I want Anthony Bourdain and Karl Pilkington as travel/life companions.
Update: If you’re too behind to join in for the last episode of Downton Abbey (PBS), don’t despair, just make sure you catch up before the second season. That’s right; thanks to critical acclaim and great ratings, the period drama has been renewed by the BBC!
This week sees the second season premiere of one of my favorite comedies from last year, Archer. Check it out if you’re into spies, animation, and awesome, if not necessarily in that order. I just watched the first episode of Ricky Gervais’ travel show satire, An Idiot Abroad, this week, and I highly recommend it. Starting with “China,” last week’s installment, each episode captures a Wonder of the World from the perspective of a naive, ignorant Englishman named Karl Pilkington. I’m also going to take a look at the new IFC sketch show, Portlandia, which skewers liberal culture. The first episode was supposed to be mediocre but word is that the season improves as it goes along.
Thursday: NBC Thursday Night Comedy Done Right- Community “Celebrity Pharmacology 212,” Parks and Recreation “Flu Season,” The Office“The Seminar,” 30 Rock “Operation Righteous Cowboy Lightening;” Archer (FX) “Swiss Miss“
Since one of my favorite shows is currently being remade by MTV, sparking all sorts of fun controversy, I thought I’d start re-capping each episode for my new feature, Episode by Episode. Each installment of this feature will compare and contrast the American episode with its British fore bearer. This approach might not be entirely fair to the American version, but hey, hard to feel bad when the pilot was practically a shot for shot copy of the original. Before reading my analysis of these episodes, be sure to check out my Skins (E4) Television You’ll ♥ post, which provides helpful context for the series. Catch up with a rerun of “Tony” and follow along with Skins (E4) Vs. Skins (MTV) via Netflix Instant and Monday night MTV programming.
Every episode of Skins focuses on a different character in a group of friends, and the first episode revolves around Tony. Said clique includes Tony, a cocky, charismatic stud, Michelle (“Nips”), Tony’s hot doormat of a girlfriend, Sid/Stanley, Tony’s lovable loser best friend, the fun-loving but unmotivated Chris, the sunny/crazy?, anorexic Cassie/Cadie, the talented gay/lesbian Maxxie/Tea, the hard-working Jal/Daisy, the immature, sex-crazed Anwar/Abbud, and Effy/Eura, Tony’s mysterious, hard-partying little sister. Sure that sounds complicated, with the differences between the two casts, but you’ll get a grasp of the characters fairly quickly. Below, I have once again embedded the YouTube video featuring the series of great credit sequences from the first five Skins (E4) seasons to give you a feel of the show’s tone.
SYNOPSIS
After having rescued his little sister from the wrath of her parents after a long night out, for what appears to be the umpteenth time, Tony spends his day trying to get his virgin best friend, Sid/Stanley, laid. At first, Tony teases his girlfriend, Michelle, and Sid/Stanley, pretending to hook them up for his own amusement. But then, a fawning student from the nearby private all-girls’ school invites Tony to a party after having heard him audition for her choir. Tony decides this is the perfect opportunity to set Sid/Stanley up with the promiscuous, slightly off Cassie/Cadie, the only girl who would supposedly have him. Tony convinces Sid/Stanley that the night requires week in order to be successful, giving him a drug dealer’s address and the responsibility of buying the drugs. At the crazy drug dealer’s, which turns out to be some kind of suburban brothel, Sid/Stanley gets pressured into purchasing three times the amount of dope he had originally intended, which comes at a high monetary and, potentially, physical price. Eventually, night falls and Tony, Michelle, Sid/Stanley, and Cassie/Cadie, make their way to the party. A potentially romantic moment between Sid/Stanley and Cassie/Cadie is interrupted when the latter passes out, due to an overdose. Meanwhile, the other half of their group of friends turns up fashionably late, having decided to ditch a somehow lame gay/lesbian party. A fight picked by the rambunctious latecomers erupts, only to be broken up as swiftly as it began when Sid/Stanley informs them of Cassie’s/Cadie’s overdose. Panicked, the crew quickly assembles, steals a car outside, and floors it to the nearest hospital. On the way, Cassie/Cadie miraculously wakes up, much to their relief. To celebrate, the teens park at the edge of the water and start looking for skins (rolling papers) in order to to take advantage of Stanley’s/Sid’s stash. One false move sends the car careening over the side and into the water, sinking the weed and the vehicle, but sparing the soaked group, who then dejectedly walk back to their respective homes.
America, fuck yeah!
THOUGHTS
The pilot’s plot may feel ripped out of the American Pie handbook for lazy writers of teen fare, but there is much more to this episode, and Skins as a whole, than the current controversy surrounding the show would suggest. The first of Skins‘ stories is told from Tony’s perspective, an appropriate choice considering that the magnetic teen is the nucleus that holds his ragtag group of diverse classmates together. Although he often comes across as a manipulative little shit, the writers do a good job of endearing him to the audience straight away, hinting at a special relationship between Tony and his little sister, Effy/Eura, in the first episode. Hey, it’s like Colin Firth’s Darcy in Pride & Prejudice! Sorry, I couldn’t help pandering to my audience. Sure, Tony can be insufferable but he’s also a bored big fish in a little pond, an attractive kid too smart for his own good, without the conscience, good sense, or maturity, to use his powers for good. So in the meantime, he pulls others into his orbit, and despite his selfishness ways, they can’t help giving in to his charms.
