Which means it’s 3/11. So to honor the date we had two choices, either call New York City and complain about the building manager or post a music video from the premiere rock/rap/punk/skater/reggae outfit of the mid-90s. We went with option B.
On my alphabetically organized middle school-era CD rack 311 comes right after Sublime. And there’s something appropriate, perhaps even poetic, about that.
See you again in a year, 311! (unless I need to report a rude cab driver)
Talking up the good work that Jimmy Fallon and the Late Night crew have been doing is nothing new on this blog. In fact, we’ve been complimenting their efforts as far back as last Fall. But with the show celebrating its one year anniversary last week, and with the program demonstrating as much creativity and spontaneity as any show in late night today (effectively filling the absurdity vacuum left by Conan), we thought it fitting to highlight some recent clips to show how Jimmy continues to impress (and then one more to illustrate how in other respects he continues to disappoint).
Late Night has particularly excelled in slickly produced, exceptionally accurate television parodies, first with the Hills spoof 7th Floor West and then with The Real Housewives of Late Night. The show has continued this hot streak by taking on the height of the pop culture phenomena, Lost, with their new recurring series, Late. Below is the 2nd episode, as the castaways (brought together by an elevator crash and now stranded on a creepy abandoned office floor) struggle to make sense of their new and mysterious surroundings.
Since we covered the big Muppet movie(s) news last Friday, for this Muppet Monday post I just have a brief thought/question about the Muppet-verse going forward. In Muppets From Space Gonzo learns that he is not a weirdo or a whatever but an alien. However, I never really considered this official canon (not that the movie wasn’t good, but just that I didn’t buy the alien explanation). So the question is, as the Jason Segel-penned The Greatest Muppet Movie of All Time inches closer to production, will Gonzo maintain his alien status, or will it be brushed under the rug like Terminator 3?
*Indeed, Muppet Wiki entry on Gonzo notes that his alien origin has been disregarded. Let’s see if that holds.
By now you’ve all seen this Funny or Die sketch (because it was uploaded almost a week ago, which this day in age classifies it as old) that brings together the all time team of SNL presidential imitators. It’s great, right? Totally awesome (especially Chevy, doing what Chevy does best).
However, what concerns me is what this video, and videos of its ilk, means to SNL. Why I am so concerned about a show that has basically been skating by since 1993, if not earlier, and has never really faced any real competition, I don’t know (and no, MADtv doesn’t count). But the more I see the Funny or Die videos featuring both SNL and non-SNL talent I wonder how long the show will be able to compete (especially now that Funny or Die has its own show on HBO, although the one episode I saw was rather underwhelming). And this Presidential Reunion, directed by Hollywood heavyweight Ron Howard, really caused me pause.
Vulture reports that Disney is in talks with The Jim Henson Company to produce The Muppet Man, a Jim Henson bioipic that made last year’s “Black List,” the compendium of Hollywood’s “hottest” unproduced screenplays. Yay! With the new Jason Segel-penned Muppet movie seemingly on the horizon, could it be that we’ll soon be treated to two Muppet-related movies? Maybe!
Burning question? Who will play Kermit in the biopic? (Tina Fey?) And, for the record, I am available to play the Swedish Chef.
The film will undoubtedly touch on Henson’s personal life and his non-Muppet ventures, so with that in mind, here’s a clip from Time Piece, Henson’s trippy, experimental Oscar-nominated short film from 1966:
Back in October The Office invited us to Pam and Jim’s wedding, an hour-long special event that had been hyped on NBC and in our hearts, and against unlikely odds that episode actually mostly succeeded. It wasn’t a runaway success, but considering the expectations and the level of difficulty, it was generally a victory. That episode was really the first part of a Pam/Jim seminal event season, with the bookend to their wedding being the birth of their first child. However, since the wedding The Office has kind of skid off the tracks. So then with last night’s episode, another hour-long affair, I was hoping that this would be the moment that they right the ship.
Unfortunately, that didn’t happen. And whereas the wedding was a modest achievement, this felt like an unsettling disappointment. What should have been a special, moving episode, and a return to form, turned out to be a case study of the show’s recent flaws. Everything that has been frustrating as of late was front and center in “The Delivery.”
We had a temporary return last week with the unfortunate memoriam for the late Andrew Koenig, but as you can see with the new header, you can now consider Jumped the Snark officially back in action, NY Style! Coming soon will be short thoughts on SNL, Funny or Die, The Office, Michael & Michael Have Issues, American Idol (BOWERSOX!) and Survivor: Heroes vs. Villains. See you then (you, specifically)!
