Niechce misię.

Witam was słowami, które wypowiadam w ostatnich dniach aż nazbyt często. Niektórzy mówią, że danego dnia ukąsił ich bakcyl lenistwa. Cóż, ja obawiam się że swojego po prostu połknąłem i nie idzie go wywalić ze środka. Poza tym ostatnio troszkę się działo, a ja jakoś nie miałem ochoty na pisanie, ale jestem, macham, żyję. Co takiego się działo? Ehh, to i owo. Więcej w rozwinięciu, śmiało klikać.

First: Uniwersytet.

Siedząc ostatnio na którymś wykładzie, otworzyłem “Monument Of Boredom 2009″ (jak zatytułowałem mój zeszyt) i zacząłem skrobać na tylnych stronach pewien dziwny wykres, mający na celu ukazanie mojej przyszłości. Wizualizacje są modne i efektywnie wyglądają, więc czemu miałbym sobie odmawiać tej jakże wspaniałej formy ukazywania różnych rzeczy. Pojawiły się dwie ścieżki rozwoju (RPG FTW), przy czym jedna zakładała pozostanie na Italianistyce, druga zaś przejście na Anglistykę. Po rozpisaniu 3 stron A4 w kolumny “Advantages” i “Disadvantages” (czasem łatwiej myśli mi się po angielsku) doszedłem do nieuchronnej konkluzji, że jestem jednak człowiekiem do bólu praktycznym, który musi się o czymś przekonać na własnej skórze. W tym wypadku, jedyne 1.5 miesiąca zajęło mi zrozumienie, że Italianistyka jest kierunkiem wybitnie nie dla mnie i trzeba było iść na Anglistykę od day one by mieć już za sobą rok dążenia w kierunku posiadania my very own cottage in the middle of Surrey. Oczywiście to metafora, chociaż prawdą jest, że chciałbym się budzić i wyglądać przez okno pijąc Earl Greya, by popatrzeć nad mgłę, która rozpościera się nad moim kawałkiem terenu, na którym pasą się owce. Następnie mógłbym założyć kalosze i iść z moim Golden Retrieverem i Nowofundlandem na spacer, podczas którego moje psy zamordowałyby stado lisów i bezdomnych kotów. Wracając do “wątku głównego” – jestem już po małym rekonesansie, dowiedziałem się co muszę zrobić by w przyszłym roku (przeniesienie się nie jest możliwe) przystąpić do rekrutacji na anglistykę. Tak więc stay tuned, wszystko jest na dobrej drodze. Dość tkwienia w marazmie i zastanawiania się “co teraz?”. Pozostaje mi tylko przekonanie moich rodzicieli do słuszności mojej decyzji, a nawet jeśli mi się to nie uda to i tak dopnę swojego – za wszelką cenę. Bo to ja mam być do diabła szczęśliwy i zadowolony z tego co robię, a nie oni lub banda nadętych bubków na UW (pozdrawiam panią z sekretariatu Italianistyki).

Second: Video Games Live!

Byłem, widziałem i uważam, że to było największe wydarzenie tego roku. Było to po prostu wspaniałe doświadczenie, show z wielkim wykopem metafizycznym, zgromadzenie ludzi którzy uważają gry wideo za coś niezwykłego, część życia, część siebie. Nie było jeszcze imprezy na której czułbym się tak doskonale, jak ta wczoraj, nie spotkałem się z tłumem który na słowa prowadzącego “The Game is: Final Fantasy VII. The Composer is Nobuo Uematsu. The song is…” odkrzykuje z dziką energią i chorym wręcz entuzjazmem “ONE WINGED ANGEL!” po czym wszyscy dostają zdrowego pierdolca, kiedy na ekranie pojawiają się zdjęcia Clouda i całej ekipy FF VII. Boże, ale miałem ciarki. Moc do potęgi n-tej, czysta radość i zdarte gardło. Kawałki z Metal Gear Solid, God of War, Zeldy, Mario i wszystkich innych gier które przewinęły się przez scenę brzmiały – na oko – jakieś 15 milionów razy lepiej niż na najlepszych słuchawkach. Live Performance to kompletnie inne para kaloszy, a jeśli jest to Live Performance takich utworów, można po prostu pie**olnąć na plecy z zachwytu. Tallarico i spółka przywieźli do Polski jeden z najlepszych eventów na świecie i powiem Wam jedno – za rok też idę. I tym razem wejdę na tą cholerną scenę, chociażby po to by zrobić z siebie błazna. Czemu? Bo jestem graczem, do ciężkiej cholery, a Ci ludzie jak nikt rozumieją random. FUCK YEAH!

Przy okazji – cała ekipa, z Tallarico i Leungiem na czele, to grupa do bólu sympatycznych ludzi, z którymi z resztą dało się normalnie pogadać po występie, bez przepychania się przez ochroniarzy wielkości bloków, bez limitu 5 sekund, bez całej szopki VIP. Tommy okazał się być kolesiem niezwykle równym, który na wspomnienie wywiadu z Marcus Corner zaczął się głośno śmiać (“If I put a dick into your mouth, would it be considered as a blowjob or a handjob?”) i nie szczędził wyjaśnień, że długo się przygotowywał do tego, by objechać Marcusa. Prócz tego widać, że woda sodowa nie uderzyła mu do głowy, bez problemów podał mi swoje PSN ID i dał zrobić ze sobą zdjęcie. Przy okazji – usłyszeć z jego ust pytanie czy jestem polakiem, bo mam świetny akcent – jasna cholera, ale mnie duma rozpierała! : D

Third: MS Mass Effect Box

Nie oszukujmy się – moją “platformą domową” jest PS3. Co jakiś czas jednak zdarza się, że sięgam na półkę po pada od Xboxa360, pakuję do środka któregoś z exclusivów, zatapiam się w fotelu/kanapie i znikam ze świata PlayStation. W takich chwilach, kiedy napierdzielam w Mass Effect, po raz kolejny ładując Emanuelowi na Eden Prime ślicznego FALCON PUNCH!, dochodzi do mnie, że bez konsoli MS byłbym, do pewnego stopnia, w ciemnej dupie. PS3 jako Home Platform spełnia swoją rolę doskonale, ale komfort posiadania 360 i grania w exclusivy jest jednak czymś fantastycznym. Mogę mieć w domu wszystkie generacje PlayStation (poza białym krukiem PSXem) i mieć poniekąd image fana Sony, ale xboxa bym teraz nie sprzedał. Za bardzo go lubię, pomimo tony wad stricte hardware’owych, za bardzo lubię sobie klapnąć z padem w łapie i pobiegać w Mass Effect czy też przerżnąć piłą Locusta w Gears of War. Teraz na tapecie (po raz n-ty) znalazł się Mass Effect, jak zawsze na Insanity, jak zawsze świetny. W takich chwilach, kiedy mam jazdę na Xboxa (A SCEP wypuszcza mega-giga-peta-ultra-gówniane polskie XMB, które ssie bardziej niż koło z włoskiego), nie pytajcie mnie czy lepiej kupić PS3 czy 360, bo najzwyczajniej w świecie zgłupieję i nie będę wiedział, co Wam odpowiedzieć. Na chwilę obecną nie szukajcie mnie za często na PSN, bo siedzę w świecie Johna Sheparda, rozwalając łby Gethom przy akompaniamencie muzyki z Battlestar Galactica. No, a skoro już przy tym jesteśmy…

Fourth: Battlestar Galactica Season 4 Soundtrack – Bear McCreary

Pisałem już o BSG, prawdopodobnie najlepszym serialu w dziejach ludzkości. Prócz świetnego scenariusza, doskonałych efektów (przynajmniej do póki zajmował się nimi ZOIC i Cyloni nie byli pokryci chromem…), conajmniej bardzo dobrej gry aktorskiej i masy innych rzeczy, jednym z aspektów BSG jest muzyka (dla tych co wiedzą: “The Drums”), którą pisał Richard Gibbs (Miniseries), a później (Season 1 – 4) Bear McCreary. Soundtrack z 4 serii jest równie epicki co sam serial i jeśli ktoś z Was uważa się za fana Battlestara, MUSI, ale absolutnie MUSI mieć tą płytę na półce. Ostatnio pozbyłem się na jakiś czas obsesji zwanej “Reanimation” (Linkin Park) oraz “Runnin’ Wild” (Airbourne) na rzecz BSG S4 OST, które jest najczęściej odtwarzanym albumem na moim 5800. Od “Ressurection Hub”, przez “The Signal” i “Roslyn Escapes”, aż po “Assault on the Colony” i “The Heart of the Sun” – one hundred percent epic. W każdym calu, w każdym dźwięku. McCreary popisuje się nieludzkim wręcz wyczuciem w kwestii dopasowania kawałka do fabuły serialu i tak na dobrą sprawę, muzyka sama może opowiadać historię BSG. Naturalnie, jak w przypadku poprzednich części soundtracku, mamy absolutnie fe-no-me-nal-ne bębny, które swoją soczystością przyprawiają o zawrót głowy, a także przegenialne wykorzystanie znanych fanom nut “All Along The Watchtower” (Season 3, “Crossroads Part II”), które są wplatane w nowe kawałki (“Kara Remembers” i “Kara’s Coordinates” to absolutne arcydzieła) w taki sposób, że można dostać ciarek. Nie ma tu utworów słabych, są po prostu bardzo dobre i wybitne. Przy okazji – na święta planuje sobie kupić kompletną sagę BSG na Blu-Rayu. Nie oczekujcie wpisów w styczniu, bo poprostu mnie nie będzie. Wepchnę swoją dupę w fotel, zabunkruje się z pilotem od PS3 w pokoju i nie wyjdę, do póki nie obejrzę wszystkiego, co znajdę na tych płytach.

Fifth: Gry.

Jestem złym człowiekiem, bowiem wepchnąłem “Borsukowi ze świecącymi na czerwono oczami” (Pozdro WW3) pieniądze do kieszeni. Kupiłem Modern Warfare 2, grę która sprawiła że w tym roku nie będzie BioShocka 2, Final Fantasy XIII, a święta zostały przesunięte na później. Co o niej sądzę? Świetna, po prostu. Nie będę się tu rozwodził zbytnio nad grafiką, fabułą czy kontrowersjami (rosyjskie lotnisko i rozstrzeliwywanie cywili). Powiedzmy sobie szczerze – MW2 nie jest grą dla dzieci i jak komuś nie pasuje tak realistyczna wizualizacja przemocy, nie spierdziela na szczaw i nie kupuje tej gry. Napomknę jeszcze tylko że jakieś 99% populacji najchętniej by mnie zasztyletowało, bo MS2 kupiłem dla Single Player, bowiem nie lubię multi, ale jako gra na SP, pełna akcji i rozpierdzielu, zdaje egzamin doskonale. Więcej o MW2 będziecie mogli usłyszeć w kolejnym podcaście LittleBigBlog, który będziemy nagrywali w ten weekend, więc na stronie powinien się znaleźć najpóźniej w okolicach środka przyszłego tygodnia. Prócz tego, mój headset no-name na BT 1.3 się rozsypał, więc kupiłem nowy, sygnowany przez Sony, z logiem PlayStation. Działa wyśmienicie, długo trzyma na jednym ładowaniu, prócz tego świetnie pasuje do ucha, ma bardzo dobrą czułość i ogólnie działa tak jak powinien. W międzyczasie na blogu my-ps3.pl pojawiła się także moja recenzja Brutal Legend, a ja doczłapałem się do 10 levelu na PlayStation Network.

