Hey gang! Why not head on over to the DDD's sister-blog, The Mediavore, to take part in our ongoing exploration of the Twin Peaks phenomenon? We're starting where it all began, with the legendary film that served as the pilot for the ground-breaking series.
CHILDHOOD'S END is apparently part of an attempt by the specialty cable channel SyFy to move away from the silliness of "Sharktopus Versus Platybadger" towards more serious speculative fare, as otherwise exemplified by their superlative new original series The Expanse. On paper, adapting Arthur C. Clarke's evolutionary alien invasion mystery - one of the most important, groundbreaking, and influential novels of science fiction's late Golden Age, and a novel I, myself, have long wanted to see adapted for film - probably seemed like a no-brainer. I was therefore grateful to discover that, for the most part, veteran BBC show-runner Matthew Graham manages to avoid the pitfalls that come with adapting a work so seminal that most of its ideas have been pinched and "recycled" by countless copycats over the years. Perhaps part of its success can be chalked up to the decision to accurately convey the novel's cold and cerebral tone and its disturbing undercurrents of sublime cosmic dread. Combined with a faithful recreation of most of the novel's best set-pieces and surprises (including a fantastic character reveal that gave me chills, even though I knew it was coming) these are decisions that pay off handsomely, and result in a miniseries that will linger with you for days, leaving you pondering some of life's Big Questions, occasionally leading you down dark intellectual alleyways where you might not feel all that comfortable exploring. And this is a good thing. There are, of course, a few small caveats. For one, at three 90 minute episodes, SyFy's adaptation is too long by a third. One or two of the sub-plots could have been pared down or even excised altogether. And one of my very favorite scenes from the novel, involving all the spectators at a packed bullfighting arena screaming as one as they are simultaneously made to feel the bull's terror and pain as a picador's sword pierces his beating heart, is missing in action. But these are trifling quibbles. The bottom line is that SyFy's Childhood's End is a worthy adaptation of a legitimate science fiction masterpiece, and that is pretty much the strongest praise that I can give.
Which brings us to the first two seasons of SALEM, WGN's gory, gruesome, goofy period costume series about high-stakes, world-class, competitive witchery taking place in late 17th century small town New England. I won't defend this series as anything beyond what it so obviously is: a deliriously daft, demon-haunted soap opera with myriad sexy young characters, ruggedly handsome men and beautifully corseted women, all with bosoms heaving as they pant with repressed sexuality, wearing gorgeous clothes, performing outlandish magical spells on each other while trying to steer clear of the Witchfinder General, the diabolical villain Increase Mather. Here is a character who only pauses in mortifying his own flesh with a barbed wire girdle in order to torture and execute suspected witches - mostly innocent young girls - in his increasingly barbaric butcher block of a prison, which townsfolk have taken to calling the House of Pain. As for the witchcraft, itself, frogs are stuffed down paralytic old men's throats, young girls vomit blood and nine-inch nails, a face flayed from a dead man's skull is conscripted into revealing the secrets it held onto in life, masks teleport unsuspecting redheads deep into the woods, the blood of innocent children is used to heal third degree burns, etc, etc, ad awesomeness! There are too many subplots to list in this bullet review, and I'm not sufficiently invested to detail them all, anyway. Suffice it to say, in this case, that regardless of the vast number of characters and ever-shifting allegiances, Salem is easy to follow, and is an absolute hoot to boot. Also, there are a ton of references to classic works of horror literature that have nothing to do with witchcraft, much less Salem (the aforementioned House of Pain, for instance, is a reference to H.G. Wells' The Island of Dr Moreau), which has the makings of a potentially fun drinking game for your more well read friends, should you have any. If you're looking for beautifully produced series with ambitions that don't go beyond delivering a massive jolt of entertainment with each episode, by all means, seek Salem out. Both full seasons are now available for download at a torrent server site near you. Enjoy!
As I wrote in the first part of this new ongoing Mediavore sub-project here at DDD, more and more people are consuming their entertainment in great, gulping binges. And yer old pal Jerky is no exception.
In fact, my recent attempts to go back and watch all the shows my friends wouldn't stop raving about over the past decade or so have forced me to watch not just seasons, but entire SERIES in marathon sessions. I'm particularly worried about my upcoming attempt to watch The Sopranos from beginning to end. That one's gonna hurt.
