Columns – FRED Entertainment

A Bit Of A Chat with Ken Plume & Janet Varney

UncaScroogeMcD — Fri, 25 Oct 2019 02:39:35 +0000

I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

In this episode, I have a chat with actor Janet Varney, about soup, brick sick, placebo effects, sleep, jokes, bodily rejections, jar jar binks, Last Eels, sandwich moats, meat ravines, puppy power, hipster games, Domino Hustler, salons, ApprovOwls, SketchFest, Albert Brooks, and heroes.

Hope you enjoy…

Download “A Bit of a Chat with Ken Plume & Janet Varney“:

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Drop Ken a line HERE.

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You can also find more of my interviews by clicking HERE.

A Bit Of A Chat with Ken Plume & Guy Hutchinson

UncaScroogeMcD — Mon, 14 Dec 2015 03:21:37 +0000

I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

In this episode, I have a chat with author Guy Hutchinson, about Sesame Place, Muppets, TMZ Treehouse, Disney Dining, My Bookie, Hershey Highway, Budge, and The Forgetful Jones.

And be sure to pick up a copy of his book at sesameplacebook.com!

Hope you enjoy…

Download “A Bit of a Chat with Ken Plume & Guy Hutchinson“:

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SUBSCRIBE
Subscribe to this Podcast via iTunes

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Drop Ken a line HERE.

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You can also find more of my interviews by clicking HERE.

Ken Plume & FRED: The Official DragonCon 2013 Schedule

UncaScroogeMcD — Mon, 26 Aug 2013 18:11:13 +0000

Heya folks! Ken Plume here.

As has become an annual tradition, I will find myself well busy at this year’s annual DragonCon convention in Atlanta, GA, which runs this very weekend (August 30th – September 2nd).

In hopes you’ll stop by one of the many panels I and FRED will be doing, please find my official schedule below…

Be sure to ask me for a free FRED badge! Oh, and a FRED trading card… Try to collect them all!

Title: How I Became Dr. Venture, Robert Crumb and 101 Red Herrings
Time: Fri 04:00 pm Location: Centennial I – Hyatt (Length: 1)
Description: Actor James Urbaniak discusses his life and career as a “modestly successful character actor” and beloved internet presence.

Title: FRED Entertainment Panel-Palooza-Extrava-Thingee-a-Doodle
Time: Fri 05:30 pm Location: Grand Ballroom West – Hilton (Length: 1)
Description: A panel that really only exists for the sake of frolicking, bantering, and geeking about with special guests and an Irishman.

Title: Quiz-o-Tron 2000
Time: Fri 10:00 pm Location: Hilton 204-207 (Length: 1)
Description: Rebecca Watson’s science-themed quiz show!

Title: Obsessed (podcast)
Time: Sat 01:00 pm Location: A601 – A602 – Marriott (Length: 1)
Description: Join Joseph Scrimshaw, Ken Plume, James Urbaniak, and Molly Lewis for a live recording of the hit podcast (featured on iTunes as a Staff FavoriteÂ in comedy) about liking things a lot.

Title: M5: Blowing Stuff Up for Science!!!
Time: Sat 05:30 pm Location: Atrium Ballroom – Marriott (Length: 1)
Description: Jamie’s first Dragon Con! Adam and Jamie will be taking questions about tested.com, Mythbusters, blowing stuff up, and anything else fans want to know.

Title: Gonzoroo II
Time: Sat 08:30 pm Location: Atrium Ballroom – Marriott (Length: 2.5)
Description: An evening of music, geekery, comedic delights, and surprises galore!

Title: FRED Entertainment Presents Yet Another Panel About Doctor Who
Time: Sun 02:30 pm Location: A601 – A602 – Marriott (Length: 1)
Description: Ken Plume and guests rant, rave, giggle & titter about all things DW as only enthusiastic, opinionated and reasonably well-informed geeks can hope to do.

Gonzo Quiz Show IV: The Quest for Quiz
Time: Sun 08:30 pm Location: Regency VI – VII – Hyatt (Length: 2.5)
Description: Teams of celebrity guests are led through a series of panel show games that JUST MAY keep you entertained.

Any questions about any of this? Ask me on Twitter @KenPlume

And let’s wrap things up with a little slice from last year’s panel with Sylvester McCoy…

A Bit Of A Chat with Ken Plume & David Mirkin

UncaScroogeMcD — Thu, 13 Sep 2012 04:10:42 +0000

I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

In this episode, I have a chat with writer/director/producer David Mirkin about Get A Life, The Simpsons, Big Jim Brooks, guitars, Emmy bling, and death.

And be sure to pick up your very own copy of the complete GET A LIFE.

Hope you enjoy…

Download “A Bit of a Chat with Ken Plume & David Mirkin“:

[audio:http://traffic.libsyn.com/bitofachat/bit_of_a_chat-david_mirkin.mp3]

SUBSCRIBE
Subscribe to this Podcast via iTunes

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Drop Ken a line HERE.

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You can also find more of my interviews by clicking HERE.

Ken Plume & FRED: The Official DragonCon 2012 Schedule

UncaScroogeMcD — Wed, 29 Aug 2012 04:38:03 +0000

Heya folks! Ken Plume here.

As has become an annual tradition, I will find myself well busy at this year’s annual DragonCon convention in Atlanta, GA, which runs this very weekend (August 31st – September 3rd).

In hopes you’ll stop by one of the many panels I and FRED will be doing, please find my official schedule below… (Ask me for a FRED badge!)

Title: A Bit Of A Chat with Sylvester McCoy
Time: Fri 11:30 am Location: Grand Ballroom A-F – Sheraton (Length: 1)
Description: Ken Plume has an in-depth chat with entertainer and Time Lord Sylvester McCoy about Doctor Who, The Hobbit, and much more…

Title: FRED Entertainment Panel-Palooza-Extrava-Thingee-a-Doodle
Time: Fri 01:00 pm Location: Valdosta – Sheraton (Length: 1)
Description: A panel that really only exists for the sake of frolicking, bantering, and geeking about with special guests and an Irishman.

Title: Quiz-o-Tron 2000
Time: Fri 10:00 pm Location: International South – Hyatt (Length: 1)
Description: Rebecca Watson’s science-themed quiz show!

Title: Gonzoroo II
Time: Sat 08:30 pm Location: Atrium Ballroom – Marriott (Length: 2.5)
Description: An evening of music, comedic delights, and surprises galore!

Title: FRED Entertainment Presents Yet Another Panel About Doctor Who
Time: Sun 11:30 am Location: Atlanta Ballroom – Westin (Length: 1)
Description: Ken Plume & guests rant, rave, giggle & titter about all things DW as only enthusiastic, opinionated & reasonably well-informed geeks can hope to do.

Title: Art In Community
Time: Sun 01:00 pm Location: Atlanta Ballroom – Westin (Length: 1)
Description: From movies to TV shows to comics & more, artists are now turning directly to their fans in order to get their art made. Hosted by Ken Plume.

Title: The Venture Bros
Time: Sun 02:30 pm Location: Atrium Ballroom – Marriott (Length: 1)
Description: Doc Hammer, Jackson Publick, & James Urbaniak return ahead of a Halloween special and a new season to chat & take your questions.

Title: How I Became Dr. Venture, Robert Crumb & 101 Red Herrings
Time: Sun 05:30 pm Location: Augusta 1-2 – Westin (Length: 1)
Description: Actor James Urbaniak discusses his life and career as a “modestly successful character actor” and beloved internet presence.

Title: Gonzo Quiz Show IV: The Quest For Quiz
Time: Sun 07:00 pm Location: Atlanta Ballroom – Westin (Length: 2.5)
Description: Teams of celebrity guests are led through a series of panel show games that you entertained.

And on Monday, I will be in Huntsville, Alabama at SPACE CAMP with Marian Call, Joseph Scrimshaw, George Hrab, Molly Lewis, and more raising money at ROCKETFEST. DETAILS HERE.

Any questions about any of this? Ask me on Twitter @KenPlume

And let’s wrap things up with a little slice from last year’s panel with Sylvester McCoy…

Comics in Context: Four From Pixar

admin — Wed, 04 Jul 2012 02:24:10 +0000

FOUR FROM PIXAR

Have you ever read a story or watched a movie that you thought was going in one direction and then went in an entirely different one? Alfred Hitchcock’s Psycho (1960) is a prime example, when you first see it. But I’m not just talking about a switch in the direction of the narrative, but a shift in what the story seems to be about thematically. What if you think that the story is expressing one point of view and then you realize that it is actually saying something quite different? In other words, what if you, as a member of the audience, think that the story means something different than what the creator seemed to intend? I will avoid the overused word “deconstruction” here, but this is what I am about to do to the new animated feature film from Disney and Pixar: Brave, from a story by Brenda Chapman, the film’s direction is credited to both Chapman and Mark Andrews. And as always, I am putting you on spoiler alert: in critiquing the film, I am going to write about what happens in this story from beginning to end.

Accompanying Brave is a new Pixar animated short, La Luna, directed by Enrico Casarova. It reminds me of children’s stories in which the universe actually is like it seems to small children, before they learn how science describes it. As I pointed out in a previous column, P. L. Travers’ Mary Poppins books are like this. And so in La Luna, the moon isn’t as big or as far away as science tells us; if you have a long enough rope or ladder, you can climb up to the moon. Moreover, rather than being gigantic balls of super-heated gas, stars really are small five-pointed objects that shine in the sky, and so meteors, as falling stars, also look like that. The three cast members of La Luna are a boy, a man, and an old man; they do not talk in a way we can understand, but we may assume they are a boy, his father, and his grandfather. Their duty is to climb up to the moon, which is covered by the small, fallen stars, and sweep it clean. The short is charming and beautiful, but I kept wondering why the characters were trying to get rid of the fallen stars. The moon looks better covered with them; when they sweep an area clean, what’s left is a gray barren patch of lunar landscape. The high point of the short comes when a particularly large star falls onto the moon; the boy hits it just right and it shatters into many small stars, creating a lovely glow that impressed the father and grandfather. But of the stars are so pretty, why get rid of them? And where did the fallen stars go when the moon is swept clean? It’s as if the short is going in opposite directions at once: showing the fallen stars to be beautiful, yet at the same time insisting on sending them into oblivion.

Similarly, Brave seems to go in two different directions. The advertising for the film focused on the image of the young heroine, Merida, a princess of a clan in 10th century Scotland, holding a bow and aiming an arrow. Like this summer’s other young female archer in the movies, Katniss in The Hunger Games, Merida echoes the image of the Greek goddess Artemis, known as Diana to the Romans, the huntress. One widely seen trailer for the movie consisted of an entire scene from the first act of the film, in which several comical contestants compete in archery to win Merida’s hand in marriage. Then Merida herself joins the competition, declaring she will win her own hand, or, in other words, compete to win her independence, rather than submit to an arranged marriage. She wins in spectacular fashion. From all of this, it would seem that the film will be a story about female empowerment, a feminist story about breaking free from the restrictions imposed by a male-dominated society and traditional female roles. Even the title of the film, Brave, suggests it will be an adventure or quest film, in which the heroine will prove her courage, and thereby prove her right to be treated as men’s equal. Moreover, it has been widely observed that Brave is Pixar’s first feature film with a female lead character. I consider Elastigirl to be one of the leads of Pixar’s The Incredibles (2004), but she shares that title with her husband; Brave focuses on a single female lead, although, as we shall see, Merida’s mother, Queen Elinor, is nearly as important. So, again, one might have expected story about female empowerment and equality, perhaps somewhat like Disney’s animated film Mulan (1998), whose young heroine poses as a male warrior in China centuries ago, becomes a great hero, and ultimately is recognized and acclaimed as a woman for her bravery.

The feminist aspects of Brave are clear enough. Scenes of Merida’s childhood show that her father gave her a bow and encouraged her wish to learn archery, considered a skill for men, while her mother disapproved. The first act shows how Queen Elinor keeps insisting that Merida should not use a bow and arrow, and should conform to traditional women’s roles and behavior, including allowing herself to be married off to the son of the leader of one of the three other clans.

But you can also see Merida’s rebellion in other contexts. For one, there’s a generational gap between Merida and Elinor, with Merida representing a more modern view of women’s role in society. Merida represents the future, and, indeed, her point of view on arranged marriages wins out at the film’s end.

Furthermore, Brave can be seen as a story about anyone, male or female, young or older, pursuing his own sense of self, his own ambitions, and his own muse, despite the pressure to conform to more conventional social roles. Elinor attempts to limit what Merida’s role in society, and indeed her personality, can be. Elinor disapproves of Merida’s archery, disapproves of the way Merida laughs, and indeed disapproves of pretty much everything Merida does, while insisting that Merida conform to Elinor’s ideas of proper feminine behavior. Before the archery competition, Elinor has Merida war a confining gown, literally forcing her into what Elinor considers proper shape, and makes her wear a headdress that conceals all of Merida’s red hair, the visual sign of her distinctive individuality. Defiantly, Merida keeps one strand of her hair visible.

One could interpret Merida’s passion for archery as a metaphor for anyone’s passion for his or her goal in life. She develops her skill in archery just as a creative person strives to master his or her skill as a writer or artist or whatever his or her chosen profession may be.

