Segunda y última entrada, al menos por ahora, de esta entrada que empecé el otro día, y que habla de esas series que debería ver y no me apetece, a las cuales yo las agrupo bajo el epígrafe de “Uff, qué pereza”. Se trata de esas series tan aclamadas por crítica y blogueros, que generalmente proceden de canales de cable, sobre todo de cable premium y para más señas de la HBO, pero que a mí se me hace muy cuesta arriba ponerme a visionarlas, y que no le encuentro ningún elemento que llame un ápice mi atención.

Mad men. Según las críticas, lo mejor que se ha hecho últimamente. Lleva incontables premios y por lo poco que he visto he de reconocer que tiene una factura intachable y se ve que el producto es muy bueno. Pero el tema no me llama nada ¿publicistas, años 20? Uff, que pereza. Me da la misma pereza que ante una magnífica película antigua (más si es en blanco y negro), que piensas “sí, sé que debería verla y algún día lo haré, pero hoy me apetece algo más ligero”. Esta está entre las que algún día veré y sé que probablemente me gustará, pero me cuesta horrores dar el paso.

Buffy, cazavampiros. Dicen que tras su apariencia chorra de instituto se esconde una serie que va mucho más allá. El humor de Whedon dicen que es magnífico y muchas listas posicionan la serie como una de las mejores de la historia. Incluso tengo una amiga que es la mayor fan de la serie y no para de recomendármela. Pero reconozcámoslo, los inicios de Buffy son muy duros para ponerse ahora con ellos. Empezando porque la primera temporada es ya muy vieja y el lenguaje televisivo ha evolucionado en este tiempo, porque las primeras temporadas no son las mejores, y porque daña la vista verles con los pantalones subidos hasta el ombligo. Algún día la veré, y cuando pasé el trance inicial la disfrutaré, pero hasta entonces, ¡Uff, qué pereza!

Carnivale. Cuando leí sobre ella me parecía interesante. Una serie sobre un extraño circo ambulante antiguo bastante oscuro. Pero una vez más, con la HBO hemos topado. El piloto me pareció lento, aburrido y pretencioso. Me costó acabarlo, por favor, Uff, qué pereza me dio seguir con ella. Si a eso le añadimos que leí que la serie fue cancelada sin tener un final cerrado, las ganas de verla disminuyen hasta casi sacarla de mi lista de series por ver.

Studio 60. Con esta serie me pasa al revés que con muchas. Una serie sobre televisión con Mathew Perry son dos alicientes que me motivaban a verla. Pero tras ver los dos primeros capítulos pensé “Uff, qué pereza”. Todo muy serio, muy cultureta y poco televisivo, y sobre todo, con una fotografía pseudo-cinematográfica en sepia que aburre hasta las ovejas. ¡Qué aprendan de Tina Fey y compañía!

Friday Night Lights. Todo el mundo la pone por las nubes pero, ¿una serie sobre deporte? ¿sobre futbol americano? ¡Uff, qué pereza! De verdad que con esos reclamos no me van a pillar. Sé que detrás de los partidos habrá un drama, con sus familias, amoríos, y tal, pero me dan la impresión de que también me van a meter la moralina americana de la superación, conseguir las metas, U-ESE-Á y las barras y las estrellas. Y no me apetece. Además, por lo poco que he visto, no me agrada la realización que usan tipo independiente con cámara al hombro y demás.

Aquí terminan las series que para mí están catalogadas como “Uff, qué pereza”. No obstante no cierro la puerta a nuevas adquisiciones y tal vez habrá alguna más que ahora no recuerde.

Football Behind Bars: Sky One (Recorded 12th Oct Watched 15th Oct)

This was the final episode of a six-part, Sky One documentary series, presented by Ian Wright, about young offenders playing football.  It was bound to be awful, wasn’t it?  Well, you’d be forgiven for thinking so, but it was actually rather well done.

It followed Ian Wright’s attempts to set up a football academy in a young offenders institute, in an attempt to help them learn some life skills, and hopefully make it possible for them not to re-offend.  It would have been easy for the programme makers to either overly sensationalise the criminal pasts of the inmates, and\or give a rose-tinted view of the outcomes of the scheme; to their credit, they did neither.  Nonetheless, the academy clearly had a positive impact on those involved, and it was good to see a ‘celebrity’ trying to make a genuine difference.

Curb Your Enthusiam: More 4 (R 15th Oct W 16th Oct)

I was actually genuinely exciting for the return of Curb, and couldn’t wait to see this first episode.  We’re now in to season 7 and it shouldn’t still be funny as it’s essentially the same every episode. Somehow, though, it’s still hilarious.  If you’ve never seen an episode, then I seriously recommend that you do.  Larry David is my hero (the fictional one and the real one).

Eastbound and Down: FX (R 12th Oct W 17th Oct)

I didn’t like the first episode, but I went in to this one trying to like it.  The first few minutes saw a weird Will Ferrell cameo, which could have made things a but more watchable.  It didn’t, I lasted five minutes before deleting it.  I have this nagging feeling that everyone’s going to be raving about this in a few months time and it’s going to make me sad inside.