In addition to fleshing out the character of Tony, the episode succeeds by efficiently illustrating the chaotic yet touching dynamic between the series’ central group of friends. Yes, members of the clique get one another into a lot of trouble at times, but they also complete one another. From the party scenes, the audience can gather that this ragtag bunch may not seem to make sense at first glance, but they certainly don’t fit in with the preppy, homogeneous rich kids various characters end up pissing off and fighting. The bond these outsiders have forged is suggested throughout the episode.
In the beginning of the pilot, Tony makes phone call after phone call to his friends, relying on them for help with the Sid/Stanley situation. During the school day, a large contingent of the group discuss the plan, their closeness depicted in the way they assemble, be it in a circle on the lawn (E4) or crowded into a bathroom stall (MTV). The episode ends with friendships reaffirmed after the near catastrophe. Cassie/Cadie is safe and sound, having been rescued by her friends. Everyone walks back together (hand in hand in the case of Michelle and Cassie/Cadie, in the original) from the scene of the crime. Best friends Tony and Sid/Stanley reflect on the previous day’s events side by side in bed, a scene introducing one of the most important relationships in the series, further evidence that the series may attract viewers with its sex and drama, but the core friendships between the characters is more important to the writers.
Tony Snyder (MTV)
SKINS (E4) VS. SKINS (MTV)
Just as everyone predicted, the remake of Skins didn’t exactly measure up, but the original certainly set high standards. Let’s just say that if I chose a winner week to week, I have a feeling Skins (E4) would boast an undefeated record at the end of the season. Nevertheless, let’s kick the brutal contest off on a positive note. MTV got the edgy, current soundtrack and wardrobe of the show right. Even more promisingly, the young writers at the helm of the remake seemed to grasp the concept of incorporating surreal, quirky touches into the scripts in order to elevate the plots. For example, the bathroom scene really benefits from Chris’ consistent spraying of air freshener to mask the smell of smoke. The huge wolf mural in his room where he has pitched his tent, literally as well as figuratively, was also particularly inspired.
Now let’s get to some real criticism, shall we? This blog is already too positive as it is. First off, where the hell is the kick-ass credits sequence? Sigh. That better show up at some point. That said, the common complaint I have read about Skins (MTV) is the young actors’ inability to embody their characters believably. I agree wholeheartedly when it comes to about half of the cast. True, everything sounds better with an English accent, but these American actors are going to really have to step up their game if they want to sell Skins ridiculous lines and slang. The teenagers in Buffy the Vampire Slayer had their version of Valley Girl-like dialogue (Buffy Speak) while the young leads of Dawson’s Creek had their hyper-articulate speech. I can’t even try to describe the words that come out of the Skins characters’ mouths, and no, it ain’t Shakespeare, but I would argue that it takes some especially impressive acting chops to convincingly perform that dialogue.
It was interesting to realize that my favorite performances were those of Rachel Thevenard (Michelle) and Jesse Carere (Chris), when I didn’t always connect to their characters in the first series. The actors’ lines and performances had the right balance of edginess of sweetness, which is necessary if the characters are to invoke audiences’ interest as well as empathy. Based on my first impression, the women are too uniformly hard and kind of bitchy, which makes them seem unlikable. I mean, what happened to Cassie/Cadie? Her character worked because of the duality of her personality: simultaneously positive, to a literally crazy extent, and depressed. Hopefully, their individual stories will add dimension to their characters. The greatest hurdle Skins (MTV) will have to overcome, however, is one of its weakest links, acting-wise, who just so happens to play the series’ most important character, Tony. Hopefully, James Newman will grow into the role, because Tony’s evident ability to attract and influence around him really drives the show’s plots and cements the friends together. The character just doesn’t work if the actor embodying him tries too hard or lacks that magnetism, one of the reasons why the original Tony, Nicholas Hoult, is currently transforming into a full-fledged movie star.
Tony Stonem (E4)
From the little I’ve seen, I’m not thrilled by the complete replacement of Maxxie’s character with Tea which, for some reason, meant great dancing scenes needed to be substituted with…lazy cheerleading sequences. OK, I appreciated the Bluetooth touch and get that *shocking* she’s a lesbian, but even if you’re subverting it, hasn’t the cheerleader character type been done to death at this point (I’m looking at you, Hellcats, Glee, etc.)? At least Skins (G4) seems to be continuing its predecessor’s legacy of introducing young, complex homosexual characters to viewers. I was disappointed that the new episode of “Tony” cut a scene where Chris and Anwar/Abbud endearingly accompany Maxxie to a gay bar. But to continue my mourning of Maxxie, his too infrequent invocations of Fred Astaire infused some real style and class in the show. Without them, the remake already lacks some of the artistry of Skins (E4). Plus, I’m not sure if there were any issues regarding licensing fees, but having Tony sing the innuendo-laden “Let’s Do It, Let’s Fall in Love” to the choir girls instead of “On the Street Where You Live” mistakenly made an originally charming scene cheesy.
Altogether, the extent to which MTV copied E4′s original pilot seems a bit lazy, but I’m not sure of how I feel about some of the changes they did make to the series. For its already provocative reputation, Skins (MTV) has already made some poor choices in the attempt to clean things up for American shores. From the first scene, I was captivated by Skins (E4).Tony’s bizarre bedspread, featuring a naked man and woman, set the tone of the series and established an impressive amount of character development in one shot. I’m not saying that MTV could or should have copied this detail for their pilot. But, come on, they could have come up with something better than spiders. Look, Tony’s all big and bad with his bedspread from Animal Planet!