No, to by było na tyle. Możecie się spodziewać nowego wpisu jakoś po weekendzie, coś czuję że będę miał ochotę coś poskrobać.

Tymczasem dzięki za uwagę, wszelkie opinie jak zawsze mile widziane,

Take Care!

I’m a huge scifi geek/nerd, take your pick. And one of my top shows is Battlestar Galactica (the re-imagined one). Now if you don’t watch this show you should and if you have and don’t like it, then you didn’t watch enough. Anyway I’m not going to give a whole plot synopsis to explain today’s post, so if you want to know more go and use the wonders of the internet. The focus of today’s post is on a piece of music used in BSG. It’s called “Kara Remembers” – or the Final Four Theme. In the 3rd season Bear McCreary did a re-imagined, kick arse version of “All Along the Watchtower.” This piece is the next step along from that. It related to the discovery of the Cylons and Kara (played by Katee Sackhoff) – I won’t go into more detail than that. So this piece of music is utterly fantastic. Every time I listen to it, I get chills. It’s frakkin’ awesome. At the Grand performance Series in Los Angeles, they did a performance of “Kara Remembers” and “All Along the Watchtower.” For the part from the show when Kara plays the piece, Katee Sackhoff came on stage and played her part with Bear McCreary. It’s one of the best things I’ve ever watched on you tube. I know that I had a fan girl squee too, but just the fact of how brilliant the music sounds and what a genius Bear McCreary is. So for your viewing pleasure, have a look at the video of the live performance and also the actual soundtrack version.

Wanna try out your Halloween costume this weekend and enjoy an evening of awesome film music? Then come to San Pedro for Halloween Fright Night 7 with the Golden State Pops Orchestra!

Saturday,
October 24th: 8:00 PM
Warner Grand Theatre

Celebrate a composing legend’s 80th birthday when the Golden State Pops honors the talented Stu Phillips, with special guest – Bear McCreary.

This year’s Halloween Fright Night 7 concert will include music from both Battlestar Galactica television series, as well as music from Buck Rogers, The Name of the Game is Kill, Star Trek and for the serious music lovers – pianist Robert Thies will be performing Mr. Phillips’ “Variations for Piano and Orchestra.” In addition, composer John Ottman will be in the house as GSPO performs the World Premiere of the End Credits of the soon to be released Astro Boy.

This is also a chance to try out your Halloween outfit – GSPO invites everyone to come dressed to impress for the annual costume contest!

I’d folded this into the Andre-Braugher-Is-Fabulous-And-Will-Be-On-House post, but the more I think about it, the more annoyed I get. I think I’ve figured out my problem with the Emmys–it’s that they have neither rhyme nor reason. (Perhaps that is why they used John Hodgman as an announcer, which was genius.) If we could always say, “Well, the Academy skews old, so of course they’ll take the wonderful Little Dorrit over the equally wonderful but very different Generation Kill,” we could make sense of their world. Or if it were, “Well, they’ll always take a star in another medium over someone who mostly does TV, hence Glenn Close, Toni Collette, and Cherry Jones,” we could impose some order. But when you see Kristin Chenoweth honored–HOORAY–90 seconds before Jon Cryer is also victorious–er, what?–it’s dizzying.

Much, much, much worse, however, were the omissions from the In Memorium segment. I’m sure I’m overlooking important people, too, but I can’t help but be a little miffed that they couldn’t be bothered to include Andy Hallett and Kim Manners. Particulary given that Manners was an Emmy nominee. Four different times.

Equally classy was the use of Bear McCreary’s astounding Battlestar Galactica score over the clip package on how wonderful television dramas were this year. Very few people love the BSG score more than I do, but it stings more than a little bit that this music was good enough for their broadcast but not good enough to win an Emmy. Or, you know, be nominated. I mean, it’s not like the score was written by manatees or anything, so I guess I can see why it wouldn’t be good enough to be considered for an award. 

And yet…Chenoweth. Michael Emerson was a deserving winner. Bryan Cranston’s delight will never get old (although I’m starting to feel uncomfortable for Hugh Laurie). Perhaps the most fun all night (with the exception of Hodgman) was the original song winners noting dryly that the producers probably expected a little more Justin Timberlake for their money, which makes me want them to win every year. Why can’t the Emmys make any sense?

Hard-Boiled or Sunny-Side Up:

The Divisive but Satisfying 2009 Primetime Emmy Awards

How do you like your Emmys?

Oh, don’t pretend as if you don’t have an opinion. Anyone who is reading this column has some sort of an opinion about the award show and its brethren, lavish ceremonies designed to recognize the very best in a specific industry. However, the Emmys are not a universally accepted success story, and while there are some who view the awards as a valuable institution for recognizing talent others see them as an antiquated and slow-minded organization hellbent on refusing to accept that which is different in favour of more traditional “awards” fare.

As such, Emmy producers really have two entirely different bodies of viewers to be concerned with (throwing out those who would never watch the show in the first place). On the one hand, they have those people who believe in the dignity of the Emmy Awards, who highly respect the work of the Academy and believe quite strongly that this is a serious occasion meant to honour the very best in television. On the other hand, you have those who are angry that Battlestar Galactica never won a major award, and that The Wire and The Shield got snubbed for their final seasons, and who are convinced that any time the Emmys do make a good decision it was by some sort of fluke.

What host Neil Patrick Harris and producer Don Mischer put together for the 61st Annual Emmy Awards was what I would considering to be the Sunny-Side Up version of the Emmy awards. With a charming and self-deprecating Harris at the helm, and a sarcastic and rarely serious John Hodgman playing the role of announcer, they staged a show which spent nearly every moment not taken up by awards being self-deprecating or dismissive of something, whether it’s the future of broadcast television or Harris’ own bitterness over his loss in his own category.

For those who have little to no faith in the Emmy institution, this was an ideal point of view which gave them an entertaining show that one almost feels joins in on their frustration, if not directly. However, for those who look for a more hard-boiled and serious awards ceremony, chances are that they viewed this year’s Emmys as an ill-conceived attempt to pander to younger audiences.

Me? I’m just happy they weren’t scrambled.

It should be no surprise to anyone who reads this blog that I was very happy with Neil Patrick Harris’ job hosting the Emmys, but in many ways I’m impressed with how they handled the gig. Harris is a song and dance man, a gifted comedian and someone who can bring the serious if he needs to, so they could have gone in a lot of different directions. However, they kept things largely very simple: he opened with a musical number written by the team from Hairspray (“Put Down the Remote,” highlight by an exasperated NPH blasting through every channel nominated for an Emmy), but for the rest of the show it was just him standing behind a podium acting in many ways as a traditional Master of Ceremonies like you would have seen back in the early parts of the 20th century. However, it never felt like he was dominating the show either, never so present as to be a distraction from the real focus, the nominees and the eventual winners.

The highlight for fans of Neil Patrick Harris was likely the short interlude from the emmy-winning Dr. Horrible, featuring Harris bringing his Joss Whedon-penned character out of hibernation to deliver a spot-on sketch about the difficulties the internet faces as a medium for television (small viewing size, buffering times, etc.). It’s a sketch that we TV critics and bloggers found hysterical (both for our love of Dr. Horrible and our sympathy with the struggles of online video mentioned in the piece), but something that many viewers at home likely didn’t even come close to getting.

Youtube: Dr. Horrible vs. The Emmys

For those viewers, though, Harris was just as clever and winning in, well, losing – taunting Supporting Actor in a Comedy winner Jon Cryer during his press conference and general pouting were all likely planned bits (he would have been backstage doing the press conference while hosting, I imagine, if he had won – the plan worked both ways), but they were a way for him to both be funny and endear himself to the audience regardless of their previous NPH affliation.

Now, all of this being said, there were a few points where his running gag (announcing embarrassing and little-known credits for all of the presenters) probably got a little bit stale, running on fumes by the end of the night (and perhaps annoying more of the hard-boiled types). However, what Harris might have lacked in killer material at points (such as the running gag about the “Biggest Television Fan” contest winner ending up in terrible seats) he made up for in execution: very few people can take a bad joke and turn it into a good one simply by laughing at it or fake laughing at it in that way, and he’s just personable enough to pull it off. Ultimately, the rest of a good host is whether they managed to be both memorable and secondary, both standing out for their contribution but not taking away from the “point” of the evening, and I don’t think anyone could argue that Neil Patrick Harris does not fit into the former category.

The bigger question, however, likely surrounds John Hodgman (of The Daily Show and the Apple ads) and his less than factual announcing work as the winners came to the stage. Early on in the ceremony, the little quips worked: Hodgman is very funny reading dryly (his audio book(s) taught me that), and it felt very fitting for the comedy portion of the evening when made-up facts seemed to fit in with the awards being presented. However, when they moved into TV Movie/Miniseries, and eventually into drama, you could sense the gag starting the erode. I think the intention of the gag was two-fold: they wanted the “facts” to be funny on their own, but even when the facts weren’t funny they still wanted you to be questioning them and as a result enjoying the experience.

By taking a characteristically dry portion of the ceremony and turning it into an Easter Egg hunt that’s good for an occasional laugh, the show runs into one of those tricky situations where they’re going to get blasted by those who are expecting a more serious sense of victory. When all of the Best Supporting Actress in a Comedy nominees wore funny glasses (an idea brought up by Amy Poehler, according to winner Kristin Chenoweth), it was one of those moments where you realized that these awards can’t be taken too seriously. However, there was still a sense that the crazy glasses were gone once Chenoweth won, that the moment of glory is something sacred and not to be turned into a joke by Hodgman or anyone else but the winner themselves (who can make jokes all they want, of course).

But I don’t buy this: the whole point of an acceptance speech is giving a person their moment, and a few fake facts in a dry tone before that doesn’t distract from the heartwarming, funny, and often emotional speeches that winners can give. While I can understand those who feel that the Emmys lost a certain degree of their pomp and circumstance this year due to such changes, they’ll never lose the power of someone winning an award and taking the stage to thank their friends and family. It’s one thing that manages to cut through my cynical side every year, when even what I deem an undeserving winner impresses me by being very excited and thrilled for this opportunity. So long as that doesn’t go away, I don’t see how a few extra jokes, a couple of after school special credits and some fake stories about the winners could tarnish what really makes the Emmys so special.