Caravans: A British Love Affair: BBC4 (R 17th Oct W 17th Oct)

I really don’t know what it was that made me watch this, but don’t judge me.  It wasn’t the most amazing documentary I’ve ever seen, but I mention it because I thought it was only fair to give a fair reflection of all the programmes that I watch.  And sometimes I just want to watch a documentary about caravans.  It’s all too easy to scoff at caravanners these days, but this documentary at least explained what a feeling of freedom that owning a caravan gave people in dull post-war Britain.

Studio 60 on the Sunset Strip: Channel 4 (R 12th Oct W 18th Oct)

It’s two or three years since this originally aired and I was ambivalent about it the first time around; it was well written and acted but I felt it was deeply flawed.  Since it was first shown, I’ve seen the whole of The West Wing, Aaron Sorkin’s previous show, so, when I saw this as a late night repeat, I thought I’d give it another go.  Would my opinion by any different a second time around?

No.  The script was still good and the Matthew Perry\Bradley Whitford double act was as likeable as ever, but, there were also a lot of buts.  I picked out lots of flaw, just in this pilot alone, but I’ll try and keep them as brief as possible.  I think you can lump many of the problems in to the category of ‘unconvincing’: I’m not convinced by Jordan McDeere, I’m not convinced that the ‘big 3′ stars of the show-within-a-show have any talent, and I’m not convinced that ‘Studio 60′ was ever a hit show.  Most embarrassing of all is when they try and show some of the comedy sketches – let’s just not talk about it.  It’s a very strange show that is both really good and excruciatingly bad in equal measure.  For that reason alone, I’ll probably watch them all.

Modern Family: Sky One (R 15th Oct W 19th Oct)

The latest highly acclaimed US comedy show arrives on Sky One, so of course I was watching.  It’s a mockumentary following the fortunes of three (yes, you guessed it) modern families.  I didn’t think it entirely worked; some of the jokes seemed a bit too obvious, and the ‘feel’ wasn’t quite right.  That said, it did make me laugh a few times, and it was only the pilot, so it can’t be all bad.  The main thing I took from the experience though was how much it made me want to watch Arrested Development again.

I remember watching colleagues who’d started their PhDs before me, going into their final year and progressing through their writing up.  I remember noticing that formerly perfectly sane, entirely calm and collected individuals, seemed to be going a bit potty.  This both astonished me and worried me – if these very clever, studious, well organised and entirely capable individuals were starting to lose it under the pressure of writing up, what on earth would it do to me??  Well, now I understand and empathise entirely!  I feel like I’m going slightly mad, as the eloquent Freddie Mercury put it.  It’s finally happened.  Here I am, half way through my writing up.  One supervisor left me to take up a job abroad, a couple of months after I started writing up and then, just the other week his replacement has announced he is departing for foreign climes come January.  I should be *almost* done by January, but I don’t think I’ll be finished, unfortunately.  I don’t really want to be finishing by correspondence but I’ll have no option and I suppose, at least, I will be almost done – I hope.

My responses to the continued pressure is odd.  I remember this year in March various colleagues and friends talking about their final projects and dissertations and the two weeks or so of stress this caused.  I feel like the writing up period is an entire year of this kind of pressure – and that starts to wear a little thin!  My work-guilt has reached and all-time high.  I don’t feel I can do anything else that is not work.  And, when I do, the guilt gnaws another chunk out of my brain, from my very soul!  I am slowly being eaten, consumed and digested by this ‘final project’.  I have slowly become rattier and rattier – my patience is thin, my ability to relax is nil, my capacity for giving myself entirely to others is utterly diminished.  I never feel like I’m having a proper conversation any more because my mind is always elsewhere.  I’m permanently distracted, always thinking of what I need to add to this chapter, or a lead I should really follow up and check.  I must appear extremely rude to other people – they must think I’m not listening to them, my vacant, far-away gaze a tell-tale sign of my lack of interest in their conversation.  But I can’t help it – I just always have something else on my mind – the same thing, that constantly requires my time, all of it.

I remember when studying for my finals, my parents were redecorating the hallway and kept insisting that I participate in this joyous family activity, that it was essential for me to hang wallpaper and paint ceilings.  I was in a constant fury with them at their apparent complete lack of ability to understand the amount of work I had to do.  Nobody in my family had attended university before – what would they know about finals?  My Dad was constantly cracking jokes which seemed to me to be undermining and belittling the very thing I was striving to achieve and which was so very important to me.  I should think that in fact they were trying to distract me, help me relax and take my mind off the finality of the exams which would decide my path in the future.  However, in my moments of pressure I was entirely devoid of humour, grumpy and fed up with being told how and when to study, when I should take breaks, when and how I should relax and this resulted in a number of terse conversations.  I was so glad when it was all over and I cannot wait for that feeling again.  All that is propelling me forward at the moment is the prospect of a trip to Australia next year and the moment when I wake up and don’t have to think about The Thesis.