In general, Skins (MTV) seems like a freshly scrubbed version of the original, despite its best efforts to rough things up a bit. Teenagers connected with Skins (E4) so fiercely because they saw their world reflected back at them. The houses, rooms, and school resembled their own, instead of expertly arranged, high-budgeted sets. While it certainly wasn’t Gossip Girl by any means, Skins (MTV) would do well to remember that this is a grittier show; the audience should be encouraged to live vicariously through the characters’ hard-partying behavior and relationships, not their surroundings. For instance, instead of setting so many scenes in school, I would have set them in other locations and outside as much as possible, like in the original. As Cassie expresses in my selected quote from the episode, above, which was unwisely cut out of the remake, these teens are more restless than rebellious. Conventional settings like high school stifle the wildness inherent in young people, a trait Skins effectively acknowledges.
MTV seemed to replace the original’s grittier sets with…colder weather. I preferred the juxtaposition of lower middle class surroundings and sunshine, myself. The second scene from Skins (G4) that made me an instant fan was a very simple one involving Cassie jumping her little heart out on a trampoline. The morning after the party, the sun shone brightly on Cassie and Sid as they lay down next to one another and talked on the trampoline, still wearing their going out clothes from the previous night. Unfortunately, the remake has the scene taking place at night during a snow fall. For me, the scene was originally so successful because it’s always so surreal to see the sun rise after you have stayed up all night partying. The light contrasts with their smudged makeup and rumpled clothes while giving the budding friendship between Sid and Cassie a sense of warmth and honesty.
After having seen the first episode of Skins (MTV) I’m going to continue to watch and re-cap for the foreseeable future because its shortcomings make me appreciate its predecessor even more, plus I’m genuinely curious to see its take on the characters’ stories in their entirety. Gonna try to keep an open mind. Heaven help me.
This post is dedicated to Liz, a much appreciated Her Queue supporter and friend with whom I saw Easy A for the first time. “…just know I hate you, bitch. Go get your chocolate milk.”
A vlog on a blog.
Olive Penderghast: Let the record show that I, Olive Penderghast, being of sound mind and below average breast-size, swear to tell the truth, the whole truth, and nothing but the truth… starting now.
2010/rated: pg-13/written by: bert v. royal/directed by: will gluck/starring: emma stone, amanda bynes, penn badgley/genres: comedy, romance/movie is: witty, goofy, raunchy, moving, thoughtful
In Easy A, an average, under-the-radar high schooler accidentally attracts unearned notoriety once untrue rumors of her supposed sexual escapades begin to spread. Horror at the disparagement of her good name proves temporary, however, once Olive realizes that she can take advantage of her new reputation. No longer anonymous, Olive basks in the attention she begins to receive. Not only that, but Olive chooses to perpetuate the rumors for others in need of some street cred, a choice that proves both philanthropic and lucrative. Once anger towards the most judgmental reactions drive her to go all in, however, things start to spiral out of control for Olive. Easy A not only elicits laughs, but introduces an appealing and complex, but flawed heroine who faces struggles and growing pains that women can relate to.
Easy A is a brilliant addition to the teen movie genre, a category the filmmakers undoubtedly respect, given the film’s content and blatant shout out to the famous series of ’80s features directed by the late, great John Hughes. Easy A succeeds in recapturing the magic of two other well-made, female-focused coming-of-age tales, Clueless and Mean Girls, by taking full advantage of the medium, making every sequence and line count. Every instance of teen angst and genuine pathos is balanced by witty and raunchy dialogue typical of groups of girlfriends, whether their parents and male peers know it or not. The protagonist, herself, Olive, is clearly hilarious, intelligent, and sharp, but her wit hides some deep insecurities; Olive feels invisible in comparison to her showier and louder female classmates. Like other teen movie characters trying to survive their hierarchical, cliquey high schools, Easy A‘s leads are constantly comparing themselves to their fellow students and evaluating the images they project.
The best female-driven comedies focus on friendship and Easy A follows suit. Olive and Rhianne bond, banter, squabble, meddle, and compete with one another, just like typical best friends. Easy A realistically depicts the ups and downs experienced by female friendships, exacerbated by the hormones, neediness, boredom, and self-doubt prevalent among adolescents. While I fear that romance and family get better raps in Easy A than friendship, I respect the fact that the relationship between Olive and Rhianne is as relatable and imperfect as it is.
All successful comedies, in fact, take advantage of their ensembles of characters, writing memorable figures, entertaining interaction, and meaningful dynamics. Meanwhile, Olive’s friend, Brandon, thankfully serves an actual purpose in Easy A, instead of merely filling the role of token comic-relief gay. Brandon acts as a foil for Olive, facing similar, but more serious, self-image and social struggles. Their relationship is both heart-warming and effective. Olive and Brandon open up to one another about their surprisingly comparable problems, giving them each of them a chance to vent, commiserate, and gain some perspective. While I’m a fan of Olive’s friends, I have to voice my disappointment regarding her enemies, although Marianne eventually displays some redeeming qualities,. The popular, cartoonish, religious characters that always seems to show up in these kinds of movies, meant to appear pathetic, hypocritical, and villainous, need to be retired. I’ve never met anyone like Marianne and Micah, thankfully, because if I did, they would just annoy the shit out of me the way they do on screen.