Anyhoo, my pain in this case is your gain, because today, I bring you the second installment of my bullet reviews for as many of those "must watch", "TV renaissance" shows. I'll try to fill you in on which are worth the effort, and which are just a waste of everyone's time. Enjoy! - YOPJ
TRUE DETECTIVE, (HBO), Season 2
Speaking of wasting everyone's time... what the fuck happened here?! Nic "Alphabits" Pizzolatto had the TV viewing public eating out of the palm of his hand after the unparalleled (if somewhat qualified) success of True Detective, Season 1. That stylish exercise in Swamp Gothic Neo-Noir left a churning sea of critical acclaim, ratings success, geek reverence and awards galore in its bloody wake... which is fine. Despite its pretty substantial failings (which I won't get into here), it nevertheless featured some killer cinematography, interesting ideas and undeniably great acting performances. Season 2, on the other hand... Oy. Okay, this season also featured some fine performances, key among them being Colin Farrell's and Taylor Kitsch's. It also had some intriguing imagery and a few genuinely thrilling sequences. Unfortunately, these few pleasures can't counteract the show's myriad problems, which include a complete lack of narrative cohesion, an incomprehensible tangle of seemingly unrelated subplots, and some of the most ridiculous dialogue ever to cross an actor's lips. Flow Factor: Bad. The first two eps are terribly slow. Things kick up a notch and reach a crescendo with the show's penultimate (and best) episode, but the finale drags it all back down to Failsville.
Superfluity Levels: NA
Binge-ability Index: More easily watched in one chunk than week-by-week, but that's not saying much.
Bottom line: Ersatz Lynch meets second-rate Polanski, trying way too hard and failing, big time.
***
ENLIGHTENED, (HBO), Seasons 1 and 2
Speaking of David Lynch, one of his favorite actresses, the supremely talented Laura Dern (and her mom, fellow Lynch vet, Diane Lane) stars in this lovely ode to the paradoxical emptiness/wisdom to be found in all the Self Help section of your local book emporium. But this Mike White-scripted series is about so much more than that. It's about contemporary workplace etiquette, the complexity of family and other intimate relationships, learning to accept yourself and others, warts and all... and despite being sincere and serious at times, it's also frequently hilarious and, yes... even occasionally enlightening.
Flow Factor: Watch the first episode first and the last episode last for both seasons, and watch the seasons in order, and you're good.
Superfluity Levels: None. It's all good and worth your time.
Binge-ability Index: Middle-high.
Bottom line: Fellas; introduce your gal pal to this show and score some serious Good Guy Points. Ladies; if you haven't heard about this show yet... you're welcome!
***
THE BRINK, (HBO), Season 1
Right up front, The Brink declared that it was trying to be a contemporary re-think of the Dr. Strangelove model, with three sets of characters in three different locales, all linked via potentially world-destroying international nuclear intrigue. And why not? Kubrick's satire is, after all, considered one of the greatest achievements in comedy film of all freaking time. And so, just like in Strangelove, we have a group of characters surrounding the President of the USA (with series star and producer Tim Robbins playing kind of a Fantasy Football version of the Secretary of State), a group of military men (a pair of pill-popping fighter pilots based on an aircraft carrier in the Persian Gulf) and Jack Black as a low-level embassy official "on the ground" in Pakistan as a series of coups and counter-coups take place.
Flow Factor: Moves along at a fast clip, each episode flowing into the next quite nicely.
Superfluity Levels: Admirably low.
Binge-ability Index: The short episodes and frequently over the top humor make this one an easy, breezy viewing experience.
Bottom line: Nowhere close to Kubrick, but political junkies (especially center/left) should get as much of a kick out of it as I did.
***
PARTY DOWN, (Starz), Season 1 and 2
Recommended by someone whose opinion I respect tremendously, I nevertheless found this catering industry-set sitcom to be only intermittently amusing, lazily written, and ultimately not worth the time needed to watch it. Which is kind of sad, because the performances by the series regulars playing wannabe actors earning a living slinging hors d'oeuvres and cheap sparkling wine are uniformly good. Adam Scott is suitably hangdog, Ken Marino is suitably hapless, Lizzy Caplan is suitably cute/conflicted, and Jane Lynch/Megan Mullally are suitably off-the-wall in their respective seasons. I mean, there are worse shows, to be sure. But I was expecting more from a creative team that included some of the Eastbound and Down gang and Paul Rudd.