I have been trying to find ways to push The Thesis out of my head.  I tried reading but recently, I don’t seem to be able to concentrate on it – probably because The Thesis is stuck on my brain and won’t let me read.  I can’t read mindlessly – when I read, I am always reading for meaning, for connections, intertextuality – I can’t do that with The Thesis on my mind, it seems.  This strikes me as strange since, in moments of great crisis, I normally have a voracious appetite for reading.  I remember becoming completely addicted to reading after the death of my best friend.  I spent all day and all night reading, novel after novel. I would do nothing else.  I went on holiday for a week with my parents to a small island where there is nothing to do.  I had a book but at the speed I was reading, it didn’t last long.  I hadn’t brought anything else to read and literally broke down when I realised it.  I finished the book while lying in bed one night, realised I hadn’t another to start, and burst into tears.  Suddenly, all the thoughts and memories I’d be reading to exclude came crashing back in and I couldn’t stop them.  I was inconsolable and ran to the newsagent in a desperate attempt to find something – they had nothing.  In the end my Dad came up with the goods and gave me something about Russians and tractors to read – did the job.  I did the same while The Boy’s Dad was dying of cancer – I read and read and read.  And got faster and faster – I read On Chesil Beach (an excellent book I’d recommend) in one day, whilst sitting by his bedside as his breath, shallow and sporadic, indicated his impending passing.  But suddenly I can’t read!!  In the moment when I most need to get away from this one thing, I can’t do it with books!  Instead, I’m addicted to American TV series.  So far a (very supportive and important) friend has supplied me with Damages, Veronica Mars, Boston Legal, Studio 60, Dexter, Arrested Development, and True Blood.  Normally I watch very, very little television – it rarely interests me.  However, suddenly, I’m addicted to these series!  I *have* to have more and I panic when I run out!  Of the series I’d watch – Damages is excellent.  It’s a terse, tightly plotted, intense legal drama with twists and turns that keep you on the edge of your seat, and excellent performances by the likes of Tate Donovan, Ted Danson and Glenn Close – if you haven’t seen it already, get it; you will not regret it for an instant.  Boston Legal is brilliant – its 5 seasons are hilarious, emotional, touching and offer very well written drama – I was very sad when I reached the end of it.  The Shat (William Shatner) and James Spader make an incredible partnership.  It took me a little longer to get into True Blood as I’m not much of a sci-fi fan, and haven’t really bothered with vampire shows before.  This show is, almost literally, vampires and sex.  That’s about the size of it – it’s very raunchy, slick and cool, but it’s also compelling.  It also took me a while to get into Dexter as I struggled to engage with the characters but, as with many TV series, after you’ve watched 3 or 4 episodes, you’re hooked.  Dexter season 2 was sensational!  I think what’s got me hooked with these is that they involve absolutely no effort from me (aside from keeping my eyes open, which has recently become something of a task).  All I have to do is follow the plot.  Also, they all last only an hour – so that’s all I have to concentrate for.  Finally, they’re all completely removed from the real world and have nothing to do with books – that, I think, is the key.

So, if I appear distracted, zone out while you’re talking to me, seem to be entirely consumed and obsessed by this silly essay I’ve been writing for the past 4 years, please forgive me – normal service will resume in approximately four months.  I promise.

Coffee in my most favorite coffee mug and my breakfast was fat free vanilla yogurt w/a drizzle of honey and some fresh strawberries and half a banana. I also topped it with half a larabar, pecan pie flavored. This clocks in at 300 calories and I was very satisfied with it. I feel so much better when I pay attention to my satisfaction levels so I’m not sure why I don’t do it more often. Oh you know, like all the time, like normal people do.

Studio 60 on the Mr. Saturday Night Punchline

I wonder if Funny People underperformed for the exact same reason that Studio 60 got canceled. Both of them were good and entertaining. Maybe not amazing, but undoubtedly much better than other stuff that crushes. Yet both of them did way worse than things of far poorer quality.

In fact, you could probably throw Mr. Saturday Night and Punchline into this category as well. All of them were letdowns because they’re about comedians who weren’t being funny. And you know what does succeed? Comedians being funny.

Something about this seems obvious.

A comedian being dramatic seems kind of similar to hiring a plumber to fix your broken toilet and instead he sits in your living room and tells you about his emotional core that fuels the life choices that made him become a plumber.

And as a failed comedian, I completely understand the motivation behind wanting to be dramatic. You write a joke, get on stage and tell it over and over. After a while you want to do something else, and tell people something other than a joke. But no one wants to hear it.

This is why comedy clubs, jazz clubs and poetry clubs are SEPARATE PLACES. The best comedians are the ones who have nothing emotional about them and all they do is make fun of everything. This is why the best comics are bitter and soulless, because they don’t care about anything. As soon as a comic gets emotional and dramatic about stuff, it’s less funny.

Louis CK is hilarious because he talked on stage about how much he hated his wife and kids, and now he’s divorced and still hilarious. Dave Attell, bitter alcoholic, hilarious. Sobers up, still funny, but a hair less. The entire point of a comedian is to be funny and as soon as they do anything else, no one cares. Yeah, that sucks, but it’s the comedian’s job.

