Last week Variety reported that Will Ferrell has signed on to star in a small indie comedy called Everything Must Go. In response to this news Spout posted a round-up of blogger’s comments on Ferrell’s “retreating career move.” The feedback seemed to indicate that Will Ferrell is at an important crossroads, that maybe his best days are behind him, and that perhaps this is a redemption project after “all of his recent crap like Land of the Lost.”
Category Archives: Analysis
Other Things That Have Not Jumped the Shark: Will Ferrell
Filed under Analysis, Good Humor, Jumped the Shark, Saturday Night Live, The Big Screen
‘SNL’ Trying to Get Viewers Drunk. Can’t Hurt.
Was that an infomercial for Bud Light Golden Wheat or an episode of Saturday Night Live? It was a little hard to tell at times, as the newest member of the Bud family served as the sponsor of the show, and also brought us “never before seen” SNL moments, aka past cast members and hosts breaking during dress rehearsal (although Will Ferrell as a fashionista cracking up Sean Hayes and Jimmy Fallon is actually available on the Best of Ferrell DVD, so not entirely new to SNL completists). What would John Belushi have thought of this corporate shilling? Probably wouldn’t have minded too much, as long as he got to sample the new beverage. But the sponsorship gave the show a weird vibe that almost overshadowed what turned out to be a (if you can believe it) a decent outing. Continue reading
Filed under Analysis, Good Humor, Saturday Night Live
Popular Mechanics Did Not Listen
And went ahead and over-analyzed the new Lost poster (really I just feel silly for not noticing the hieroglyphics. Not that I would have known what they meant.). I won’t spoil it for you, but, if you’re curious, find the translation here.
via Vulture
Filed under Analysis, LOST, Other people's stuff
The ‘Office’ Has Not Jumped The Shark
After feeling like I was in the minority with my mild disappointment with last week’s wedding episode, I was pleasantly surprised to discover that I was not alone in my distaste for last night’s The Office, “Mafia.” I watched it in a new place, with a large dinner still digesting, the mood already soured by another messy, frustrating episode of Glee (a story for another day), so I gave this latest Office entry the benefit of the doubt, even though I found it much too silly and the premise (Michael, Dwight and Andy believe that a local insurance salesman is “connected”) too far fetched, even for this show. Something seemed off, and I sensed there were far too many stretches without laughs, and even the ones that occurred often felt forced. So I was actually rather comforted when I flipped on the ol’ Internet and found near unanimous negative reaction for this episode. However, my appreciation was short lived, as it seems that after one episode, the blogosphere is hitting the panic button, fearing The Office is past its prime, and maybe should be put down like an injured thoroughbred. Indeed, Cinemablend titled their recap, “NBC’s The Office Isn’t The Show It Used To Be.”
Relax.
Let’s Over-Analyze The Poster For the Final Season of LOST!
No, let’s not. The poster is simple, but awesome. The same style they used for the previous five seasons, just a little more epic. Not really giving too much away, but certainly raising enough questions.
It’s a little dark, but methinks it features all of our major past and present Lostaways, including the deceased, like Boone, Charlie, and Libby. Oh, and all the way on the right, looks like Bernard and Rose. Yes, please. But who is that between Jack and Locke, right in the middle. Desmond? Hmmm. And is Locke’s back turned? I wonder…okay, sorry, enough. Just get excited.
via Collider
Filed under Analysis, LOST, Must See TV
Project Runway’s Logan Rips Off Project Runway’s Logan (Badly)
This season Project Runway has had the unfortunate luck of airing on Thursday nights, an evening that is already jammed with enough quality programming to make a DVR sweat. Add in the fact that in its first season on Lifetime the production quality as arguably slipped (the additional switch or production companies from Magical Elves to Bunim-Murray perhaps having something to do with that), the questionable talent of this season’s designers (no one has demonstrated any real mastery or vision yet), the presence of an overwhelming number of tampon and birth control commercials (thank you, Lifetime), and that DirectTV does not offer Lifetime in HD, I have not been as excited to watch Runway as I had been in seasons past, and thus viewing has often slipped until the weekend or even the following week. That was the case with latest episode, which I finally got around to watching last night. Again, the designs and execution were rather disappointing, with a surprising number of hideous messes, and the judges again overlooking an appealing offering from Carol Hannah (girl still has not been in the top 3!). But, what was more interesting than the offensive fashion was what I realized after show when doing my customary post-viewing research. Continue reading
Filed under Analysis, Century 21 Reality, Makes You Think
‘The Office’ Wedding: I Do.
