The Muppets are proving themselves to be the Leonardo da Vinci of modern media, moving effortlessly between movies, TV, community service, comics and cultural relativism*. Dudes are just hitting it from all angles right now. They’re like Miley Cyrus times four, with actual talent and vast more human emotion and independent thought.
Sure, they’ve always pounded the pavement when it comes to the traditional media, boasting a vault full of films and TV specials and music albums. But lately they’ve shown to be experts at exploiting popular YouTube videos to create their own. Right now the Muppets at the forefront of what I like to call viral video deconstructionism. Starting with their attempts to usurp the iconic skateboarding dog, and most notably in their “Bohemian Rhapsody” music video, they’ve deftly played with what we’ve come to call internet memes (at least I think that’s right. Still not quite sure what a meme is. Ask Urlesque). And they continue this trend now with what might be the most subversive video yet: Beaker (who has sort of become the go-to Muppet for these videos) performing a meepfelt version of “Dust in the Wind,” only to be crowded out and ultimately sabotaged by those YouTube pop-up comment boxes. Beaker, shine a light and we shall follow.
I’m not sure if I’m going to make a habit of posting weekly Lost reactions. First of all, there are countless other bloggers who do an infinitely better job parsing the show and its mythology (Doc Jensen, Videogum, Alan Sepinwall, AV Club to name a few) And second, I think I’d rather spend my time reading other people’s thoughts and theories than formulating my own, because immersing myself in the world of Lost and its possibilities is one of my all-time favorite pastimes. But, in honor of the season premiere, and in light of a post I didn’t get around to writing six weeks ago, I thought I’d put finger to keyboard and deliver commentary that’s more along the lines of Ken Tucker’s, focusing not on the mythology, but on the storytelling and the characters. Not on what the things in Lost mean, but on what is Lost’s meaning.
Very delayed but very exciting Muppet news: while most of our Muppet Monday posts have focused on the recent rise of Muppet visibility in Disneyland and on TV, as well as a few classic clips, we finally have some Muppet movie news!
Vulture reports that Flight of the Conchords co-creator James Bobin has been offered to direct a new Muppet movie in the works for Walt Disney Pictures. However, there might be a snag, as Bobin has apparently also been asked to helm Bridesmaids, a Kristen Wiig penned (and we’re assuming starring) comedy produced by Jumped The Snark legend Judd Apatow. But really, do you think Bobin should attach himself to a movie described as “two women battling to plan their friend’s wedding party?” I think the Casey Wilson-penned Bride Wars kinda covered this ground, and between that and 27 Dresses, I’m not sure that the discerning comedy masses are clamoring for another slapstick/rom-com wedding flick (although, if it’s more like Baby Mama, then maybe I’ll revise that statement). Plus, would you choose to work with a bunch of petulant divas* over the seasoned professionals that are the Muppets?
But maybe you’re thinking to yourself that Bobin should choose Bridesmaids for the chance to become part of the Judd Apatow fraternity and secure on a place on my chart. Okay, fair. However, this Muppet movie will be based on the script penned by Jason Segel and his Forgetting Sarah Marshall director Nicholas Stoller. Both men have several ties to Apatow, so Bobin can join team Apatow either way, and if this movie is produced it’s definitely going on the chart. So, James Bobin, if the main factor in deciding which movie to direct is earning a spot on the Judd Apatow chart, then I can assure you that if you take the reins to the Muppet movie you’ll get your due. Plus, you have about an equal chance of working with Paul Rudd on either movie (actually, with this in mind, the odds might actually be a little better with the Muppets)
And with that out of the way, you can make a measured, smart decision.
Last decade I wrote semi-extensively about Guy Fieri and his Food & Rock’n'Roll Road Show, an extreme food, drink and music extravaganza. So imagine my excitement a couple months back when my brother called to tell me that he had tickets to that very show that very Thursday. Oh the delight! I’d finally get to see Guy Fieri live and “in concert.” I mean, the guy had been stalking me, so it only seemed fitting that I should see him as he righteously rolled through Los Angeles. So, then, imagine my disappointment when I found out my brother was actually calling to ask if I could babysit so he and his wife could attend the fiesta. A dream deferred.
All wasn’t lost, however, because as a thank you my brother gave me his signed copy of More Diners, Drive-Ins & Dives: A Drop-top Culinary Cruise Through America’s Finest and Funkiest Joints (and, I guess, he really had no need for two signed copies of More Diners, Drive-Ins & Dives: A Drop-top Culinary Cruise Through America’s Finest and Funkiest Joints). It wasn’t the same as seeing Fieri in person, the spotlight glistening off his backwards sunglasses and bleached spikes, but it was a nice token. A little piece of Fieri to hold onto forever. Yes, most certainly off da hook.