This is, of course, not to say that the actual winners of the Emmys didn’t have their problems this year. There’s no universe where I feel that Neil Patrick Harris and Rainn Wilson should have lost to Jon Cryer for his work on Two and a Half Men, a victory which provided some comedy for Harris but ultimately some disappointment. This was the year that both of those men had a chance to break the iron grip of Jeremy Piven, three-time winner in the category but absent this year, but it turns out that the Emmy voters were going to give the award to the long-time Hollywood staple on the hit show as soon as The Thermometer was out of the running. And for fans of chiding the Emmys for being complacent, the show saw a whole host of repeat winners (including 30 Rock and Mad Men for Comedy and Drama series, Bryan Cranston and Glenn Close in Drama Lead Acting, and Alec Baldwin in Lead Actor, Comedy). All were probably at least somewhat deserving (I’d say that Baldwin and 30 Rock won based less on merit than on their hype, although they were certainly strong this past year), but there’s once again that sense that the Emmys never change, a steel trap designed to keep out things new and exciting.

But the show had its share of excitement, don’t let anyone tell you otherwise. When Kristin Chenoweth picked up an Emmy for the cancelled Pushing Daisies in the night’s first award, it began a trend of surprise victories for deserving performers. Toni Colette pulled off the night’s biggest upset defeating Tina Fey for Lead Comedy Actress, demonstrating that a showy cable role is capable of taking down the 30 Rock juggernaut, while Michael Emerson overcame a weaker submission than year’s previous in Supporting Actor, Drama, to pick up a statue for his amazing work as Benjamin Linus on Lost. Combine with Cherry Jones picking up 24’s first ever supporting acting win for portraying the President on the show’s seventh season, and you have a series of victories which really felt earned and, more importantly, a little bit surprising.

And that is, ultimately, the side of the show that the producers can’t control. They don’t know who’s going to win, so it is their job to create a show that will compliment a tremendous slate of victors and distract from disappointment after disappointment coming out of the envelopes. This year, the Emmys got lucky: not only did the winners end up bordering on the acceptable, but the show itself felt prepared for any contingency. The addition of video clips to the writing/directing awards (in the style of the Variety Writing category from years past, but shorter) offered a chance for some extra bits of comedy as well as well as an opportunity to get some sound advice from people not normally in front of the camera. On top of all of that, the show picked some strong presenters: although we had to deal with the usual network self-promotion (Jennifer Love Hewitt misusing irony and Chris O’Donnell’s terrible joke being the worst offenders), there was also the genius of Jimmy Fallon’s Auto-Tune bit and Ricky Gervais once again making a case for why he should be hosting every awards show in existence immediately. Combine with a high-definition set featuring moving video panels and a real “behind-the-scenes” feel all melded into one, and this just felt like a slick awards show.

And perhaps there are those who don’t think the Emmy should be slick, but this is television here. Unlike the Academy Awards, which tend to award everything to dramatic performances with nearly no mention of comedy, this is a medium which welcomes all forms of genre from the lowly reality television to the upper echelon of drama. The way the show divided up the various genres made it expressly clear that television’s diversity is one of its greatest qualities, and what the Emmys are about is bringing all of them together.

Whenever the camera cut to Glenn Close in the audience, she was beaming from ear to ear. She was laughing at all of Neil Patrick Harris’ jokes, loving watching Jimmy Fallon roll around on the stage auto-tuning about his injured back, and just really pleased to be witnessing this all. When she won for Damages, she couldn’t help herself from gushing about how splendid it was to see everyone there celebrating this golden age of television, working in this fabulous industry. And, ultimately, there’s the final word on the matter: whether you’re high-browed and dignified or bitter and angry at the institution, if it’s good enough for Glenn Close it’s good enough for you.

Cultural Observations

• I wonder how Glenn Close takes her eggs.
• For more specific and less measured thoughts on each of the awards and the entire ceremony, check out our Live Blog. For a full list of winners, head to Emmys.org.
• Fun fact: the only network to win more than one series acting award was ABC (Emerson and Chenoweth). NBC (Baldwin), FX (Close), FOX (Jones), CBS (Cryer), Showtime (Colette), AMC (Cranston) spread out otherwise. This, humorously, left only HBO without a single victory (presuming we’re not counting The CW, which we’re clearly not) when they won every single Movie/Mini-Series acting nod.
• The ultimate salt in the wound: playing some of Bear McCreary’s fantastic work scoring Battlestar Galactica during the “Year in Drama” Montage. The montages were a fun touch, giving each genre its due, but that was a slap in the fact from an institution that ignored both the show itself and, particularly in this case, McCreary’s amazing work on the show’s fourth season. Sometimes you win when you take fan favourites and include them outside of the awards themselves, but this was an example of the wound feeling too fresh.
• Speaking of which: I wasn’t paying close attention, but including NCIS and Criminal Minds in the “Year in Drama” reel is heading into dangerous territory if they didn’t include some other shows (such as perhaps The Shield, or something like No. 1 Ladies’ Detective Agency). I didn’t notice those shows, but again – was busy live blogging, so might have missed them.
• Best speech of the night is a tough call, but I was a fan of Dan Harmon (who created NBC’s Community) being so very self-deprecating accepting the Music and Lyrics award as a surprise winner for his work on Hugh Jackman’s opening number from the Oscars. Harmon was right: the only reason they moved this award to the broadcast itself was because of Justin Timberlake’s involvement, so having a group of comedy writers win the award was a fun twist of fate.
• Network television did not have a great night: ABC got a kick in the pants reminding it of losing Pushing Daisies prematurely, NBC got a punch to the jugular from Tina Fey when she thanked them for keeping her on the air even when they’re more expensive than a talk show, and Ricky Gervais attacked more than a few networks in the midst of his speech.
• Like the Oscars, the show had someone (Sarah McLachlan) perform live over the “In Memorial” montage. However, unlike the Oscars, they simply showed Sarah at the beginning and end as opposed to throughout, making it just as unnecessary but less distracting than Queen Latifah.
• My biggest disappointment is probably that Michael Rymer, so amazing every time he directed an episode of Battlestar Galactica, failed to pick up an award for Directing (which went to E.R. for its final season, a win which went un-heralded due to the winner not being in attendance), although the three losses for Generation Kill (all to PBS’ Little Dorrit) were pretty close. I would have really liked to see Simon/Burns get an Emmy to shove in the Academy’s face, but alas.
• If only Hugh Laurie had won for Best Actor, it would have made for the fourth “Foreign Actor who Fakes an American Accent on TV” of the night: Toni Colette, Simon Baker, and Anna Torv all took the stage otherwise.
• My predictions ended up being pretty solid: I get props for picking Colette and Chenoweth as a couple of dark horses, but lose out on pretty much everything else but Glenn Close and the two final categories, without question the most predictable.
• The Amazing Race picked up its 7th straight victory for Reality Competition Series while The Daily Show with Jon Stewart won for the 900th time (although you’ll have to check that fact with John Hodgman); certainly deserving in both instances, but one has to wonder when something else will break the streak. If Saturday Night Live and its much-hyped season couldn’t do it with the Daily Show, perhaps nothing can?

2009 Primetime Emmy Awards LiveBlog

September 20th, 2009

For Cultural Learnings’ complete review of the show, CLICK HERE. For the full live blog, read on below.

I was kind of on the fence about liveblogging the Emmys this year, I really was. Twitter has provided an outlet for quippy remarks and observations that I might have while watching the event, and I ultimately end up writing a huge 2000-word rundown when the show ends so it’s not as if a LiveBlog is going to stand as my only coverage of the big event here at Cultural Learnings.

However, ultimately I want something to be able to refer to when piecing together my final rundown of the night’s festivities, and a LiveBlog seems like the kind of setup that will capture my reaction to the various winners/moments in the ceremony for those who want to know how everything is going down as it’s going down.

So, if you want to follow along with the show or check back later to see my subjective take on a particular moment in the show, here’s where you’re going to want to be. Meanwhile, if you want things elaborate and substantial, check back later tonight for my full analysis of the evening’s winners, losers, and everything in between.

7:20pm: As we wait for the show to begin, feel free to check out my predictions for the big night (the acting categories all link to long analysis pieces of each category): Cultural Learnings’ Full Emmy Predictions.

7:54pm: Enjoying Christine Baranski’s guest spot in a pre-Emmys airing of The Big Bang Theory – an omen for Jim Parsons? Baranski was always going to lose to Tina Fey, but she was damn good in this episode.

8:00pm: And we’re off and running. Television: useful science of the electronic age, indeed. Making fun of Wipeout as “Unsophisticated” is a bit low of CBS, but I guess they don’t have anything quite as lowly…except for Big Brother. Anyways, time for NPH.

8:02pm: A white tuxedo jacket for “Put Down the Remote,” an opening musical number. Essentially, number boils down to “please don’t stop watching for any purpose, including using the bathroom and eating. Empty seat for Paula Abdul, and a cute gay/straight bit with MAd Men stars, and as expected NPH nails it: downright fantastic belting on the list of networks, which he knocked out of the park. We also learn it was written by the Hairspray producers, who are headed to broadway with Catch Me If You Can.

8:06pm: “Next year, the theme song for Two and a Half Men will just be “meh”" – win.

8:08pm: The set is a real highlight this year, as it’s a whole bunch of video screens and everything is on the stage itself (including both the control room and the orchestra pit). We then cut into a “Year in Comedy” montage. Highlight: “that guy looks like he’s related to Jon Hamm” when Jon Hamm appears, a quote from my mother.

8:12pm: Supporting Actress in a Comedy Series Time. Chenoweth, wearing some amazing 2009 glasses. Okay, everyone has hilarious glasses. This is fantastic. But Vanessa Williams refuses. And the winner is Kristen Chenoweth! HUZZAH FOR THE SHOPKEEP! John Hodgman’s announcing? Fantastic. Oh man, this is so great. Glasses were Amy Poehler’s idea. Bryan Fuller gets a big thank you. Says she would be glad to be on Mad Men, The Office or 24 now that she’s unemployed. She’s fantastic, as usual – so pleased. Not just because my prediction proved true. So pleased.

8:15pm: Cat Deeley, snubbed of a Best Reality Competition Host nomination, has to shill Breakthrough Moment fan award. But she’s great, as usual.

8:20pm: NPH says we’re getting a special treat, and here we go – we get to see John Hodgman, who is making up all of the colour commentary for the nominees/winners, which is fantastic. And here’s the cast of How I Met Your Mother, sans NPH, to present Comedy writing. And, the Emmy goes to…Matt Hubbard for “Reunion.” It’s a good episode, and a deserving victory. Matt’s mother, meanwhile, paid Hodgman $100 to remind him that he went to Harvard and got a degree in History and Literature.

