In Memoriam: Michael Clarke Duncan AKA The Club is Closed

When word broke late Monday night that Michael Clarke Duncan had passed away at the far too early age of fifty-four we were not quite surprised, having known that he suffered a heart attack in mid-July and was in serious condition ever since. But even before he was hospitalized he seemed like the kind of gentle giant who might be taken away from us too soon. With such a massive, powerful, outsized frame, accompanied by such a soft, kind touch, it would not have been illogical to wonder if his heart could support such a large figure, even though through his charm and personality appeared to have a big heart.

He’s most remembered for his Academy Award Nominated performance in The Green Mile, his breakout role, and, indeed, this is the primary credit noted in his obituaries. But we couldn’t help but feel like we knew him before that, in a lighter, less somber role, in a movie that was very close to our own hearts. And in studying his filmography, we realized what we were thinking of, what made us fond of Duncan all these years: A Night at the Roxbury. Yes, this is an exceedingly dumb movie, even by SNL movie standards, but we were enamored with it as teenagers, and you only need to take one look at Will Ferrell’s lifetime box office to know that it featured a future star. But it also had a small role for Duncan as a bouncer, a vocation that he was not unfamiliar with. It wasn’t anything significant, but with his bowling ball biceps, Barry White-like bass, and obvious warmth in spite of the nature of his role, Duncan left an indelible impression on us.

In the end, perhaps, he was literally larger than life.

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Filed under In Memoriam, Saturday Night Live

America’s #1 Fake Real News Show: On ‘The Newsroom’

Will McAvoyAs promised, we’re going to quickly dip our toes into the somewhat toxic pool of The Newsroom analysis. Like with any review or analysis, anything we say is ultimately futile and inconsequential, because, in the end, it’s not going to change the way you feel about the show, and it’s certainly not going to alter Aaron Sorkin’s vision or persuade him to reconsider his writing style. But in the case of The Newsroom, anything we say, any argument we make, feels especially meaningless in the wake of all the criticism and (less so) praise it’s received. But, hell, let’s be a Greater Fool and try anyway.

Let’s just say out of the gate that we like the show, and while that might put us in the minority we stand by our verdict. But what’s interesting or pertinent to us is not so much that we like it – or if it’s “good,” assuming there’s some kind of objective rubric which can calculate a show’s quality (which there’s not) – it’s the question of whether or not the show is worth watching. And we think the answer is: absolutely. Doesn’t that fact that the show seems to be so reviled (or snickered at) in so many corners yet still watched obsessively indicate there’s something of worth there? Certainly, The Newsroom doesn’t garner the same level of propulsive minute-by-minute Twitter reaction on Sunday evenings as Breaking Bad (nor does it come close to the AMC show’s unanimous, breathless praise), but it’s definitely one of the most talked about shows, even if much of that talk comes with head shaking, finger wagging and head scratching. And if the show was bad, unrelentingly terrible, it wouldn’t have lasted, or at least the discussion would have quieted down. We can’t imagine that if Work It had not been canceled after one week the din about its repugnancy would have continued. We would have had our fun and then watched it fade away, nary giving it another thought. But with The Newsroom the debate continued for ten episodes, and seemed to increase as we approached the season finale. Clearly, people were entertained by the show. Which, we certainly concede, isn’t necessarily the same as enjoying the show.

More as the story develops…

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Filed under Analysis, Checks & Balances, It's Not Television, New Favorite Show, Other people's stuff

Gratuitous Search Term Bait of the Day: Before Meth, There Was Excedrin

We promise that we’ll watch Breaking Bad one day. We PROMISE (we already watched the first three episodes when they originally aired – and we liked them! – so we’re basically half way there). But it’s okay, because we’ve already seen Bryan Cranston – today’s popular search term – push drugs. The guy boasts a long history of drug use and/or dissemination, well before he shaved his head to become Walter White. Like when he knocked out Jerry Seinfeld with nitrous oxide (and took a hit himself). We all remember that, right? And just a year later, there he was, trying to turn the impressionable young American public onto Excedrin. Really, it’s just a short trip from Aspirin to Meth.