This is why 90% of stand-up comedians’ first movie scripts are about – guess what? – a stand-up comedian who is dealing with shit and has to get dramatic and be taken seriously. Every fifteen years or so, studios forget that those movies tank and someone with enough clout comes along to get one made, so everyone gets this, “It’ll work this time” mentality. And it doesn’t. If you’re a comedian, do your job, be funny.

Get your dramatic feel-good movie out of my dick jokes.

Departure day!

Well, sort of. I know it’s been a couple days since I’ve blogged, but it has a lot to do with the fact that I’ve been frantically trying to pack my life up! Looks like I did an okay job because I managed to get out of Regina a day earlier than expected. You remember all that talk about “gaining a day?” Well, it seems that I did a lot more losing my mind than gaining anything. My mom and I had gotten the suggested flights mixed up with the actual itinerary, so it seems that the day I was scheduled to leave in the first place was the correct date! Once we figured it out later on Tuesday afternoon, I was in an absolute whirlwind. Luckily, the work visa arrived shortly thereafter, but there was some confusion on my part when I saw a “duration of stay” stamp with a big “30″ under it. Called the Mongolian Embassy and it seems that the time stamp on that has something to do with it being a single-entry visa. It’s basically saying, “come into the country within this amount of time”. I’m apparently welcome to stay for 6 months, 1 year, 2 years, whatever. With that, though, I managed to get my WHOLE life packed in 1.5 suitcases. What an experience that was. I think I have a little bit of footage of it that I’ll share with you later.

Bye Vancouver!

Vancouver was great, by the way. I walked the waterfront, saw people and had AMAZING accommodations. Thanks David for picking me up, letting me live in your outrageous house and dropping me off! SO much fun. Oh, and you’re right. Studio 60 isn’t so bad. Good luck with the new albums, my friend!

Forgive the brief update, but I’m about 10 minutes away from a plane to Beijing.

All the best until next time,

-Rove Reporter

I have just watched the pilot episode of Studio 60 on the Sunset Strip with commentary from “Creator” Aaron Sorkin and Director Thomas Schlamme.

Listening to them talk about the ideas behind the show, the practicalities of making a TV series in America and the delight of working with brilliantly talented people, it felt like a re-inspiration. I’ve admired Sorkin’s work since stumbling across Sports Night on the now defunct (in the UK) ABC1 channel. He has a mastery of ensemble work, something that shines through Studio 60 as well as The West Wing, and is theatrical in its style – apparently it is the major challenge for his director, Schlamme.

I didn’t take to Studio 60 at first – its setting of a TV show made it seem very inbred. Sports Night, of course was also set around a TV show, but the power structures he had there seemed decidedly to echo the structure of government and the show read to me like an analogy for politics. Studio 60 is was lacking in the overt analogical message.

However, having bought the box set of the one and only series for my wife, I’m newly rejoicing in the familiar skill and dexterity with which Sorkin and his collaborators build a story.

So to reflect the inspiration I feel having listened to his conversation with Schlamme and (to an extent) with me, I will put here half a dozen of the insights I remember perceiving:

1. It is possible to give full credit to the talented people you have worked with without diminishing your own role in a project;
2. If you’re interested in having a moral compass, set that compass into the heart of a character – not a lead role, but a supporting character who has undeniable integrity. This person is the soul of your story and the way you (and the audience know it) is that if the protagonist were to screw this character, everyone would agree that action was a Bad Thing. If they are good to that character, they are doing ok;
3. The sound of 9 or 12 characters talking at once can be a Good Thing;
4. Music can be subtle and still underscore the emotional arc of the story;
5. The key to telling stories to audiences is to find a way for private conversations to happen in public places – and sometimes it’s true that the best way to have a private conversation is to have it in full view and hope that no one is listening;
6. Lectures unlistened to are sometimes more greatly heeded.

Si alguien pensaba que la vida de los genios multimillonarios era fácil, que continúe leyendo y permanezca atento…

La historia que os voy a contar se remonta al año 2004. Por aquel entonces, Mark Zuckerberg, de 20 años, era un estudiante de Harvard, empollón y freake de los ordenadores. Podría exagerar la realidad y deciros que su gran sueño era construir una red global con más de 100 millones de personas enganchadas a sus telas de araña, pero estaría mintiéndoos. Su aspiración,  igual que la de sus compañeros de faena, era la de crear un “simple” punto de encuentro de todos los ex-alumnos de Harvard. El resto de la historia, bautizada como FACEBOOK, ya no estaba prevista, ni el éxito mundial ni los millones de beneficios aparecían reflejados en la hoja de ruta inicial diseñada por Mark Zuckerberg, hoy considerado el magnate más joven de la Historia de la Humanidad.