There’s also a stirring sequence in which Merida rides her horse through the woods, firing arrows with perfect accuracy at targets as she rushes by. It’s an image of freedom, joy, and self-expression through exercising one’s talents. It also links Merida with the natural world. Brave depicts the landscapes of Scotland beautifully. I saw the film in 3-D, and it’s only in these dazzling portrayals of the natural world that I thought the 3-D was truly effective in heightening the beauty of the film. Merida seems to be happier, freer, and more able to be herself within the natural world than in the civilized one, where she is hemmed in by the pressure to follow prescribed roles and modes of behavior. Even her lush, somewhat unruly red hair seems to express a certain wildness in her personality, another link to nature. The film seems to suggest a connection between Merida and the natural world, and that it is more natural for her to express herself through such means as riding and archery than to conform to the oppressive roles society would force her to adopt.

So this first act of the film builds towards the archery contest, when Merida asserts her independence and right to follow her own desires through her triumph there. What is her next step up from there in her liberation?

Instead, she is forced to go backwards. Her mother, Queen Elinor, is outraged, and forces her back into the castle. Though we have seen in flashbacks how close Merida and Elinor were when Merida was a small child, now they are angrily at odds with each other. Elinor throws Merida’s bow into the flames of a fireplace, as if symbolically to destroy her art and the means of her self-liberation. Merida tears a tapestry that depicts her and Elinor, thus literally rending one from the other. Merida escapes into the woods. Significantly, the bow is not consumed by the flames, and Elinor seems to regret having cast it into the fire; perhaps the implication is that Merida’s art and ambition are not so easily destroyed.

Whether in fairy tales or in Shakespearean comedy and romance, the forest is a place in which change can occur; it is also a place that hides the dark side of existence. Within the forest Merida encounters a witch, and asks her for the means to “change her fate” by altering her mother’s opposition. The witch sells her an enchanted cake, and Merida returns to the castle and gives it to Elinor. Upon eating the cake, Elinor magically transforms into a bear, initially terrifying Merida. In this form Elinor can no longer speak, and can no longer act as queen, controlling Merida’s life. But it soon becomes clear that Elinor-as-bear is no threat to Merida as yet; she retains her human personality. But unable to talk, and having difficulty adapting to moving in her new form, Elinor is now relatively helpless; moreover, if the men in the castle see her, she will be killed.

Thus Brave, with seeming abruptness, at least on first viewing, changes the apparent direction of its story. Merida insists that she is not responsible for Elinor’s transformation, and that the witch is to blame. But of course Merida really is to blame. She overreached by making the bargain with the witch, who seems not evil but eccentric. Merida should have known better than to deal in magic when she did not know exactly what it would do. This seems comparable to the mistake that Ariel makes in Disney’s The Little Mermaid (1989), selling her voice to a witch in change for getting human legs, enabling her to walk on land and meet the prince she loves. Ariel’s bargain also has negative consequences she did not foresee, but at least Ariel chose only to handicap herself by the spell, by losing her voice. Merida was attempting to change her fate not through her own actions but by magically forcing her mother to change.

Merida has transformed her mother into a potentially dangerous beast. Could this be a metaphor, suggesting that by rebelling against her mother’s wishes, Merida has turned her into a powerful and wrathful enemy?

The film seemed to spend its first act getting the audience on Merida’s side. But is it now suggesting that Merida was wrong to rebel and to assert herself? There have been hints before this. In arguments with her mother, Merida could come off as a teenager having a tantrum. The queen also contended that it was necessary to marry Merida off to the son of one of the clan leaders in order to preserve peace among the clans. According to the queen, by refusing to wed any of the sons, Merida was acting irresponsibly, threatening to throw Scotland into civil war. I don’t think that the film backs up this idea with sufficient dramatic force. The clansmen all seem like buffoons rather than potential threats. At one point Elinor puts an end to brawling by asserting her authority with the clan leaders. Moreover, later on, as we shall see, the clansmen are easily persuaded to give up the idea of arranged marriages.

From this point on, Merida is no longer striving for freedom and self-realization; instead, she is a sinner who has harmed her mother, in a sort of magical matricide in which she destroyed her mother’s human identity, and who now must clean up the mess that she made. Merida has Elinor-as-bear leave the castle with her, and they go into the woods, where Merida watches over her transformed mother and searches for a means of reversing the spell, which will otherwise soon become permanent.

Being transformed from a human into an animal has a long tradition as a trope in Disney animated features. It goes back to Walt Disney’s The Sword in the Stone (1963), which was based on the book of the same name by T. H. White, that was originally published in 1938. In both the book and film, the magician Merlin magically transforms the boy who is the future King Arthur into different animals in order to teach him about different aspects of life. In later animated films the protagonist is transformed into an animal against his or her will: examples include The Emperor’s New Groove (2001), Brother Bear (2003), and The Princess and the Frog (2009). In each of these cases, as with Elinor in Brave, the transformation becomes a learning experience. The idea seems to be to strip the character of all of the exterior trappings of his or her identity – his or her role in society, clothing, and even his or her human appearance – leaving only the core elements of the character’s identity, his or her personality and set of moral values. The character has left behind his or her old human identity to enter a transitional state, represented by being an animal, in which he or she can explore his or her psyche more deeply. Within this physically transformed state, the character can work a change in his or her own psyche. The Princess and the Frog was fairly explicit about this, when the voodoo sorceress Mama Odie counsels the transformed heroine and hero in song to “Dig a Little Deeper” to discover what they truly want and need in life. Once the protagonist has learned his or her lesson and changed in his or her outlook on life, then the protagonist can resume his or her human form. The human identity has thus been purified, if you will: the protagonist’s personality flaw has been overcome. Disney’s Beauty and the Beast (1991) transformed a human prince into a beast, causing him to take on the bestial image of his own dark side, although he retained his clothing, palace, and ability to talk. But he too turned out to be in a transitional state, undergoing a learning experience, and once he learned and experienced love and self-sacrifice, he underwent a symbolic death and resurrection, returning to human form, purged of evil.

It quickly becomes clear that the transformed Elinor is not a threat, or not yet, since if the spell is not broken, she will become a bear in both mind and body. For now, though, Elinor retains a human personality, though she cannot speak. But in her bewilderment over her condition and her difficulty in coping with her new form, Elinor now seems somewhat childlike. Merida now has to take care of her, try to protect her from being hunted and killed by the men of the clans, and even teaches her how to catch fish to eat, as a real bear would. Merida, the daughter who struggled against her mother’s control, now has to assume a protective role towards Elinor. In short, Merida and Elinor have reversed positions, and Merida acts something like the “mother” in this relationship.

There was something similar going on in director Brad Bird’s animated film for Warner Bros., The Iron Giant (1999). Its young protagonist, Hogarth, was somewhat rebellious against his mother’s authority. He discovers the Iron Giant, an immense alien robot of great potentially destructive power, who finds himself in an unfamiliar world, Earth. Hogarth assumes a “parental” role towards the robot, who has a childlike personality. Hogarth protects the robot as best he can and teaches him, encouraging him to protect life rather than take it. Through teaching and caring for the Iron Giant, Hogarth learns to take responsibility and achieves a degree of maturity.

So in both The Iron Giant and Brave, there is a young person who learns responsibility by becoming the guardian and teacher – surrogate parent – of a much larger figure, who has childlike difficulty in coping with his or her new situation. Although the Iron Giant and Elinor-as-bear are peaceful, and indeed, in some ways helpless and in need of guidance, they are both large figures of great power, and each, at moments, abruptly and temporarily changes personality, becoming dangerously destructive. The Iron Giant and Elinor-as-bear may partly represent sides of Hogarth and Merida themselves: the childlike rebelliousness with the potential to cause serious trouble, especially when they grow into adults. By guiding and teaching the Iron Giant and Elinor-as-bear, Hogarth and Merida are figuratively taming their own inner demons.

So, within the forest, Merida and Elinor both undergo changes. Elinor has already been physically changed into a bear, but she learns to appreciate her daughter, who has taken charge and points out that it is her skill with a bow that is enabling them to survive in the wilderness. Merida is changing by going from being her mother’s opponent to being her protector. Moreover, the two of them are now working together, renewing their bond. Merida eventually learns that the way to undo the spell is to repair the torn tapestry, thus figuratively bringing herself and Elinor back together. Having already grown closer together in their sojourn in the wilderness, they return to the castle to find the tapestry.

In the castle Merida makes a speech to the clansmen in which she is about to agree to the arranged marriage to prevent war from breaking out. But Elinor, though she cannot talk, uses gestures to direct Merida to say something different: to argue that there should not be forced marriages and that the first-born of the clans – herself as well as the sons – should get married when and to whom they want. The clansmen accept the idea; the sons, it seems, didn’t like the idea of arranged marriages either.

Now this scene shows that Elinor has changed inwardly too, and that she now accepts Merida’s point of view about enforced marriage. It’s also significant that Elinor and Merida worked together to make this speech. Still, this scene bothers me. Merida was on the brink of surrendering her independence and submitting to this male-dominated system; it is only because Elinor changed her own mind that she didn’t. It’s as if it was wrong for Merida to assert her own independence, and as if she could only have it if her mother, an authority figure, gave her consent. But surely having the rights to be oneself and to be free are not dependent on getting the permission of people in power, who could just as easily deny them. Perhaps that what New York Times film critic Manohla Dargis meant in her review of Brave by writing “But hers is a contingent freedom won with smiles, acquiescence and a literal needle and thread with which she neatly sews up the story, repairing a world where girls and women know exactly where they stand.”

Bears had actually become extinct in Britain centuries before the time in which Brave is set, but all the bears who appear in Brave are actually magically transformed humans. Towards the film’s end Elinor-as-bear turns into a wild bear mentally as well and attacks Merida and her father. But then another human-turned-bear, Mor’du, who has become a vicious killer, appears. Elinor-as-bear defends her husband and daughter by attacking and killing Mor’du. This could be interpreted as Elinor figuratively defeating her own dark side, the beast within herself, that had also manifested itself in her former rage at Merida. The death of Mor’du releases the spirit of the prince he once was, appearing again in human form, suggesting that Elinor has not only destroyed the evil Mor’du’s bear form represented, but purified and liberated the human within, just as her own experience in bear form is changing her.

Early in the film Merida had angrily ripped a tapestry that pictured herself and her mother, thus figuratively tearing their relationship asunder. In the final act Merida races on horseback to save her mother, but this time she is not shooting arrows as she rides, but knitting the tapestry back together. This is what Ms. Dargis means by the “literal needle and thread.” Repairing the tapestry figuratively means restoring the loving relationship between mother and daughter; in the story it also literally serves to undo the magic spell that turned Elinor into a bear. The image of Merida riding on horseback while knitting suggests that she has succeeded in fusing her own image of herself, the archer and free spirit, racing through the woods, with the more conventional feminine role that Elinor intended for her, since sewing is a craft traditionally associated with women.

Disney animated films have a tradition of symbolic death and resurrection scenes. In Brave Elinor seems to be dying as a result of the battle with Mor’du. Merida covers her with the repaired tapestry, the symbol of the renewed bond between them. Significantly, nothing happens until Merida weeps, finally acknowledges that she is responsible for the trouble that befell Elinor, and voices her love for her mother. In other words, Merida confesses her sin and demonstrates her repentance. As a result Elinor revives, transformed back to her human form. The film emphasizes the point that Elinor is nude beneath the tapestry. That works symbolically, too: she has undergone a physical and spiritual rebirth, and newborns are naked. It might also suggest that Elinor is now characterized not by her queen’s garments, the symbols of authority, but by what she is now wearing, the tapestry that commemorates the love between mother and daughter.

It has been widely noted that Brave does not follow the usual pattern of Disney “princess” movies by uniting its heroine romantically with a male hero, a trope that could be interpreted as suggesting that marriage is a woman’s ultimate goal. Instead Brave puts its emphasis on the bond between mother and daughter, concluding with an image of Merida and Elinor riding on horses together in the woods. Merida and Elinor are united through love, and the fact that they are both riding horses (Merida’s pastime), but at a slow pace (in keeping with Elinor’s more stately manner), suggests that they are combining and merging their lifestyles and interests into something they can share.

So Brave starts out as what seems to be a fable of feminist liberation, but then abruptly shifts gears and turns into a parable about resolving the division between mother and daughter, or to take the theme further, between parent and child, or even between generations. My problem with the film is that I find the first act, about Merida’s liberation, to be more stirring, dramatic and involving than the rest of the film. The rest of the movie, about Merida’s efforts to help her transformed mother, seem to me less imaginative, less strongly plotted, and less dramatically affecting than the saga of Merida’s rebellion against what did indeed seem like the oppressiveness of a society that attempted the force women into certain roles and modes of behavior. As Hollywood Reporter Todd McCarthy wrote, “What results is a film that starts off big and promising but diminishes into a rather wee thing as it chugs along. . . .”