8:24pm: NPH has a fun gag with Online contest winner, who was totally game for it. Clever. Now, Julia-Louis Dreyfus and Amy Poehler, both looking quite luminous. They’re presenting during the last official year of network television, and indicate the category could be rigged. Time for Supporting Actor Comedy. With Jeremy Piven out for the count, it’s time to see who takes this one home. And the winner is…Jon Cryer, Two and a Half Men. This. Is. A. Travesty. I forget who called this earlier, but we should have known that Jeremy Piven was only holding the Emmys back from rewarding a solid supporting player on a show they don’t hate as much as they should.

8:30pm: So, two awards into the night and we have an “Wow, such an awesome surprise” and “Extreme Anticipation turns into Extreme Disappointment.” NPH has to come out and get us back on track (although that’s gotta be tough knowing this was his real chance at winning the thing).

8:33pm: “Well, the night could have gone in two directions. We are now in the second direction.” Change of plans, we’re going to go a little bit faster tonight. I hope “he” wins tonight – Justin Timberlake in the house to present, delivering Lead Actress in a Comedy Series (with a shoutout to Bea Arthur) and warning people not to turn to football. He admits he’s a little turned out, and here comes the big question: is it possible to defeat Tina Fey? It would be the night’s biggest upset, certainly, but it’s not impossible. Sarah Silverman’s moustache makes Timberlake lose it. And the Emmy goes to…Toni Colette, for United States of Tara. Not only did I call it, but I love it: Fey got hers last year, and she makes this show. She is, of course, delightfully Australian and humble.

8:39pm: Neil taunting Jon Cryer in the back, throwing some crap back at him. Neil wants to confirm the envelope has Cryer’s name. Had to check, he says. Very fun. Blake Lively and Leighton Meester out to present Guest Actress/Guest Actor…who both already presented. And now they’re here to chat and some thanks: Tina Fey says that she wouldn’t be here without Lorne, but J.T. would. That was strange, and pointless considering they got to make real speeches (although Timberlake didn’t get to). Comedy Directors get little “meet the directors” pieces that humanize them. Beth McCarthy wins for a slap fight with Jack McBrayer…and then Jeffrey Blitz takes the Emmy for the amazingly directed “Stress Relief.” Cat through the ceiling FTW.

8:45pm: I wonder if they actually did have a plan should NPH win or not win – I think they did. It’s certainly helping to ease the pain of his loss – Stephen Colbert has made great sport of playing the poor sport in the past, but NPH gets to do it for an entire show which makes me quite pleased.

8:49pm: You know him as Charles Elderberry, it’s Rob Lowe. He’s here representing Brothers & Sisters, I guess, but he’s presenting Lead Actor in a Comedy due to his representin’ in Dr. Vegas. He chose that over Grey’s Anatomy (Really? Huh!), and now time to see if we have another upset. Baldwin’s the definite favourite, and Jim Parsons is the definite underdog, but this category is never quite that simple. And the Emmy goes to…Alec Baldwin, for 30 Rock. Not an undeserving win, certainly not, but a bit of a frustrating one – I was rooting for a Carell out of nowhere victory, or a Parsons upset, but who can really complain about Alec Baldwin here?

8:54pm: NPH playing Family Guy’s anti-HIMYM piece that they posted online. This is nice and bloody. “Where’s your bro code now?” and “Hey, suit up” are both clever. Now, transitioning to Reality Competition, and we get a montage. Featuring really dramatic music, and the usual montages.

8:56pm: Now we get to Reality Dance performance, starting with Maksim and Karina from Dancing with the Stars, and the screens very interestingly have a whole vibe to them. And now we have a So You Think You Can DAnce collection featuring Joshua, Mark, and a whole host of others (Katee, for one), but they all moved too quickly. Glenn Close loves it, and it’s true: it was just the right length. Jon Cryer and Hayden Pannetiere in the house.

8:59pm: Reality Competition Host. The real problem with this category is that Tim Gunn doesn’t get a co-host credit like Tom. But the winner is…Jeff Probst, winning for a second straight year for Survivor. If he didn’t lose this year, when Phil Keoghan signed to a deaf contestant, then he is never going to lose it: he just does so much more on the show than any other host and it isn’t just an MC job, so he’s pretty much got an Emmy gold mine on his hands.

9:02pm: Indirect synergy alert from CBS: the Harlem Globetrotters in the audience are on The Amazing Race this season.

9:03pm: Next up is Reality Competition Series. The question remains: can anything beat The Amazing Race? If it is, will it be Top Chef or Project Runway, or perhaps one of the dance reality shows? It’s tough to know, but six wins in a row is the kind of record that Probst could run up with time.

9:06pm: Tracy Morgan here to be hilarious just saying simple sentences. He still can’t believe his reality show (30 Rock), thinks the fix was in. And the Emmy goes to…The Amazing Race. What a shocker, folks. Here comes Bruckheimer and Bertram for yet another year.

9:12pm: Cute gag about not being able to connect Kevin Bacon and Kyra Sedgwick by six degrees leads into Supporting Actress in Movie/Miniseries. And the Emmy goes to…Shoreh Aghdashloo takes a surprise Emmy victory for the un-nominated House of Saddam. Definitely a surprise victory, and makes up both for an Oscar victory many felt she was robbed of AND a deserved Supporting Actress nomination she never got for 24 (“BEHROOZ!”).

9:15pm: Now time for Supporting Actor, moving quickly…and Ken Howard completes an HBO sweep of the categories for his role in Grey Gardens, which was really well handled. And he lays down a solid Kanye/Joe Wilson joke (2 for 1), followed by a less artful SAG leadership campaign gag, and then thanks someone for giving him a kidney and a heartfelt birthday wish for his wife.

8:19pm: As always, my predictions get derailed by the Movie/Miniseries categories. I had gotten two early upsets (Chenoweth and Colette), and Directing, but now I’m so far behind I’ll never catch up again.

9:23pm: Chandra Wilson is a lot shorter than Kate Walsh, who is as always a gifted comedienne. Lead Actor in a Miniseries has Kiefer, Bacon, Branagh, Gleeson from real TV movies, but Kevin Kline and Ian McKellen cheat by having real, honest to goodness theatre work. However, it’s Brendan Gleeson who takes the Emmy for Into the Storm. This surprises me a bit, as he isn’t Knighted, but maybe this will help him along the way. Also, he was amazing in In Bruges, wasn’t he? That 3 for 3 for HBO, by the way.

9:26pm: Holy CBS Friday Ghost Show people. In other news, Arquette is also in a rather hideous dress, and Love Hewitt rocks a terrible joke as best she can, and now it’s writing for a Miniseries. Fingers crossed for Generation Kill, but another HBO seems more likely. And the Emmy goes to…Andrew Davies for Little Dorrit, as I predicted. He couldn’t be here tonight, so he’s out and about. No big shocker on that one, but it means Generation Kill winning Miniseries just got more unlikely. And now directing goes to…the director, for Little Dorrit. Grey Gardens snubbed in both categories, which is very interesting and bad news for Generation Kill yet again.

9:31pm: Dr. Horrible interrupts the Accountants, hacking into the broadcast to indicate that television is dead and the internet is the future. Why watch something like this when you can see it really tiny? And then we get a fake buffering screen. ABC can’t be happy about this. Captain Hammer steps in and masters this internet and can’t look into the camera. Love Nathan Fillion. He loves CSI: Miami (other two are two heavy for him). This was pre-taped – honour to be nominated as Day and Helberg walk in. Battery picture – he was plugged in. He’s running out. NoooooOoooOooooo! And the accountants finish the gag – very, very well played, Emmys.

9:34pm: This all comes down to whether Barrymore and Lange split the vote, in Actress in a Miniseries. And the Emmy goes to…Jessica Lange for Grey Gardens. Was on the fence and ended up predicting Barrymore, but Lange is just as deserving and this is actually her first Emmy win. It’s very deserved, and she really was great in the movie. And yep, this means HBO swept all acting categories for Movie/Miniseries.

9:36pm: As Twitter talk indicates, Lange should have submitted supporting and let Barrymore take this one, but she graciously thanks Drew for her role as Little Edie so it’s not as if Barrymore doesn’t to some degree get a moment in the spotlight (and for us to spot Justin Long). And coming up soon, the cast of The Big Bang Theory.

9:43pm: Made for Television Movie time, and as we pretty well all expected Grey Gardens walks away with the award.

9:52pm: While I was out eating, Generation Kill lost to Little Dorrit, and Bruce Gowers won for Variety Directing. Now for Variety Writing: Colbert Report writers outside of David Letterman’s studio, The Daily Show Writers as Clunkers, Late Night with Conan O’Brien as Friend Requests Conan is ignoring, Letterman has Billy Crystal performing his writers (Aren’t you on at 10?), and Brian Williams reads the nominees from Saturday Night Live (known collectively as nerds). And the Emmy goes to…the writers from The Daily Show with Jon Stewart, which I predicted! And is technically deserved, if not exactly new news.

10:02pm: Emmy Winner Jimmy Fallon (what did he win an Emmy for?). Oh wow, he’s auto-tuned, and then falls and breaks his back, and auto-tune keeps going, of course. Help me Neil. Roll the nominees for Music and Lyrics. Money is clearly on Motherlover, but I so want Carol Brown to win. Fingers crossed. However, Hugh Jackman’s “The Reader” section? Still hilarious. And, apparently, hilarious enough to be able to pull an upset victory against the Saturday Night Live juggernaut. The team is self- deprecating (knowing this was on the big show due to Timberlake), and very much thankful for Hugh Jackman’s talent. Great moment.

10:06pm: The Earl of Guffaw, Ricky Gervais, out to present Best Variety Series. This is the greatest award ceremony in the world. Turns his nose up at film stars. In this room, I’m probably above average. Tom Hanks is here for Big Love. Steve Carell is considered handsome…”Rainn Wilson…pause.” Seriously, people, Ricky Gervais needs to host the Oscars. Right now. Now, time for the series award: the easy money is on Saturday Night Live here, and…it’s The Daily Show with Jon Stewart. This is honestly kind of surprising, and Hodgman’s less than serious introduction more or less indicates as such in a humorous fashion – SNL had the buzzworthy season, and yet it’s Stewart who takes home yet another Emmy. He drops in some kind words for NPH, very classy.

10:17pm: It’s time for drama, which is going to make things very interesting (and then very predictable) very quickly. C’est la Emmys. One highlight: Bear McCreary’s Battlestar Galactica score is over the montage package. Of course, doesn’t help the fact he was never nominated for an Emmy.

10:20pm: Chris O’Donnell bombs a joke pimping NCIS: LA, and now it’s time for Supporting Actor Drama. C’mon, anyone but William Hurt. And the winner is…Michael Emerson for Lost! This is hugely surprising, and hugely exciting: his submission was not as good as it was last year, but here he walks away with the award as the Lost cast give him a standing ovation. A guest actor’s dream: flew to Hawaii to do a guest spot, and turned into the role of a lifetime. That is so damn fitting, and so fantastic: maybe not for his best work, but a beautiful speech.