And that’s not all. They even captured video of the party, some of which I managed to hijack. So if you were curious about that 25 gallon margarita machine, or wondering how literal Fieri’s song choice would be, your prayers have been answered:
In yesterday’s SNL appetizer post I surmised that last night’s show had a 50% chance of being funny. However, immediately after making this less than bold proclamation I realized that I should have at least given the odds at 51%, and more accurately probably around 75%. With SNL returning after a week off, having proven they perform best with a little rest, and under the capable reigns of Jon Hamm, the odds were certainly in their favor.
And had I thought it through yesterday and gone with the 75% estimation I would have been right, as about 3/4 of the show was (surprisingly or unsurprisingly, I’ll let you decide) solid. From the moment Hamm stepped out onto the stage for his monologue you knew you were in good hands (sorta like the way I feel during the opening credits of any Quentin Tarantino movie). Obviously the easy thing to do here would be to compare Hamm’s hosting performance to that of his Mad Men co-star, Ms. January Jones. Of course, that’s entirely unfair, because Jones was clearly over-matched and out of her element, and Hamm has already demonstrated his hosting prowess. There’s really no reason to compare a Picasso to a Bazooka Joe comic. We already know which is going to come out on top (well, I guess in that scenario it depends on the criterion, if we’re talking about which is the superior work of art or which serves as a better gum wrapper. But I digress). However, we’ll indulge that comparison briefly, because, like Jones’, Hamm’s monologue employed some Mad Men parody, and to far better results than the “Mad Mennies” bit in Jones’ monologue. As Hamm’s big break has been his role as the mysterious, stoic Don Draper, he showed some clips from his earlier “roles,” but in each of these Hamm maintains the personality of the debonair Draper. The first clip, a Saved by the Bell parody titled “Late for Class,” was the best (if only for the spot-on opening credits. Oh, the early 90s!), but the second, Hamm on QVC giving Kristen Wiig the same tough love treatment that Don gives Betty Draper, and the last, Hamm as Draper doing Def Comedy Jam, were nearly as good. By the time Hamm said “stick around, we’ll be right back,” he didn’t need to. We were sold.
1. As was the impetus for the list in the first place, it’s relevant, as it was uploaded in anticipation of President Obama’s State of the Union Address this past Wednesday night. Now I don’t have much to say about the address, as I only saw about the last 20 minutes of it, and it was closed-captioned at a bar, but I feel pretty confident that on tonight’s SNL they will lead with a parody, mining jokes from Joe Biden’s seal clapping and Nancy Pelosi’s emphatic, frenetic applause. Sorta like this:
2. In my recent list of the Top 10 SNL Sketches of the 00s, I decided to only include one political sketch, so the comedy.com list rather fills that void (and saves me from doing more work). If I were to add one more in, it would probably be a debate, but in terms of personal preference I have a real affinity for this Obama commercial:
3. This is something to whet your appetite for tonight’s new episode, featuring the return of, you guessed it, a beardless Jon Hamm! First hosting last decade, in October of 2008, Hamm proved that he’s more than just a handsome face, just as skilled at comedy as he is staring into the nothingness, drinking whiskey and smoking a cigarette, and looking dashing doing it. I’ve already included many of the sketches from his last go-round, so here’s one from later in the show that I have yet to employ:
4. On Sunday night NBC goes back to the well and serves up another SNL compilation special, this time, in honor of the Super Bowl and in lieu of a game, it’s SNL Sports All-Stars. Like the Christmas special, a show made up old sports-themed sketches is nothing new. However, also like the Christmas special, Sports All-stars will be “hosted” by characters who originated in the last two seasons and are already over-exposed. In the Christmas special it was Gilly, whom I’ve already wrote many words about hating, and whom I thought might actually ruin Christmas. This time around it’s ladies’ sports commentators, Pete Twinkle and Greg Stink (Jason Sudeikis and Will Forte respectively), with Twinkle always finding a way to plug the latest feminine hygiene sponsor and Stink being generally clueless, unprepared and often a bit creepy. When these characters first debuted in Ladies’ Billiards last October, I thought it was a success, an unorthodox sketch that Sudeikis and Forte made it work. The kind of sketch that comes late in the show for a reason. So I was alarmed when the sketch turned up again so quickly, this time in the form of a Bowling final, and again two weeks ago in the Sigourney Weaver episode in the guise of a darts competition. It was a fun sketch to start, but now they’re stretching it thin, showing it three times in half a season, and it’s only a matter of time before they exhaust these characters. However, I will say that Twinkle and Stink are a much better choice to host a compilation show, and I’m actually interested/excited to see how they might expand these characters. Can’t be any worse than Gilly.