Moreover, the movie seems to me to imply that Merida’s rebellion was wrong; the story forces her to do penance for her actions, and even offer herself up as a pawn in marriage to keep peace in the male-dominated social order. She does not get forced into an unwanted marriage, but only because her mother changes her mind about it. Merida does not win her freedom so much as it is granted to her by an authority figure. Brave starts out as a story of Merida’s one-woman revolution, and then shifts to a more conservative mode, in which the individual must sacrifice her freedom to society, and liberty is granted, not won. Perhaps I would feel that there was more balance in the movie had it allowed us to see more clearly into the mind of Elinor as her attitudes towards her daughter were changing, but Elinor-as-bear could not talk. Merida remained the sole point-of-view character in the film, and as she changed from feminist rebel to repentant sinner, I felt that Brave shifted in direction to a story I found much less appealing.

TOY STORY 3

Due to my two year sabbatical from writing “Comics in Context,” I haven’t yet commented on two other recent Pixar features, both sequels: Toy Story 3 (2010), directed by Lee Unkrich, and Cars 2 (2011), directed by Pixar’s Chief Creative Officer John Lasseter and Brad Lewis.

The Toy Story movies establish that toys are alive but they only talk and move when people cannot see them. (This is an old trope in animated films, and there are many vintage animated cartoons showing toys or books coming to life after dark.) One of the aspects of Toy Story 3 that I found startling was its far from sentimental attitude towards small children. The original Toy Story (1995) drew a sharp contrast between Andy, the boy who owns, plays with, and loves Woody, Buzz, and the other principal toy characters, and his neighbor Sid, who destroys toys and constructs distorted, monstrous toys out of toy parts. In Toy Story 3 Andy has grown old enough to leave for college. Accidentally discarded, most of the principal toy characters find a new home at the Sunnyside day care center. However, Sunnyside’s head toy, Lotso the bear, runs the place like a prison camp: he imprisons Andy’s toys at night and forces them to serve as the playthings for young toddlers during the day. The toddlers are portrayed as wildly, insensitively destructive; it is clear that the toys will not survive for long if they have to put up with such rough treatment every day. But it’s also surprising, in a Disney family film, to see small children depicted, not as sweet and innocent, but as so insensitively brutal. Is it just that they are too young to have a sense of responsibility? Or is the film hinting that kindness and sensitivity among small children is a rare trait? The daycare center kids seem to represent a generation of bullies.

The story of Toy Story 3 becomes a partly comedic, partly serious variation on movies about escaping from prison or a prison camp, like The Great Escape (1963). What is even more startling is just how dark the film becomes. The toys escape from Sunnyside to a garbage dump where they get on a conveyor belt leading to a shredder. They escape only to become trapped on another conveyor belt inexorably moving towards an incinerator. Thinking themselves doomed, the toys link hands. Their destruction seems inescapable. The scene is an evocation of inevitable mortality, that seems startling and even chilling in the context of an animated film about children’s toys, perhaps the last place where one would expect a fearsome image of death. Indeed, being burned up by the incinerator seems a particularly horrible way to perish; the incinerator’s flames also seem like an allusion to hell. At the last moment the toys are saved by a giant claw manipulated by the toy Little Green Men aliens from the previous Toy Story films. It seems like a miraculous escape. Consider that in the Toy Story movies the Little Green Men seem to worship the claw as if it were the hand of God. So having the claw rescue the Toy Story toys seems like the filmmakers’ joke on the old concept from Greek tragedy of the deus ex machina, the god descending from the machine. That phrase has also come to mean a plot device that is suddenly introduced to resolve a seemingly insoluble problem.

The main dilemma in Toy Story 3 is what will happen to the toys when their owner, Andy, grows too old for them and moves on towards adulthood. Will they be destroyed or discarded? The solution comes when Andy gives them to a young girl names Bonnie, who will now care for and play with them. Unlike the kids at the day care center, Bonnie is the kind of caring, sensitive child that will take good care of the toys. As sentient beings, the toys need someone to play with; you could say that they need an audience.

I suggest that, among other things, Toy Story 3 is also about popular culture and generational change. For popular culture creations to endure, they have to be accepted and embraced from one generation to the next. Presumably the creative people at Pixar have created characters who have entertained people ranging from small children to adults over the last two decades. Presumably the Pixar creative teams hope that these characters and films will continue to entertain future generations as well. Indeed, the ideal may be that the Pixar characters and films of the 1990s and early 2000s will continue to appeal to new generations after their original audiences have passed away, just as Walt Disney’s classic films and characters still do. To my mind, Andy’s passing the toys along to Bonnie can represent how popular culture creations, if they are true classics, will be passed from the generation for whom they were created on to the next generation.

After all, how many examples of such enduring pop culture characters can you think of in your own lives? Mickey Mouse, Bugs Bunny, Superman and Batman, among many others, were created when my parents were young, long before my birth, yet I accepted them all when I was growing up. The first Star Wars film premiered after I’d become an adult, but now there are younger generations who also love the Star Wars films yet can’t remember a time when the first film did not exist.

You could also say that the toys in Toy Story 3 need a director or writer. The films show how Andy imagined stories in which the toys played roles; Toy Story 3 even begins with Andy’s fantasy of the toy characters acting in a Western with science fiction elements. Significantly, in turning the toys over to Bonnie, Andy describes them in terms of their characters and the roles they play in his games. Bonnie too will invent scenarios for stories in which the toys will play parts. Andy and Bonnie are not simply an audience for the toys; they are the creators of their imagined adventures. So I also interpret Andy passing the toys over to Bonnie as a metaphor for the original creators of a pop culture concept passing the torch to a new generation of creators. Again, you can see this in the history of long-running characters and series in popular culture. Consider how many generations of creators have now served their time as the caretakers of the Marvel and DC Comics characters who have now existed for a half century or much longer, and will keep going probably long after we have all passed from the scene.

Toy Story 3 raises the specter of inevitable mortality, but it also shows how artistic creations can indeed achieve immortality.

CARS 2

As for Cars 2 it was generally regarded by critics as a disappointment, and I agree that it wasn’t as satisfying as past Pixar features, although I found it pleasant enough to watch. Though it was a sequel to the original Cars, it was about as different as a sequel can be. The Cars movies are set in an alternate universe in which humans are absent and cars are living, sentient beings. (Who built them? How do the cars construct buildings and machines when they have no hands? How do they reproduce? These are questions that apparently we should not ask, lest the entire premise of the series collapse.) The first Cars was the story of racing car Lightning McQueen, who is arrogant and obsessed with winning, who gets stuck in a small town out West, Radiator Springs, learns humility and the virtues of friendship and community, and comes to value these things more than racing victories. It would seem that the people at Pixar decided that McQueen’s character did not need further major development; after all, he does seem to have become as good as he can be by the end of the first film. So Cars 2 focuses instead on Mater, the tow truck with the voice of a rural Southerner, a comic relief character who became McQueen’s friend in the first film. It appears that Mater is considered the breakout character in Cars, since he is the main character in the Cars Toons shorts, titled Mater’s Tall Tales, that have followed, as well as the lead in Cars 2. In the shorts McQueen and Mater reverse positions, and McQueen seems like Mater’s sidekick.

In the first Cars McQueen was the proverbial “fish out of water,” the celebrity from the big city who was stuck in a small town. The “fish out of water” theme continues in Cars 2, but this time it applies to Mater. First, Mater accompanies McQueen abroad to Japan, Italy, and England, where McQueen is racing in a “World Grand Prix.” Second, Mater is mistakenly identified as an American spy by members of British intelligence and gets caught up in their effort to thwart a criminal conspiracy. Whereas the first Cars was a story of small town life, Cars 2 is a partly humorous, partly serious spy story with international settings. If the first Cars seems modeled on the 1991 film Doc Hollywood, then Cars 2 echoes thrillers about ordinary individuals who are mistaken for spies or recruited into being spies. The example that first comes to mind is Alfred Hitchcock’s North by Northwest (1959), in which Cary Grant’s character, a New York advertising executive, is mistaken for a an American secret agent by enemy spies, an ends up accepting the role that was forced upon him in order to combat them.

What I most liked about Cars 2 were the international settings: the film’s richly detailed and handsomely depicted versions of Tokyo, Italy, and London, all created on computers, with certain clever alterations to reflect the fact that the culture is designed by cars, not humans. I also like the British spy car characters. In the original Cars the late Paul Newman was cast as McQueen’s mentor Doc Hudson, surely in part to evoke Newman’s past association with driving racing cars, both on and off screen. (Lightning McQueen’s last name refers to the late Steve McQueen, another actor associated with racing.) In Cars 2 the lead British spy car, Finn McMissile, is voiced by Michael Caine, surely in part to evoke Caine’s past roles in spy movies such as The Ipcress File (1965). Through their acting skills and associations with past films, Newman and Caine brought a sense of authority to their roles in the Cars movies while linking those films to cinematic traditions of stories about car racing and spies, respectively. I also liked Emily Mortimer’s vocal performance as McMissile’s fellow spy Holley Shiftwell, succeeding in conveying an appealingly sexy personality through her voice alone. However, I find it hard to believe that Ms. Shiftwell would end up falling for Mater, and this leads me to the film’s biggest problems.

One problem is that the spy storyline isn’t that interesting or imaginative. Are these adult viewers of Cars 2 who can’t spot who the secret mastermind behind the conspiracy is a mile off? The bigger, key problem with Cars 2 is that Mater doesn’t have the depth as a character to carry the film as its lead. If Cars 2 had been a farcical comedy, yes. However likable Mater is, he is basically a comedic stereotype of a rural Southerner who isn’t very bright: a comical redneck, to use a term that some Southerners embrace while others regard it as disparaging (rather like “geek” and “nerd” in comics culture). As depicted in the Cars films, Mater isn’t really stupid, as the stereotype implies; he’s more likably childlike, characterized by a boyish enthusiasm. Indeed, in Cars 2 he proves to have enormous knowledge about the inner workings of automobiles. But is it credible that anyone would think Mater was a master spy who was just pretending to be a hick? Even more importantly, the audience is meant to feel sorry for Mater, first, when he has a falling out with his best friend McQueen. Then we are meant to sympathize with Mater as he realizes how little other characters think of his true personality; the British spies initially only take him seriously because they assume that he is merely feigning his hick persona as a sort of disguise. By the film’s end the British spies recognize Mater’s true personality and Mater proves himself to be a genuine hero, but it still seems to me unlikely that Holley would want to date him, as she says she does Mater makes such a strong impression as a comedy stereotype, and the filmmakers’ efforts in Cars 2 to give him a serious side, and more dimension to his personality, just fall short. I’m not saying that it can’t be done, but it’s an uphill effort, and as far as I’m concerned, Cars 2 doesn’t pull it off. Perhaps a different sort of storyline could. And since Mater continues to appear in new animation, perhaps someday Pixar will find the way to bring it off.

“Comics in Context” #245
Copyright 2012 Peter Sanderson

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A Bit Of A Chat with Ken Plume & Jane Espenson

UncaScroogeMcD — Thu, 26 Apr 2012 22:19:57 +0000

I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

In this episode, I have a chat with writer/producer Jane Espenson about Husbands, oil painting, Whedon & Moore, linguistics, snorkeling, fairy tales, and Here’s The Thing.

You can watch the first season of HUSBANDS at www.husbandstheseries.com

Hope you enjoy…

Download “A Bit of a Chat with Ken Plume & Jane Espenson“:

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Subscribe to this Podcast via iTunes

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Drop Ken a line HERE.

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You can also find more of my interviews by clicking HERE.

Ken P. D. Snydecast #169: Birthday-in-a-Biskit

UncaScroogeMcD — Sat, 29 Jan 2011 00:50:21 +0000

Adult Swim’s Dana Snyder and FRED’s Ken Plume set out to have a literate conversation between two pals, but inevitably devolve into a verbal, and funny, free-for-all full of bickering, infighting, and the special kind of male bonding that comes from conflict expressed through the podcast medium.

Actor/comedian/raconteur Dana Snyder, you’re certainly aware, is Aqua Teen Hunger Force’s Master Shake, Squidbillies‘ Granny, Minoriteam’s Dr. Wang, and The Venture Bros.‘ Alchemist. Available for weddings and bar mitzvahs (bat availability pending), you can keep tabs on him via his website, www.eyeofthesnyder.com.

Ken Plume is the editor-in-chief here at FRED. He is a friend of Dana’s, as well as his arch-nemesis.

VISIT THE SNYDECAST EXPERIENCE

KEN P.D. SNYDECAST #169: Birthday-in-a-Biskit – Ken & Dana return with a festive celebration that immediately goes sour, misinterpretations of flirtations, oatmeal, crackers, and so much more.

[CONTENT WARNING]: This podcast may contain some foul language and horribly off-color jokes. Don’t say we didn’t warn you.

DOWNLOAD: (right click to save)
Episode #169 (MP3 format)

[audio:http://traffic.libsyn.com/snydecast/ken_p_d_snyde_cast-169.mp3]

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Subscribe to this Podcast via iTunes

Got something to say? E-mail Dana & Ken at the Snydecast mailbag.