Haciendo uso del refranero castellano, “no todo es oro lo que reluce”. La fama y el éxito cuestan, no sólo esfuerzo sino también disgustos, y sino que se lo digan a este joven gurú de la informática que ha vivido en sus propias carnes las dos caras de la moneda: las consecuencias más dulces y amargas de la popularidad. Ostenta un patrimonio de 1.500 millones de dólares y es considerado uno de los jóvenes más prometedores, artífice de una las empresas más potentes y prósperas de la actualidad: FACEBOOK. Pero a cambio, tiene que soportar el acoso y las críticas de antiguos compañeros que le acusan de robarles la idea y al mismo tiempo sufrir la competencia de servicios como Twitter, cuya influencia está minando el monopolio de la empresa de Zuckerberg, la red social por excelencia.

Las desgracias nunca vienen solas: un libro a punto de publicarse y un proyecto cinematográfico en camino tienen pensado convertirse en la guinda negra del pastel. Millonarios accidentales: la fundación de Facebook, un cuento de sexo, dinero, genio y traición es el título del último libro de Ben Mezrich. En él se presenta a Mark Zuckerberg como un inepto que robó la idea de Facebook a algunos de sus compañeros en Harvard y cuya única obsesión eran las chicas y el sexo.

A la iniciativa de desprestigiar al joven también se ha unido Aarón Sorkin (creador de El Ala oeste de la Casa Blanca) quien anunció hace escasos días su intención de hacer un filme sobre la compañía. La mofa no se hizo esperar: tras conocerse la existencia de este proyecto varios medios de comunicación arremetieron contra el director, al que acusaron de estar demasiado perdido después de su último fracaso, Studio 60. Incluso muchos compañeros de profesión han coincidido en lo disparatado que resulta un proyecto de este calibre: “hay pocas cosas que contar”, han repetido en sucesivas ocasiones.

La sorna hacia el proyecto finalizaba esta semana cuando se filtraba a los medios de comunicación una noticia que dejaba atónicos a todos sus detractores: Sorkin está hablando con los ex alumnos de Harvard que han denunciado al “joven prodigio” y con empleados y ex trabajadores de la compañía que están dispuestos a airear trapos sucios. Esto significa que el proyecto, muy lejos de retratar una vida perfecta, tiene pensado sacarle el mayor partido al lado más oscuro y desagradable del éxito. Al final va a resultar que sí que había cosas que contar…

El culebrón continuará. Por el momento, ya son varios los medios de comunicación que se han hecho eco de los nefastos rumores que corren sobre este joven, al que la Rolling Stone, por ejemplo, ya ha retratado como un gánster cibernético y un freake que se limitó a rescribir la fórmula exitosa que sus colegas habían elaborado.

I just found out that two of my favorite actresses are lesbians…I also found out they are dating each other.

Sarah Paulson (Studio 60 On The Sunset Strip) and Cherry Jones (24 and oodles of theater credits) have apparently been dating for quite some time now.

What lovely news! This vaguely reminds me of the first time I had a peanut butter cup.

“What? Two great things? Together!?”

Ain’t young love grand? And on a political side note: Kudos to the folks in Vermont for thinking so too.

Image: variety.com

Você assiste a um filme, ler um livro, vê uma novela, acompanha uma série, e, num determinado momento, numa cena, numa fala, num olhar, numa lágrima, numa piada, num riso, tchanran! Acontece, e você pensa (ou até berra, quem sabe): “essa personagem sou eu!” Esse tipo de identificação já aconteceu comigo algumas vezes. Encontrei em alguns seres fictícios algo como uma mistura de quem eu sou, quem eu gostaria de ter sido e/ou quem desejo ser.

Lorelai Gilmore (Gilmore Girls): As pessoas não entendem suas piadas, nem o que ela fala. Fala rápido e tem fobias esquisitas. Ela não se entende com sua mãe, e as duas vivem em atritos. É um tanto quanto ácida nas brincadeiras e faz graça sarcástica nos momentos críticos. É refém da sua mente mirabolante e complica coisas simples. Adora café, pizza, chocolate e conversas aleatórias. É independente e carente. Determinada e indecisa. Segura e atrapalhada. É uma gostosa contradição. E se gosta muito de algo, pode revê-lo (ou lê-lo) várias vezes.

Em certos momentos me sinto o tanto quanto Lorelai e quando eu crescer quero ser igual a ela.

Meredith Grey (Grey’s Anatomy): “Dark and twisty inside”. Sombria, complicada, cheia de traumas e inseguranças. Impulsiva, realista (ou seria pessimista?), carente e indecisa. Dança para evitar os problemas, mas dança mal. Acredita e confia nas pessoas, mas acaba quebrando a cara. Tem medo de se entregar, porque já se entregou demais e o resultado foi traumático. Não é de desabafar, fazer drama e sair contando cada infortúnio ou ventura da sua vida até para os melhores amigos. Fala pouco sobre si, ouve muito sobre todos.

Enfim, eu posso até fingir que sou a espirituosa Lorelai, mas no fundo, sou mesmo é a danificada Meredith. Pelo menos eu tenho minha (s) Cristina (s) Yang pra chamar de my person nos momentos críticos. Só falta o McDreamy.