And here’s one of my favorite sports sketches, an all-time classic that I assume will be included in the special:
And don’t forget: Jon Hamm tonight. There’s a 50% chance it’s going to be funny!
Okay, so above the comparisons were mostly lies, but, as already been oft-said, British import The Inbetweeners is a like a sitcom version of Skins. It’s to Skins as Undeclared was to Freaks & Geeks. Which means it’s good, if a little lacking on dramatic depth. The quick cuts and camera work also evoke shades of Arrested Development, if Arrested Development took place in the UK, featured teenage boys, and dispensed with the self-referential gags and cutaway jokes. So, basically in no way like Arrested Development other than that it’s a one camera, handheld comedy. Oh, and it has a narrator.
The first two episodes aired Monday night on BBC America and they were fit! Below is my favorite scene from either show (stolen from PopCandy)
As my roommate so astutely pointed out, doesn’t series star Simon Bird look just like a young John Oliver. Uncanny!
Catch a new episode tonight in its regular 9:30pm time slot on whatever channel BBC America is on your cable provider. Don’t ask me to look it up for you. You have the internet.
A couple weeks ago I decided to check out the Paley Center here in LA (formerly known as the Museum of TV & Radio). I assumed it would be basically the same as its NY brother (and my assumption proved mostly correct, as the West Coast branch actually has a little less to offer), but with The Muppets at Disney World scheduled to screen at 4pm I figured it would be worth a trip. Except that when I arrived I realized that I had been looking at the NY schedule, and the most attractive screening option was an old episode of the Carol Burnett Show. So I decided to try my luck with the video archives.
With the Muppets still on the brain I resolved to see what kind of treasures the library might offer, knowing that the Museum had put together several special Jim Henson events. Indeed, I found a series of compilations celebrating the life and work of Henson. Amongst these was an episode of The Jim Henson Hour that featured a short film I had heard of but never seen: Dog City.
Now the Paley Center has been rendered almost obsolete by YouTube; the web offers a wider selection videos, often better in quality, on demand, and with the added benefit of being viewable from your home computer instead of on an old NTSC monitor at a video carrel in an eerily quiet and sterile media room. Not to mention you don’t have to wear ratty, flaking headphones that have already been used by innumerable strangers (that must be a health hazard). But there are a few items, a couple rare gems that you can’t find on YouTube or even weird Polish websites. Dog City is one of these such rarities.
Dog City is Jim Henson’s take on film noir, but in this scenario it’s classic hard-boiled crime drama inspired by paintings of dogs playing poker. And with main characters named Ace Yu and Bugsy them, it has no shortage of corny, Abbott and Costello style jokes. Except that, with Henson’s Muppet alter-ego Rowlf the Dog playing the piano and breaking the fourth wall as our narrator, the jokes are delivered with a full-on wink at the audience and they actually work. I usually get bored during musical numbers in Muppet productions, and this was no exception, but I found the rest of the movie quite enjoyable, even with the VHS quality picture and its sometimes cranky tracking. Since the movie is almost exclusively available at the Paley Center, the best we can do here is present the trailer:
Three years later Henson would turn Dog City into a Saturday morning cartoon, “Jim Henson’s Dog City” changing Ace Yu into Ace Hart, a more standard noir detective. Luckily, the show still offered some traditional “real world” Muppets, as Dog City is animated by Eliot, a Muppet German Shepherd, and his friends and neighbors serve as inspiration for the animated canines.
So while the Paley Center has become a bit of a ghost town, made nearly irrelevant by the Internet, it can still be worth a visit, if only for that one special show.
I wasn’t able to post to Nostalgia Corner last Friday because my day was just NUTS (okay, so my mom was visiting and I spent my scant free time writing about The Office clip show)! So here’s a belated but still relevant edition.