CLICK HERE FOR THE SNYDECAST ARCHIVES

FREDagator: 2011-01-27

UncaScroogeMcD — Thu, 27 Jan 2011 17:33:52 +0000

Did you know that Disney made a live-action version of UP in the 1960’s?…

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Trailer Park: THE SIX MILLION DOLLAR MAN: THE COMPLETE SERIES Review/Giveaway & THE STUNT MAN

admin — Fri, 03 Dec 2010 07:20:29 +0000

By Christopher Stipp

The Archives, Right Here

Check out my other column, This Week In Trailers, at SlashFilm.com and follow me on TWITTER under the name: Stipp

The Six Million Dollar Man – DVD Review and Contest

The thing about having a newborn which many people don’t appreciate, is the ample amount of time that you have late at night to watch something like this. Regular DVDs are mere appetizers compared to the hearty stew that was this atomic collection of the best action television of the 1970’s. I mean, there is no question that this is a series is a MUST BUY for any fan of nostalgia television and who remembers this series for what it was: fun television.

Forget about the shows that had people boarding boats and falling in love or little men pointing at aircraft and announcing their arrival, what The Six Million Dollar Man was a show that had a real super hero at its core. It was a comic book super hero series without it ever being labeled as such. What you had in Lee Majors who plays Steve Austin, an astronaut who is rebuilt from the ground up after a bad accident. Everyone knows the story because it’s reiterated during the show’s opening every week and it’s really the primary reason why this series lasted as long as it did.

Whereas you had some series have to build up a mythos and construct its fiction every week with this opening we were treated to a series that needed none of that. Storylines were begun and ended every week with no need to carry over from one week to the next. There is something to be said for television writing that knew what people wanted and it did week after week in a format that has been eschewed in recent years. There ought to have been nothing wrong with having nearly zero carryover from week to week but watching dozens of episodes in a row, which I don’t recommend because these little gems should be savored and not pounded through like a delicious collection of shots that are lined up for your consumption. I was punchy by the end of my viewing, only being able to get through a couple of the “reunion” shows that showcased the Bionic Woman and other weaker entries into a series that would not go down quietly.

What’s more about this series is that, like I mentioned above, the writing was something that was indicative of the time period. You had episodes where you had a villainous character only to have Steve get involved with kicking some butt and taking care of things. Repeat dozens of times, and mix in some manufactured scenarios where guest stars of 70’s were wedged within plot lines and you’ve got yourself a great excuse to indulge in the sugary goodness of a character that would go on to be plastered on all sorts of products. It’s ironic that Majors’ face was everywhere but within the series you can tell where they were limited by budget with the kinds of effects that were used. It didn’t take away from the series at all, seeing where the show’s producers cut corners, but it’s just amusing that the benefit of time helps to illuminate these kinds of things.

The series comprehensiveness is only topped by the extras that help couch the series’ importance as a piece of televised pop culture. Yes, it was light on depth and emotional resonance of any kind but the reason why the 6MDM has endured for as long as it has, Lee Majors popping in movies like Scrooged as his stronger alter ego, the synthetic bionic noise so indicative of his power used every now and then in multitudes of programs, is because it tapped into something. It tapped into the idea that one man could be strong enough to overcome any obstacle, helped by the burgeoning field of science and technology. It’s a product of the late 60’s zeitgeist but that’s of no concern here. This series is about fun and excitement and there’s nothing that the passage of time can do to erase that.

IN CELEBRATION OF THE RELEASE OF THE SIX MILLION DOLLAR MAN: THE COMPLETE COLLECTION ON DVD I’M GIVING AWAY A COPY. ALL YOU HAVE TO DO IS SEND ME AN E-MAIL TO CHRISTOPHER_STIPP@YAHOO.COM AND NAME ME ONE GUEST STAR WHO SHOWED UP DURING THE SHOW’S RUN. GOOD LUCK!

About the DVD:

Time Life ““ the home of such classic TV as GET SMART, THE MAN FROM U.N.C.L.E and THE SMOTHERS BROTHERS COMEDY HOUR ““ will debut a DVD collector’s set of one of the most eagerly-anticipated, previously unreleased TV classics with THE SIX MILLION DOLLAR MAN: THE COMPLETE COLLECTION. Beginning September 14, this definitive set from one of the iconic pop culture smashes of the “˜70s will be available for pre-order exclusively online at 6MDM.com and will feature all five action-packed seasons never before available in the U.S. on any format, as well as a stunning collection of all-new extras certain to thrill fans both old and new.

The muscular set — the 4th most requested unreleased show at TVShowsonDVD.com ““ will be housed in ultra-collectible packaging sporting an audio chip and eye-popping 3-D lenticular artwork. Across 40 DVDs, the complete series will feature all 100 digitally-preserved hour-long episodes ““ including three presented in their original 2-hour broadcast versions — all of which have been remastered from the original, uncut broadcast versions. The set also contains more than 17 hours of all-new bonus material specially created just for this collection, highlighted by new, in-depth interviews with Lee Majors (Col. Steve Austin) and Richard Anderson (Oscar Goldman) among others. Also included will be the three pilot TV movies (“The Six Million Dollar Man”, “Wine, Women and War”, “Solid Gold Kidnapping”), the three reunion TV movies (“The Return of the Six Million Dollar Man and the Bionic Woman”, “Bionic Showdown” (featuring Sandra Bullock) and “Bionic Ever After?”) and the never-before-released cross-over episodes of The Bionic Woman, all of which have also been digitally restored from the original source material.[i] Additionally, for the true completist, the set also contains the alternative syndicated edits of the pilot and reunion TV movies, which, when added together, makes for more than 30 unbelievable hours of bonus programming.

As OSI did with astronaut Steve Austin, Time Life has the technology and capability to make the world’s most singular Six Million Dollar Man completist’s set ““ better”¦stronger…faster. Enhancing the series long-awaited release are countless hours of bonus features including intimate interviews with the cast and crew (including Lindsay Wagner (Jaime Sommers), executive producer Harve Bennett, and writer Kenneth Johnson). Also featured are a staggering seventeen original featurettes on everything from “Real Bionics: How Science Fiction Is Becoming Science Fact” and “The Bionic Sound Effects” to “The Search for Bigfoot” and “The Six Million Dollar Man’s Best Villains, Best Fights”; the two-part featurette “TV Goes Bionic: The Untold Story of The Six Million Dollar Man” which goes behind the scenes to explore the series like never before; and, several featurettes celebrating the series V.I.P. guest stars such as Lee’s then-wife, Farrah Fawcett-Majors (who made four guest appearances), Andre the Giant, Kim Basinger, Sonny Bono, Lou Gossett, Erik Estrada, Stefanie Powers, John Saxon, Cathy Rigby, William Shatner, Suzanne Somers and many more. Additionally, there’s audio commentary on six episodes by writer Kenneth Johnson and director Cliff Bole, and an interactive bonus entitled “Bionic Breakdown” that will allow fans the ability to click on Steve Austin’s eye, arm or legs to learn more about each one of his bionic enhancements; from night-vision to cauterizing veins to running speeds that exceed 65 miles per hour, “Colonel Austin’s” skills and abilities are catalogued here with episode clips as visual reference.

One of the pop culture smashes of the “˜70s, THE SIX MILLION DOLLAR MAN starred Lee Majors as Colonel Steve Austin, a top NASA pilot critically injured when his experimental spaceplane crashed. Oscar Goldman (Anderson), head of OSI, used Austin as a test subject for an experimental procedure, rebuilding his body using cybernetic technology, making him the world’s first bionic man. Now, Austin works for Goldman and the OSI, protecting the nation from myriad threats. Based on the novel Cyborg by Martin Caidin, THE SIX MILLION DOLLAR MAN launched with several made-for-TV movies in 1973, which then spun off into a hit for ABC, running from January 1974 to March 1978. During its run, the program made Majors a pop culture icon, spawned three reunion shows, another series (The Bionic Woman, starring Lindsay Wagner) and thousands of licensed products, making THE SIX MILLION DOLLAR MAN one of the defining TV shows of the “Me” decade.

Worth Reviving: THE STUNT MAN – Ray Schillaci

Two iconic films would lose to one forgettable tearjerker in the Oscar race of 1980 and the Academy would, once again, end up being the losers on the film history end. This decision would only continue to verify that the Best Picture race was more about appealing to the masses, than announcing true genius at work. The films in question; Martin Scorsese’s revered classic, “Raging Bull,” one of the most revered cult movies of all time, Richard Rush’s “The Stunt Man” and Robert Redford’s weepy, “Ordinary People”.

Rush’s “The Stunt Man” was a tour de force in bravado filmmaking, placing Hollywood under a microscope and exposing it for all it’s worth. It also gave us one of the most memorable performances since “Lawrence of Arabia” delivered by “Lawrence” himself, the great Peter O’Toole. And, the Academy in all their wisdom could not dismiss the talented Richard Rush having to give him a nomination nod as Best Director, but refused to give his picture the same courtesy.

Rush’s poison pen letter to Hollyweird and all its pundits seen through the eyes of a Vietnam veteran and fugitive is an amazing piece of storytelling. There are far too many subtleties in this movie to simplify it with a normal and brief synopsis. I will stick to the basics and have you be surprised at every turn skillfully driven by director Rush, his cast and crew.

Cameron, a veteran and fugitive on the run, accidently stumbles upon a movie shoot and sets the wheels in motion to become their next stunt man due to an unforeseen event. His sudden initiation with the fantasy of Hollywood and reality nearly merge into an adult version of “Alice in Wonderland” as Cameron, wide-eyed and innocent, plunges down the rabbit hole of the wonders of filmmaking and all its evil dalliances. The Mad Hatter is the megalomaniacal director, Eli Cross, played to the illustrious hilt by Peter O’Toole. He is part P.T. Barnum, the Devil and God all rolled into one.

Cross is Cameron’s guide through the labyrinth. The director has no shame and is enamored with his own power over life and death. All who serve under him are his minions, puppets doing his bidding to bring the picture to fruition, budget and lives be damned. In the mix; a messed up actress, played scrumptiously by Barbra Hershey, a forlorn writer wonderfully portrayed by Allan Garfield and a no-nonsense police chief, the always wonderful Alex Rocco (most recognized as Moe Greene from “The Godfather”) who attempts to break through the several facades developed by Peter O’Toole’s, Eli Cross.

There are so many great supporting parts that add so much depth to the story; it would be a shame to spoil it all for you. Steve Railsback (Helter Skelter ““ yes, Charles Manson) plays Cameron with a fine mix of unhinged angst and innocence. This is probably the performance of his career. He plays off everyone so well and you can’t help but side with him even though there may be a dangerous alter ego lurking somewhere deep inside.

The film itself is a beautifully orchestrated fantastical tale that adeptly incorporates comedy, satire, a love story and action/adventure. It braves unfolding its tale in a twisted manner that some may find hard to keep up with, but that makes it all the more fun and worth the repeated viewings. Aside from the great directing, editing and cinematography, the film is anointed with one of the most fitting scores to a film I’ve heard in years. Dominic Frontiere, known primarily for his work in television, supplied a score that is as multi-faceted and complex as Rush’s directing and the film’s story. Leaping from love story to circus entertainer and then to sweeping adventure, Frontiere’s score nails the tone of the picture. Such a beautiful job on this, one has to wonder why he did not go onto other film scores.

Of course, the same question can be asked of Richard Rush. With “The Stunt Man” being such a brilliant piece of work, why has the man not been given another chance? It was fourteen years later before he did another film, the Bruce Willis clunker, “Color of Night”. He only appeared to be a hired gun on that one. It makes one wonder if he did not burn some bridges when he basically made his swan song with “The Stunt Man”.

I cannot recommend this film enough. It can be found at the usual rental houses, but what a joy if somebody had the guts to give it a revival on the big screen where it belongs with all its majesty. I guess the next best thing is to start a campaign to get it on Blu-Ray through Criterion. In the meantime, I suggest seeing the double disc version that includes the fascinating “The Sinister Saga of Making “The Stunt Man”.

When looking back in film history and seeing the precious gems afforded us like “Raging Bull” and “The Stunt Man,” one cannot help but wonder where the Academy’s head was when they anointed Redford’s “Ordinary People” as Best Picture of 1980. It’s a touching film with Redford delivering a deft craftsmanship-like touch, but the material is close to being TV movie fodder in today’s time. It does not hold up well compared to either film. Check out all three films for yourself and see which of the two would be your desert island flick. I’d stay clear of the morose one and vacillate between the heavyweight (okay, Raging Bull was about a middleweight) and the fun, loopy ride provided by Richard Rush and company.

TV Or Not TV: 11/29 – 12/5

admin — Mon, 29 Nov 2010 09:34:26 +0000

This week’s column is just all about the listings. With the Thanksgiving holiday I haven’t had a chance to do much in my viewing other than getting all caught up on FRINGE. Even though I have some thoughts and theories there isn’t really enough to write up a full article on. Here’s the Cliff Notes:

The alternate universe has been a great story telling mechanism since the middle of last season and it has been a complete and utter mind-bending winner for me this season as well.
The stakes are too high that they’ve laid out. Only one of these two universes can survive? This makes me think that weeks from now PETER is going to be stepping into this mystery machine because he’s going to believe doing so will be a valid alternative option.
Given everything that they were shown prior to the last episode I already thought it was pretty clear that WALTERNATE was trying to engineer Â a situation where PETER isÂ inadvertentlyÂ doing what WALTERNATE wants him to do even though he’s on the other side. The last episode pretty much locked this in for us. I just can’t understand how these supposedly smart characters can’t see what I even thought was obvious before the story confirmed it.
I really can’t buy that no one could really tell that FAUXLIVIA isn’t their real OLIVIA since they all really knew her.
It boggles my mind to think where they are going to go from here.
Now that FRINGE is being moved to FRIDAY does this mean that FOX just wants to show to go quietly into that good night?