The ways in which entertainment marketed for teens often portrays adults frequently receives criticism. Too often, they are either totally dysfunctional, tragically behind the times, or totally absent. Several of the adults in Easy A are like breaths of fresh air to those of us who appreciate some variety in the depictions of supporting characters. Sure, the principle and school counselors are deplorable characters who have no business actually instructing children, but Olive’s favorite teacher is open, perceptive, and helpful. Furthermore, I don’t know how realistic Olive’s family is, necessarily, but they are utterly unique and delightful. Simultaneously supportive, wise, cool, and fun, Olive’s parents have clearly been positive role models in Olive’s life. Their open, honest approach to parenting even allows Olive to eventually come to them with her problems. Not only does Easy A give props to the millions of loving families in existence, but it argues that even well-adjusted children with active parents can get in over their heads and engage in self-destruction from time to time. One of my favorite things about Easy A is the way in which Olive learns that adults are actually just real people who have lived longer than she has, with their own flaws and complicated histories, an odd, eye-opening realization every youth eventually comes to during maturation.
Friends and family are not the only influences in Olive’s life guiding her through adolescence. The script peppers Olive’s speech with numerous literary, film, and television references not only to curry favor with today’s teens, but to comment on the extent to which young people turn to pop culture to teach them about life. Olive even expresses disappointment when her love life doesn’t reflect the happy endings she sees in the movies. On the road to maturation, the arts and entertainment mislead Olive. Nevertheless, the fact that she uses Nathaniel Hawthorne’s novel, The Scarlet Letter, to make sense of her problems and rebel against social conventions reveals the benefits of a liberal arts education, regardless of how dangerously far she eventually takes her conclusions.
Easy A updates teen comedies by exploring the themes of female sexuality and technology. The film frankly depicts some of the issues young women face as they begin to discover and express their sexuality. Alternately progressive and conservative, Easy A both empowers and cautions its young audience in regards to sex. The filmmakers have so much to say about the subject that the message sometimes gets muddled, but Olive exhibits a rational, healthy attitude about sex by the end of the movie. I would have liked the movie to have been less puritanical in regards to what is and what is not appropriate sexual behavior for women, but I understand that they had to suppress their feminist leanings in order to responsibly address the youngest, most impressionable members of their audience. Furthermore, I thought that the movie’s love story was sweet but fairly unnecessary. The romance felt tacked on to cater to the female audience since we are, of course, incapable of buying a ticket to a movie unless we are promised some monogamous make-out scenes.
CAUTION: EASY A SPOILERS FOLLOW
Easy A also addresses the perils and benefits of communication. The movie appeals to young audiences and strives for relevancy by doing so using technology adopted and coveted by teens. On the one hand, Easy A illustrates how cell phones and the internet accelerate the rate at which gossip about Olive spreads throughout the school. On the other, Olive regains control of her reputation by recording and publicizing her side of the story. The film’s structure is dictated by Olive’s webcam footage, which allows the writers to convincingly reveal her innermost thoughts and increased sense of self-empowerment. In these ways, Easy A depicts the pros and cons of modern communication technology.
On a related topic, Easy A both praises and questions the value of honesty as a virtue. In some instances, characters who speak and behave dishonestly are clearly in the wrong. The ethics of other situations, however, are less black and white. For instance, is Olive in the wrong when she perpetuates lies in order to help others? Should Brandon temporarily live dishonestly in order to get through high school harassment-free? Although she hurt her teacher by informing him of his wife’s affair, did she ultimately do the right thing? Regardless of whether or not honesty is an absolute value, the truth sets Olive free in the end. Seeking peace, Olive turns to Church for forgiveness but winds up admitting to her sins in an empty confessional. While admitting her mistakes to herself does some good, her lies continue to plague Olive. At this point, she knows that the only way to unload her burden and get her life back requires confessing to an actual audience. For this reason, Easy A ends the way it began, via vlog.
Thanks, movie, for making me feel awkward for logging in from now on.
Mark Zuckerberg: I need to do something substantial in order to get the attention of the clubs. Erica Albright: Why? Mark Zuckerberg: Because they’re exclusive and fun, and they lead to a better life.
2010/rated: pg-13/written by: aaron sorkin (screenplay), ben mezrich (book)/directed by: david fincher/starring: jesse eisenberg, andrew garfield, justin timberlake/genres: drama, biography/this movie is: cerebral, witty
Initially a subject of ridicule rather than anticipation, The Social Network recalls the creation story of Facebook. Recipient of the 2011 Golden Globe for Best Drama, the film transcends its dull-sounding premise. Interpreting The Social Network as a movie about a website would be incredibly reductive. Instead, the film is actually a compelling biography of Mark Zuckerberg, retelling the rise…and, well, continued rise of the youngest billionaire on earth. The title refers to the product that led to the Harvard computer science student’s wealth, an addictive, incredibly popular social networking website. At the same time, its title also refers to the movie’s focus on the relationships between Zuckerberg and various members of his social network, recalling the ways in which others contributed to the invention of Facebook. According to The Social Network, a socially awkward nerd started a multi-million dollar company by demonstrating incredible intuition about other people. The filmmakers go on to argue that the success of Facebook is due to Zuckerberg’s ability to interpret and meet others’ needs as well as cunningly exploit the valuable relationships he forged at Harvard. Like many other success stories, this one highlights the complicated interplay between ambition and ethics, which either ultimately inform or threaten one another for an individual on his or her way to the top.