Flow Factor: Nothing much happens. Characters don't evolve or change. Relationships all seem to be in stasis. The whole thing is oddly Limbo-like. Or maybe Purgatory?
Superfluity Levels: Off the charts. So many repeated beats and similar scenes taking place in only marginally different locales it begins to feel like an improv troupe doing their shtick on different nights.
Binge-ability Index: Low.
Bottom line: Maybe if you've worked as a caterer, you might get more out of this than I did.
***
BOSS, (Starz), Season 1
Chicago mayor Tom Kane (played menacingly by Kelsey Grammer) is diagnosed with a mental disorder that causes him to hallucinate, and which will ultimately kill him. He decides not to tell anyone, as he attempts to retain his monstrous grip on power. Kane is one of the most vile and corrupt public officials ever to be portrayed in fiction. We're talking Shakespeare level evil, here, with Kane seeming like a combination of Richard III and Macbeth. The human wreckage this character leaves in his wake is astonishing. Reputations are ruined, fortunes are lost, lives are snuffed out... this is a killer series.
Flow Factor: Awesomely addictive.
Superfluity Levels: Zilch.
Binge-ability Index: It's tough to stay immersed in such a vile milieu for extended periods of time, so two or three episodes at a time is the maximum I'm willing to recommend.
Bottom line: I haven't seen Season 2 yet, but based on Season 1, BOSS is one of the best premium cable dramas ever produced, and the fact that it was cancelled is almost as big of a loss as the premature abortion of ROME.
***
SILICON VALLEY, (HBO), Season 1
Beavis and Butthead creator Mike Judge strikes again, with perhaps his best offering yet, a half-hour sitcom set in various different success levels of the technology business. From the lofty heights of a Microsoft-like, ultra-slick "tech campus" to the lows of a suburban start-up "incubator" where the participants live and work together in an effort to both save money and increase productivity. Starting with Office Space, former aerospace industry employee Judge has shown himself to be an astute observer and keen critic of contemporary workplace dynamics, and here he unleashes his full satirical fury on a deserving subject.
Flow Factor: Excellent. The stakes start out high, and they keep on increasing, ratcheting the tension non-stop as the series progresses.
Superfluity Levels: Minimal, except for a stretch in the middle of season two, when a tech billionaire investor's shenanigans start to wear thin.
Binge-ability Index: Very high, especially thanks to its being a half-hour per episode.
Bottom line: A great ensemble cast in a fresh setting with an amusingly populist/postmodern sensibility make this one of the best ongoing TV comedies around.
***
BETTER CALL SAUL, (AMC), Season 1
I haven't seen more than 10 minutes total of Breaking Bad, but Bob Odenkirk has been one of my favorite human beings for a long time, now. Even his so-called "shitty" movies (Let's Go to Prison, The Brothers Solomon) have somehow managed to find a way to give me pleasure. So when he and his cohorts manage to pull together a series as impossibly perfect as Better Call Saul... well, it makes my heart swell with an odd combination of pride, jealousy, and a sincere wish that I could meet him in person just to say thank you.
Flow Factor: Perfect.
Superfluity Levels: Non-existent.
Binge-ability Index: Supreme.
Bottom line: The most "must see" TV show of all the "must see" TV shows that is still currently producing new episodes. Yes, that includes Game of Thrones.
***
VEEP, (HBO), Seasons 1, 2 and 3
What if Seinfeld's Elaine Benez somehow grew up to become the Vice President (and, ultimately, President) of the United States of America. That's it. That's the premise.
Flow Factor: Excellent.
Superfluity Levels: Minimal, with slight samey-ness early on in the second season. But it manages to pick up steam again pretty quick, and the third season is maybe the very best.
Binge-ability Index: Very, very good.
Bottom line: Elaine becomes Vice-POTUS. It really is as simple as that.