Now that I got that out of my system let’s look at the viewing choices for the next seven days.

MONDAY

NBC – 8:00 PM: I’m really hoping that the return of LINDA HAMILTON this week onÂ CHUCK marks the return to story telling that I actually give a crap about.

ABC – 8:00 PM: I don’t even know why I’m mentioningÂ SKATING WITH THE STARS since I won’t be watching a single moment of it.

LOGO – 8:00 PM: Normally I wouldn’t mention a syndicated show but theÂ BUFFY THE VAMPIRE SLAYER episode titledÂ THE BODY was probably one of the best episodes of the show that ever aired.

AMC – 8:00 PM: I still think one of the very overlooked newer holiday classics is theÂ BILL MURRAY filmÂ SCROOGED so much so that I wonder why it isn’t part of my home video library. It will be onÂ AMC for the next four nights so try and catch it if you never have.

ABC FAMILY – 9:00 PM: When I originally saw the title ofÂ THE DOG WHO SAVED CHRISTMAS VACATION I was hoping for a mash-up of the CHEVY CHASE classic but instead you get PARIS HILTON voicing a dog.

TUESDAY

FOX – 8:00 PM: The group onÂ GLEE finally heads to sectionals. I’m sure the numbers they perform won’t be nearly as flashy or as choreographed as the numbers they put on for just themselves in their school auditorium.

NBC – 8:00 PM: Behold the festivities around the illumination of plant life with theÂ 78th ANNUAL CHRISTMAS IN ROCKEFELLER CENTER.

CBS – 8:00 PM: It’s just not the holiday season until they airÂ RUDOLPH THE RED-NOSED REINDEER.

ABC – 8:00 PM: The Alphabet offers up aÂ green and mean double header with THE GRINCH WHO STOLE CHRISTMAS followed by SHREK THE HALLS.

NBC – 9:00 PM: Tonight the contestants onÂ THE BIGGEST LOSER have to overcome their biggest challenge yet, being moved an hour later to 9 PM.

FX – 10:00 PM: It’s the season finale forÂ SONS OF ANARCHY.

CBS – 10:00 PM: I didn’t think they could possibly make theÂ VICTORIA’S SECRET FASHION SHOW but then they go and get KATY PERRY to perform.

WEDNESDAY

ABC FAMILY – 8:00 PM: I have to admit that there are some parts of me that actually enjoy the live-action film DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS. It is a bit alarming though to see the GRINCH talking like FIRE MARSHALL BILL a whole lot.

AMC – 8:00 PM: SCROOGED is still an option tonight is all I’m saying.

USA – 10:00 PM: Tonight’s episode ofÂ PSYCH is also a TWIN PEAKS tribute.

THURSDAY

ABC – 8:00 PM: Fond childhood memories of watchingÂ SANTA CLAUS IS COMIN’ TO TOWN are now replaced by the sad realization that kids today have no idea who any of the people doing the voices for this special even are.

NBC – 8:00 PM: I’m not sure if the time continuity is accurate here but it doesn’t matter because tonightÂ TROY turns 21 on COMMUNITY so let the drinking jokes begin!

FOX – 9:00 PM: After two weeks we finally get to find out what PETER does after the phone call he received two weeks ago onÂ FRINGE.

NBC – 9:00 PM: MICHAEL, for whatever reason, decides he must stop the global power that is China on tonight’s episode of THE OFFICE.

DIY – 9:00 PM: How was I unaware of THE VANILLA ICE PROJECT? Home renovation and aged rap music for the win!

FRIDAY

THE CW – 8:00 PM: Somehow CLARK gets bounded to an alternate universe where he was raised by the LUTHORS instead of the KENTS on tonight’s episode ofÂ SMALLVILLE. Wait, is this a FRINGE cross-over?

CBS – 8:00 PM: After tonight there are only 3 more episodes of MEDIUM ever.

ABC FAMILY – 8:30 PM: Will this finally be the year that I watch THE POLAR EXPRESS?

SATURDAY

LOGO – 6:00 PM: It was very shocking for fans when the WB some how lost BUFFY THE VAMPIRE SLAYER and even more shocking for fans when the fifth season ended with the title character dieing. If you want to relive it you can watch a mini-marathon today.

MTV – 8:00 PM: ADAM SANDLER has really accomplished a lot butÂ EIGHT CRAZY NIGHTS is definitely not a jewel in his crown.

G4 – 8:00 PM: Do you know how little there is on tonight? I’m recommendingÂ SUPER HIGH ME on G4, that’s how little there is on tonight.

SUNDAY

ABC FAMILY – 7:00 AM: Want a real lazy Sunday? How about an all dayÂ HARRY POTTER movie marathon from THEÂ SORCERER’S STONE up through ORDER OF THE PHOENIX?

DISC – 4:00 PM: OK, maybe you actually did something with the better part of your day and now you want a lazy Sunday evening? How about aÂ MYTHBUSTERS marathon that includes theÂ Top 25 Moments starting at 7?

USA – 6:00 PM: Don’t look now, it’s another airing ofÂ ELF.

AMC – 10:00 PM: There is not greater sadness then the recognition that tonight is the first season finale ofÂ THE WALKING DEAD and we will probably have to wait until next October for more.

A&E – 10:00 PM: I’m sorry, I was wrong. there is no greater sadness than knowing there is now a reality show being shot aroundÂ THE HASSELHOFFS.

FREDagator: 2010-11-25

UncaScroogeMcD — Thu, 25 Nov 2010 20:49:10 +0000

A holiday tradition… The WKRP Turkey Drop in 30 seconds…

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Weekend Shopping Guide 9/17/10: Travel To Another Dimension

UncaScroogeMcD — Fri, 17 Sep 2010 10:29:57 +0000

The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

(Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)

Remember those deluxe, ultra-desirable, completely definitive Twilight Zone DVD releases from a few years back? Well, turns out they weren’t nearly as definitive as we thought, because Rod Serling’s classic series arrives in high definition with a ridiculously heightened amount of bonus features. In addition to all 36 episodes plus all of the original bonus content of the old sets, Twilight Zone: Season 1 (Image, Not Rated, Blu-Ray-$99.98 SRP) packs on the unofficial pilot episode, 19 new audio commentaries, actor interviews, 18 radio dramas, isolated music scores on 34 episodes, syndication promos, and more. And that doesn’t even touch on just how good the episodes look and sound. Surely THIS is the definitive set. Bring on season two!

There are some things that are instant triggers for geeks to rip out their wallets and plunk down the cash necessary to own. It’s safe to say that the newly released Stay Puft Caffeinated Gourmet Marshmallows ($19.99). Yes, Ghostbusters fans – You can now eat Stay Puft marshmallows, and they even come packaged in a box meat to be saved and displayed long after its content have been devoured.

Another landmark cinema classic makes its way into high definition with the arrival of Milos Forman’s iconic One Flew Over The Cuckoo’s Nest (Warner Bros., Rated R, Blu-Ray-$49.99 SRP), which looks and sounds better than, well, it probably ever has. The special edition also features an audio commentary, additional scenes, the feature-length documentary Completely Cuckoo, a commemorative book, a reproduction of the original press book, mini poster reproductions, photo cards, and a deck of cards.

After running under the radar for its first two years, it was during the 3rd season of The Big Bang Theory (Warner Bros., Not Rated, DVD-$44.98 SRP) that the little geek-com that could finally broke through into mainstream success, becoming so much of a burgeoning institution that CBS plans to take on the NBC Thursday night behemoth with it this Fall. The 3rd season set contains all 23 episodes plus featurettes and a gag reel. A Blu-Ray edition ($54.97 SRP) is also available, with identical bonus materials.

It’s not quite the old Criterion Blu-Ray release, but Lionsgate has done a fine job assembling their own high definition special edition of Carol Reed’s classic The Third Man (Lionsgate, Not Rated, Blu-Ray-$39.99 SRP), which sports an audio commentary, interviews, trailers, radio materials, and more.

It’s a hoary metaphor to compare the analysis of comedy to the dissection of a frog, but I’d like you to ignore that metaphor (which I won’t even bother to complete) and recommend you read Stewart Lee’s brilliant How I Escaped My Certain Fate: The Life and Deaths of a Stand-Up Comedian (Faber & Faber, Â£12.99 SRP), in which he takes the transcripts from three of his stand-up shows from the past ten years – after his return to comedy following a few fallow years – and provides a running commentary on the processes, background, truths, and lies behind the material. Get this.

It’s certainly not the Blu-Ray restoration I would have hoped for, but seeing as how it still retains its red-headed step child status within the Disney catalogue, I suppose I should be happy that the 25th anniversary re-release of The Black Cauldron (Walt Disney, Rated PG, DVD-$19.99 SRP) does look better than the last, and at least presents its Cinemascope print anamorphically. They’ve also added a deleted scene, while retaining the classic Donald Duck short “Trick Or Treat”.

Did you know that a feature film version of Prince of Persia (Walt Disney, Rated PG-13, Blu-Ray-$44.98 SRP) was released? In theaters, even! Yup, it actually was there for a bit, starring Jake Gyllenhaal as the titular gymnastic prince, as he teams up with a rival princess (Gemma Arterton) to save the kingdom with a magic dagger that can turn back time. Yeah, that’s it. The 3-disc set contains behind-the-scenes featurettes and a deleted scene, as well as the standard DVD of the film.

It’s decidedly diminishing returns as you go along until the most recent flick pulls things out of the cess pit they’d gotten into, but at least the high definition presentation of all 6 films in Rocky: The Undisputed Collection (MGM/UA, Rated PG, Blu-Ray-$69.99 SRP). Bonus features include a Stallone video commentary, featurettes, a 3-part making-of documentary, tributes, and more.

If you’re looking for a sprawling, one-stop primer on the history of the United States, look no further than The History Channel’s America: The Story Of Us (History Channel, Not Rated, DVD-$39.95 SRP), a 12-part series that does exactly that. It’s truly an impressive piece of work, which almost moves me to forgive The History Channel for all of the supernatural and spiritual claptrap they try and pass off as history on their channel nowadays. Almost. Bonus features include additional footage on the various subjects. A Blu-Ray edition ($49.95 SRP) is also available, with identical bonus features.

I always thought it was a beautifully designed and executed show, so to be able to peruse those designs via the handsome Avatar: The Last Airbender – The Art Of The Animated Series (Dark Horse, $34.99 SRP) is a delight, which you should certainly partake in yourself. The creators of the show guide you through the conceptualization and history of the show as well, so it’s a must-have for fans.

Explore the majestic Wonders Of The Solar System (BBC, Not Rated, DVD-$34.98 SRP) via this wonderful documentary, hosted by Professor Brian Cox and featuring incredible CGI to illuminate the awesome nature of the universe that surrounds us. Bonus features include a pair of Horizon programs hosted by Cox, plus a pair of featurettes. A Blu-Ray edition ($34.99 SRP) is also available, featuring identical bonus materials but looking that much more incredible.

School is back in session, so hunker down with the release of a trio of classic film adaptations of literary masterpieces – John Steinbeck’s The Grapes Of Wrath, Herman Melville’s Moby Dick, & Shakespeare’s Richard III (Fox, Rated NR/NR/R, DVD-$14.98 SRP each).

Long derided as one of the most z-grade laughable of the many Star Wars rip-offs that littered cinemas in the late 70’s, Roger Corman’s Italian-produced mess Starcrash (Shout Factory, Rated PG, DVD-$19.93 SRP) gets a deluxe 2-disc special edition, loaded with featurettes, commentaries, interviews, and more. What other film boasts both David Hasselhoff and Christopher Plummer? A Blu-Ray edition ($26.97 SRP) is also available, with identical bonus materials.

I still, to this day – despite friends who have fallen fully under its sway – remain unmoved by Glee (Fox, Not Rated, Blu-Ray-$69.99 SRP). I simply can’t get into it, though I respect the ridiculous love others feel for it. I don’t understand it, but I respect it. The 1st season set contains a visual commentary on the pilot, featurettes, cast auditions, karaoke, and more.

Everyone’s favorite sponge drops a greatest hits disc featuring… Well, the title pretty much sums it up – Spongebob Squarepants: 10 Happiest Moments (Nickelodeon, Not Rated, DVD-$14.98 SRP). Clocking in at 2 hours of child occupying mirth, the disc also contains the original pilot, “Help Wanted”.

I love Patrick Warburton and I generally like sitcom-based David Spade, and I really have tried to like Rules of Engagement (Sony, Not Rated, DVD-$29.95 SRP), but it’s just such a toothless sitcom that I can’t help but feel sorry for all involved, and wish they had much more to work with. The 3rd season set contains all 13 episodes, but no bonus features.

It’s not the recent lackluster live action fare, so fans of the Mystery Inc. gang will probably like the new feature-length animated movie Scooby-Doo: Camp Scare (Warner Bros., Not Rated, DVD-$19.98 SRP), which finds them deep in the backwoods tackling not only a creepy fish man, but also a ghostly banshee.