I’ll admit, I didn’t love this episode, and I’m a little surprised that initial reaction is exceedingly positive. Don’t get me wrong, I thoroughly enjoyed it, and obviously shed a tear during the closing, aww inspiring moments. However, historically reception of The Office’s one hour episodes has been spotty, and the build-up to this episode felt like just one rung below a series finale so expectations were high. It’s always difficult to succeed when presenting “a very special episode” (an episode with actual life changing moments, not an episode when Jessie develops an addiction to caffeine pills), either you give the audience exactly what they want or you try to do something a little more challenging, a little more self-gratifying to the creative team (see: Seinfeld “Finale”) and then face some negative reaction. So while I wasn’t astounded by this episode, I was far from disappointed, and I think it absolutely succeeded in combing both those concepts, providing humor and drama for the audience, but also stamping it with the unique Office sensibility. Press regarding the episode noted how emotional it was for the cast and crew after so many years of being a family, and it truly came through that these people (both the actors and the characters) enjoy working together, so it’s probably debatable who enjoyed the episode more, the audience or the cast.
First, what I didn’t like: Pam causing a vomit chain around the office after Dwight refused to stop peeling his hard boiled egg (over at EW’s PopWatch they called this the “Office: Exorcist Edition,” but it reminded me of that childhood disturbing pie-eating contest in Stand By Me). This was probably my least favorite cold open in a long time (maybe since the “fire drill” Dwight started in the opener of last season’s Superbowl follower, “Stress Relief,” which makes sense because that also crossed the line of absurdity for me, although I do recall laughing hysterically). Sure, projectile vomit is always funny (unless you don’t think it is, and I’m on the fence), but it felt a little cheap, and I expected something more creative to kick off this episode (but considering the over the top open from “Stress Relief,” it seems that they’ve decided to go extra broad during these very special episodes, perhaps to appeal to the assumed larger audience).
I also felt that Michael Scott veered a little too far into imbecility; it’s always a fine line for him, but (as I’ve argued before) what makes this character ultimately (sorta) believable, or at least tolerable, is that he occasionally shows some humanity (see: last week’s gift to Jim) or even better some degree of common sense. I actually expected and sort of hoped that Michael would step in and maybe save the day after Jim derailed the Rehearsal Dinner (I guess shame on me for having that inclination; I probably should have known better). But as Michael went on extolling the virtues of unprotected sex, it was clear this was one train he was not getting back on the track. Even when he went upstairs to visit the offended Mema in her hotel room, he continued to dig the hole a little deeper, but then again, that’s Michael Scott (see: “Gossip.”) However, we did see Mema at the wedding the next day so I guess Michael came through after all (maybe he explained that Bruno is satire. I’m sure she can appreciate that).
I even initially found the YouTube wedding video reenactment a little too silly (I’m a tough crowd, but only because I expect a great deal from this show), but then I realized how much it made sense, these people really are a family. Because you can pick your friends, but you can’t pick your family. And most likely Pam and Jim wouldn’t pick these people to be their friends (well, maybe Toby. He seems like an all around nice guy. And maybe Oscar. Anyone from the Finer Things Club). And the dance number was the perfect juxtaposition to what was the best part of the show…
…that obviously being Pam and Jim’s covert nuptials on the Maid of the Mist. The inanity of the dancing was all worth it for this wonderful moment, and sure, yes, it was schmaltzy, and arguably too cute, but c’mon, have a heart. What this show has been able to do with these characters of the course of six seasons is rather remarkable and unique in the history of television couples. They have truly honored the relationship, and in effect the viewers as well. While the show was smart by letting the Pam-Jim romance take a back seat over the last few seasons, it still remains as the core of the show, what keeps it grounded. And this is never more evident than inter-cutting Oscar and Kevin vogueing down the wedding aisle with a passionate, long awaited kiss in the shadow of Niagra Falls. When the show finally put these two characters together (Pam and Jim, not Oscar and Kevin, although I guess this was hinted at last night) at the end of season three, there was a bit of a “where do they go from here?” feeling to do it. But what has made The Office special, beyond the incredible writing and acting, is that they’re never afraid to take a chance and break a mold, willing to veer from convention if that’s what respects the characters.