As we all know (and have probably watched) by now Conan O’Brien closed out his tenure as host of the Tonight Show last Friday with guests Will Ferrell, Neil Young and Tom Hanks. Vulture already noted that Hanks, a frequent late night visitor and guest on Conan’s second Tonight Show, also holds the distinction of appearing on David Letterman’s last show as host of Late Night. But I would like to focus less on Hanks’ propensity for appearing on sign-offs, but rather on his relationship with Conan O’Brien. Conan often still seems like the young guy, the gawky, redheaded kid, but the truth his he’s being holding court in late night for 17 years, and he’s actually known Hanks for over 20 years, as O’Brien was a writer on SNL in the late 80s when Hanks was the go-to host (hosting five times in five years, on pace at the time to shatter all hosting records). They even discussed this on the show last Friday, with Hanks revealing that he called Conan and his fellow writers Bob Odenkirk and Robert Smigel the “boiler-room boys.” And the two sketches that Hanks is probably most associated with – “Mr. Short-Term Memory” & the “Girl Watchers” – were written by O’Brien, and Conan even appears in Hanks’ most memorable monologue “The Five Timer’s Club” (although Conan identifies himself as “Sean”). But, for today, we’re going to highlight Hanks’ monologue from his third hosting stint in October of 1988, a bit that includes Conan’s first appearance on SNL (in denim vest!). The ties that bind:
It’s true, Tom Hanks is the nicest guy in Hollywood. Maybe in any wood. And possibly the funniest. Chris Rock once said that if Hanks had “grown up with less education, he’d be the greatest comedian who ever lived,” and I believe it. I think it’s high that time Hanks attached himself to a straight-up comedy and showed these kids how it’s done (Bosom Buddies: The Movie???).
If there was one comedian/mid-level celebrity whose career I’d like to emulate it would probably be Michael Ian Black (okay, there’s a laundry list of comedian/mid-level celebrities who careers I’d like to emulate, and an even longer list of A-list celebrities whose resumes I wouldn’t mind having. But there are few people out there who I admire and appreciate at the level of Michael Ian Black. One of the reasons I like Mr. Black so much is because, obviously, he’s as funny and smart as anyone else out there (if his work in I ♥ the [Insert Decade]didn’t convince you of that, check out his stand-up album I Am A Wonderful Man, an excellent performance from someone who is not known as a stand-up comedian). But, beyond his humor, I especially appreciate the fact that he has the courage to say or write just about anything, the best examples of which are found on his Twitter feed, where he makes fun of everyone and everything from Asians to his kids to his wife cutting off the tip of her finger to himself. Often times I’ll find myself wanting to tweet something potentially offensive, and I don’t do so because I fear that not everyone will get the joke; sarcasm and satire sometimes don’t play so well in less than 140 characters. But Black has been able to pull that off, so much so that he’s participated in several Twitter fundraisers in which for a small donation he’ll make fun of you mercilessly, usually mocking your Twitter name or criticizing your photo. He has created this persona of being an arrogant, insensitive asshole (again, refer to the name of his comedy album), which is a weird achievement to want to replicate, but it seems clear to me that it’s just a put-on. It might be an extension of the real Michael Ian Black, but, if so, it’s a huge exaggeration. I mean, he lives in Connecticut with his wife and kids (who he appears to loathe, if his tweets are to be believed), so how terrible can he really be?
Amidst this backdrop of bombastic, often crude, tweets and blog posts it was surprising that Black received the most backlash for a tweet he composed on Friday night to commemorate Conan O’Brien’s last night as host of The Tonight Show:
Typical trenchant, insightful, slightly dickish Michael Ian Black commentary. But out of all his tweets this one caused the most commotion (although, as you can see, it was retweeted 100+ followers, so I guess not everyone was outraged). It was a joke, but like many of his jokes, he had a point, a good point. Which is another aspect of MIB I appreciate: his candor. He’s a fan of Conan too, but the truth is Conan fans didn’t turn out in droves until these last two weeks, when it didn’t matter anymore.
So, to clarify his point, Black knew he needed more words than Twitter would allow, so he took to his blog (and spared us from a full on tweet procession), and exemplified another quality I admire: intelligence. He composed his actual, and, as he noted, “unfunny” thoughts on the Conan situation, comparing Conan to Sally Fields in Norma Rae and asking “how did a Harvard-educated, multi-millionaire late night talk show host magically transmogrify into a guy who got laid off at the local car plant?” Now I’ve basically been glued to the computer the last two weeks reading every update on the late night wars and watching every relevant monologue the night before, and I’ve even contributed my own thoughts, but Black does have a point. In the end, it’s just millionaires playing in the sandbox, and Conan doesn’t really represent the oppressed, jobless masses. In his essay, Black puts aside the sarcasm and the deadpan humor, presenting refreshing clarity about the whole thing. I’m not sure I’ve read a better breakdown on the skirmish. Despite the working title of his latest TV show, Michael Ian Black does understand. A lot better than most of us.