It’s not the Kevin McCarthy original, but the remake of Invasion Of The Body Snatchers (MGM/UA, Rated PG, Blu-Ray-$24.99 SRP) does star Donald Sutherland & Leonard Nimoy, and is now available in high definition alongside another pair of creepy seasonal catalogue titles – (MGM/UA, Rated R, Blu-Ray-$24.99 SRP) and the horrid remake of The Return Of The Living DeadThe Amityville Horror (MGM/UA, Rated R, Blu-Ray-$24.99 SRP). Each release also includes the standard definition DVD as well.

I think Grey’s Anatomy (ABC Studios, Not Rated, DVD-$59.99 SRP) has gotten to the point where the actual quality of the show has nothing to do with whether the fans slavishly tune in every week. Check out the wildly uneven 6th season and see if you don’t agree with my assessment. The 6-disc set contains all 24 episodes, plus webisodes, featurettes, deleted scenes, outtakes, and an extended version of the season finale.

The original cast is gone, but the 3rd season of Skins (BBC, Not Rated, DVD-$39.98 SRP) finds a whole new clutch of party-hardy teens drinking, drugging, humping, and partying their way through life. If you liked the first two seasons, you’ll like this one, too. Bonus features include additional stories, behind-the-scenes featurettes, auditions, and more.

They’ve come out in about a half-dozen different iterations over the years, but the latest batch of Saturday Night Live best-of releases adds over 20 minutes of additional sketches and outtakes, with the latest to get the treatment being The Best Of Eddie Murphy & The Best Of Adam Sandler (Lionsgate, Not Rated, DVD-$9.98 SRP each).

I’m as surprised as anyone that Fringe (Warner Bros., Not Rated, Blu-Ray-$59.98 SRP) seems to be a going concern, so I’m going to lay the credit entirely at the feet of guest star Leonard Nimoy, because that’s clearly the only reason why. Kudos, Leonard. The 2nd season set contains a quartet of audio commentaries, featurettes, deleted scenes, and a gag reel.

Speaking of stillborn, that’s the best way to describe the still pointless Private Practice (ABC Studios, Not Rated, DVD-$45.99 SRP) which, in its 3rd season, still hasn’t mustered enough reason to justify its existence beyond a desperate attempt to establish a franchise. Bonus features include a featurette, deleted scenes, and bloopers.

So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

-Ken Plume

Essential Sounds (2010/07/22)

Aaron — Thu, 22 Jul 2010 12:01:17 +0000

Essential Sounds (2010/07/22)

Here to help? I certainly am, banging on your ear drums this week we have five fine cuts of the freshest audio around ranging from summery shoe gazing to blazing brass sections. All your musical needs are covered for another seven days this is the soundtrack to your week this is Essential Sounds.

1. Boyfriend by Best Coast

This week we kick off with this lovely lo-fi fuzzy gem from US indie duo Best Coast. “Boyfriend” is a slice of understated magic with its soaring harmonies and sunshine swagger. The best thing about this track is its simplicity with an infectious vocal delivery, shuffling rhythm and surf rock guitars this is the best summer you ever had captured in two and half minutes, actor Bill Murray considers himself a fan and so do we

2. Who Dat? by J.Cole

Hot off the heels from last years Warm Up mixtape and the first MC up to bat for Jay Z’s newly founded Roc Nation is J.Cole and alongside Jay Electronica he is hottest commodity in hip-hop right now. “Who Dat” is the first single from his forthcoming debut album Cole World and with so much pressure on his shoulders it shows that J.Cole really is living up to his expectations. A thumping rhythm propelled into orbit with its astonishing brass work proves that there is still a creative flare within the game. Part old school joint mixed with the gusto of a marching band “Who Dat” truly flies the flag for the up and comers in this industry.

3. Where I’m Going by Cut Copy

Looking to build upoun the success of 2008’s “In Ghost Colours” the Australian electropop group have returned with new single “Where I’m Going”. Staying true to their musical roots but aiming a little more mainstream “Where I’m Going” shows shades of New Order’s latter work with a feel good chorus thrown in for good measure. This has a more sugary feel to it than previous material but thats not a bad thing in the slightest as it shows a real sense of fun within their work ethic. The final third of the track displays a more progressive side and has us wondering what the rest of the forthcoming album will sound like.

4. Can We Go Wrong by Hesta Prynn

Side stepping from her all girl New York rap troop Hesta Prynn has spread her wings and put forth this solo endeavour. The interesting thing about “Can We Go Wrong” is that like every good palette it has a little bit of everything. Fuzzy distorted bass lines and funky drumming is the core to its rhythm but over that we find almost chip tune like synth leads and a guitar riff that would make most garage bands green with envy. Hesta also drops the MC’ing for this to deliver a solid pop vocal performance. This is a brand new look for her and she seems to pull it off flawlessly.

5. Oildale (Leave Me Alone) by Korn

Digging themselves out from a pit of depression and the black hole of musical obscurity Johnathon Davis and his nu-metal pioneers really deliver with “Oildale”. It sounds like classic Korn but because that quality has been missing for sometime it also feels brand new again. Heavy percussion and rattling bass lines form a really solid background for Davis to balance delicate vocals with full on aggression an equilbrium that this group have truly mastered. If the rest of the forthcoming album Remember Me can match the quality of this then the once disgarded figures of rock could be back in buisness.

– Mal Foster

Essential Sounds (2010/07/10)

Aaron — Sat, 10 Jul 2010 12:05:32 +0000

Essential Sounds (2010/07/10)

Fear not fellow music lovers for I am back after my slight absence, I have returned to do what I do best. Yes I am here to syringe your ears with the best cuts of new music this wonderful world has to offer. This is Essential Sounds, this is the soundtrack to your week.

1. Don’t Turn The Lights On by Chromeo

Kicking us off this week is the Canadian electro funk duo Chromeo, it seems like a lifetime ago since they delivered their seminal album Fancy Footwork. But fret no longer for they have returned with a very solid and fresh sounding single which boasts a rattling bass line somewhat akin to that of Michael Jacksons “Wanna Be Starting Something”. Strangely enough Chromeo indeed are starting something here with a song which clearly holds the 80’s close to its heart. Yet with shimmering synth work similar to Kraftwerk and an eerie swelling of glass pads “Don’t Turn The Lights On” truly is a mixed bag of magic.

2. Lets Get Lost by Beck & Bat For Lashes

Surfing on the current crest of unique collaborations the world has been treated to this offering from Beck and Bat For Lashes. On paper it seems as if the pair might not work well together but upon hearing the track its obvious to see the duo click together on every level. First of all the core strength of the song lies within the understated percussion and the vocal delivery of Natasha Khan (Bat For Lashes) this alone creates a very haunting atmosphere which is evolved further by the presence of Beck. The combination of both voices makes for a distinct cocktail of sound which seductively slips underneath the listeners skin. Seeing as the track was recorded for the recently released Twilight Eclipse soundtrack it seems as if this is a one off but fingers are crossed for the pair to work together again.

3. I Need Air by Magnetic Man

Anybody looking to dip their toe in to the ever expanding pool that is the Dub Step scene could do no wrong by checking out my third recommendation for this week. Magnetic Man is essentially the All Stars Team of the genre, consisting of super producers Benga, Skream and Artwork “I Need Air” is the latest offering from the group and in the eyes of Essential Sounds is an instant classic. With a rhythm that moves along with mechanical precision and alternating keys and synth leads the song cuts through the listeners brainwaves like an audible version of cult classic arcade game Ikaruga. Despite the on par and versatile instrumentation its the vocoded vocals which is the synthetic heart of the song. Magnetic Man have not only delivered an essential sound but a glimpse into the future, and the future looks beautiful.

4. Albatross by The Besnard Lakes

From the opening bars of sickly sweet shoe gazing guitar tones the psychedelic journey that is “Albatross” by The Besnard Lakes begins. With rumbling drums and the enchanting vocals of Olga Goreas we are sucked into a blissful and sun kissed world of summer loving. The vocal harmonies give this number a cosmic like beach boys feel which burns out into a kaleidoscopic progression of brass instrumentation. This is very much the indie sound of Summer so if your in the absence of sunny day’s slip this number on and slide away into a sonic paradise.

5. Your Body Is A Machine by The Good Natured

Imagine a middle ground between La Roux and Florence and The Machine and you’re likely to find The Good Natured. Up beat and up tempo there is an air of mystery to the sweet delivery within Your Body Is A Machine. It’s joyful enough to be a mainstream hit but yet its mixed bag of instrumentation gives it musical credence. Ranging from almost like tribal like drum patterns to indie disco guitar riffs and overlapping harmonies. This is a dangerously infectious piece of indie pop which could make even the coldest cynic sparkle with happiness. You have been warned this lady will bleeding through speakers across the country before you know it.

– Mal Foster

Soapbox: Heavy Drain

Aaron — Thu, 10 Jun 2010 20:13:34 +0000

Pretending Emo Is Primo

Step one to appreciating Steven Kilpatrick (that’s me-lazy wave included) is to understand that I used to be bitter, then I became an idealist, then I got into graduate school pursuing my dream-and now I’m bitter and educated. Well-at least, I hope, a little more educated than I was before.

Of course, Flannery O’Conner would tell you that colleges haven’t stifled enough of us writers over the years, so take that education with a grain of salt. Either way, color me tentatively unstifled and let’s move on to the good stuff.

I’m still here to talk about video games. However, my take on gaming is directly influenced by those years of snooty pedagogical training about craft and fiction. Imagine Daniel Craig strapped to a bottomless chair being hit in the testicles with John Gardner’s On Becoming a Novelist and you pretty much know what grad school is like.

None of that may matter to you as a reader, but it has mattered to a few people I’ve spoken with about games, as gaming grows up to be big and strong. You see, gamers are very proud at the moment-very proud of how the industry, the content and caliber of games is maturing. The problem is that we hold this maturation to the standard of other video games and not to the standard of culture.

What the hell am I talking about?

This week I’m talking about Heavy Rain. It’s had its balls critically cradled and moistened for the last couple of months and I can only attribute this lapse in judgment-this appetite for the mediocre-to a starvation of style.

I’m going to say this as gently as possible: Heavy Rain is no good. It’s what hungry people see on islands in Looney Toons cartoons. Because there’s no other alternative, they see a giant talking piece of meat and they salivate for it. Sadly, when the boat comes, drags these people back to society and the real entree arrives, there are going to be a lot of critics wishing they could take back the praise they’ve given to this false idol of “Emotional and Mature Gaming,” which must, by now, be a registered trade-mark of game writers who don’t know what the fuck they’re talking about.

I suppose, if you spend your summers staring down people dressed as Cloud from Final Fantasy VII-or interacting with the people who still play Halo 3 online-certainly your bar for maturity has probably lowered over the years. Still, were we willing to step outside, let out eyes adjust to the bloom of a mid-day sun, and remember the world as it is-and not as we’ve created it-then can’t we all agree that we face tougher real decisions each day than the ones presented in Heavy Rain? That emotional weight that’s honest and has nothing to do with forced camera angles, mysterious slamming doors, plot twists and bleeding?

I’m attempting to discuss a very complicated issue without spoiling a not-too-complicated game. Every plot point feels like something they left out of a daily soap opera or maybe cut from the next Saw sequel. In fact, if I had to compare this game to anything it would be a really crappy spinoff of the Saw series-only without the immediacy or energy. This is especially unforgivable since this is packaged as a sixty dollar PS3 game. Yes, I know that the game director says not to think of it as a game-and certainly it isn’t a very good one, so I’m half way there-but he wants us to instead think of this as an interactive film.

I wouldn’t pay sixty dollars to own any single film-let alone a film that plays out like an off-off-off-Broadway production of Saw XVIII staring someone’s gym coach who always wanted to act-even if that play is presented in a Brechtian way (i.e. the audience is part of the show).

I’ve met a lot of younger gamers who seem enthralled by this game and I can only assume they respect the narrative because they cheated on all of their English exams in high school. I do this for a living and even I skipped out on The Great Gatsby and Heart of Darkness when I was in high school. There was a time, I must confess, when I thought Smallville was epic storytelling (forgive me Stanley Kubrick). I sympathize.

Still, it doesn’t help explain why so many of our older gamers fall into the same trap. I promise you, if you watched the narrative for Heavy Rain as a film alone-you would feel cheated of even a ten dollar theater ticket. The plot twists are predictable, heavy handed (ooh, look at that car circling the cul-du-sac five-thousand times when nothing else is going on-it’s probably nothing!)

Apart from that, the game doesn’t give us anything new. It is being hailed as ground breaking, but it’s actually a step back in many ways.

-Creepy Camera angles? We’ve been enjoying those since the 90s thanks to Resident Evil.
-Games as Interactive movies? Adventure titles have been paving that street for even longer (and with far more intuitive control schemes).
-Even the consequences have the feel of the old “Choose Your Own Adventure” books-only instead of holding your fingers between the pages so that you can go back, you just create a new save.

Speaking of that, you also don’t have to learn a new way to read a choose your own adventure book just to get from page to page. There are times in Heavy Rain when I’d be on my way to some destination, the camera angle would change (in a super artsy way I’m sure) and suddenly I’d be veering off like a drunk driver. Narrative is never as hard to keep in focus as when your characters seem confused about how to maneuver around their own homes.