The closing shot, Pam resting her head on Jim’s shoulder while all we hear is the sound of the falls parallels two very early moments from “Jam” history, providing a nice bookend for the story of their love. First, the tableau, Pam leaning on Jim, echoes season one’s “Diversity Day,” in which Pam falls asleep on Jim’s shoulder after a long day in the conference room.
And second, the closing shot references probably my single favorite moment in the history of the show, Pam and Jim’s silent exchange on the deck of the Princess, during the second season episode “Booze Cruise.” This was 27 seconds of agonizing, uncomfortably real quiet, and it was then that this show reached a new level and became something brilliant.
(Unfortunately the silence is ruined by a Snow Patrol song in this video. No offense to Snow Patrol).
But at the end of what feels like an eternity of knowing, longing looks Pam walks away, leaving Jim all alone on the boat. Still waiting for his moment.
But with our closing shot last night, the hero finally gets the girl. [tear]
In case you missed it, “Niagra” Parts 1 and 2 (but, of course, had you missed the show I’ve just completely ruined. So in case you want to watch again):
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Filed under Analysis, Good Humor, Must See TV
SNL Week 2: Better, but Lady Gaga Can’t Be On Every Week
Quick reaction to the second outing of the 35th season of SNL: Generally an improvement over the premiere, although still not firing on all cylinders. There’s a lot of talent there, but it just seems like at this point this sum is less than the parts.
The Good: Jenny Slate did not utter the F word or any other obscenity (although, she didn’t get a big sketch like “Biker Chick Chat,” but my hunch is that’s unrelated).
The Bad(?): Lady Gaga did slip in a swear word during her performance of Paparazzi. But like Slate’s transgression, don’t expect many consequences from this. If it happens a third straight week though…well, we know how baseball works. But then again, this is TV and not baseball, so who knows.
The Okay: Ryan Reynolds turned in a perfectly fine performance, but one that was probably overshadowed by Gaga’s two musical performances as well as her appearances in two sketches (including her awkward cat-fight with Lady Madonna in the latest installment of the abominable “Deep House Dish”). So instead of a Ryan Reynolds sketch, let’s take this opportunity to check him out as a young boy on Nickelodeon’s forgotten gem Fifteen:
The Old: Scarlett Johansson (Mrs. Ryan Reynolds) reprised her role as a Grecian Long Island princess, this time helping her dad hawk porcelain fountains. However, I prefer, the original, Mike’s Marbleopolis (You gotta get yourself some marble columns!):
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The Eh: The Family Feud sketch featuring the John Phillips clan vs. the Osmond siblings fell a little flat, but I’m all for anything that includes Richard “The Kissing Fool” Dawson.
Filed under Analysis, Good Humor, Nostalgia Corner, Saturday Night Live
SNL (and SNL Related) Round Up: F-Bombs, Fieri and Fallon
Continuing with the ‘F’ theme, first let me apologize for a little bit of a hiatus, following a period of unprecedented output. I will (hopefully) be returning to regular updates now. Moving on!
After the tease that is Weekend Update Thursday, Saturday Night Live returned for real this past weekend to, I must say, middling results. After two strong editions of the Thursday night show, and the benefit of the summer to clear their heads and develop new material, the show was lazy and disappointing, in Heidi Klum’s words, a “snoozefest” (jog ahead to 40:40). Megan Fox proved game, and wasn’t a liability (to be fair, she did play herself in three sketches (not including the monologue), but she played herself very convincingly), but the sketches were uninspired. And with all the new material they could have introduced they instead went immediately back to the well, giving us a second helping of Kenan Thompson’s Grady Wilson character (who demonstrates various sexual positions, named for a less lascivious action with the same motion), and during Weekend Update inviting up frequent guests Parisian Def Jam comedian Jean K. Jean (Thompson again) and Kristen Wiig’s nervous travel writer, Judy Grimes (again, to be fair, their spots were at least topical, Jean K. Jean discussing the G-20 and Grimes talking about travel during the recession). I’m not sure if Jean K. Jean was ever more than mildly amusing, but the Judy Grimes bit was once very entertaining. And while I think the character’s rapid fire delivery demonstrates Wiig’s phenomenal and undeniable talent, it’s getting a little tired. Maybe for the first show they wanted to play some classics first, instead of challenging the audience with some new characters. Of course, for those who saw the East Coast feed it didn’t matter because the mediocre nature of the show was overshadowed by new cast member Jenny Slate uttering the F word during her debut sketch, “Biker Chick Chat.”
