how weird it was so I decided to give it a watch.  And yes, it was very, very weird.  All of our leaders are very, very weird and there’s no point in pretending otherwise.  What’s the deal with Biden’s creepy whispering thing?  Can no one tell him not to do that?  For that matter, most of the members of Congress appear to be deeply weird as well.  As much as we Americans love watching British and Canadian lawmakers heckle their prime ministers, we’re still not used to the idea of people in Congress doing it to the president.  At times, I felt like I was watching a sci-fi film in which society had moved underground.

My main impression is that this country is led by a group of very old people.  Maybe we should try electing some younger people the next time we have the opportunity.  Just a thought.

Talking Dead (Sunday Night, AMC)

Just like last week, Talking Dead did not feature a studio audience and, as a result, it fell somewhat flat.

The Walking Dead (Sunday Night, AMC)

I like the Commonwealth.  Their Halloween looked fun and I don’t really care about the income inequality.  The world’s ending.  Let people enjoy themselves, Carol.  I reviewed the latest episode of The Walking Dead here.

Worst Roommate Ever (Netflix)

Netflx’s latest true crime series tells the story of four terrible roommates.  Three of them turned out to be murderers.  The other one attempted to kill two people that we know about and the fact that both of them survived is something of a miracle.  I binged this frequently fascinating but often disturbing series on Tuesday morning, before Erin and I left to the vote in the Texas primaries.  The fact that this series is only five episodes long and doesn’t resort to dragging out any of the stories that it tells should really serve as a lesson for some other showrunners out there.  That said, I also have to say that the final two episodes, which dealt with the nightmarish crimes of Jamison Branch, left me feeling deeply unsettled and there’s a part of me that wishes that I hadn’t watched them.

TV Review: The Dropout Episodes 1, 2, and 3 (dir by Michael Showalter)


On Thursday, I binged the first three episodes of Hulu’s The Dropout.

The Dropout is Hulu’s miniseries about the rise and fall of Elizabeth Holmes (played by Amanda Seyfried), the enigmatic Stanford dropout who founded Theranos and became a billionaire before she turned 30. She promised that Theranos would revolutionize both the way that blood was tested and the world of health care in general. She was known for black turtlenecks, her deep (and possibly fake) voice, and her habit of not blinking. Of course, as common sense should have made obvious to just about anyone, it turned out that Elizabeth Holmes was lying about the blood testing machinery that her company was marketing. She and her business partner and former lover, Sunny Balwani (played, in The Dropout, by Lost‘s Naveen Andrews) were eventually charged with defrauding their investors. At trial, Holmes argues that her intentions were good and that she was trapped in an abusive relationship with Balwani. While Balwani’s trial is scheduled to being later this month, Elizabeth had already been convicted and currently await sentencing. Theranos, of course, no longer exists.

After the first three episodes, I would say that I’m cautiously optimistic. Seyfried and Andrews seem to be perfectly cast as Elizabeth and Sunny and the story itself is an interesting one. The miniseries format seems like a good one for director Michael Showalter’s trademark mix of dark comedy and drama. Much as with Showalter’s The Eyes of Tammy Faye, there were a few moments that felt a bit too cartoonish, most of which involved William H. Macy as Elizabeth’s former neighbor and eventual business rival but, for the most part, the first three episodes managed to establish and maintain a consistent tone. Before she lowers her voice and dons her black turtleneck, Elizabeth comes across as being socially awkward but likable. It’s only towards the end of the 3rd episode that we really start to see her as being the villainous figure that she eventually began. The first 3 episodes are like an origin story.

Of course, the fact that it took 3 hours to tell her origin story is one reason why I’m cautious in my optimism. Streaming services are currently full of miniseries that all take stories that should be interesting but then drag them out to such a length that it’s hard not to eventually lose interest. (If you need an example of what I’m talking about, go check out Netflix’s Inventing Anna.) The Dropout‘s first three episodes were well-done but it’s still hard not to feel that the story told in those three hours could have just as easily been told in 20 minutes, without denying the viewer anything that they needed to know to understand Elizabeth and Sunny. There are five more episodes to go. Can the story of Elizabeth Holmes and Theranos remain interesting for 8 hours? I’m hopeful but I’m not totally sure.

With all that in mind, I’m recommending The Dropout, on the basis of the first three episodes. But remember …. I was originally pretty enthusiastic about Pam & Tommy as well.

