If you had a chance (or the misfortune) to read our tweets from last night’s Oscars telecast, you’ll know that we were very sore that Bret McKenzie was not given a chance to perform his Oscar-nominated “Man or Muppet” (and one would assume a theoretical performance would include Jason Segel & Walter, if not the Muppet cast), and we took every opportunity to point out an uninspiring three minutes that could have been better spent with a Muppet musical interlude (which, basically, was any three minutes in the show, save for Tom Hanks’ presentation and Will Ferrell and Zack Galifianakis’s own musical interlude). And, despite the hope that we foolishly granted ourselves in our most private moments, the Muppet contribution to the show was limited to a short bit with Kermit & Miss Piggy introducing Cirque Du Soleil (so you had time for those freaks and not the Muppets? C’mon). So with that you could consider the chance to do something fun and different and special officially thwarted, in favor of the same old pabulum (and the new old Billy Crystal).
BUT, despite all that, the Muppets did deliver two of the night’s best moments. First, of course, was Bret McKenzie’s triumph (although, let’s be honest, if the song from Rio won, we should just pack it in. That would have been worse that Meryl Streep’s victory (which, by the way, was a win for lazy white people everywhere)), winning the Oscar for a film that deserved much more acclaim and recognition than it received. The second moment was McKenzie’s gracious, earnest acceptance speech, and, more to the point, Jason Segel’s reaction when McKenzie offered his gratitude to Jim Henson. That moment of pure joy could warm the coldest heart.
We can’t find that clip online (thanks a lot, the man!), but this almost approximates that joy and innocence:
On a related note, for the better part of the last year we’ve been slogging our way through Michael Davis’ Street Gang, the wonderfully detailed and thoroughly researched history of Sesame Street. Not surprisingly, we found the most engaging excerpts to be those that touched on Jim Henson’s contribution to the show, and, in a macabre way, the description of his passing and his now legendary memorial service. We finally came to this event towards the end of the book as we were riding along the E train yesterday; at one point the doors open, we look up and what should we see? Jim Henson, surrounded by his greatest creations, a poster for their exhibit at the Museum of the Moving Image. It was a bit eerie, but even more it felt special, serendipitous. And, then, mere hours later, McKenzie invokes Henson’s name, providing another fitting tribute to a man who remains an inspiration to so many of us.
However, I won’t pin this past weekend’s thoroughly average installment on Law. He made Sean Penn good on 
Jumped The Snark 