As this was Jenny Slate’s first show, and her first lead role in a skit, the obvious initial thought was that perhaps she had ended her SNL career before even getting through an episode, that perhaps she would experience a similar fate to that of the late Charles Rocket, who was axed after uttering the F-word during the 80-81 season. However, it seems that her slip-up has proven beneficial to both Slate and SNL. Instead of being semi-known as a new cast member, overnight Slate made her mark, albeit notoriously. And, as NY Magazine’s Vulture blog points out, SNL and NBC don’t seem to mind the publicity, as they have not pulled down clips of the sketch in question from YouTube, as they normally do with their proprietary content. Furthermore, Slate has gone ahead and created a catchphrase, “I f*cking love you for that,” that will now enter the zeitgeist, and will have far more staying power than the FCC approved alternative (plus, as the premise of the sketch was that every sentence includes at least one use of the modifier “freaking,” it was basically an accident waiting to happen).
Despite a lackluster premiere for SNL classic, last week’s Weekend Update Thursday continued to provide solid laughs, welcoming back Fred Armisen’s Gov. David Patterson and his unprovoked barbs towards New Jersey. The cold open was also a success, sending up President Obama’s recent interviews with numerous news outlets. The highlight of this sketch was probably Jason Sudeikis’ Glenn Beck impression, (and tip of the hat should also be given to Nasim Pedrad’s for her first appearance, as a convincing enough Kathy Griffith) but our favorite moment was another new impression, that of Food Network personality and TGI Fridays spokesman Guy Fieri (as played by sophomore Bobby Moynihan). The host of 
Diners, Drive-ins and Dives, has been a favorite (target) for JumpedTheSnark for a while, and is the subject of a very upcoming post, and it was nice to see SNL take note of Fieri and his propensity of take meals to the extreme (For further proof, just visit his BBQ-Sushi joint, Tex Wasabi’s). Here’s hoping Moyniahan reprises his Fieri impression again, and soon (and maybe they can throw in an Alton Brown for good measure. Oh, and Melanie Hutsell could stop by with her acclaimed Paula Dean mimic).
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However, the recent sketch from an SNL member that I enjoyed the most is actually a bit I caught on Jimmy Fallon last night (okay, former SNL cast member). I was describing to my roommate a segment in which Fallon instructs his house band The Roots to improvise song lyrics based off scant facts about audience members and to compose the tunes in a very specific musical style (like Bollywood movies or a Disney opus); lo and behold when I turned on the show last night he was playing this very game (and with all respect to Jimmy, the Roots are the most talented people on the program). So after this bit we kept the dial tuned to Late Night and caught this sketch with guest (and mixed martial artist/street brawler) Kimbo Slice:
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It certainly wasn’t the smartest piece, but I laughed harder in those 3 minutes than I did during the 60 odd minutes of material on last week’s SNL. And to Fallon’s credit, while his interviewing skills are still very suspect, Late Night has putting out some of the best (and most absurd) comedy bits of all the late night talkers (take note, Jay).
And as for SNL, Ryan Reynolds hosts this weekend, so I have high hopes. If it’s not funny, at least I know it’ll be charming.
Oh, and much like the “Michaela Watkins Club” feature on Vulture that I wrote about a few weeks back, Entertainment Weekly compiled their own gallery of blink and you missed them SNL castmembers.
Filed under Analysis, Good Humor, Saturday Night Live, Tex Wasabi's, Yvonne Hudson
Parks and Recreation: Another Look
Like many of you, I was both skeptical and curious when Parks and Recreation premiered last spring. From the minds behind The Office, and at one time referred to as the Office spin-off, the pressure was immense, as would be the scrutiny. Could producers Greg Daniels and Michael Shur strike gold twice? Could they take the same faux-documentary format, change the setting to local government instead of a paper factory, insert Amy Poehler for Steve Carell and have the same success? Even if it was funny, would it still just be an Office knock off?