The TSL’s Grindhouse: The Scary on Sixty-First (dir by Dasha Nekrasova)


Now streaming on Shudder, The Scary of Sixty-First is a weird little movie.

Two friends who don’t really seem to like each other that much, Noelle (Madeline Quinn) and Addie (Betsey Brown), move into a fully furnished Manhattan apartment.  The apartment, they are told, has been uninhabited for a few years.  The realtor asks them not to play the piano.  One of the mattresses is stained with blood.  Hidden amongst the surprisingly ornate furniture are mystical books and mysterious cards.  It’s kind of a creepy place but it’s also in Manhattan and it’s affordable.

Addie, we’re told, has a history of mental instability and a difficult relationship with her family.  (Noelle, at one point, refers to Addie’s father as being a pedophile.)  Addie also has an idiot boyfriend named Gary (Mark Rapaport, who also produced the film).  Gary may be a little bit slow but he has his standards and when Addie starts to speak in a strange voice and ask him to take part in some truly perverse role play, he freaks out.

Meanwhile, Noelle meets a mysterious person who is only referred to as being The Girl (played by the film’s director, Dasha Nekrasova).  The Girl is hooked on speed and conspiracy theories.  The Girl explains that Noelle and Addie’s apartment was once used by Jeffrey Epstein and Ghislaine Maxwell.  The Girl says that she’s investigating their crimes but her investigation mostly seems to consist of watching YouTube videos and walking around New York.  Within hours of meeting each other, Noelle and the Girl are lovers but when The Girl tries to demonstrate why Epstein couldn’t possibly have hanged himself, Noelle appears to deliberately hesitate before saving the Girl’s life.  Later, as they walk around New York, the Girl spots a woman who she claims is Ghislaine Maxwell.

As for Addie, she’s having nightmares and when she’s not dreaming, she’s sleepwalking and doing even more.  She’s also becoming obsessed with the British Royal Family.  She’s especially interested in Prince Andrew….

“Epstein didn’t kill himself,” as the saying goes and one reason why people are still saying that years after Jeffrey Epstein’s death is because it’s obvious that, whether he killed himself or not, he still took a lot of secrets with him to the grave.  I’m a student of conspiracy theories but I wouldn’t call myself a believer.  I tend to assume that most of what happens in the world is due to random fate as opposed to the unseen hand of some secret organization.  That said, I totally accept that there’s a very good chance that Jeffrey Epstein was murdered on the orders of the rich and powerful people who he previously flew to his private island.  One reason why The Scary of Sixty-First works is because, as bizarre as the film gets, it’s still dealing with a conspiracy theory that even most skeptics find to be plausible.

And indeed, it’s a bizarre film, one that plays out like a filmed dream.  Little about the film makes sense and, at the end of it, you’re still left with a lot of unanswered questions but then again, that’s a feeling that will be familiar to anyone who has ever gone down a conspiracy rabbit hole.  Are Noelle and Addie truly being possessed by evil auras of Epstein and Maxwell or are they just allowing their own paranoia to drive them mad?  Much like a dream, the answers are there but they’re hidden.  It’s a film that many people will find to be distasteful but, at its best, it captures the speed-fueled logic of the modern conspiracy theorist.  It’s a jolt of psychosis captured on a film.  The apartment becomes a metaphor for both the sins of the past and the uncertainty of the present.

Understandably, many will find the film to be distasteful and it often is.  But, at the same time, The Scary on Sixty-First captures the atmosphere and the paranoia of our current cultural moment.  After all, Epstein didn’t kill himself.

Music Video of the Day: Redlight by Swedish House Mafia and Sting (2022, dir by ????)


Before clicking on play, please be aware that this video features flashing lights and comes with an epilepsy warning.  If you watch, enjoy!

You don’t have to put on the red light,
Those days over
You don’t have to sell your body to the night
You don’t have to wear that dress to night
Those days are over
You don’t have to put on the Redlight
Those days are over
You don’t have to put on the Redlight
Those days are over
You don’t have to put on the Redlight
Those days are over
You don’t have to put on the Redlight
Those days are over
You don’t have to put on the Redlight
Those days are over
You don’t have to put on the Redlight

Film Review: The Weekend Away (dir by Kim Farrant)


“First time in Croatia?” asks handsome taxi driver Zain (Ziad Bakri).