10:22pm: Now, time for Supporting Actress in a Drama. And the Emmy goes to…Cherry Jones for 24. It’s not a huge surprise, as she’s a Tony-winner, but it’s a big of a shock to some respects. I’m kind of disappointed that someone other than Jean Smart won this award for 24, but by all accounts it was a deserved win (I had my money on Hope Davis, but this could have gone in any odd direction). On the Craft Service table tomorrow, she says.

10:24pm: Now, it’s Sarah McLachlan performing “I Will Remember You” for the “In Memoriam” package. Let’s see if they learn the Oscars lesson about now actually showing her singing once they get into the package. So far so good, although they started it a bit too early for the camera to catch up.

10:30pm: Only six awards left, and there’s room for some surprises, with both Supporting trophies going to less likely candidates (although, not undeserving ones, clearly).

10:34pm: Get it? Actors in a meaty role, and they both played vampires? Alas, David Boreanaz and Stephen Moyer are otherwise here to congratulate Ellen Burtstyn and Michael J. Fox for their victories and to welcome them to present the next award. Drama Directing now, and the last great chance for Battlestar Galactica. Todd Kessler’s “cast Glenn Close” wins for the advice award, although E.R.’s Rod Holcomb (the eventual winner) was close with his “go to hell” moment. Disappointing to see Michael Rymer lose this one, which definitely annoys me more than a bit, but alas. Now for writing – hilariously, Matt Weiner is sitting in every single shot for Mad Men, which is entertaining. And, in the end, Matthew Weiner wins him an Emmy for his collaboration with Kater Gordon on the show’s epic finale, “Meditations in an Emergency.” In other news, John Slattery’s hair is OUT OF CONTROL. That’s just an aside. Kater Gordon is adorable (and thanks the lady who gave her a kidney! Theme!) in holding the trophy, and Weiner is as charming as ever.

10:39pm: Simon Baker is here to remind us that the women working in TV could probably win Oscars, which is actually very true. He is also very Australian. And the Emmy goes to, as one would expect, Glenn Close for Damages. There simply wasn’t enough that changed year over year about this race for Glenn Close to lose this one, and she remains great. She’s also very, very charming, as she had been enjoying the entire show (they cut to her many times and she was always really happy and having fun) and really exudes that sense of pride in the award.

10:47pm: Nice of the show’s split-screen to let us know that the show is running 5 minutes over.

10:49pm: Dana Delaney, hot off her Jeopardy loss to Andy Richter, wearing glasses (Another trend) as she presented Dramatic Actor. Cranston won last year…and this year, it’s Bryan Cranston again. This is a most deserved win, but it’s kind of tough to see every single lead acting award in Drama go to the same people who won it last year when there was a lot of other talent who’s been overlooked in the past (Laurie) or who put in yet more great work (Hall, Byrne…everyone, really, except for Baker, who I like but no). Cranston seems to blabber on a bit too long, but he’s charming if not as shocked as last year. Deserving, but I’d like to spread some love.

10:53pm: Bob Newhart makes a Tina Fey restraining order joke, which is clever, and then bombs a bit with some poor timing but returns with some fun material. His joke-telling pace is not good for the show staying on time. And then he makes a Weeds joke, just throwing it out there, and then get surprised by the nominees. And the Emmy goes to…in a less than shocking decision, it goes to 30 Rock. Although Fey takes home only her SNL Emmy, she is nonetheless glamorous and fantastic. She thanks Scotty at the front desk, and makes special mention of Robert Carlock, before getting in a dig about being more expensive than a talk show. Take that Leno.

10:59pm: Now time for the final award of the evening, Outstanding Drama Series. Will we get our first double repeat in a very long time (I think at least thirty years)? Or will someone step forward to take the crown? This is a golden age of television drama, at least for probably four of them (Sorry Damages, Dexter and House. I mean no harm). And the Emmy goes to…to no one’s surprise, Mad Men. Elisabeth Moss and Fred Armisen share a darling moment, and we have a double repeat. Matthew Weiner thanks them for the award, and thanks his representatives. They try to speed him up with music, but someone stops shutting him down – very nice, people. More choice and more entertainment he says, and he’s glad to be a part of it – another classy WeinerSpeech.

11:03pm: May we see you again on Broadcast television next year, NPH says, as we go to credits. And I go to writing.

Matinee “Three Faces” Theater Hagen

neues und weiteres

Matinee Theater Hagen “Three Faces” 01.03.2009

-neues und weiteres-

Es wird spannend:pur,abwechselungsreich und modern sind die Worte die kurz die gezeigten Auschnitte umschreiben.Dieser Ballettabend (alles Uraufführungen) der durch die drei Choreografen Henrique Talmah,Yong Soon Hue-Simon und Ricardo Fernando auf experimentielle Weise enstand,ist ein mutiges experiment das einen Schritt in eine neue Richtung erahnen lässt.
Nicht unerwähnt sollte dabei der junge Komponist bear McCreary, der in den USA sehr erfolgreiche für das Fernsehn arbeitet.
Er schuf basierend auf seine Komposotion für die Science-Fction Serie “Battlestar Galactica” eine neue Version für das Ballett Hagen,das live vom Orchester Hagen gespielt werden soll.

Auch lustig ging das Matinee von statten,ob nun die Tänzer Hosen hatten die im Schritt gerissen waren,ein Krabbeltier sich auf der Bühne verirrte,etwas lustiges entstand durch Sprachschwierigkeiten,ein Tänzer zu früh die Bühne verließ…die Athmosphäre hielt sich locker und lud zum schmunzeln ein.
Den ersten Teil der öffentlichen Probe gehöhrte dem brasilianer Henrique Talmah.Gezeigt wurden drei Ausschnitte seiner Choreografie,einmal ein Stück mit den Herren,dann ein weiteres etwas weicheres Stück mit den Damen und ein gemischtes.Ganz in Contemporary Technick und besonders viel mit den Armen getanzt.
Hier geht es einfach um “Bilder” zu Musik.
Henrique Talmah erklärte-der in Brasilien eine Compagnie leitet dass es ihm besonders gefällt in Deutschland mit einem “richtigen” Theater zu arbeiten dass auch viel mehr Technische Möglichkeiten hat.Die Musik stammt stets von Beethoven als “Symbol der westlichen Musik”.Er nimmt die Musik als Verbindung zur Entwickelung einer Körpersprache.
Fernando verriert noch,dass bei dem Bühnenbild Videomaterial und Tücher zum Einsatz kommen werden.

Als nächstes kam Young Soon Hue-Simon zu Wort die eine Choreografie Namens “Glashaus” erarbeitet hat.
Ihre Idee dazu stammt aus einer Begegnung mit Kindern aus einem Weisenhaus womit sie in der Choreografie die traurigen,fröhlichen und kindlichen Aspekte darstellen möchte.Entmündigung,Widerstand und übermut gehöhren ebenfalls dazu. Die Musik dazu hat sie von verschiedenen Komponisten gewählt.(Pachelbel,Delibes,Bizet und Karl Jenkins)
Gezeigt werden drei Ausschnitte wobei alles sehr klar,kindlich und deutlich mit Gefühlen gefüllt ist. Bei dem Pas de Deux mit dem Thema “Erste Liebe”gibt es viele Hebefiguren,viel mit “Fallen und Auffangen”.Bei einem Frauen Trio mit der Musik einer Spieluhr geht es sehr spielerisch zu,bis dann jemand “Erwachsenes” kommt und die Spieluhr abstellt.Bei dem dritten Stück zur Musik von Karl Jenkins geht es sehr energie geladen zu.
Alles ist sehr pur und emotional-die Choreografin selbst verbindet mit “Glashaus” selbst auch einen Ort wo man nichts verstecken kann oder wie bei Kindern wo alles sofort sichtbar ist.

“Prelude to War” heißt der dritte Teil des Ballettabends der etwas interessantes neues erahnen lässt.Heute kam die Musik nur vom Band,jedoch soll die Musik von Bear McCreary vom Orchester gespielt werden,wobei der Dirigent Bernhard Steiner noch betonte,dass es sehr eindrucksvoll wird.
Nicht gewöhnlich ist die Musik im Science-Fiction Style,denn die Orchestrierung forderte einige sehr ungewöhnliche Instrumente “von denen man noch nie etwas gehöhrt” hat-so Dirigent Bernhard Steiner.
So war es auch recht schwierig überhaupt Leute zu finden die die riesigen Taiko-Trommeln spielen können und mit dem Orchester zum Einklang zu bringen.
Die Choreografie hierzu stammt von Ricardo Fernando wobei es auch hier wieder einige Ausschnitte zu sehen gab.Galaktisch und schwerelos,aggressiv und dynamisch…eine große Pallette verschiedener Situationen die sehr harmonisch,klar und sehr sehr mit der Musik übereinstimmen.

….der Geschmack:etwas neues weiteres ist herangereift!

Ημερομηνία διάθεσης του Dark Void – Gameover.gr

Η Capcom επιβεβαίωσε πως το Dark Void θα βρίσκεται στα ράφια των καταστημάτων της Ευρώπης από τις 15 Ιανουαρίου. Να θυμίσουμε πως ο τίτλος προγραμματιζόταν να έρθει αρχικά στα τέλη Σεπτεμβρίου, αλλά η εταιρεία αποφάσισε να αναβάλλει γι’ αργότερα τη διάθεσή του, προκειμένου να αποφευχθεί ο ανταγωνισμός με άλλες σημαντικές κυκλοφορίες.[next]

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I receive lots of great mail.  This is evidenced by the large pile of boxes I’ve accumulated in my room.

At the moment, I’ve got about nine boxes in various stages of “unpacked.”  Most of them are empty and their contents put away.  However, with the one in the chair, I just can’t find a place for the extra Q-Tips.

I did receive a pretty neat box this week.  My parents sent me a birthday gift containing the soundtracks to Battlestar Galactica: Season 4 and Caprica.

I’m a big fan of Bear McCreary, and I own all of the Battlestar Galactica soundtracks, which he composed.  If you’ve watched the show, you know that the music is just as much as character as is Admiral Adama.

One of my favorite tracks on the Season 4 CD is “Gaeta’s Lament.”  It’s so unlike anything I have heard before, and I’ve been listening to soundtracks for about 25 years now.

Bear has some free audio tracks on his site, so go check him out.  Also, he provides online liner notes for the Season 4 CD on his very detailed blog.  If you’re interested in the creative process behind scoring for television, you will dig the rest of the entries as well.

In case you haven’t figured it out, music is one of the things that keeps me sane in the insane world that is Baghdad.