Foreward: Jumped The Snark updates have been few and far between for the last few weeks (in fact, they’ve been non-existent), because I have been in the process of moving out of LA, driving cross-country, and settling in back in NY. I’d been hoping to get back to the blog sooner than this, and certainly on a much lighter note. But while I’ve still just made a dent in my to do list (chief among them: get a job, so let me know if you hear of anything), it feels important that I note this tragedy, even if it’s not the way I wanted to return to the blogosphere.
This is not an obituary. This is not a eulogy. This is not a tribute. This is just some words and thoughts and memories.
I can still vividly recall one night twenty-one years ago when I planted myself in my parents bed to watch ABC’s Saturday night comedy line-up, anchored by heartthrob Kirk Cameron and Growing Pains. Unfortunately, to my great surprise/disappointment, when the show started I learned that Richard “Boner” Stabone decided to leave his comfy Long Island confines for the Marines, choosing his future before it chose him, and officially growing up beyond his rather unfortunate moniker (one that somehow got by the censors all those years). As a child Growing Pains was my favorite show; I would constantly watch it in reruns, instead of playing “house” my friend and I would play “Growing Pains,” and even a secondary character like Boner felt like family to me. And the idea that Boner was leaving, possibly forever, deeply troubled me. In fact, I started bawling uncontrollably, consoled only by my sister’s suggestion that perhaps he would resurface in a spin-off, The Boner Show (and, at the time, the idea of a program being called The Boner Show, didn’t seem particularly bawdy or unlikely to me, and if Coach Lubbock got a spin-off, why not Boner?). But, as you know, that never happened, and Boner never came back to Growing Pains (which is really unfair, as even Julie McCulloch’s character was granted a degree of closure), and I’ve spent the subsequent years wondering what happened to Private Richard Stabone. Did he find what he was looking for in the Marines? Did he flame out and return to the suburbs? Did he complete his service, move to Seattle and start selling stereos again? Two Growing Pains reunion movies came and went and didn’t shed any light on his whereabouts. Like Keyser Soze, he was gone. A childhood friend never to be seen again (although, one would assume that Mike and Boner have reconnected over Facebook).
So what does that have to do Andrew Koenig, the actor who played Boner, who took his own life a few days ago? Nothing, really. I don’t know Koenig, and I don’t know if Koenig was anything like his character. He seemed well liked by the acting community, judging by the way that many actors and comedians tweeted their concern, their requests for help, and when his body was found, their sadness. Maybe Koenig embodied the best parts of Richard Stabone, the carefree attitude, the innocence, the sweet dorkiness, even the endearing naiveté. But, hopefully, in his real life, unlike Boner, Koenig was taken seriously and appreciated.
Unfortunately, the truth of the matter is that he was always known as Boner, and he always will be. Perhaps it was an ill-advised, myopic, nickname, one that had no choice but to stick permanently. Would he have been better off with less of a double entendre for an epithet? Does Mark Price, Family Ties‘ “Skippy,” go through his life unable to escape his character and his character’s name? I don’t know. This is just hypothesizing. But, either way, it’s always a shame that it takes a tragedy for us to start talking about someone whom we had long forgotten.
I recently began re-watching 21 Jump Street (which is a blog post, and hopefully an ongoing series, for another day) and came upon a season 2 episode entitled “Champagne High.” I was first struck by the presence of a young Peter Berg as a high school jock-bully. But I was soon even more surprised/intrigued by the subject of his bullying, a likewise young Andrew Koenig. I don’t think I had seen Koenig in anything other than Growing Pains, and it was interesting to see him get a chance to play a more serious role (and, on 21 Jump Street, there’s no shortage of meaty, if cripplingly melodramatic, parts). Like Boner, his character, Wally, was a pipsqueak. But Booner’s space case doofusness was replaced by resentment towards Berg and frustration over his constant abuse. In fact, Wally hires Johnny Depp and Peter DeLuise, undercover as the rough and tumble McQuaid Brothers, as his personal bodyguards. And the Jump Street officers then turn around and use Wally’s connections to set-up a sting operation, taking advantage of his father’s business as well as his vulnerability. It’s not fair to assert that this is what it was like for Koenig in real life – that he was bullied, used, mocked - but in light of his death, and the apparent circumstances that led to it, I don’t think it’s entirely unfair to wonder.
A little over a year ago a friend gave me what at the time was a wonderful, exceptionally thoughtful gift, a framed 8×10 screenshot of Boner with a faux-dedication and signature. I proudly displayed the photo on my Ikea bookshelf, and upon moving to LA I put it right back up, providing a measure of comfort. Now, of course, I feel bad that we might have had a good laugh at his expense, and I’m not sure what the etiquette is on displaying forged-autographed headshots of recently deceased semi-celebrities. When I get settled I’ll probably put it back up. But not so much as a joke anymore, but as a tribute. And to remember that while Andrew Koenig might not be with us anymore, there’s still hope that Richard Stabone is living a rich and rewarding life, the life that they both deserved.
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.