Sarah Walker (Brothers & Sisters): A Sarah é meu lado irmã mais velha  com complexo de cuidar de todos e de ter que carregar (ou simplesmente nos dão) a responsabilidade de tudo. No meu caso, família e amigos estão no pacote. E ainda tem que dar o exemplo. Ela também tira as palavras da minha boca. Volta e meia ela tem tiradas que eu já havia dito ou diria nas situações em questão. Pensamos e agimos parecido.

Só queria ficar mais parecida com ela com o tempo também, adquirir um pouco mais de confiança e sensatez que ela tem. Em tempo: eu seria um pouco também do seu cínico (no bom sentido) irmão Kevin Walker.

Chandler Bing (Friends): Ser sarcástico para esconder os verdadeiros sentimentos é uma característica que está presente em todos os meus personagens, mas em especial no Chandler isso é mais notável, talvez porque comédias são assim mesmo mais exageradas. Enfim, às vezes só nos resta fazer graça da desgraça mesmo.

Matt Albie (Studio 60): Simples: Se eu fosse homem, eu seria igual a ele. Fato. Com todas as neuroses, vícios e paixões (e, quiça, talento também).

Sara e Carol Andrade (Em Família): Bom, como são personagens que eu ajudei a construir, naturalmente elas tem um pouco de mim. Na verdade, bastante, porque acabei sendo responsável pelo rumo das duas na história. Carol um pouco menos. Já a Sara é quase eu, só que numa versão ampliada e melhorada. Coisas que só a ficção pode fazer por você.

Joss Whedon, being himself

Joss and his creations aren’t alone, lets see if any of these others ring any bells. Arrested Development, Dead Like Me, WonderFalls, Studio 60 on Sunset Strip, Veronica Mars, and most recently Life on Mars. All of these shows exemplified talent, creativity, and for a mix of reasons failed.

They were well, with that I mean there was structure, literary even. They had character development, themes, episodic plots, season long plot arch’s driven by a hero’s quest, a mystery in need of answers or a search for self discovery. Also, the language in each show was distinctive. Google should thank Whedon for becoming a verb.

Dialogue wasn’t talking, it was an adventure. Were they serious or joking? Was that subtext? What the characters had to say elevated dialogue to an art, even spawning fans of the shows writers.

Maybe that’s why almost every television show has it’s own writers blog?

Next what made these shows excellent was the creation of worlds that looked like ours, could be ours but in some cases were too fantastic for most to believe. The final ingredient in writing a good T.V show is giving the audience what they need, not what thye want.

Take them on a journey that expands their worldview of life, the universe and everything.

Inspire yourself, imbue it with love and passion, which is what creates a connection and the identification is what makes it good. This is however, as the next four and a half catagories, show is also what gets you tossed from T.V.

1.) Life as Metaphor

Buffy did it. Whedon uses his Angel and Demons as metaphors for the troubles of adolescence. For those who got it, unlocked a rich story full of wise answers to the teenage dilemma. Those who were turned off by the title or seemingly juvenile subject matter missed the joys and heartbreak of watching Buffy Summers and her Scooby Gang literally fight for a world they wanted to live in.

The same could be said for another perky blonde, though her weapon of choice, keen intellect. Veronica Mars didn’t fight literal demons yet she took on the human variety as a private eye in training. Along with her own team of misfits, they also fought injustice while learning life lessons along the way.

2.) Think, think, think (and Believe)

Lost hasn’t been cancelled but it would’ve if the show runners didn’t save themselves with an end in sight or network exes too scared to be pelted with coconuts.

But Lost requires, nay, demands you think! Not only use your noodle, but pay attention! It teaches to notice details because isn’t that what life is all about.

In fact all of these shows require human thought. However 47 minutes once a week has been deemed too much to ask.

3.) Is that a Frying pan or Dead Pan?

The art of deadpan is lost on most people but shows like Arrested development, Studio 60 and Dead Like Me, took it to new heights.

Now for the millions who missed these shows dead pan is a comic art form.

These shows revolved around ‘getting the joke’ but also each used the best tenants of good writing too.

4.) This World isn’t my World ( It’s way more interesting)

Firefly was a ‘space western’. The setting was a post apocalyptic world where everyone was struggling with a new world order. It was funny, sweet, charming, and romantic. It tanked before it even debuted. The two-hour pilot movie aired only after all 12 episodes aired.

Life on Mars, a cop show set in the 1970’s. The twist was that the main character woke up there from 2008, with none of the how’s, what’s or whys. Just as the Characters, their development in movement, the situation and players established it was yanked. Never mind the same show in England is a huge hit.

4 ½.) Subsection on alternate communications with the Lord.

WonderFalls was placed in Niagara Falls where a young woman begins receiving mysterious messages from inanimate objects. It was fresh, quirky and new. It was supposed to be about her quest to find God behind the messages but it got pulled before they could talk.

Another Whedon one, Angel, was one vampires search for redemption. His fight was to save his soul. Did he find redemption? I doubt we will ever know.

There are exceptions to these rules. The Office is one, another is House, M.d. and lets not forget that Grey’s Anatomy started out as a mid season replacement.

But these shows don’t reach beyond the limits of the human imagination and inspire people to long for a better world, life or a better you.