And before we can get to Breaking Bad  we need to finish The Wire. But we won’t be surprised if we find Cranston working one of the corners there.

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Filed under Gratuitous Search Term Bait, Seinlanguage, Sell Out

Introducing: A Newsroom A Day

Having wrapped up its first season this past Sunday, there was a lot to like about Aaron Sorkin’s The Newsroom. And a lot not to like. But we’re going to get to all (or some) of that in another post. Whether or not you liked the show, found the writing brilliant, whip-smart and incisive or hackneyed, cloying and self-indulgent, found the female characters to be hysterical, underwritten, overacted cartoons or relatable, well-rounded representations of women balancing breaking news with breaking hearts, there’s one thing about The Newsroom about which you can’t argue: the opening title sequence is really, really long. One minute thirty seconds long. Clearly, Sorkin was eager to take advantage of every additional minute afforded to him by cable, and, perhaps, we should be grateful that instead of another Will McAvoy soliloquy (a McAliloquy?) we’re offered a montage of Edward R. Murrow and Walter Cronkite and the unimpeachable giants of broadcast journalism set to the epic and strangely melancholy strings and piano of  Michael Newman’s grand musical theme, and it seems as if every single crew member gets their name up on-screen in that 90 seconds. We immediately felt that this dramatic opening and score was the direct successor to Sorkin’s The West Wing, and that, perhaps, the two openings were interchangeable. And then we began to imagine what The Newsroom opening credits would feel like if those striking and symbolic images (and Jeff Daniels) were paired with some of television’s other memorable themes.

And, thus, A Newsroom A Day was born. Over at our new Tumblr, we’re making that idea a reality, each day presenting The Newsroom opening titles with a different – perhaps popular, perhaps not – theme song (which has proven much more difficult than presumed, mostly because the majority of themes – even the most campy, expository, interminable ones from the 80s – are no longer than a minute). We started with the genuine article, then followed up on our initial West Wing hunch, and today we bring you The Newsroom if it met one of our favorite furry visitors from outer space.

We’ll be uploading these remixes here as well, but perhaps not as regularly, so feel free to go ahead and bookmark that Tumblr page.

Good night, and good luck.

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Filed under Slow News Day, We'll Get It In Post

Parting Shot: A Beachfront Wedding

I’m just happy that she’s happy. 

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Filed under Participation Award, Periodically

The Ultimate Eugene Levy in ‘American Pie’ Showdown – We Have a Winner!

And it’s Jim’s Dad!

More specifically, it’s Jim’s Dad from the first American Pie, the original Jim’s Dad, the real McCoy, the progenitor of all other Jim’s Dads, the Jim’s Dad who started it all.

But it wasn’t easy, no way. Jim’s Dad in American Pie faced a herculean task in taking on the newest Jim’s Dad of them all, Jim’s Dad in American Reunion. Jim’s Dad in American Pie age certainly showed  his age, as Jim’s Dad in American Reunion was easily the quicker, more agile of the two Jim’s Dads. However, you don’t get to be the genuine Jim’s Dad from American Pie without learning a thing or two, and using his years of experience, his guile, and his intimate knowledge of Jim’s Dads culled from over a decade of being a Jim’s Dad, Jim’s Dad from American Pie was able to outlast and vanquish Jim’s Dad from American Reunion. Jim’s Dad from American Pie, we salute you as the Ultimate Eugene Levy as Jim’s Dad in American Pie.

Well, that’s the end of this tournament. We’ll see you again when, God-willing, the next film in the American Pie empire is released. Thanks to everyone who voted and, once again, congrats to Jim’s Dad in American Pie, and a big debt of gratitude to all the Jim’s Dads in the American Pie franchise who competed. You’re all the best Jim’s Dad in our book!

And remember, The A.V. Club, that this is one part of the American Pie universe that you won’t find anywhere in the American Pie Wiki (yet).