The Social Network re-energizes the biography genre, bringing the sometimes staid category of filmmaking into the twenty-first century. Given that he is young, rich, and controversial, Mark Zuckerberg makes for a current and enticing subject. From the get-go, the idea for which Zuckerberg is famous, Facebook, was embraced by the nation’s youth, unsurprising since he based the user experience on the most appealing elements of college life. Handsome, youthful actors trade sharp, witty lines while a Golden-Globe winning original score composed by rocker, Trent Reznor, lingers and thumps in the background. Decadent party and club scenes rife with drinking, sexuality, and drug usage are directed as if they could have been lifted from music videos. Throughout, the movie adopts the dark, edgy, pulsating tone popular in modern filmmaking. That being said, The Social Network hardly prizes style over substance. The actors skillfully embody well-written characters while the script tackles important, universal themes like ambition, ethics, power, and responsibility.
Earning a diploma is important to the average college student in varying degrees, but socializing often gets in the way of excelling academically. For some students, it is jobs and family that get in the way. For the characters featured in The Social Network, however, it is ambition itself that proves to be the greatest temptation and highest priority. In their cases, this is not the kind of ambition that leads to all-day cram sessions. The characters, in their late teens and early twenties, take young ambition to a higher level, shoving studies, parties, and relationships aside in favor of entrepreneurship.
The Social Network is, in fact, your typical college comedy raunchfest set in an alternate reality. The prestigious setting of Harvard University is introduced via night-time establishing shots instead of a sunny campus tour. The relatively recent date of 2003 grounds the story in the specific instead of the universal. Student scheming manifests itself in brainstorming and manipulation meant to forge career paths instead of impress fellow students. Instead of a charismatic, slacker-type, appealingly atypical big man on campus as lead, the role goes to Mark Zuckerberg, an awkward misanthropist obsessed with ensuring himself future success instead of living happily in the moment. Rather than help fellow students achieve their goals of inebriation and fornication like Van Wilder, Zuckerberg majors in self-betterment. The typical college shenanigans are used for context and color but relegated to the background. While parties and bars hint at future opportunities for pleasure-focused luxury, the leads primarily avoid temptation, choosing instead to spend their time making business decisions and staying “wired in.” Principle characters most often drink beer while hard at work writing computer code. Lack of sleep is due to programming instead of partying. Women do not have to be chased; to the contrary, they fall into the characters’ laps, drawn by success. The promise of power and prestige that follows membership into a secret society, a college movie cliché, ends up paling in comparison to mere association with Mark Zuckerberg.
Ordinarily, this amount of passionate dedication to work and invention would be more of a fable than the cautionary tale it turns out to be. As part of their curriculum, many college professors try to inform their sometimes sheltered students about the struggles endured by less fortunate segments of society, hoping to inspire the privileged to use their power for good. Nevertheless, this encouragement often falls on deaf ears. Many students fail to recognize college as a chance to learn invaluable life lessons. Instead, they don blinders to shut out everything around them, meanwhile limiting their focus to opportunities for future self-benefit. As a result of this philosophy, Mark Zuckerberg’s fellow students learn much more from him than they learn from their professors. In the end, college forces them to question the goodness of humanity, instilling a life lesson that could not have been indoctrinated any more harshly.
Like many films centered around powerful male characters, The Social Network has attracted some criticism from feminists. According to some, the female characters are two-dimensional stereotypes pushed to the sidelines. Firstly, I’d argue that the movie doesn’t exactly paint instances of male competitiveness in a great light. In response to criticism regarding the female characters, I agree that some of the promiscuous “Facebook groupies” are not exactly the best examples of womanhood. Still, they serve a purpose in the story and could have very likely existed in Zuckerberg’s life. Furthermore, I considered two of the female characters to be two of the most compelling in the whole movie. Erica Albright, Zuckerman’s ex-girlfriend, and Marilyn Delpy, a lower level law practitioner sitting in on Zuckerberg’s deposition are outsiders whose moral compasses call attention to other characters’ seeming lack thereof. Erica may not get a lot of screen time but her contribution to the story is significant. Sure, Albright is the catalyst that jump starts the plot, but her intellect and wit put her in the same league as any of the male characters. The interesting, almost surreal, interaction between Marilyn Delpy and Zuckerberg certainly enables the filmmakers to humanize their subject but Delpy makes an impact of her own accord. In their conversations, Marilyn is simultaneously a therapist figure capable of drawing out Zuckerberg’s innermost thoughts and a surrogate for the audience. In retrospect, Albright and Delpy are notable in the sense that their barbs are among the few things that actually seem to rattle Zuckerberg’s confidence.
Enjoy your moment, Glee, while it lasts. No, I'm not bitter.
Stop wasting the money you pay for cable on crap. Record these. Trust me; I’m an expert.
To begin, I’m hesitantly adding the premiere of Skins (MTV) to the roster this week, though I obviously can’t guarantee its quality. Despite my reservations, checking out the American remake of such a great teen drama is worth it for me, at least for the curiosity factor. I’m hoping the inevitable mangling is at least more amusing than painful, when all’s said and done. But let’s get to what’s what. Thank goodness for new episodes of Community and Parks and Recreation; I was starting to fear I’d never learn to love again. The Hollywood Foreign Press and their stupid award can suck it; in terms of consistency and, well, clear awesome, these two shows are the best comedies on television, bar none. So good, in fact, that it honestly saddens me that people pay their cable bills every month, happily lining Charlie Sheen’s pockets, while missing out on an hour of mediocrely-rated, yet priceless, entertainment every week. Give Community and Parks and Recreation a try at some point, if not for me, for the poor NBC executives who are forced to face the fact that they work at the #4 network everyday. Every. Single. Day. I usually also watch The Big Bang Theoryon Thursdays but it’s really been unimpressive lately. It’s going to really have to work for it if it wants to get back into my good graces.