More and more people these days are choosing to take in their entertainment the same way bulimics take in food, devouring shows in great, gulping binges that leave them bleary-eyed, stiff-jointed, mentally foggy and utterly spent.
Yer old pal Jerky is no different. In fact, after years of being inexcusably lax in my attempt to stay on top of the whole "television renaissance" thing that everyone says we're experiencing, I have taken to watching not just seasons, but entire SERIES in long, marathon viewing sessions. With some of these shows stretching into five seasons, that is no easy feat, let me tell you.
Anyhoo, my pain in this case is your gain, because today, I'm going to clue you in as to which of these "must watch" TV shows really are "must watch" TV shows, which are just a waste of everyone's time, and all points in between. I hope you enjoy these short reviews at least as much as I hated watching some of these shows. - YOPJ
***
ROME (HBO), Seasons 1 and 2
This lavish American/British/Italian co-production launched that infamous homosexual catch-phrase: "You can Pullo my Verenus all day long!" Okay, so that's not technically true, but the testosterone runs thick through this series' veins. Maybe that's because of the intensity of Rome's central bromance between the aforementioned lead characters, Legionaries Verenus and Pullo, portrayed so winningly by Kevin McKidd and Ray Stevenson. Or maybe it's because the show was co-created by legendary Hollywood fascist John Milius, upon whom the Coen brothers based the character of Walter in The Big Lebowski. Rome served up heaping helpings of period detail with buckets of blood (and sex) to help wash down those history lessons. Sadly, despite being scheduled to run for 5 seasons, producers pulled the plug after only 2 because of how damned expensive it was to shoot. This is doubly tragic, because the decision to pull the plug came literally weeks before the first season DVD broke all previous sales records, and ratings for the last half of the second season exploded beyond anyone's wildest dreams.
Flow Factor: Excellent episodic flow. Must be watched in sequence. Superfluity Levels: Negligible. Virtually no repetition, constant narrative novelty. Binge-ability Index: Dangerously binge-able. Schedule breaks ahead of time so you don't caught in a 24-hour video vortex.
Bottom line: It's like Game of Thrones, only real.
***
GAME OF THRONES (HBO), Seasons 1, 2, 3, 4 and 5
It's like Rome, only totally made up. Everybody's favorite historical drama about shit that never happened, Game of Thrones is an absolute phenomenon, so I doubt I have to describe it to you except to say that the setting seems like a mix of Medieval Europe and Ancient Rome, while the behavior of the characters seems positively Ancient Greek, or even (gulp) Babylonian. Rape and brutality abound. And it's pretty fucking glorious, if you ask me.
Flow Factor: Decent, but the last season started to drag.
Superfluity Levels: Negligible. Not a whole lot of repeated beats, here. More like constant one-upping itself.
Bottom line: Probably the most must-see TV show currently on air.
***
THE WIRE (HBO), Seasons 1, 2, 3, 4 and 5
The Greatest Show in the History of Television by some lights. It's definitely the finest police procedural show ever produced, and it's also definitely one of the most relevant socially conscious dramas ever produced. Depending on your personal politics, your mileage may vary, but as far as I'm concerned, The Wire's reputation is well deserved. Even the "worst" episode is better than the best of most network - and even a lot of premium cable - offerings.
Superfluity Levels: Zilch. This is a show that is constantly evolving and changing.
Binge-ability Index: Nigh unto Game of Thrones levels.
Bottom line: The most "must see" of all the must see TV shows of the last decade and a half. Easily out-Sopranos The Sopranos.
***
AMERICAN HORROR STORY, (FX), Seasons 1, 2, 3 and 4
MURDER HOUSE
Freaky-deaky goings on in a beautiful old house that has seen more than its fair share of diabolical and dastardly doings. A bit uneven, but the novelty works in its favor, so make this the first season you watch.
ASYLUM
Excellent swirl of horror movie tropes, as escaped Nazi scientists breeding monstrosities while aliens and super-genius serial killers do their thang. I was hopelessly addicted to this, what I consider to be the best, of the four seasons so far.
COVEN
Barring a few fine performances and a few good ideas, the inclusion of a Franken-Fratboy and Stevie Nicks dooms this season as undeniably the goofiest, fail-iest season of this popular franchise. I recommend skipping.