I watched the first episode (well, to be totally honest, half-watched on Hulu while folding laundry) and found that it was only sorta funny and announced many comparisons to its predecessor, match-ups that it surely lost. So it was a good effort, not great, but I knew that as long as it would be seen as the step-sister to The Office it wouldn’t fare favorably.
After the premiere I became preoccupied with preparing for my move out west, and didn’t catch the subsequent episodes. When I arrived in LA I found that my new roommate had recorded the finale for me, thinking that I would want to see it (what a sweetheart). Well, I didn’t want to watch it without seeing the previous episodes, so I let it languish on the DVR, hoping/expecting that NBC would rerun episodes 2-5 during the dog days of summer. And one day I turned on the TV and there it was, episode 2, “Canvassing.” And a funny thing happened. It was funny. Not just amusing like the pilot, but actually funny.
Viewings of the following episodes confirmed this feeling, the show continued to improve and my affection towards it grew. It found a better rhythm; the whole cast was more involved; Amy Poehler’s Leslie Knope began to feel like a real character with Michael Scott potential; Aziz Ansari was consistently hilarious as the cunning Tom Haverford; and Paul Schneider brought the charm he flashed in David Gordon Green’s All the Real Girls, but now as a fully grown man, the sanity inside Pawnee Parks and Recreation Department.
And I thought to myself if only it wasn’t compared to The Office then people would see that it’s actually worth watching.
But then I changed my mind. I belive that Parks and Rec actually might fare better when viewed through the prism of The Office.
When we think of The Office now usually forget that it struggled through six middling episodes as a mid-season replacement in the Spring of 2005, and it wasn’t until midway through the second season when it really found its stride and started hooking viewers. So with that in mind, isn’t it only fair to give Parks and Recreation the benefit of the doubt? It has a brilliant actor playing well meaning but flawed leader, surrounded by a talented cast. And like The Office, it has a romance. The inter-office sparks between Poehler’s Knope and Schneider’s Mark Brendanawicz might not have the same weight or emotion of Pam and Jim, but it has its unique charms, and should ground the show as it progresses in season two.
However, there are some things the show needs to do to keep it on an upward trajectory, and to eventually escape from the shadow of Dunder-Mifflin:
1. Like Michael Scott, in the end Leslie Knope needs to maintain believability. She can say and do dumb things, but ultimately there has to be a reason for her to be in the position she’s in, and we have to be able to get behind her. Michael Scott is an oblivious, tasteless buffoon, but he’s proven time and again to actually be an effective salesman, and this allows us to accept his flaws. So every once in a while Leslie needs to win one.
2. Continue to develop the supporting cast. In The Office‘s second season the scope expanded past Michael, Dwight, Jim and Pam to include the colorful characters around the company. In its brief run Parks and Recreation has already began to do this, but they need to stay on the path.
3. Perhaps most importantly, figure out what to do with Rashida Jones. Jones is a beautiful actress and a wonderful comedian (and daughter to Quincy Jones. Just needed to say it.), and as The Office‘s Karen Filippelli she proved that she can create a compelling, rich character (she somehow managed to take a person whom we should have hated, Pam’s replacement, and made her likable. No easy feat). But so far on Parks and Rec, as nurse Ann Perkins, I feel like she’s been somewhat wasted as Knope’s sidekick and straight man, as well as stuck in a hard to swallow relationship with her crippled, lay-about boyfriend (Chris Pratt). In last season’s finale it seemed like Ann would be making some changes, and for the show’s sake I hope this means that Jones will be given better material with which to demonstrate her considerable talents in the upcoming season.
Parks and Recreation isn’t The Office yet, not by a long shot. But it shows promise. And I think it deserves a chance, just like the one we gave its forefather. And then, who knows, maybe in a few years we’ll be talking about a Parks and Recreation spin-off (later changed to a faux-documentary set in a Teacher’s Lounge).
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And check out TV Gal’s similar take on the show (just below her Bones preview).
Oh, and Parks and Recreation returns tonight at 8:30pm, just after the season premiere of Weekend Update Thursdays (featuring the (temporary) return of, yes, Amy Poehler).
Filed under Analysis, Good Humor, Lists, Must See TV
Jumped The Snark 