To make up for my groveling, I’ll now take a moment to admit my shame, for the sake of your enjoyment. I’ll probably tune into American Idol and Live to Dance. No, I’m not proud. I have to deal with my So You Think You Can Dance withdrawal somehow. Don’t judge me! It’s not like I’m admitting to watching Dancing with the Stars. That’s not a winking statement; I may watch some cheesy stuff but even I wouldn’t be caught dead watching that living corpse of a program.
OK, so I lied. As soon as I finished writing my Lovechair Critic post about awards season, I knew I’d go back on my word and have to put my two cents in about this year’s Golden Globes nominations for Best Picture-Drama and Best Picture-Comedy or Musical. Sigh. Watching these things can be like watching a car crash at times, but I certainly can’t refrain from commenting in either circumstance. That’s a terrible simile. Moving on. To give fair warning, I have seen some of the movies nominated, but not all of them. I have read a lot about the movies I haven’t seen, and what I have to say is based on the opinions of critics I trust.
THE HOST
The awesome Ricky Gervais, comic genius behind hilarious projects such as the original, UK version of The Office, Extras, and The Ricky Gervais Show, an animated TV series I haven’t seen but have heard great things about. The latter show is based on his podcast, which is apparently the most frequently downloaded podcast available. Who knew? Anyways, I’m a huge fan so I applaud their choice of host, although I’m a bit concerned by Gervais’ appearance on Conanthe other night, wherein he did his best to fulfill his duty as host of The Golden Globe Awards, a.k.a. chief promoter. He kept stressing that this year, he’ll really make a point of going after people in his comic relief monologues! Thank goodness for Ricky Gervais; without him, who would be there to take those spoiled celebrities down a peg or two? Groan. Let’s hope Gervais remembers that failed, awkward comedy routines only serve as amusing cases of schadenfreude in his television programs, not in the real world, in front of a live audience. And the nominees are…
Thoughts: Of the five, I’ve seen Black Swan, Inception, and The King’s Speech. I liked both Black Swan and Inception but didn’t love either of them. Both explore fascinating themes and demonstrate real creativity but neither reaches the level of character development I expect from movies I love. Both are great representatives of their genres but neither completely transcends the conventions of thrillers and action movies, respectively. I loved The King’s Speech. I’ve read that The Fighter is a really well-executed boxing drama that succumbs to cliché at times but boasts some well-rounded, strong female characters. I probably won’t see it because sports movies do very little for me but I think it would be a good choice for fans of the genre. I’m planning on seeing The Social Network as soon as I can get my hands on a copy. If the movie’s script and performances are as stellar as I’ve heard, I predict that I will either like or love this award season’s front runner for Best Picture. Of course, several critically-acclaimed dramas whose premises really appeal to me were snubbed. Winter’s Bone, Blue Valentine, andAnother Year. are still in my Netflix queue but from what I’ve heard, any one of them may have been more deserving of a nomination than at least one of the actual contenders.
Of these five nominees, the only movie I’ve seen is Alice in Wonderland. And it was beyond mediocre. Not unlike every other nominee in this category, according to reviews, other than The Kids Are All Right, which is also hanging out in my Netflix queue, waiting to be seen. If the critics are to be believed, it’s the only movie in this category that seems to deserve an award. In many ways, I think it was a good idea for The Golden Globes to separate its drama and comedy nominees. This way, apples aren’t compared to oranges and comedies can be put on equal footing with dramas, which have traditionally been taken more, um, seriously. That said, it’s really hard to take The Golden Globes seriously when Toy Story 3 isn’t among the nominees for Best Picture. Despite Pixar’s illustrious reputation for well-executed animated features that appeal to both kids and adults, it’s movies often have to fight for recognition, even if their quality rivals that of many live action movies. But why the snub when animated movies have been nominated for the award in the past and Toy Story 2 won the damn thing in 1999? It’s not like Pixar dropped the ball with Toy Story 3; the film is as beloved as its predecessors. Good job, people. Golf clap. Additionally, I did see Scott Pilgrim vs. the World and it is much better than Alice in Wonderland, at the very least. Hell, it sounded like Tangled was probably better than these nominees.
I want to thank my mom, my partner, the deity I worship...
Awards season for filmmaking is already well underway, with numerous awards already distributed. I’ve decided I’m not going to write up anything formal regarding my opinions as to who should/will win. I haven’t watched all of the movies up for recognition yet, not even the ones I do want to see. The thing is, the best films of the year usually aren’t the ones that really benefit from being viewed on a big screen. They’re usually quieter and less reliant on special effects to tell their stories. Frankly, some of them are emotional or disturbing enough that I feel more comfortable watching them from the safety of my own apartment. To me, the effort and the money it takes to see every award contender in the theater isn’t worth it to me right now, not when I can catch them on Netflix when I get around to it.
Most importantly though, I don’t lose sleep if I’m a bit unprepared for award season because really, award ceremonies for film and television aren’t considered important by most cinephiles. Yes, the ceremonies can be fun to watch, when the award recipients, host, speeches, dresses, are selected thoughtfully. Unfortunately, all of these things happening simultaneously rarely occurs. More often than not, much of The Golden Globes and The Oscars amount to joyless snoozefests, excuses for celebrities to continue to get their asses kissed all for the networks’ attainment of ever steadily decreasing ratings. Nevertheless, awards season is like the play-offs for entertainment geeks, leading up to our Super Bowl, The Oscars. We have so much fun nitpicking the films themselves, why stop while we’re ahead and miss out on some of the easiest targets for criticism associated with the movie industry?