[Download] [24.5 MB] [01:20:30]
Hosted by: Grant Brunner & Marty Keefe

Grant’s Topics

• TWRthday IV
• Quite possibly the most horrifying story involving Grant’s family ever.
• Out ‘n’ About: Dinner Debacles & Public Enemies
• Movie Monday: The Crying Game
• Movie Without A Monday: Back to the Future Part III, Army of Darkness

Marty’s Topics

• Jury Duties and Whatnot 

Podcast of the Week

• Bear McCreary Interview 

Wikipedia Article of the Week

• Missing White Woman Syndrome
• The Morris Canal

Plugs

• GrantBrunner.com
• Macgasm
• They Said Server Closet
• MEK Photos

“Une larme posée sur le visage de l’éternité”, a t-on dit à propos du Taj Mahal,

palais construit par l’empereur moghol Shâh Jahân en hommage à son adorée et défunte épouse Arjumand Bânu Begam.

Mais aussi The passage of time et Resurrection Hub, symphonies célestes de Bear McCreary dédiés à Hera et aux poupées explosives qui ne vont plus (re)naître, les notes diaphanes et mélancoliques du piano de Philip Glass, dédiées au(x) silence(s) de Caprica, La source thermale d’Akitsu de Kijû Yoshida, Ruby Rain de Pino Donaggio dédiée à l’Ophélie d’Argento, les poèmes de Rabindranâth Tagore, dédiés aux fleurs éphémères, à la future Durga et à la future Hera, les poèmes de Satyajit Ray, dédiés aux lucioles, aux absentes, et aux fantômes de Rabindranâth Tagore, les poèmes de Charles Cros, dédiés aux endormies, les hymnes de la nuit de Kenji Mizoguchi, pour l’amour d’Oshizu, d’Anju, de Yang Kwei-fei, les tombes de John Ford et de Victor Hugo, la mélopée d’Alamo…

Special Preview Night Programming

Wednesday, July 22

6:00-9:00 Special Sneak Peek Pilot Screenings— Comic-Con and Warner Bros. Television proudly present exclusive pilot premiere screenings of some of the most buzzed-about new TV series of the 2009–2010 season—Human Target, V, and The Vampire Diaries—as well as an exclusive preview trailer for additional upcoming shows.

Jackie Earle Haley, Mark Valley, Chi McBride of Human Target Photo: Fox

Based upon the popular DC Comics title and starring Mark Valley (Fringe), Chi McBride (Pushing Daisies), and Jackie Earle Haley (Watchmen), the highly anticipated Human Target is an action-packed thrill ride about a mysterious private contractor who will stop at nothing, even if it literally means becoming a human target, to keep his clients alive. Executive produced by McG (Terminator Salvation), Jonathan Steinberg (Jericho), Brad Kern (Lois & Clark: The New Adventures of Superman), Kevin Hooks (Prison Break), and Peter Johnson (Supernatural), the series is from Bonanza Productions Inc. in association with Wonderland Sound and Vision, DC Comics and Warner Bros. Television. Human Target will air Wednesdays at 9:00 PM ET/PT on FOX, beginning in January.

Already one of the most talked-about new shows of the upcoming season, V is a thrilling reimagining of the groundbreaking miniseries, starring Elizabeth Mitchell (Lost), Morris Chestnut (Boyz n the Hood), Joel Gretsch (The 4400), Lourdes Benedicto (24), Logan Huffman (America), and Laura Vandervoort (Smallville), with Morena Baccarin (Firefly) and Scott Wolf (Party of Five). Scott Peters (The 4400), Jace Hall (The Jace Hall Show), Steve Pearlman (Related) and Jeffrey Bell (Angel) are the executive producers for HDFilms in association with Warner Bros. Television. V will premiere midseason on ABC.

Writer/producer Kevin Williamson (the Scream movies) is back with The Vampire Diaries, an edgy and romantic

Paul Wesley, Nina Dobrev and Ian Somerhadler of The Vampire Diaries Photo: Warner Bros.

new drama in which two vampire brothers—one good, one evil—are at war for the soul of one girl. Based on the best-selling book series of the same name by L.J. Smith, the show stars Nina Dobrev (Degrassi: The Next Generation), Paul Wesley (Everwood), Ian Somerhalder (Lost), Steven R. McQueen (Everwood), Katerina Graham (17 Again), Sara Canning (Smallville), Candice Accola (Supernatural), Zach Roerig (Friday Night Lights), Kayla Ewell (Entourage), and Michael Trevino (The Riches). Williamson, Leslie Morgenstein (Gossip Girl), and Bob Levy (Gossip Girl) are the executive producers for Bonanza Productions Inc., Outerbanks Entertainment, and Alloy Entertainment in association with Warner Bros. Television and CBS Television Studios. The Vampire Diaries will air Thursdays at 8:00 PM ET/PT this fall on The CW, premiering September 10.

Ballroom 20

10:15-11:15 Summit Entertainment: Astro Boy— A superhero origin story set in a futuristic world, Astro Boy is an all-new CG-animated feature film based on the classic manga about a young robot with incredible powers and his adventure-filled journey in search of his identity and destiny. Director David Bowers, producer Maryanne Grager, and stars Freddie Highmore (Astro) and Kristen Bell (Cora) debut footage exclusive to Comic-Con 2009 and answer your questions about bringing this beloved hero to the big screen. Room 6BCF

11:30-12:30 Archie Comics: Archie Marries Veronica— It’s the wedding of the century, but that is just the start, with plenty of surprise announcements about the future of Archie Comics, including the latest news about Archie on television and in feature films! Panelists include legendary The Dark Knight movie producer and Archie writer Michael Uslan, new Archie Comics CEO Jon Goldwater, iVerse CEO Michael Murphy, IDW Publishing COO Greg Goldstein, Archie Comics president/director of circulation Fred Mausser, and Archie Comics vice president/managing editor Mike Pellerito. The panel is moderated by Archie’s public relations coordinator Rik Offenberger and features a Q&A session. An “Archie Marries Veronica” poster will be given to everyone attending the panel. Room 4

12:30-1:30 Richard Hatch: Battlestar Retrospective— Moderated by actor/author Richard Hatch (Tom Zarek, Capt Apollo, author: So Say We All), with Bear McCreary (Battlestar, Eureka, Caprica composer), Michael Tayler (Battlestar, Caprica, Star Trek writer/producer), Kevin Grazier (Battlestar, Eureka, science consultant) and special guests, this panel provides a review, discussion and Q&A of Battlestar’s past four seasons and dramatic ending. Includes the new BG 30th trailer. Room 6A

1:15-2:15 Entertainment Weekly: Wonder Women: Female Power Icons in Pop Culture— EW moderates a conversation with Sigourney Weaver (Avatar), Elizabeth Mitchell (Lost), and Zoe Saldana (Avatar) about the actresses who have redefined the rules, and the female characters that have shattered the glass ceiling for all women. Basically, a discussion with women who kick ass. Ballroom 20

1:45-2:45 The Twilight Saga: New Moon—Summit Entertainment is proud to present the panel for The Twilight Saga: New Moon, the highly anticipated sequel to last year’s box office smash Twilight. Surprise members of the cast will answer your questions about the second film in the series and debut never-before-seen footage from the new film.

Hall H

3:00-4:15 20th Century Fox and James Cameron present Avatar— In this first public screening of footage in 3D from his much-anticipated action/adventure/fantasy, James Cameron, producer Jon Landau, and cast members take you to a spectacular new world beyond imagination. Conceived 14 years ago and over four years in the making, Avatar breaks new ground in delivering a fully immersive, emotional story and reinvents the movie-going experience. Hall H

5:45-6:30 Kick-Ass— World premiere footage from Kick-Ass, based on Mark Millar’s bestselling comic, is presented by director Matthew Vaughn (Stardust, Layercake). Joining him on the panel are Nicolas Cage, Christopher Mintz-Plasse (Superbad), and comic co-creator John Romita Jr., among others, including a surprise guest. You don’t want to miss the chance to be the first to experience this gritty, brash, and funny actioner. Hall H

For a complete list of events and panelists, visit the Comic Con website: COMIC CON

Comic-Con 2009

THU, JULY 23 -SUN, JULY 26      …..    PREVIEW NIGHT: WED, JULY 22

SAN DIEGO
Convention Center
111 W. Harbor Dr.
San Diego, CA 92101

    The annual Comic-Con is fast approaching, and this year’s event, taking place from July 23-26, shines a brighter spotlight than ever on Hollywood.

  Disney on Thrusday announced its heavy-hitter lineup — John Lasseter, Robert Zemeckis and Tim Burton — while networks and cable, from CBS’ “The Big Bang Theory” and USA’s “Burn Notice,” are also well-represented.

 Below is a schedule of events — many details of which are still to be determined

 PANELS

WEDNESDAY, JULY 22

“Human Target,” “V” and “Vampire Diaries” (6 p.m.-9 p.m., room TBD): Full pilot previews.

THURSDAY, JULY 23

Summit Entertainment: “Astro Boy” (10:15-11:15 a.m., Room 6BCF) Astro Boy is an all-new CG-animated feature film based on the classic manga about a young robot with incredible powers and his adventure-filled journey in search of his identity and destiny. Director David Bowers, producer Maryanne Grager, and stars Freddie Highmore and Kristen Bell will debut exclusive footage and answer questions.

TheOneRing.net: “The Hobbit” (10:30 a.m.-11:30 a.m., Room 7AB) Chris Pirrotta, Larry Curtis, Cliff Broadway and other from TheOneRing.net will take you behind the scenes of the latest news, announcements, and rumors pertaining to the Peter Jackson and Guillermo del Toro production of The Hobbit.

Disney 3-D Panel (11 a.m-12:30 p.m., Room TBD) With Robert Zemeckis, Tim Burton, Sean Bailey, Steve Lisberger. Concept art, trailers, footage of “A Christmas Carol,” “Alice in Wonderland” and “Tron.”

“The Middleman” (11:15 a.m.-12:15 p.m., Room 6A). Panel with Matt Keeslar, Natalie Morales, Mary Pat Gleason, Britt Morgan, Jake Smollett, Javier Grillo-Marxuach and cast reading of lost 13th episode script, “The Doomsday Armageddon Apocalypse”

Richard Hatch: “Battlestar” Retrospective (12:30 p.m.-1:30 p.m., Room 6A) Moderated by actor/author Richard Hatch, with composer Bear McCreary, writer/producer Michael Tayler, scientific advisor Kevin Grazier and special guests, this panel provides a review and discussion of the past four seasons of “Battlestar Galactica.”

“Dante’s Inferno” (12:30 p.m.-1:30 p.m., Room 8. Jonathan Knight, Ash Huang, Brandon Auman, Christos Gage and Diego Latorre talk about the adaptation of the epic poem into pop culture: a video game, an animated feature, and a comic series.
   20th Century Fox and James Cameron present “Avatar” (12:45 p.m.-2 p.m., Hall H) Cameron, Jon Landau and cast members will show the first public screening of footage in 3D from the movie, which debuts in December.