FREAKSHOW
An excellent return to form, with one of the creepiest show openers in TV history, ranking up their with the original Twilight Zone montage. If clowns freak you out, you're gonna love this one. Also, freaks!
Flow Factor: Each season throws so many ideas at you that you never have time to be bored, and things never feel like they're getting stale or samey.
Superfluity Levels: Coven suffers a bit from "we've already been down this road" syndrome, but the other series keep the freshness levels elevated at all times.
Binge-ability Index: Totally binge-worthy. Sticks in your head, too, so you don't have to watch them all in one big gulp.
Bottom line: Two excellent seasons, one good season, and one shitty one. Bring on AHS: HOTEL!
***
DAREDEVIL (Netflix), Season 1
Marvel's blind avenger Matt Murdock gets his first TV outing since a guest appearance on The Incredible Hulk in the early 80's. Also, Gomer Pyle plays a way too emo and somewhat under-weight Kingpin in a performance that makes him seem more like a PG-13 version of Richie Rich's dad than the Wilson Fisk of comic book lore.
Flow Factor: So-so. The jumping back and forth in time that the first few episodes indulge in make them a bit of a slog, as we're constantly taking a break to learn what we already knew about what was going to happen to Matt's doomed, boxing loser of a dad. Punch-punch, kick-kick, flashback.
Superfluity Levels: A great many of these episodes feel like repeats of previous episodes. Way too many fight scenes that look exactly like the previous half-dozen fight scenes. How much punishment are we supposed to believe one man can take before he requires hospitalization and a few months off to recuperate?!
Binge-ability Index: Moderate. The sameness gets to you after a while.
Bottom line: Meh.
***
ORANGE IS THE NEW BLACK, Seasons 1 and 2
Criminal Lesbians on Parade! What's not to like?
Flow Factor: Good.
Superfluity Levels: I never got bored, and loved learning the backstories behind all these lovely ladies (and the one lady with a little something extra). It really kept me coming back for more.
Binge-ability Index: High to Extreme. I never thought I'd become addicted to a show like this. But I did.
Bottom line: Maybe the ultimate couples' binge series.
***
THE JINX, (HBO), Season 1
A six-part documentary series with all the surprises and high drama of good fiction. Hard to believe it's true, but apparently, it is.
Flow Factor: It's short, so, quite excellent.
Superfluity Levels: Zero. It doesn't have time to become superfluous.
Binge-ability Index: Maximal.
Bottom line: If you like true crime documentaries, this is for you.
***
TRUE DETECTIVE, (HBO), Season 1
The cosmic horror and dread of H.P. Lovecraft, the nihilistic anti-human philosophies of Thomas Ligotti, the frills and chills of Robert Chambers' The King in Yellow, Southern Gothic inbred serial killing Christian fundamentalist legacy families... and two of the finest performances of the last decade in ANY medium, in a somewhat over-written and ultimately disappointing must-see masterpiece of wasted opportunities.
Flow Factor: Starts slow, but mesmerizing if you're attentive and invested. Eventually picks up steam.
Superfluity Levels: Low.
Binge-ability Index: Yeah... quite good.
Bottom line: Again, your mileage will vary depending on how well read you are in the sources from which Pizzacollatamundo (or whatever his name is) has so liberally and shamelessly plagiarized.
***
HAPPYISH, (HBO), Season 1
Steve "Alan Partridge" Coogan steps in for a suicided Philip Seymour Hoffman in this edgy, sophisticated, but still raunchy and occasionally ridiculous dramedy.
Flow Factor: You could easily watch these episodes out of sequence (bar the final one) and not lose any story value.
Superfluity Levels: Medium. A running gag with the Kiebler Elves starts to lose its sting towards the end.
Binge-ability Index: Medium.
Bottom line: This one was cancelled before the final episode aired, I believe. There's a reason for that. Anyway, I enjoyed it.
***
OTHER SPACE, (Yahoo!), Season 1
The creator of Freaks and Geeks (among others) launches this Yahoo!-funded sci-fi parody web-series with a little help from some familiar faces, including two Mystery Science Theater 3000 alumni (Joel and Trace).
Flow Factor: Pretty good.