Well, at least it’s all fun and games until the deserving projects lose out to more popular, or award-baity fare, resulting in more publicity and profit. Let’s just say, the best of entertainment each year doesn’t necessary get honored. Quel surprise! Every year, you hope for the best, that this year will be different, but alas, some disappointment is inevitable. As a result, I have learned to keep a sense of perspective during awards season. While much of the hoopla is drummed up to attract the more casual movie-goer and at times it seems like every related to the awards themselves is made by an old white man, awards season could be much, much worse. It could be like E! all the time. At least thought goes into the award distribution process. At least some ceremonies are broadcast nationally, so even we plebes can tune in. At a time when box office numbers are down due to the economy, entertainment competition, etc., awards season should be valued as an excuse to celebrate serious filmmaking. Sure, I’m actually more excited by the material up for consideration by The Emmys these days. But you know what, some really worthy movies, performers, and filmmakers get recognized every year. And not just the big names who are lavished with attention day in and day out. Some of these people, and people associated with the movie industry in general, have risked a lot to do what they do. Filmmaking isn’t always a lucrative, sure thing. Like any art, it takes time, sacrifice, and the courage to put yourself out there.
So here’s to the upcoming award recipients: may your careers be long and your speeches be…succinct. And that, my friends, is what the Christmas, I mean, awards season is all about.
It’s been 8 years since Sarah Michelle Gellar has graced us with her presence every week but now, thanks to CBS, Buffy‘s back! According to Vulture, “CBS just gave a pilot greenlight to Ringer, an hourlong thriller that will star the ex-Slayer as a troubled young lass on the run from the mob. She assumes the life of her wealthy twin sister, only to find out that said sibling has a bounty on her head as well.”
Pro: Sources say she’ll be able to really work her acting chops with this role, since she will be playing both twins. Based on her work in Buffy, no doubt she’ll be able to do the job. Now, the scripts on the other hand…
Con: It’s airing on CBS, network for the old and/or apathetic. And, thank goodness, the fans of the Late Late Show with Craig Ferguson, the best late night talk show around. Yup, I said it. Better than Conan. You heard it here first.
Curious about MTV’s new scripted show, Skins? The showrunners have big shoes to fill if they want to recapture the brilliance of the original British series. As of right now, consider me…skeptical.
Tony: Change. It’s a wonderful thing. Look, you know how subatomic particles don’t obey physical laws? They act according to chance, chaos, coincidence. They run into each other in the middle of the universe somewhere and bang! Energy! We’re the same as that. That’s the great thing about the universe: unpredictable. That’s why it’s so much fun.
Skinsis a British television series currently in its fifth year, which chronicles the lives of teenagers in their last two years of high school in Bristol, England. The characters exude a certain wildness, resulting in provocative and entertaining plots that make The Real World or The Jersey Shore look like child’s play. As the adults in their lives emerge from the periphery, however, the characters’ rebelliousness starts to take on a darker light. More and more, the characters’ antics begin to resemble classic acting out behavior as it becomes clear that they have been brought up in dysfunctional families, a shared experience that cements the characters’ friendships. Although the teenagers engage in real, disturbing moments of self-destruction over the course of the series, their perseverance, “grab life by the balls” attitudes, and tangible love for their surrogate family of friends ultimately win open-minded viewers’ empathy. Marieke Hardy rightly praised Skins for deftly coupling its “edgy, funny and rude” qualities with transcendentally “beautiful and sad and poignant and perfectly hurtful” moments.
2007-present/e4/created by: jamie brittain, bryan elsley/starring: various casts/not rated/genres: british, teen, drama/this show is: edgy, quirky, witty, sad
DISTINCTION
Famous, or infamous, for its frank depictions of teenage sex, drug use, party culture, and homosexuality, among other controversial subjects, Skins is definitely not your average teen drama. Nevertheless, Skins‘ critical reception has been far more positive than the show’s potentially off-putting, juvenile reputation would lead one to believe. Skins‘ popularity among young people is partially due to its showrunners’ unique creative process. Created by a father and son duo, the series strategically employs a young writing staff with an average age of 21, as well as a team of teenage consultants. The show also boasts an interesting structure; each episode focuses on an individual character, with the overall plot presented from his or her point of view. Moreover, the cast is replaced every two years by a subsequent generation of young, fresh faces, spawning entirely new stories. Lastly, Skins has taken promotion to a whole new level. Company Pictures, the show’s production company, has hosted a number of well-publicized “Skins parties” for fans. The series’ creators have also taken full advantage of their targeted audience’s technological savvy, generating additional material for the show’s website and maintaining presences on My Space and YouTube.
STRENGTHS
+ Freshness: With every episode seen through the eyes of a different character and a new cast every two seasons, Skins mixes things up often enough that the show avoids repeating itself and becoming predictable. While stories about randy teenagers seem to have been done to death, Skins puts a signature twist on the formula.
+ Tone The tone of Skins is what sets it apart from other teen drama. The characters’ world is realistic, with age-appropriate actors wearing inexpensive but trendy clothing behaving like, well, teenagers. Their speech teems with swears and slang. Their risky behavior, including sex, drug use, and drinking, is portrayed unblinkingly. Still, their lives aren’t particularly glamorous; their homes, town, and families are fairly realistic, like the acne on their faces. At the same time, many scenes have a surreal, dreamy quality about them, lending a mysterious and fantastic quality to the proceedings. Overall, witty remarks and moments of life-affirming joy cannot puncture the show’s melancholy tone.