Can you imagine any book where paragraphs repeated themselves based on whether you blinked at the wrong time? No? How about a movie that randomly rewound for three seconds? No? Ok, then this isn’t an interactive story-it’s a game and it isn’t doing the game part right.

I love the ambition of the creator to a point (though he seems to regard games in general as a child’s medium). I could pen an entire grumpy rant about his definition of gaming and gamers-but I won’t today. For now I’ll stick to what he didn’t-gaming.

Extra Lives:

Life One:
I wanted to try something different for my second submission (and future pieces should they arrive) and include two little tag sections to my column. Not everything has to be so heavy and important, so what I hope to do is include the extra lives section and then after that a “Continue” section with a closing about what I expect to form an opinion on soon. I think we’ll go with the traditional three lives and if I have something really important I might add a cheesy “1-Up” bullet.

Life Two:
I’m a trophy/achievement whore like anyone else these days. Usually I know when to put the controller down and say, “You know what, I don’t need that lame ass achievement.” I walked away from the Wolfenstein “Break 1,000 crates” trophy based on the, “if it’s not fun, I’m not earning it,” rule I created. Not exactly rocket science.

However, I broke this rule twice this week using the same method. The first instance didn’t earn me a trophy, but it did net me about 23,000 experience points in Borderlands. There’s a meta-achievement within the game called, “I Fired Every Bullet Ever,” which you earn by firing 100,000 times.

My second one was for the game Darksiders. If you ride your horse for 100 miles, you get a trophy called Dark Rider. Now-this is only a bronze trophy so it would be practically shameful to have earned it legitimately-though I imagine my shame is pretty resonant anyway.

I earned them both by taking one of my fiancee’s hair ties and wrapping it around my controller (if you know what I mean). In Borderlands I just hopped in a car (which has unlimited ammo) put the band on R2 and turned off my surround sound and let it shoot for a few hours. For Darksiders I found a giant area for my horse to run around in and had the hair tie hold down the analogue stick at just the right angle to run in circles. The
achievement should be called, “Why I Hate NASCAR.”

I’m not telling you this because I’m proud-I just think I should be held accountable.

Life Three:
I did end up with a little redemption this week. Despite the low resolution graphics, the lack of mature narrative and the complete absence of trophies or achievements of any kind (nothing at all to increase my E-Peen rating) I was able to enjoy Super Mario Galaxy 2 for hours. Turns out, if the game is good enough you don’t need to supplement it with bragging rights.

Continue?:
E3 is happening next week so there’s a lot to be curious about. I have to admit though-I’m especially interested in hearing about Screen Paper 2.0. EGMi publisher Steve Harris claims that they’re working on a non-flash version of their Screen Paper technology so that they can get EGMi going on the iPad. There’s supposed to be an announcement near or during E3 regarding this update. I know, I know, “what about Epic Mickey!?”

Warren Spector can take care of himself.

Until next time.

– Steven Kilpatrick

In Praise Of… SPILT MILK by Jellyfish

Aaron — Mon, 07 Jun 2010 12:28:32 +0000

In Praise Of… “Spilt Milk” by Jellyfish

For my inaugural entry on this fine site (sophomore entry, if you count my introduction), I can think of no better example of something I love wholeheartedly (well, nearly) that seemed to pass most folks right by than the second album by the band Jellyfish, ‘Spilt Milk’. While most music aficionados will be clued into the band and their output, your average Joe has no idea who they are or what blissful melodies and sublime guitar pop they were capable of. To those people, I say, that’s just really sad. But fret not! I’m here to help, and point you to one of the best musical secrets of the past 20 years. If you follow my instructions and run out and get a copy after reading this column, you’ll thank me. And your heart and your ears will be thanking you for a long time to come.

But before we get to my first love fest here on FRED, I should explain what I’m NOT trying to do within this essay. Jellyfish burned extra brightly but half as long, to misquote Mr. Tyrell, and I wish they’d at some point get it all together and make another record. (When I was a producer on VH1’s Bands Reunited I constantly campaigned to go after them, which always fell on deaf ears). But this won’t be about the history of the band, it’s politics, label frustrations, post band work or what cool people have dropped their name in interviews. All of that, I’m sure, you can get on dozens of other sites, far more informed than I am. No, this is just going to be about one man’s unabashed love for another group of men with musical talent.

I’m not positive when it was when I first heard of Jellyfish, but I seem to recall seeing a video or two from their first album, Bellybutton, in 1992 when they were getting loads of airplay on MTV. The song “The King is Half Undressed” was a minor hit, but I didn’t take much notice of them, and never got the record. (I picked it up much later, it’s a fine album, but their follow up is miles ahead of it). A year later, their second effort Spilt Milk was released. I’m not sure what drew me to it, and I certainly hadn’t heard anything off of it. I seem to recall bringing the CD to the counter at a Sam Goody in Minneapolis, and the guy behind it giving me a “thumbs up”. “Great record”, he said. “Really? What’s it like?” I asked. “Well, it’s kind of like the album that Queen and The Beatles never made.” If he had said it had pictures of nude women on the CD face and the case folded out and could be made into a working robot I couldn’t have slapped my hard earned rupees down fast enough. But surely he was being a bit too enthusiastic, no? Beatle-esque was a term bandied about pretty frequently, but I’d never heard a band that sounded even remotely close to Queen. I wasn’t sure there was anyone with courage enough to try. And then I stuck that little shiny disc into the car’s CD player, and was floored from track one onwards.

Now, admittedly, your enjoyment of this record may have a lot to do with how you feel about several bands: the previously mentioned Beatles and Queen, Breakfast in America era Supertramp, The Beach Boys, Wings and Badfinger. (I remember when Alex Ross and I first started our epic phone calls; it wasn’t long before the subject of music came up. By the sheer number and types of bands we were both into, it wasn’t long before one of us asked the other about Jellyfish and Spilt Milk. It was an “instant bond”, if you will). So, if you have a seething hatred of any of the above, you may want to stop reading. To be clear, you don’t have to LOVE any of those artists to dig this album, but I thought it fair to warn you anyway. As you can probably ascertain already, I’m a Beatles fanatic, and Queen are a top ten favorite. The rest I enjoy, but in dribs and drabs. So, now that we’ve gotten the pedigree of Jellyfish out of the way, what about the record?

The album starts off with a slow, quiet build. Fittingly, the first track is called “Hush”. It really takes it’s time, with what sounds like notes being played on a tinkly child’s piano, before the curtain comes back and beautiful, layered near acapela harmonies sing a sort of lullaby. It’s a little over two minutes, and ends with a “Good night” from the guys, and then the tinkly piano fades out. It’s a strange way to BEGIN a record, wishing us good night and singing us to sleep. But its soon apparent that nothing on this record is ordinary.

Once “Hush” has drifted off to dreamland, guitars and drums come crashing in, signifying the start of track 2, “Joining a Fan Club”. “She turned the night light on and blew him a kiss/He stared back through his green Crayola eyes”, is the first line, and the first of the slightly tongue in cheek lyrical moments through out the record. The song seems to be sung from the perspective of a teenage girl infatuated with a pop star, but man, the tune is all over the place. It’s essentially three different songs, because it manages to get so many different tempos going, similar to McCartney’s “Uncle Albert/Admiral Halsey” or Queen’s “Bicycle Race”. As it starts to wrap up, our teen seems to be getting over the crush, saying “Joining a fan club, it’s a big mistake/ I still get heartburn, when I think about all of the stamps I ate”. Things may not have gone well for the pop idol, as he crashes his car and we’re told to “say a prayer for a fallen star”. Great tune.

Next up is “Sabrina, Paste and Plato”, and our tinkly little piano comes in again, backing our narrator who seems to be in grade school and telling us about his crush. Its another great song, pure pop, but bordering on sickly sweet. The best way to describe it, and I’m no expert on such things, is that it wouldn’t be out of place in a musical the way the story’s told to us. There’s even a chorus of children towards the end, singing what sounds a bit like a nursery rhyme.

The next two tracks are my favorites on the record, and in my alternate reality they’d have both been chart toppers. First up is “New Mistake”, which might have been the first single, I don’t recall. It’s such pure pop beauty that every single time I hear it; it’s as fresh as the first listen. There are few tunes that can do that to me, songs that I literally never get sick of. The Beatles, sure, goes without saying. But even with the Fabs, there are times when I wish I could ‘un hear’ the stuff because I know it so well. I try and give myself breaks from them from time to time, so I can take it all in again. But every now and again, there are songs so perfect and timeless that I could hear ’em every day and still keep smiling, without necessarily being an obsessive of the rest of the artist’s output. “Baker Street” by Gerry Rafferty is one, ‘Roll to Me”, by Del Amirti comes to mind as well. And “New Mistake” is on that list.

The song is basically about getting a girl pregnant, but it could be about landing on Jupiter for all I care. Drums kick the song off, acoustic and electric guitars bring in the melody, the bass line is magnificent. The verses give way to a chorus that sounds like something by Supertramp or any number of acts from the late 70s, with an added edge. It even has the same rhythm flourishes that are in the opening of “the Logical Song”. Without gushing too much more, it has to be heard to be appreciated, but if you fall in love with it, I promise it’ll deliver a smile every time.

Track 5 is my other favorite, and my feelings for it are so close to “New Mistake” that I feel like I’m cheating on it. “Glutton of Sympathy” begins with faint sounds of crickets, leads to a quiet vocal and acoustic guitar. Andy Sturmer’s voice does soft and loud equally well on the album, and his work on this tune alone is sublime. When the chorus comes, the full band kicks in and there are more gorgeous Beatle-esque (you knew that word was coming at some point) harmonies, pleading with whoever is being sung to. The bridge has another favorite line, “Indecision won’t you ever make up your mind?” and gives us a nice mini guitar solo, more harmonies, then Sturmer’s pleading “Will you never cease to be/the Glutton of Sympathy?” before descending to a beautiful close. Those last two tracks could have been a double A side, for my money.

“The Ghost at Number One” was another single off the record, and it’s a belter. Loud guitars, that damn tinkly piano again in the choruses, and enough pop harmony to make Brian Wilson blush. I think the song is about deceased artists making it to Number 1 on the charts, which is sort of really about the labels exploiting the artists for monetary gain. It’s got a bite and bile to it that’s missing from the record up to this point, and it’s heavier than what’s come before too. It’s a nice punch to the gut in the record, which is needed, and brings me to another great point. The album is laid out so near perfectly, track wise, that other bands could study it when planning their masterpieces.
The “side one” closer is “Bye, Bye, Bye”, and suddenly we’re at a traditional Jewish wedding. The middle section is right out of “Fiddler on the Roof”. It’s a great way to close the first half of the album, and sounds absolutely nothing like anything that’s come before it. Again, it sounds most like it belongs in a Broadway show, but in a good way.

The next track, and “side two” opener, is “All is Forgiven”. Guitar feedback signals the onslaught of pounding drums and a cacophony of notes; it’s a whirling tornado of a tune, the noisiest on the record. It took me years to get into it, but when I started to notice the payoff of the song following it, I began to appreciate it more. “Russian Hill” is absolutely gorgeous, the kind of song Nick Drake might have written in a much more minimalist way. The strings and harmonies get me every time.

The rest of the record is wonderful, don’t get me wrong, but it doesn’t hold the appeal for me that those first nine songs do. I realize as I’m writing this that it will become apparent to anyone reading that I’m no record critic. But I guess that’s the point of what I’m trying to do with this column, just give my gut reactions to items from different mediums. You know, the old, “don’t know much about art but I know what I like” defense.

Anyway, back to the record. If Spilt Milk has a flaw, an Achilles Heel, it’s one track keeping it from being a perfect record, it’s “He’s My Best Friend”. It’s an ode to the singer’s penis, and while the tune itself is as eminently hum-able as anything they ever did, the lyrics bring it into comedy album territory. Yes, that’s right, dear readers. Just a few short years after XTC gave us the classic “Pink Thing”, another great band decided to give us a love song to male genitalia. I give them a pass, though; every band has a “Revolution #9” in their arsenal.

“Too Much, Too Little, Too Late” and “Brighter Day” are the album closers, and take us from a fond farewell to a bizarre parade/carnival, complete with horns, cymbals and a marching band drive. All in about 10 minutes. As the last notes fade out via strings and harp, we’re taken back to the quiet hush of where we came in, and the band float off into the distance. I’m not sure how long the end came after this record’s release, I only hope it was as amicable as those things can be. I like to think the door’s still open for these geniuses to work together again.

If any of this has been of interest, and you eventually get the record and enjoy it, be sure to track down the clutch of B sides Jellyfish released as well. “Worthless Heart” is a beautiful demo, one can only imagine how it eventually would have been filled out, and “Family Tree” is the “shoulda-been-on-the-album” tune, the best song Free never recorded.

I hope you’ve enjoyed this little voyage, and that maybe I’ve turned a few more people out there on to this great band. It’s probably one of the albums I give a spin at least a couple of times a month, whether it’s turned up loud in the car or on in the background at home whilst surfing the internet. Because of the miracle of the iPod age and the death of the album, there are artists I love (The Jam, The Kinks, Neil Finn, Radiohead), whose output I keep on shuffle, never minding so much that the songs are all over the place. I’m as guilty as anyone. But Jellyfish’s Spilt Milk is one of the rare ones that I need to hear from beginning to end. I’d love it if any of you out there can hip me to something similar in your lives. Let’s bring the album back to life together. Be seeing you…

– Jason Lenzi

Essential Sounds (2010/06/05)

Aaron — Sat, 05 Jun 2010 12:11:54 +0000

Essential Sounds (2010/06/05)

Hello there one and all welcome back to another edition of Essential Sounds where I, Malcolm Foster, have been digging to find the freshest new music for your listening pleasure. This week we have a potential death by orgasm, an egotistical super producer, vampires galore and so much more.