As soon as Beth (Leighton Meester) answers in the affirmative, we know that she’s in trouble.  If you’ve seen enough thrillers, you know that any trip to another country is going to lead to trouble.  Beth may think that she’s just going to be spending a week or two with her wild best friend, Kate (Christina Wolfe), but we know that something bad is going to down.  And the minute that Kate insists that Beth dress up and go to a club with her, we know that someone is going to end up missing.

The next morning, Beth wakes up with a hangover, a cluttered villa, and an absent best friend.  Where is Kate?  Kate and Beth were supposed to go on bicycle tour but now, Kate is nowhere to be found!  More than one person suggests that maybe she didn’t want to do the whole cycling thing.  I don’t blame her.  You go, Kate!  Don’t let your friend guilt you into doing something that lame!

However, Beth starts to have flashbacks to the night at the bar.  It turns out that Beth is almost as much of a lightweight as I am when it comes to drinking because a glass of wine has totally wrecked her memory.  When Kate’s landlord mentions that Kate brought two men back to the villa with them, Beth starts to think that something terrible has happened to Kate!  The police soon agree with her but they think that Beth is the culprit!

Teaming up with Zain, Beth starts to investigate on her own.  Her husband (Luke Norris) is not happy to learn that, while he’s in London with their baby, his wife is running around Croatia with a sensitive and widowed taxi driver,  Needless to say, it soon turns out that just about everyone involved has a secret that they’re trying to hide.

The Weekend Away is the latest Netflix original thriller.  It starts out on a good note, with Kate and Beth catching up on their lives in Croatia.  Leighton Meester and Christina Wolfe are convincing as old friends who have followed different life paths and Croatia itself looks both inviting and ominous at the same time.  Unfortunately, once Kate disappears, the film gets a bit uneven and some of the characters do some things that don’t really make sense and the actors themselves sometimes seem to be struggling to find a way to make their dialogue sound credible.  The film starts with a lot of promise but the mystery itself turn out to not be as interesting as one might hope.  That’s my long-winded way of saying that you’ll figure out what happened long before anyone else in the film does.

Again, it’s an uneven film but I do like to focus on the positive so I will say that the film was nice to look at.  The scenes in the club were well-directed and captured both the chaos and the fun of discovering an exciting city for the first time.  Leighton Meester and Christina Wolfe were convincing as friends and Luke Norris kept you guessing as Beth’s husband.  It’s the Netflix equivalent of fast food.  It’s the type of film that you enjoy for what it is and then you forget about it a few hours later.

Music Video of the Day: King of a Tragedy by Isak Danielson (2022, dir by Kalle Möller)


This is an enjoyably atmospheric music video.  It makes me want to read a paperback epic about intrigue in a royal court.

Enjoy!

I wanna burn in the fire below
I wanna dance with the devil you know
take me to heaven and don’t let me go
I am the king of a tragedy

Waking up to hear the siren
you’re the poison in my blood
I could do without the violence
god knows I’m not that tough

I keep loosing all my virtues ’
i’m a magnet to your pain
Waking up to hear the siren

I wanna burn in the fire below
I wanna dance with the devil you know
take me to heaven and don’t let me go
I am the king of a tragedy
king of a tragedy

I wanna surrender and sacrifice
the fear that I feel when I look in your eyes
Please take me to heaven before I die
I am the king of a tragedy
king of a tragedy

Every word you say is fragile
It’s like a walk on broken glass
I’m like a deer, so scared of your headlights
you got your right foot hard on the gas
can we stay right here forever
you make it hard to run away
Every word you say is fragile

I wanna burn in the fire below
I wanna dance with the devil you know
Take me to heaven and don’t let me go
I am the king of a tragedy
king of a tragedy

I wanna surrender and sacrifice
the fear that I feel when I look in your eyes
Please take me to heaven before I die
I am the king of a tragedy
king of a tragedy

ooohh I wanna see what it feels like
to run into your headlights
oooh you know me I’m craving the spotlight

I wanna burn in the fire below
I wanna dance with the devil you know
Take me to heaven and don’t let me go
I am the king of a tragedy
king of a tragedy

I wanna burn in the fire below
I wanna dance with the devil you know
Take me to heaven and don’t let me go
I am the king of a tragedy
king of a tragedy

I wanna surrender and sacrifice
the fear that I feel when I look in your eyes
Please take me to heaven before I die
I am the king of a tragedy
king of a tragedy