+ CharactersSkins’ characters are the heart and soul of the enterprise; the show’s quality depends on the audience’s interest in the characters and acceptance of the young actors’ portrayals. Thankfully, both standards are met in the show’s first two seasons, for the most part. Embodied by a cast of amateur, young actors, the characters are well developed, engaging, flawed, diverse, and fascinating. Each man and woman takes turns stealing and breaking your heart.
+ Creativity A sense of artistry permeates Skins. Themes and character traits are communicated with an often winking, visual flair. While often raunchy, the dialogue can also be poetic. At various times, characters break into dance, song, and performance. The teens express themselves with the latest, albeit affordable fashions, making their personalities known.
+ Relevancy The series’ lingo, fashion, technology, music, and pop culture references demonstrate the extent to which the showrunners take pains to ensure that Skins both adopts and sets the trends followed by its teenage audience. Of course, the young writers and cast only ensure the show’s legitimacy for viewers.
+ Message Separating itself from other entries in the teen drama genre, Skins’ fails to conform to the notion that youths must always face immediate, dire consequences as a result of bad behavior, for the sake of moralizing its young audience. Ill-advised or illegal behavior may come back to haunt the characters down the road, or it may not. While the message Skins tries to convey to its impressionable fans may not be exactly traditional for a teen drama, it exists. According to Skins, whether you like it or not, shit happens. Life isn’t always easy or fair. But have faith. Take refuge in your friends. Treat others with respect and embrace others who are different than you. High school is temporary; there is a big world out there to look forward to. So in the meantime, just make the effort to get through today and tomorrow, one step at a time.
CRITICISM
Some viewers deride Skins’ writers for supposedly relying on stereotypes, hyperbole, and shock-value to conjure their fictitious Bristol teenagers. Actual fans, myself included, prefer Skins’ first generation to its second, whose characters are often less likable or ill-used. An awkward love triangle also receives far too much attention in the show’s third and fourth seasons. Of course, a number of adults worried about its potential negative impact on society’s youth have expressed disapproval of the series. Meanwhile, some teenagers and clubs have taken it upon themselves to host their own Skins parties, leading to general debauchery and further parental head-shaking.
LEGACY
Skins has been picked up for two more seasons. The show’s fifth and sixth seasons will introduce a new generation of cast members, including Dakota Blue Richards, star of the 2007 film, The Golden Compass, but will lack the participation of co-creator, Bryan Elsley, who has relinquished himself to work on other projects. A movie adaptation of the series, concentrating on the second generation but featuring appearances by the first and third generations, is scheduled for a Summer 2011 release.
Skins has reached American audiences by way of BBC America, which airs edited episodes of the series. Some of the first generation cast members have achieved stardom in America in their own right. Dev Patel has begun to win Hollywood movie roles, most notably the lead in Slumdog Millionaire, the 2008 Best Picture Oscar recipient. Originally known for his appearance as a child star in the 2002 feature, About a Boy, Nicholas Hoult has gone on to more mature roles, including A Single Man (2009). In 2009, Kaya Scodelario experienced success of her own with a role in Moon. Hoult and Scodelario starred opposite each other once again, reunited on the set of 2010′s Clash of the Titans. MTV has created an American version of Skins, which is inspired by but deviates from the original, set in Baltimore, Maryland, with Bryan Elsley serving as executive producer.
While Skins has won a number of awards, its nomination for a GLAAD Media Award for Outstanding Drama Series may demonstrate the most important facet of its legacy. While the question of whether or not Skins has had a positive impact on its young audience remains up for debate, its positive and relatable portrayal of gay youths has undoubtedly benefited society and possibly saved lives.
Update: If you’re too behind to join in for the last episode of Downton Abbey (PBS), don’t despair, just make sure you catch up before the second season. That’s right; thanks to critical acclaim and great ratings, the period drama has been renewed by the BBC! This week sees the second season premiere of [...]
Cassie (E4): I like boats…they go places. Since one of my favorite shows is currently being remade by MTV, sparking all sorts of fun controversy, I thought I’d start re-capping each episode for my new feature, Episode by Episode. Each installment of this feature will compare and contrast the American episode with [...]
This post is dedicated to Liz, a much appreciated Her Queue supporter and friend with whom I saw Easy A for the first time. “…just know I hate you, bitch. Go get your chocolate milk.” A vlog on a blog. Olive Penderghast: Let the record show that I, Olive Penderghast, being of sound mind [...]
Mark Zuckerberg: I need to do something substantial in order to get the attention of the clubs. Erica Albright: Why? Mark Zuckerberg: Because they’re exclusive and fun, and they lead to a better life. 2010/rated: pg-13/written by: aaron sorkin (screenplay), ben mezrich (book)/directed by: david fincher/starring: jesse eisenberg, andrew garfield, justin timberlake/genres: drama, [...]
Stop wasting the money you pay for cable on crap. Record these. Trust me; I’m an expert. To begin, I’m hesitantly adding the premiere of Skins (MTV) to the roster this week, though I obviously can’t guarantee its quality. Despite my reservations, checking out the American remake of such a great teen drama is worth [...]
RT @phillamarr: @jeeemerson You'll be happy to know someone asked me to sign a DVD of IT'S PAT today. Yes! Someone has watched it since ... 22 hours ago