Spotlight on Kevin Eastman (1 p.m.-2  p.m., Room 5AB) Teenage Mutant Ninja Turtle co-creator Kevin Eastman talks about his TMNT days and shares sneak peeks and behind-the-scenes teasers for his upcoming animated film projects.

Sony Pictures Animation: Cloudy with a Chance of Meatballs (2:00-3:00 p.m., Room 6BCF) Bill Hader, Anna Faris, Andy Samberg, Bobb’e J. Thompson, Chriss Miller, Phil Lord discuss the upcoming Sony/Columbia movie.

Summit Entertainment (2:15 p.m. -3:15 p.m., Hall H)
Summit Entertainment presents a sneak peek of some of its upcoming major film releases such as “Astro Boy,” “Sorority Row” and “The Twilight Saga: New Moon.”

DVD/Blu-ray Producers 2009 (2:30 p.m.-3:30 p.m., Room 7AB)
Bill Hunt, Adam Jahnke and Todd Doogan (of The Digital Bits.com), talk about the latest DVD and Blu-ray developments with special-edition producers like Robert Meyer Burnett, Laura Gross, Charles de Lauzirika, David Naylor and Cliff Stephenson.

Masters of the Web (3 p.m.-4 p.m., Room 32AB)
Director Kevin Munroe (“Teenage Mutant Ninja Turtles”) moderates a panel of representatives from top genre and movie websites such as Movieweb.com and Latinoreview.com. Brandon Routh and Sam Hungintgon join to preview a sneak peek of their new film “Dead of Night.”
 

“Robot Chicken,” “Titan Maximum” (3 p.m.-4 p.m., Room 6A). Panel with Seth Green, Matthew Senreich, Tom Root, Doug Goldstein, Chris McKay, Breckin Meyer, Kevin Shinick, Mike Fasolo, Dan Milano.

J. Michael Straczynski: Professional Writing (3:30 p.m.-4:30 p.m., Room 7AB)
The “Changeling” writer discusses the steps and tools needed to be a professional writer.

Joe Dante: “The Hole” (3:30 p.m.-4:30 p.m., Hall H)  Joe Dante  and Haley Bennett discuss their new film and working in 3D.

Entertainment Weekly: Wonder Women: Female Power Icons in Pop Culture (3:45 p.m. -4:45 p.m., Ballroom 20) EW will moderate a conversation with Sigourney Weaver, Elizabeth Mitchell, Kristen Bell  and others about the actresses who have redefined the rules and the female characters that have shattered the glass ceiling for all women. 
 

Cartoon Network Comedy: Original Animation (4:15 p.m. – 5:15 p.m., Room 6A). Panel on “Chowder,” “The Marvelous Misadventures of Flapjack,” ”Adventure Time With Finn and Jake.”

Terry Gilliam’s “The Imaginarium of Dr Parnassus” (4:45 p.m. -5:15 p.m., Hall H) The director of “Time Bandits” and “Brazil” introduces his new film starring Christopher Plummer, Johnny Depp, Heath Ledger, Colin Farrell, Jude Law, Verne Troyer, Tom Waits, and Lily Cole. 
 

“Dexter” (5 p.m.-6 p.m. Ballroom 20)

Overture Pictures: “Pandorum” (5:15 p.m.-5:45 p.m., Hall H) Actors Ben Foster, Cung Le  and Antje Traue discuss their new thriller about two crewmembers on a seemingly abandoned spacecraft.

Kick-Ass (5:45 p.m.-6:45 p.m., Hall H) Director Matthew Vaughn, Nicolas Cage and Christopher Mintz-Plasse and comic co-creator John Romita Jr. present world premiere footage from the new film, based on Mark Millar’s bestselling comic.

Focus Features: “Thirst” (6:30 p.m.-7:00 p.m., Hall H) Korean filmmaker Park Chan-wook discusses his film, which won the Prix Du Jury (Jury Prize) at the 2009 Cannes International Film Festival, and his career.

Robotech Industry Panel (6:45 p.m.-7:45 p.m., Room 6A) Tommy Yune, director of “Robotech: The Shadow Chronicles” and Steve Yun, writer of “Robotech: The Shadow Chronicles,” discuss upcoming Robotech releases in the wake of the announcement of the live-action feature film.

Comedy Central’s “Drawn Together Movie” Roundtable (7 p.m-8 p.m., Room 6BCF) Co-creators Matt Silverstein and Dave Jeser and stars from the show discuss “The Drawn Together Movie” and host a roundtable discussion.

Dr. Horrible’s Sing-along Blog (8:00 p.m.-10:00 p.m., Room 6A) The California Browncoats host a screening of the original three acts, followed immediately by “Commentary! The Musical.”

“Green Lantern”: First Flight World Premiere (8 p.m.-9:30 p.m., Ballroom 20) Warner Home Video, Warner Premiere, DC Comics and Warner Bros. Animation present the world premiere of “Green Lantern: First Flight.” “Lantern,” due out July 28, stars Christopher Meloni, is directed by Lauren Montgomery and written by Emmy Award winner Alan Burnett.

Halloween Comes Early: Trick ‘r Treat Screening (9:30 p.m.-12:00 a.m., Ballroom 20) Writer-director Michael Dougherty screens his new movie, which is preceded by a panel. Ain’t It Cool News mogul Harry Knowles will moderate the panel, which features Dougherty and cast members Anna Paquin, Tahmoh Penikett, and Brian Cox.

“Burn Notice” (room & time TBD) Panel with Bruce Campbell, Seth Peterson, Ben Shenkman, Jay Karnes, Matt Nix, Alfredo Barrios Jr., Michael Shanks

“Legend of the Seeker” (room & time TBD)

“Psych” (room & time TBD) Panel with James Roday, Dule Hill, Corbin Bernsen, Maggie Lawson, Timothy Omundson, Chris Henze and Kelly Kulchak. Scrpt-to-screen demonstration documenting the process of creating an episode.

“Twilight: New Moon” Panel (room & time TBD)

FRIDAY, JULY 24

“Batman: The Brave and the Bold” (animated) (10 a.m.-11 a.m., Room 6DE) Panel with Diedrich Bader, Sam Register. Screening of “Mayhem of Music Meister” episode featuring voice of Neil Patrick Harris.

“Stargate Universe” (10:30 a.m.-11:30 a.m., Ballroom 20) Panel with Robert Carlyle, Brian J. Smith, Elyse Levesque, David Blue, Alaina Huffman, Jamil Walker Smith, Ming-Na, Brad Wright, Robert Cooper

Lucasfilm Panel: “Star Wars: The Clone Wars”: Building the Universe (11 a.m.-Noon, Room 7AB)

“The Prisoner” (11:30 a.m.-12:30 p.m., room TBD)

“Caprica”/”Battlestar Galatica”: The Plan (11:45 a.m.-12:45 p.m., Ballroom 20) Panel with Esai Morales, Edward James Olmos, Ronald Moore, David Eick and Jane Espenson

“FlashForward” (11:45 a.m.-12:45 p.m., Room 6A)

Lucasfilm Panel: “Star Wars: The Clone Wars”: Behind the Mic (Noon-1 p.m., Room 7AB)

“The Middle” (Noon-1 .p.m., Hilton Bayside Indigo Ballroom). Patricia Heaton. Sneak preview.

Disney Animation Panel (12:45 p.m. Room TBD ) Panel with Hayao Miyazaki, John Lasseter, Lee Unkrich, Kirk Wise, Ron Clements, John Muske (“Toy Story 3,” “Prep & Landing,” “The Princess And The Frog” and “Ponyo.”)

“The Big Bang Theory” (1 p.m.-2 p.m.,Ballroom 20) Panel with Johnny Galecki, Jim Parsons, Chuck Lorre

“24″ (2:15 p.m.-3 p.m., Ballroom 20) Panel with Kiefer Sutherland,
Mary Lynn Rajskub, Anil Kapoor, Freddie Prinze Jr., Katee Sackhoff, Howard Gordon

“Past Life” (2:15 p.m.- 3:15 p.m., Room 6A) Panel with Kelli Giddish, Nicholas Bishop, Ravi Patel, David Hudgens

“Bones” (3 p.m.-3:45 p.m., Ballroom 20) Panel with Emily Deschanel,
David Boreanaz, Hart Hanson

“Eureka” (3:15 p.m.-4:15 p.m., Room 6BCF) Panel with Salli Richardson-Whitfield, Erica Cerra, Neil Grayston, Jaime Paglia

“Dollhouse” (4 p.m.-6 p.m. Ballroom 20) Panel with Eliza Dushku, Joss Whedon. Screening of episode “Epitaph One”

The BBC Panel: The Mighty Boosh (4:45 p.m. – 5:45 p.m. Room 6A) Panel with Julian Barratt, Noel Fielding, Michael Fielding, Rich Fulcher, Dave Brown

Lucasfilm Panel: The Star Wars Spectacular (5:15 p.m.- 6:15 p.m. Hall H)

“The Box” Panel (room & time TBD)

“District 9″ Panel (with Peter Jackson) (room & time TBD)

SATURDAY, JULY 25

“Chuck” (10 a.m.-11 a.m., Ballroom 20) Panel with Zachary Levi, Yvonne Strahovski, Josh Schwartz

“Eastwick” (10:15 a.m.-11:15 a.m., Room 6A) Panel with Rebecca Romijn,
Lindsay Price, Jaime Ray Newman. Full pilot screening

“Lost” (11 a.m.-noon, Hall H) Panel with Carlton Cuse, Damon Lindelof

“Family Guy” (11:15 a.m.-Noon, Ballroom 20) Panel with Seth Green, Mila Kunis, Seth MacFarlane

Cartoon Network Action Adventure Animation: “Ben 10″ (11:45 a.m.-12:45
p.m., Room 6DE) Panel with Alex Winter, Ryan Kelley, Galadriel Stineman, Nathan Keyes, Alyssa Diaz, Glenn Murakami, Dwayne McDuffie, Yuri Lowenthal

“The Cleveland Show” (Noon-12:45 p.m., Ballroom 20) Panel with Sana’a Lathan, Kevin Michael Richardson, Seth MacFarlane, Mike Henry, Rich Appel

“Sanctuary” (12:30 p.m.-1:30 p.m., Bayside Hilton Indigo Room) Panel with Amanda Tapping, Robin Dunne, Martin Wood and Damian Kindler

“Futurama” (1 p.m.-1:45 p.m., Ballroom 20) Panel with Billy West, Katey Sagal, John DiMaggio, Maurice LaMarche, Matt Groening, David Cohen

“Glee” (1:30 p.m.-3 p.m., Bayside Hilton Indigo Room) Panel with Matthew Morrison, Lea Michele, Cory Monteith. New episode screening