]]> http://bradthedaduk.wordpress.com/2009/03/23/ypc-sketch-funny-or-offensive/ Mon, 23 Mar 2009 20:41:46 +0000 Brad http://bradthedaduk.wordpress.com/2009/03/23/ypc-sketch-funny-or-offensive/

There’s been some debate in our house recently about the YPC sketch that was on last week’s Horne & Corden show.

If you missed it, then this is what its all about:

So the big question is should Christians find this offensive? Personally, I’m not that bothered by it, and do think it is quite funny, mainly because I can see where the albeit exaggerated reality comes from. Some Christians (particularly at youth events) can be over-enthusisastic in a cheesy kind of a way, and some “worship” songs do have the “Jesus is my boyfriend” type of lyrics.

It seems that the YPC characters are going to be in future episodes of the show in this series, and Corden has admitted that the BBC have censored some of the material for fear it would offend.

This reminds me of a clip from one of my favourite TV shows  – Studio 60 on the Sunset Strip – where the cast perform a sketch in which Jesus is appointed Head of Standards. This is so they can get away with saying “Jesus Christ” on TV. I can’t seem to find a clip of this on YouTube, but includes the line “Jesus Christ its hot in here…do you mind if we open a window?”

So, what do you think? Should Christians be offended by material that mocks us? Or are we fair game?

I spend my money on rent, food and TV on DVD. If I like a show, I like watching it over and over again. I enjoy behind the scenes features and most of all, I enjoy spending Sunday afternoons with the marathon of my choosing.

But there are some shows I just can’t bring myself to purchase. Here’s the short list:

• Friday Night Lights: This is a seriously wonderful show. Personally, I’m sorry I didn’t get into it sooner. But I wonder if the re-watch value will be high enough. How many feel good, realistic family/high school moments can you watch before it becomes too much? I might change my tune if the show goes off the air or if it ever leaves Hulu.

• Ugly Betty: Half the fun of this show are truly wacky, soapy moments we get every week. The murders, the betrayal, the spying, secrecy, etc. But here’s the thing about those moments: Once the secret’s out, the fun and whimsy goes with it. How fun can the first season be if you know who’s under the bandages the whole time? The mystery was what kept me coming back.

• Studio 60: I’m still a little sad (okay, a lot sad) this show was prematurely canceled. Owning it would only remind me just how few episodes we were privileged to see.

What shows will never make it to your DVD shelf? Some critics will tell you TV on DVD is for suckers. Who pays for re-runs? Anyone in this camp? Let’s rumble.

Image: http://blogs.eveningsun.com

Let me be clear about two things first:

1.  I thought Studio 60 was brilliant – one of the best shows I’ve seen in years and I was devastated when it was cancelled.

2.  I’m aware this post is about a year (or more?) too late and likely completely unnecessary at this point in time, but I’ve been watching The West Wing reruns on cable in an effort to stave off buying the complete West Wing collection (which I cannot remotely afford right now) and I’ve been moved to write an epic (okay,  not quite epic) post…so here it is.

Studio 60 never had a chance, in a nutshell because though it was beautifully written, exceptionally performed, and extraordinarily executed – as few television programs are these days – it just couldn’t compare in content to The West Wing.

What was it about The West Wing that so moved me (us)?  Well, I cannot speak for the whole of society, but for me, it was that my life is pointless.  I essentially shuffle (or did – more to come on that later) paper.  I am (was) incredibly valuable to my company and employers and fellow co-workers for what I do every day, but in the larger scope of the world it means absolutely nothing.  The world is not a better place for my working existence and I find myself (then and now) yearning for a purpose.  To know that I am doing something with my day that matters.  And that is what they did everyday on The West Wing.  Regardless of how the story worked out, their main objective, whether obtained or not, was to do good…to try to do good…to try to change the world.  My day to day life has nothing to do with these things, and so it remains ultimately completely uninspiring.

And this is why Studio 60 couldn’t work when it came AFTER The West Wing…no matter how brilliantly executed, who can care about some silly hollywood SNL type show and the intricacies involved in producing said show and the relationships revolving in and around it…when the show that came before it was about the people who shape the very world?  Studio 60 never had a chance…unless Sorkin did it first…as a beautiful prelude to The West Wing.  But that was not to be, and so we lost out on Studio 60 – a ‘could have been’ brilliant long running show…because he showed us his perfection first in The West Wing.  The West Wing was the most perfect show I have ever had the opportunity to watch, a program that managed to both entertain and inspire, a show that I nearly had to turn off (and sometimes did) when George Bush became president, because it was too difficult to watch a brilliant and imaginary Jed Bartlett be the president I yearned for while my country was run by a moron.  Never have I so wished to transport myself into a television world than when I had to watch Jed Bartlett be good and honest and intelligent, and surround himself with the same, while in my world an idiot boy with a crooked smile was run by corrupt puppeteers and crooks.

But there is hope.  Because I’m able to watch The West Wing with renewed faith these days, hoping that Obama will be able to slowly restore my faith in this nation and in my own governement.