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Filed under MS Paint, The Big Screen

In Memorium: Tony Scott AKA ‘Top Gun’ and the Need for More Than Speed

Ask us what our three favorite movies are. Go ahead. Ask us.

Number one would probably be Wayne’s World. That’s just our movie. The one of which we know every word. The one we would just play over and over again the background, as if it was our Sgt. Pepper’s Lonely Hearts Club Band. The third movie we’d list would probably be Tombstone or Rushmore, depending on what kind of mood we were in or the audience we were with or if there was someone we were trying to impress; Tombstone if we wanted to seem more original, more honest, more badassRushmore if we wanted to seem more intellectual, more sophisticated, more melancholy. But the second movie on our list would no doubt be Top Gun, the Tony Scott film that was played on repeat during our childhood and pretty much taught us what an action movie should be: adrenaline-fueled, testosterone-soaked, hyperactive, supercharged, bombastic, loud, and frenetic, a visceral thrill ride. It essentially defined 80s popcorn blockbusters. In fact, it kinda defines the 80s. And maybe that’s why it’s so significant to us, why we still hold on so dearly to Scott’s definitive film (with all apologies to Crimson Tide and True Romance, and no apologies to anything from Scott’s later collaborations with Denzel Washington).

But it’s more than that. Maybe ‘Top Gun’ is just good.

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Filed under Crucial Taunt, In Memoriam, Nostalgia Corner, The Big Screen

Out of the Fire and into the Philippines: Michael Skupin Returns to ‘Survivor’

There’s a tale we like to tell to novice or late-to-the-party Survivor fans. It’s a story – feels more like myth now – about a tribe called Kucha in a harsh landscape called the Outback. This is pre-Russell Hantz, pre-Boston Rob, even pre-Tom Westman. This is back in the second season of Survivor, when they had no idea that their initial success would continue nearly unabated for twenty-four seasons, that Richard Hatch and his flabby, hairy, naked figure strolling the beach in Borneo had changed the face of television forever. In season two the show was still in unknown territory, not yet a cultural institution with enough memorable moments to fill a double DVD and enough beloved (and reviled) players to field a competitive softball league. This was a long time ago. But all that time we’ve never forgotten about Michael Skupin. And never gave up hope – despite how unlikely it seemed – that he would return. 

We often relate how this season featured a tribe that we found to be as formidable and as likable (save for Kimmi) as any tribe in Survivor’s prodigious history. It featured a pretty young face that we’d come to later know as Elisabeth Hasslebeck, football wife and The View co-host/conservative punching bag, then going by the surname Filarski. And while Kucha lacked the statistical dominance of Tom Westman’s Koror tribe in Palau, the team felt as strong and cohesive as any tribe, and it was getting stronger and more cohesive after each challenge and Tribal Council. There was Jeff Varner, the good-looking, drawling Tar Heel, and his partner-in-crime Alicia Calaway, who could have easily parlayed her Survivor appearance into a berth in the WWE. There was Old Man Rodger, who had formed such a sweet, good-natured, grandfather-granddaughter relationship with Elisabeth. And there was Nick Brown, the bright, young Harvard Law student. And they were all led by Michael Skupin, a midwest father whose receding hairline was more Bruce Willis than Ron Howard. Skupin served as heart and soul of the team, his intelligence and survival skills keeping Kucha focused and united at camp, his athletic ability pacing them in challenges, and his hunting prowess keeping them energized. With his guidance Kucha was poised to decimate the Ogakor Tribe, which featured such bickering, unlikable players as Jerri “the Black Widow” Manthey, arrogant chef Keith Famie, mama’s boy himbo Colby Donaldson, mama surrogate Tina Wesson, and another pretty face named Amber (yep, that Amber); it was a tribe that fell out of favor with us the moment they voted out Maralyn “Mad Dog” Hershey. Ogakor featured several future All-Stars and a couple million dollar winners, but after five tribal councils they were faltering, fractured and frustrated (Colby dousing Jerri with a bucket of water following a Reward Challenge loss, for example), and with one more Immunity Challenge defeat they were in danger of going into the merge down 6-4 to a Kucha Tribe operating with extreme confidence and bellies full of chickens and popcorn and, thanks to Mike, a pig.