Superfluity Levels: Negligible.
Binge-ability Index: This was like the purest crack rock for yer old pal Jerky's sensibilities.
Bottom line: The least likely series you're ever likely to find yourself in love with. It certainly helps that three of the cutest gals in the galaxy are along for the ride. Yowza!
Reading the Wikipedia page for Patrick McHale's latest animated series, Over the Garden Wall, I am struck near dumb by the almost universal lack of critical acknowledgment that this magnificent accomplishment in animated narrative is receiving.
I will be brief. This series deserves every single award given to animation, fantasy, storytelling, music and what have you that there are out there to win. This is a singular achievement, certainly bound to become a timeless classic, forever cherished as long as there are human beings with beating hearts in their chests, more than a handful of brain cells to rub together, and some kind of medium via which it may be experienced.
If you have yet to watch it, kindly do so NOW. Also, be sure to share it with everyone you love. If this show's creators were to ask me to provide a blurb for the DVD packaging, it would be this: "Legit and bona fide!"
The Powers That Be seem to have something against it for some utterly mysterious reason. Perhaps, in time, that will become part of what makes it so incredibly special.
Premiering on BBC3 in February of 2006, at the tail end of the glorious, decade-long New Comedy tidal wave that swept across the UK, Matt Berry and Rich Fulcher's semi-sketch, semi-narrative, pitch-black TV comic oddity Snuff Box represents either the crest or the trough of that wave... depending on who you ask.
Here's the set-up, such as it is: The couldn't-be-more-British Berry - a whiskey-loving scoundrel with a rapist wit (no, really) and a silky smooth baritone vox - is employed as High Executioner to the King of England. He also may or may not be a direct descendant of Jack the Ripper. Fulcher - a moon-faced, socially awkward American with poor hand-eye coordination and a penchant for profoundly inappropriate bursts of surreal profanity - has somehow weaseled his way into a position as Berry's assistant, not to mention adjunct membership in the posh Hangman Gentleman's Club where much of the series takes place.
Although the two men couldn't be more different, the way they play off each other serves as both an excellent example and a postmodernist deconstruction of the stereotypical Brits-versus-Yanks dynamic.
For instance, while Berry clearly sees himself as an alpha-type upholder of certain manly virtues, he is also a broken human wreck. Whether he's being bested at fisticuffs by a mincing Negro tailor, pompously failing miserably on a trivia-based game show, or violently bullying old ladies and small dogs, we sense in Berry a certain resigned nihilism, nourished perhaps by a deep current of post-Edwardian melancholy at the loss of Empire... like James Bond with a gammy leg and acute alcoholic hepatitis.
Fulcher is equally monstrous, but for entirely different reasons. A rampaging Id to Berry's unctuous Super-Ego, Fulcher is a virtual whirlwind of bewildered frustration, a middle-aged man-child of apocalyptic ignorance whose gross incompetence is so incomprehensibly profound that Berry's mediocrity shines like gold in comparison. Hence their undeniable chemistry.
To the extent that Snuff Box is known at all, it's mostly through a couple of set pieces - unrelated to the overriding story arc - that became viral videos, chief among these being the brutal "Boyfriend" sketches...
...and the comparatively delightful "Rapper with a Baby" sketch.
This is unfortunate, because although the above sketches are very funny, they barely hint at the ice-cold, pitch-black perfection of the show from which they've been excised. There are moments in Snuff Box, such as a Mac versus PC argument that takes place literally on the gallows, that border on the Satanic.
In case you're wondering, that is as unqualified a recommendation as you're ever likely to get out of yours truly.
So go out and buy Snuff Box, which is now available on DVD in North America with a bunch of excellent extras, including a CD of Matt Berry's wonderful music created especially for the series. If you don't like it, you can always just donate it to the nearest orphanage. What with the population crisis getting so out of hand, God only knows we could use a few more serial killers around.
Anyone and everyone who might ever wander onto this blog owes it to him-or-herself to check out Too Many Cooks, a short film that recently debuted on Cartoon Channel's [adult swim] programming block. It's a work of absolute demented genius on so many levels, I'm not even going to bother trying to catalogue them all. Just let it wash over you, and enjoy.