And I guess with that, I managed to make this post relevant after all…

SIDENOTE:  I should mention Sports Night. Also brilliant, and worthy of mention and a mark in history on its own.  It’s a crime it too did not last much longer than Studio 60…only 45 episodes…but since it came first I like to think of it as both proving my point, and as Sorkin getting his feet wet.  Of Sorkin learning what he needed to do to make The West Wing so powerful…and he really just nailed it.

SIDENOTE 2:  If any benevolent benefactors out there would like to send me The West Wing collected series on dvd, please don’t hesitate to be in touch and I’ll get you an accurate shipping address

I thought it would be nice to revisit one of the most beautiful renditions of this holiday classic that I’ve ever heard.  Here, as it was originally performed and broadcast in an episode of Alan Sorkin’s 2006 televison series, Studio 60 on the Sunset Strip.  In this video, the show’s overlapping dialogue has been muted and overdubbed in deference to the musical performance.

. . . . .

“O Holy Night”

Troy Andrews – Trumpet
Kirk Joseph – Sousaphone
Roderick Paulin – Saxophone
Frederick Shepherd – Saxophone
Stephen Walker – Trombone
Mervin “Kid Merv” Campbell – Trumpet
Bob French – Drums

. . . . .

URI REFERENCES

• Studio 60 on the Sunset Strip: Wikipedia: http://en.wikipedia.org/wiki/Studio_60_on_the_Sunset_Strip
• O HolyNight: YouTube: http://www.youtube.com/watch?v=khSml43oKJQ

Jag var ju en av de ungefär nitton personerna i Sverige som gillade Aaron Sorkin-serien Studio 60 on the Sunset Strip, men jag lyckades bara se kanske hälften av den när den sändes i tv. Så jag blev förstås väldigt glad när hela serien i en behändig box trillade ner i knät på mig som tack för utförda tjänster (nej, inte den sortens tjänster). Nu blir det några tv-kvällar fyllda av snärtiga dialoger och halvkomiskt bakom kulisserna-drama.

Det där med “nitton personer” var förstås bara koketteri. Faktum är att så gott som alla jag känner verkade gilla Studio 60, men jag antar att mina vänner och bekanta inte är representativa för tv-publiken i stort för serien drogs med rätt svaga siffror både här och i USA. Och visst, den var inte riktigt av Vita huset-kaliber, men samtidigt hade den tillräckligt mycket av samma kvalitéer för att den skulle vara mer sevärd än det mesta.

För snacka om att Sorkin kan skriva. Häromkvällen rullade Presidenten och Miss Wade (också en personlig favorit) på tv och jag råkade zappa förbi lagom till Michael Douglas stora tal i slutet. Jag skulle gärna citera hela talet men det är lite långt så vi tar bara finalen:

“We’ve got serious problems, and we need serious people, and if you want to talk about character, Bob, you’d better come at me with more than a burning flag and a membership card. If you want to talk about character and American values, fine. Just tell me where and when, and I’ll show up. This is a time for serious people, Bob, and your fifteen minutes are up. My name is Andrew Shepherd, and I *am* the President.”

Efter den tiraden känner man för att resa sig och göra honnör framför tv:n. Förvisso: Sorkins presidenter och politiker är en våt dröm av orubblig hederlighet, intellektuell skärpa och liberala humanistiska värderingar – men hur mycket vi önskar att den drömmen vore sann kan man väl ana av reaktionerna på resultatet i det senaste presidentvalet.

Och om du inte delar min svaghet för presidentfilmer och oändliga walk-and-talk-scener så kan jag påminna om att det också var Sorkin som skrev manuset till På heder och samvete, och därmed också ett av de oftast citerade replikskiftena i modern film:

Kaffee: I want the truth!
Jessep: You can’t handle the truth!

Så det så. Nu ska jag bara lägga undan några hundringar så att jag kan unna mig den här lådan också.

Läs även andra bloggares åsikter om tv, dvd, aaron sorkin, studio 60 on the sunset strip

Day Five – On Dec. 4, 2006, the ill-fated NBC show “Studio 60,” a take-off on the inner workings of a “Saturday Night Live”-like TV show starring Matthew Perry, featured an episode called “The Christmas Show.” One of the storylines dealt with the show’s regular musicians calling in sick so New Orleans musicians, left homeless by Hurricane Katrina, could get a paycheck and buy Christmas presents for their families.

Near the end of the episode, Simon Stiles (played by D.L. Hughley) comes out and says…”Ladies and Gentlemen, the City of New Orleans.” With pictures of a devastated Crescent City behind them, a group of six musicians (all left homeless by Katrina in real life), led by Tony “Trombone Shorty” Andrews, proceeded to perform the best version of “O Holy Night” that I have ever heard.  A sad, yet beautiful arrangement, played with unbelievable passion.  This version is not available anywhere anymore, so we are offering it here. It will please even the hardest of the hearts this Christmas season.

MP3: “O Holy Night”

YouTube: “O Holy Night – Studio 60“

The Tipitina’s Foundation (an organization designed to help New Orleans musicians)