1. “Farewell to Wendo” by Mock & Toof

The latest offering from UK duo Mock & Toof (stable mates of James Murphy’s DFA Records) brings us a very catchy piece of ethnic pop. Seemingly structured around the elevated and highly prominent female’s vocals we have a solid background consisting of Japanese strings and tribal like percussion. Whilst being subdued by the constantly shifting synth bass line we are requested by the mystery guest vocalist to “murder her with orgasms” well it’s certainly an acceptable way to go I guess. I have a feeling that we are going to be here a lot more from Mock & Toof so dig into this intriguing number to get a good idea of what we can expect to hear in the very near future.

2. “I’m Not Made Of Eyes” by General Fiasco

Moving over to Northern Ireland now, our second essential sound comes courtesy of indie trio General Fiasco. What we have here is a very classic mid tempo indie rock sound but with a truly engaging vocal delivery. You can’t help but get a real feel good factor from this song its crammed full of simple yet effective song writing and will no doubt find itself becoming a real summer anthem this year. “I’m not made of eyes” is the group’s second single from debut album Buildings, which I highly recommend and even tip for a potential mercury music prize nomination. Remember you heard it here first.

3. “Power” by Kanye West

Love him or hate him you cannot deny that when he isn’t invading stages and interrupting award ceremonies Mr West has got one of the most intricate and dynamic ears in the business. Coming back out of the studio with attitude new single “Power” has exactly that, from it’s tribal vocal hook to it’s thumping drums the return of “Yeezy” is anything but subtle. Those hoping the whole Taylor Swift debacle might have mellowed him will no doubt be disappointed as on a lyrical tip he has taken hold of the happenings in his world since last LP 808s and Heartbreaks. Taking the notion of being the “Abomination of Obama’s Nation” he flips an insult into a compliment by claiming it as “one hell of a way to start a conversation” and lets face it takes somebody special to do that and walk with it in his stride. If power is an indication to what forthcoming album Good Ass Job is going to be like we could looking at one of the most talked about albums of the year.

4. “Jonathan Low” by Vampire Weekend

Our fourth pick comes fresh from the forthcoming Twilight Eclipse soundtrack, yes that’s right you did read that correctly Twilight Eclipse Soundtrack. Fact is unlike the story which the music accompanies I cannot pick a hole in the soundtrack choices for Bella and Edward’s pout-athon. “Jonathan Low” takes a side step from the bands 2010 album Contra, in fact it has an almost Smiths like twang to it until the verse closes and the chorus unfolds where we are showered with an explosion of church bells and string work. This certainly shows Vampire Weekend at their fullest in terms of instrumentation and could be a good look for them if they decide to pursue it any further in forthcoming material.

5. “Gone For The Summer (Part Two)” by Teen Daze

I might as well book myself a one way ticket to Canada at this rate, as once again they have provided another wonderful essential sound. This week Canada’s contribution to excellent music comes in the form of producer turned solo artist Teen Daze. With “Gone For the Summer” we are treated to a beautiful blend of wishy washy synth’s, echo chambered vocals and funky percussion rhythms. There is a very rich and warm feel to his work and with debut EP Four More Years due out later this year I’m looking forward to seeing what else Teen Daze can provide to sooth my ear and soul.

–Malcolm Foster

Essential Sounds (2010/05/30)

Aaron — Sun, 30 May 2010 17:39:57 +0000

Essential Sounds (2010/05/30)

Aloha one and all welcome back to another edition of Essential Sounds, as always I am your human satellite for all things musical and once again I come bearing gifts. But before we move on to this week’s treats its come to my attention that we are all but at the bitter end of May and my first month with Essential sounds and FRED Entertainment. I have loved every minute of my time here and I’m extremely grateful for having you wonderful people on board. So enough of the sentimental stuff let’s move onwards and upwards and heres hoping June proves just as fruitful as May.

1. “How I Got Over” by The Roots

If you’re unfamiliar with the wonderful work of The Roots, “How I Got Over” is an excellent introduction to this truly versatile hip hop troop from Philly. On a instrumental tip the track is held together like glue by the ever funky drumming from iconic sticks man ?uestlove. However the beautiful blend of soulful keys and smokey vocals gives “How I Got Over” it’s gloss. Of course no Roots song is complete without an on point flow from Black Thought who is easily one of the strongest and most consistent MCs to ever plug in a mic. Despite being veterans of the game now, The Roots are still bringing fresh goods to the table which in a market oversaturated with rotten apples can only be considered a blessing.

2. “Flashover” by Klaxons

Since gaining critical and commercial acclaim after their 2007 Mercury Music Prize win the nu-rave trio have worked their socks off on new material only to scrap it and start all over again. Three years after their debut and debunked rumours of a Dr Dre collaboration Klaxons are back with “Flashover” the first single from an as yet untitled sophomore album. The first thing you might notice about Flashover is that it manages to come across as somewhat familiar yet the slightest changes in sound seem to have the biggest impact. The leftfield lyrical structure steeped in mystic mythology and the Gregorian monk like vocal hooks are back but they’re mixed in with a rougher dirtier sound throughout. This not only gives “Flashover” an edgier sound but provides a wonderful juxtaposition in sound when placed next to blissful digital meltdown and staccato piano section we encounter in the final act. If this is a sign of things to come then I believe good things are coming our way.

3. “ADD SUV (Armand Van Helden Vocal Mix)” by Uffie feat Pharrell

Ever wondered where Lady Gaga might have got her “original” style from? Well excluding Madonna, Grace Jones, Peaches and David Bowie of course, take a look or rather a listen to France’s alternative Goddess, Uffie, and you’ll find it’s pretty much a no brainer that Uff has had a significant influence in spawning the “Fame Monster”. But I’m not here to follow the band wagon I’m here to deliver this musical gem and drop it in your ears. This reworking of Uffie’s first single from forthcoming album Sex Dreams And Denim Jeans keeps the funky vocoded vocals and killer verse from Pharell Williams it also in true AVH style adds one hell of a funky guitar riff. Working his magic on Uffie’s tounge cheek look at Hip Hop consumerism Armand Van Helden takes an already solid song and gives it a burst of disco dance ability which is simply undeniable. Listen to it and try your best not to dance, I double dare you!

4. “Silence” by Camo & Krooked feat Nina

This week in Essential Sounds were breaking new ground, our fourth pick is from drum ‘n’ bass/dubstep duo Camo & Krooked. Despite being very familiar with the former I must admit that I am quite the novice when it comes to the valued art of dubstep. I know a little bit but this little grasshopper still has a lot to learn. However if anything “Silence” only makes me want to dig deeper into this particular sub genre. With atmospheric thunder storm and rainy ambience combined with a sincere and emotional vocal delivery from guest star Nina Silence is one part beautiful melancholy yet this is balanced out by the warm sub bass and rolling drum patterns which give the track an almost uplifting appeal. But the well crafted contrasts don’t end there, despite revelling in the fresh sounding dubstep instrumentation the vocal performance seems to channel the spirit of early 90’s dance anthems. A truly post modern wonder if there ever was one.

5. “Month of May” by Arcade Fire

If like me the inclusion of “Wake Up” on last year’s trailer to Where The Wild Things Are wetted your appetite for all things Arcade Fire again then fear not as this week saw the return of the Canadian natives and their eclectic stylings. “Month of May” is really quite a different sound to their previous material right from the start we can hear how its full of get up and go. The straight up ensemble of guitars, bass and drums is not only reminiscent of rock ‘n’ roll as it used to be but it also gives Arcade Fire their sexiest song to date. This comes courtesy of the booty shaking groove forged by the songs solid rhythm section. Some die hard fans might not fully appreciate the new direction but to me it shows an already inventive band taking a further step into musical progression.

–Malcolm Foster

In Praise Of… An Introduction

Aaron — Tue, 25 May 2010 08:48:31 +0000

In Praise Of…

Greetings, FRED followers. My name is Jason Lenzi, and I do lots of stuff.

“You’re who and you do what?”, I hear you asking already. “And where’s the review of ‘Letters to Juliet’ I was looking for?”. Well, it just so happens, that I was invited to be here, by none other than Ken Plume. And I happen to think that’s pretty, pretty cool. So, ya know, um, leave me alone.

Let me back up a bit, and explain everything. I make my living doing all sorts of things, some of which I can’t go into here for tax reasons. But mainly I work in the entertainment world, as a freelance producer/writer/what-have-you for television. And I work as a voice over artist, narrating shows, doing radio commercials, some animation, etc. It’s nice work, if you can get it, and finally justifies all the silly and annoying voices I’ve done my whole life. But a few years back I wanted to do something different, something that would get my mind off of the insanity of production, that would be a cake walk , that would once again, somehow turn a life long hobby into something that would earn me some money. So I started a toy company, called Bif Bang Pow! Simple, right?

Well, yes and no. Mainly no. But that’s beside the point. After a year or so, some folks started to take notice of what we were doing. One of those folks was Mr. Ken Plume, instantly marking himself as someone of exceptional taste, intelligence and good humor. I remember the call quite well. I was working as a producer/director on a piece of shit-, sorry, reality series- for an un nameable basic cable network that at one time used to play music videos (and no, it’s not Telemundo. Now stop asking me, please, it’s really not important), when my cell phone went off. I answered, and Ken was on the other end, complimenting our Big Lebowski and Flash Gordon (the movie) action figures. Which was pretty cool of him, as they hadn’t even come out yet. But what he’d seen all over the ‘net, he dug, and he felt compelled to get in touch. He asked me loads of questions about what else we had up our sleeves, and now, feeling comfortable, started to make suggestions. “Have you ever thought of doing something for The Venture Brothers ?” he said. “Yeah, as a matter of fact, I love that show”, says I, “but we kinda got our hands full right now, for a while anyway.” Hearing this, Ken started to sob uncontrollably. Like, really bad. Like, a mental breakdown type of sobbing. Through his muffled and snot filled pleading, I could kind of make out him saying that we were the only company that could do the show justice, and that he really wanted the toys to happen. Sooner rather than later, as he needed new toys to take into the tub to have wars with. Well, that’s how I remember it, anyway.

Eventually, because at that time I still had a heart made of honey and not marble, I gave in. “Ok, ok, I’ll do it. If you have a contact at the network, send them along and I’ll get to work on it. Now, please, stop crying”. That seemed to do the trick, and four years later, I’m happy to say that Bif Bang Pow! got the license for The Venture Brothers, and are about to finally bring little Ken’s dream to fruition. Which, in a way, is how I come to be writing this introductory column. Ken very generously offered FRED to me as a platform to write about whatever I like. I think it’s his way of paying us back for the millions of dollars we’ve already spent on the ‘Venture’ license, R and D, prototypes and marketing. So Ken, thank you for this opportunity.

If you’ve come this far, I can hear you asking another question: “What will I be rewarded with if I keep reading this crap?”. Well, I’m glad you asked. The truth is, I have no idea. I guess you’ll just have to stay with me, and bring along whatever you like as you enter this landscape, and hopefully your accessories will help you along the way. I CAN tell you, that I’ve decided to narrow my ‘whatever I like’ down a bit. Since I also guest blog over at Action Figure Insider, about the toy world, nostalgia and Bif Bang Pow!’s behind the scenes shenanigans, I may be steering clear of some of that at this address.

Chances are if you’re here and have been enjoying Quick Stop Entertainment all these years, and are digging what FRED is doing now, well, you’re probably a pop culture junkie of sorts, and most likely are prone to rooting for the underdog, the left of center, and cult favorites of the world. Which is good for me, because that’s just the sort of thing I’d like to write about: the forgotten, the unappreciated, the mocked, and the misunderstood.

I’m gonna call my column here “In Praise Of…”, as a small homage to Leonard Nimoy’s best television series, “In Search Of…”. Remember earlier when I said I did a lot of ‘stuff’? Well, I also LOVE a lot of ‘stuff’. Music, books, movies, tv, toys, and various other sundries. Now, not all of those things are loved by everyone I know. And some of them aren’t even LIKED by anyone I know. And some, well, they’re just plain HATED by everyone on the planet. But I thought that if anyone might be open to suggestion, or to having their horizons expanded, it’d be the FRED audience. And before you get there, I know, I know, there are literally hundreds of sites out there already that praise cult items on a daily basis, make obscure category top ten lists, and feature essays like “Why Timothy Dalton is the most underrated actor of all time”. (Well, he kind of is). I still like to think I’m going to be doing something different, and funnier, as big headed as that sounds. At the very least, I’ll be exposing my guilty pleasures to the world, without fear of arrest. I hope you’ll come along for the trip, it gets awfully lonely here in the cult wilderness. Make some popcorn, brew some tea, or make a sandwich and grab on with your free hand. You just might learn something. Back soon…

– Jason Lenzi