And then, in the blink of an eye, it all came crashing down.

And like that, he’s gone…

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Filed under Be careful what you wish for, Century 21 Reality, Freak Out Control, Mancrush, Tribal Council

Just the Way You Are: On Taco Bell’s Cantina Bell Menu

Don’t go trying some new fashion
Don’t change the color of your hair
You always have my unspoken passion
Although I might not seem to care

I don’t want clever conversation
I never want to work that hard
I just want someone that I can talk to
I want you just the way you are.

Last week we visited Taco Bell for the first time since it introduced its new Cantina Bell menu, a shameless pandering to the Chipotle burrito bowl crowd, a citrus-herb-marinated-chicken-fisted attempt to appeal to those who prefer a “gourmet, healthier, fresher” option. First of all, those words should never, ever appear in the same sentence with Taco Bell, unless you were listing  antonyms for Taco Bell.  And while we’d go under oath professing that avocado is one of our three favorite foods (along with bacon and cheese, creating the Holy Trinity of food, the A-B-Cs of eating), at Taco Bell we don’t want our guac coming from anywhere other than a caulk gun. If we wanted fresh guacamole not the consistency of toothpaste we wouldn’t go to Taco Bell, we’d make it ourselves (and we make a pretty mean guac, ask around). It’s pretty simple. We know what you are Taco Bell (at least we thought we did), and we were happy with you. Billy Joel pretty much says it exactly right. Don’t go changing to try and please me. I’ll take you just the way you are.

More: Taco Bell, We would not leave you in times of trouble…

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Filed under It's gross., Local Flavor, The Sixth Taste

In Memorium: Ron Palillo; AKA When We Welcomed Kotter

If you asked us which television character we most resemble, many suggestions would rapidly come to mind. Zack Morris for his blonde hair good looks and cunning. Mike Seaver for his teenage heartthrob good looks and mischievous charm. Cousin Cody for his laid-back surfer dude good looks and martial arts skills.  But while those are all great contenders, we have to admit that there’s another character in the television pantheon with whom we most identify: Arnold Horshack, played so brilliantly and honestly by Ron Palillo, who passed away yesterday at sixty-three.

We recall very clearly the summer in which we first fell in love with Welcome Back Kotter.  No, it was not the Summer of ’77, but almost twenty years later when the show was in syndication on Nick at Niteas that network began to shift its designation of “classic TV” from the black & white oldies like The Donna Reed Show and Mr. Ed to the grainy full color ’70s shows like Kotter and The Bob Newhart Show. Nick at Nite would run marathons of Kotter once a week, as part of their “Block Party Summer” programming gambit, and watching those episodes back-to-back-to-back was just about the best block party we ever went to. But we also remember the show airing nightly at 11pm, perhaps the following summer or the one after that.  This sticks with us vividly because we recollect having to make a tough decision, a Sophie’s choice: Seinfeld, airing every night in syndication as still does to this day, the undisputed sitcom champ of its time and perhaps anytime, or Welcome Back Kotter, the over the hill has-been who was also the new kid on the block. Even though Kotter was about fifteen years older, and had achieved lunch box-level success, it felt very much like a wily up-and-comer taking on the unbeatable stalwart. But while our head told us that we should choose Seinfeld, that it was the superior show, the one that was not only plugged into the zeitgeist but was driving it, we felt this tug towards the Mr. Kotter and his Sweathogs.  Did the latter show have hugs and heart while the former swore off that sort of sentimentality as its guiding principle? Certainly. But we weren’t quite the cynics we are now, not quite submerged in snark-infested waters. And despite the magnetic north of Nielsen ratings and cultural relevance pointing towards Jerry and the gang, and despite our unconditional love for that show then, now and forever, we followed our hearts further up the dial, further into the hinterlands of cable, towards Gabe and the gang.

More: And in Arnold Horshack we found a kindred spirit…

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Filed under Count Bleh, Good Humor, In Memoriam, Nostalgia Corner