“The Simpsons” (1:45 p.m.-2:30 p.m., Ballroom 20) Panel with Matt Groening, Al Jean, Matt Selman, Mike Anderson

“Warehouse 13″ (2:15 p.m.-3:1 5 p.m., Room 6A) Panel with Eddie McClintock, Joanne Kelly, Saul Rubinek, Allison Scagliotti, Jack Kenny, David Simkins

“V” (2:45 p.m.-3:45 p.m., Ballroom 20) Panel with Elizabeth Mitchell, Scott Wolf, Scott Peters, Jeffrey Bell

“Fringe” (4 .m.-5 p.m., Ballroom 20) Panel with Anna Torv, John Noble

“Human Target” (4:45 p.m.-5:45 p.m., Room 6BCF) Panel with Mark Valley, Chi McBride, Jackie Earle Haley

“Vampire Diaries” (6 p.m.-7 p.m.,Room 6BCF) Panel with Ian Somerhalder, Paul Wesley, Nina Dobrev, Kevin Williamson

Adult Swim: Series Development and “The Venture Bros.” (6 p.m.-7:15 p.m., Room 6DE) Panel with Nick Weidenfeld, Matt Harrigan, Jackson Publick, Doc Hammer, Jon Schnepp, James Urbaniak, Mike Sinterniklaas

“Mythbusters” (7:15 p.m.-8:15 p.m., Room 6BCF) Panel with Jamie Hyneman, Adam Savage, Tory Belluci, Grant Imahara

“Doctor Who: Planet of the Dead” and “Torchwood: Children of Earth” screenings (7:30 p.m.-10:30 p.m., Room 6A)

“Heroes” (room & time TBD) Tim Kring and cast

SUNDAY, JULY 26

“Doctor Who” (10 a.m.-11 a.m., Ballroom 20) Panel with David Tennant, Russell Davies, Julie Gardner, Euros Lyn

“Smallville” (10:30 a.m.-11:30 a.m., Room 6BCF) Panel with Erica Durance, Justin Hartley, Cassidy Freeman

“American Dad” (11:15 a.m.-12:15 p.m., Ballroom 20) Panel with Seth MacFarlane, Wendy Schall, Dee Bradley Baker, Mike Barker, Matt Weitzman

“Supernatural” (11:45 a.m.-12:45 p.m., Room 6BCD) Panel with Misha Collins, Jim Beaver, Eric Kripke

Mattel Panel: “Hot Wheels Battle Force 5″ (Noon-1 p.m., Room 7AB) Panel with Audu Paden, Johnny Darrell. “Hot Wheels Battle Force 5″ world premiere

WB Panel: Zoinks! “Scooby-Doo! The Mystery Begins” (12:30 p.m.-2:30 p.m., Room 6DE) Panel with Brian Levant, Brian Gilbert, Robbie Amell, Kate Melton, Hayley Kiyoko,Nick Palatas. Screening of the new, live-action/CGI film

“Ghost Whisperer” (1 p.m.-2 p.m., room TBD)

“Being Human” and “Torchwood” (2:15 p.m.-3:45 p.m. Room 6BCF) Panel with John Barrowman, Russell Tovey, Lenora Crichlow, Aidan Turner, Russell Davies, Julie Gardner, Toby Whithouse, Euros Lyn

EVENTS

WEDNESDAY, July 22

Comic-Con TweetUp (Twitter MeetUp) especially for Comic-Con (7 p.m., Voyeur, 755 5th Avenue)

THURSDAY, July 23

“Rocky Horror Picture Show” (5 p.m., Horton Plaza Cinemas)

 Zombiewalk (7:30 p.m., Corner of 4th & Broadway)

Book and a Beer Club with Wil Wheaton (Time: TBA; Stone World Bistro and Brewing Gardens in Escondido)

FRIDAY, JULY 24

“Road Trip: Beer Pong” Happy Hour hosted by Paramount Home Entertainment (TBA, Henry’s Irish Pub)

 Tim & Eric Awesome Show Performance (7 p.m., 4th and B, 345 B Street)

 Brian Posehn & Doug Benson live comedy show (8 p.m., Balboa Theater)

 Dr. Sketchy’s Anti-Art School ComicCon Afterparty (8 p.m.-10 p.m., Ruby Room in Hillcrest, 1271 University Ave.)

 The BBC and Adult Swim Present: The Mighty Boosh Bash (A full cast DJ Set) (11 p.m., 4th and B, 345 B Street)

“Repo! The Genetic Opera” (Midnight, Gaslamp Stadium Cinemas)

 SATURDAY, JULY 25

Tim and Eric Awesome-Con 2009 (Noon -3 p.m., Embarcadero Marina Park North)

Robot Chicken Party (8 p.m.-11 p.m., Skate San Diego, 700 East 24th Street, National City)

 X-Sanguin: Comic-Con’s largest after-party, featuring The Suicide Girls and 5 DJs. (9 p.m.-3 a.m., Spin Nightclub)

I know Bear McCreary is a taken man, but I love him and his music…I’m sitting alone in my room listening to his beautiful soundtracks to Battlestar Galactica. Even if you’re not a fan of the show I can promise you they’re worth a listen.

I haven’t watched Caprica yet, but I’ve fallen for the haunting melody that Bear plays here:

I’ve also been tidying to some awesome live versions of his music from the live concert that was recently held to showcase the BSG soundtracks:

(This one features the lovely Katee Sackhoff reprising her role from ‘Someone to Watch Over Me’, then morphs into Bear’s rocking cover of ‘All Along the Watchtower’. Watch for when Katee runs off stage to leave the professionals to it!)

(^My absolute favourite from all three soundtrack albums)

Finally, the man himself plays the gorgeous ‘Dreilide Thrace Sonata No. 1′:

Last Saturday night I had the pleasure of attending a free live performance by Bear McCreary and his team of world class musicians perform his original scores from the Emmy-deserving television show, “Battlestar Galactica.” It was the opening for this summer’s Grand Performances in downtown Los Angeles, a consistently wonderful showcase of world music.  We’ve been going for years.  One of those hidden treasures of LA.

As indicated on these pages in January, I think “Battlestar Galactica” is fracken great.  However, I didn’t really understand how important the series was until I attended a panel last week hosted by Geoff Boucher (LA Times Hero Complex) as part of the LA Times “Envelope” Emmy screening series. Writer/creators Ronald D. Moore and David Eick were there, as well as stars Edward James Olmos and Mary McDonnell, but the surprise was that they were joined by United Nations Senior Human Rights Official, Craig Mohkiber and United Nations Senior Political Affairs Officer, Stephen Siqueria. I guess last March, this same group sat in front of the United Nations (video links here) and discussed issues ranging from human rights accountability to peace and justice in the world. They not only talked about how these issues related to BSG, but what we as nations can learn from the decisions made in the show, both by the military, demonstrated in the series by Admiral William Adama, played by Olmos, and, on the civilian side, by President Laura Roslin, played by Mary McDonnell.

If who haven’t seen the show, tens of thousands of human survivors have escaped annihilation from the man-made Cylons by taking refuge aboard a group of spaceships, lead by the aging warship Galactica. They begin a search for a new home planet, the mythical 13th colony, called Earth, chased by the Cylons, many that look human. As President, Laura Roslin sacrifices thousands of innocent civilians, abolishes reproductive choice, executes enemy combatants without trial and nearly steals an election over the course of the series. That was the point of the UN event and the Los Angeles event billed as “TV – making global issues relevant.” After showing clips from the series, the speakers shared how these shameful and violating acts continue for real across our world. As UN official, Craig Mokhiber said, “every nation on this planet has broken the rules of human rights,” and talked about how part of the UN mandate was to safeguard the human rights of everyone, regardless of race, gender, ethnicity, and station. This fictional series gave us all an opportunity to think and discuss human rights, justice versus revenge, punishing people who perpetrate crimes against humanity, by watching episodes that take place on a spaceship in the future.

Isn’t that amazing? A fictional television show that carries significant political and world issue relevance. Most important, BSG was entertaining, I never felt like I was being preached too. That is the true genius of Ron Moore and David Eick.  In addition, the contribution of director Michael Rymer, as Moore acknowledged that night as “the third creative force that contributed heavily to our vision.” (It was fun to see the director get credit publicly for their creative input on a television series.  It rarely happens.)

It doesn’t have to be mindless, to be entertaining. That’s why I got into filmmaking.  To tell stories that make us think, react, research, formulate an educated opinion. We understand this to be true with documentaries, but as Basil Tsiokos reminds us in the terrific blog he wrote for indiewire,”8 Documentary Dos and Don’ts,” no one needs another wrongly executed doc film that’s only about message. Basil is a programming associate for the Sundance Film Festival and was Artistic Director for NewFest for twelve years.  He screens a lot of films and knows that a documentary can be important and informative, but it still needs to be entertaining.

That was our goal for the documentary, “Houston We Have a Problem” directed by Nicole Torre. The film explores our dangerous addiction to oil through candid insights from the Barons, Wildcatters, CEO’s and Roughnecks that comprise the world of Big Oil. An inside look into the culture of oil that explores the history of our dependency and how it has led us to the current energy crisis.  I’ve written about this film before here, when it premiered at AFI-Dallas and it continues to play the festivals. The issues the film addresses are important, but I believe we presented them in a fun, sometimes humorous, never boring way.

However, I am no Ron Moore. I’ve tried to write screenplays with significance, usually with them ending up being obvious and heavy.  I look forward to Mr. Moore’s television movie “Virtuality” airing June 26 on Fox about a group of astronauts who pass the time in virtual reality modules as their interactions are beamed back to Earth as a reality TV show. The new BSG series “Caprica” starts in January, about the kind of people, think us, that would create Cylons in the first place.  There is also “The Plan,” the Battlestar Galactica story from the Cylons perspective airing on Sci-Fi in November.  Directed by Edward James Olmos, a trailer was shown at the event and to quote Olmos, “it is breathtaking. It’s fantastic… I couldn’t have imagined this kind of a situation happening at the end of a show, where you would actually start at the beginning. That’s a masterful piece of understanding, Ron is a genius. Because after you see ‘The Plan,’ you’ll want to go back and view the whole series again.”

In these days of Twitter informing the world of election protests in Iran before the news can cover the story, important stories, fact or fiction, WILL FIND an audience. Smart filmmakers are figuring out how to find that audience. BSG is just one of many, many great shows on television, so why go out and spend big bucks on a crappy studio remake. If you want your film seen, it’s about getting it out there, any way possible.  In fact tonight, I’ll be watching the pilot episode of “Caprica” on DVD that was rented from Netflix. I’m sure the hope is that as a fan. I’ll like the new show as much as BSG and so when it airs, I’ll tell my friends and it will become “must see TV.” That’s forward thinking and we need more writers, showrunners and filmmakers to be looking forward and to tell the stories that have important relevance to our lives, yet still are entertaining. And so say we all!