If you feel as though this year has been short on good movies and long on filler, well, you'd be right.
Two-thirds of the year has gone by, and I'd say there isn't a film per month I'd call 'quality'. Total, I would count six films so far this year as being really great work. I'm not sure if we had more or less by this time last year, but I have to assume it was better than this.
Sure, there have been some nice guilty pleasures here and there, like Kick-Ass and Hot Tub Time Machine. But good, Oscar-caliber stuff has been so light. What follows is my breakdown of the top six films of the year and how I would rank them, plus Oscar viability.
6. Joan Rivers: A Piece of Work
An unflinching, fascinating portrait of a woman who has seen defeat so many times and yet continually rises from the ashes due to her undying work ethic. A lock for Best Documentary Feature later this year barring any heavy-handed liberal projects a la The Cove or An Inconvenient Truth (both of which, being a liberal, I enjoyed).
5. The Kids are All Right
A fascinating tale of a modern family dealing with all the problems that arise from being so modern. The acting is first-rate, especially from leads Annette Bening and Julianne Moore, but the plot is a little disheveled at times, leading me to rank this lower than most. It will likely be a Best Picture nominee, as well as a Best Original Screenplay and (double) Best Actress nominee.
4. Scott Pilgrim vs. The World
What an unfailingly fun film. Full of originality and innovation, there wasn't a moment in this that I didn't find completely enjoyable. The most fun I've had in a movie theater in a long time. I have to resist the urge to rank this higher simply based on how fun it was. No shot at Oscar, unfortunately, which is a sad statement about the Oscars.
3. Please Give
Another movie likely to be ignored by Oscar voters, the sheer acting prowess combined with expert writing and direction created one of the most thought-provoking, in-your-face, fascinating films of the year. Rebecca Hall, Amanda Peet, Catherine Keener and Oliver Platt all put on a master class in using well-developed characters to make them the heart of the film. Tragically unseen, this is another film it is difficult to rank down. But the next two are just too good.
2. Inception
What remains to be said? A gamebreaker, Inception is a sure thing Best Picture nominee, as well as a likely Best Director and Best Original Screenplay nominee. If there were justice, Marion Cotillard would also be a Best Supporting Actress nominee, but I wouldn't wager any money on that idea. Truly spellbinding, this is a movie that truly defined 2010.
1. Toy Story 3
It's sentimental, relies on our knowledge of previously established characters, and is a threequel. So freaking what. It is also the best film of the year so far, and I would be stunned if another film takes that title. There is nothing about this film that is not beautiful, from the animation to the script to the voicework. What a brilliant movie. A lock for the Best Animated Feature prize, and a sure bet Best Picture nominee. Maybe, in this slow year, even a Best Picture winner.
What have your favorite films this year been? Take it to the comments!
Sunday, August 22, 2010
Friday, August 6, 2010
The "Cool" Songs
A couple of months ago, I posted a series on my favorite songs of all time with the stories behind each of them. Those were truly my twenty favorite songs of all time.
But no one really mentions their favorite songs when asked, "What are you favorite songs?" No, because those answers and follow-up conversations are too awkward and uncomfortable. Everyone has a set of, say, five or so songs they name-check in conversation as being their favorites because it's easier and others will respect you more. They still love them, but they're not the real top tier. Don't pretend you don't. You may do it with albums or artists instead of songs, but it's the same concept. What follows are my five so-called "cool" songs.
"Folds in Your Hands," Passion Pit
I absolutely love this track. A lot more than most Passion Pit, actually, which usually strikes me as heavily overproduced (don't waste your time telling me that's the point, I've heard it before). It's infectious, fun, well-written, and interestingly and conservatively produced. An iPod playlist staple.
"Alone Apart," The Swell Season
I've profiled The Swell Season and this song in particular before, and "Falling Slowly" is actually my favorite song from the duo, but this one is just so soul-stirring and touching I can't help but feel really connected every time I listen to it. Markéta Irglová's voice is stirring.
"Citizen," Broken Bells
Another duo with a far superior song ("The High Road") but with another that I often prefer simply for sheer musical quality from time to time. The transitions from melodic sing-a-long to moody, introspective ballad are beautiful. And "Call on a bright star/Or play your hand as idiots" might be one of the most gorgeously rendered couplets in any modern song I've ever heard.
"In The Waiting Line," Zero 7
An indie take on a siren song, the vocal is so sensuous and seductive that the lyrics almost become obsolete. Closer examination of those lyrics, however, reveal an aching, meticulously constructed tune that few people have in their iTunes libraries, but more should.
"That's Why You're Beautiful," Beyoncé
Oh, you didn't really think you'd escape a music-based post on this blog without a little Sasha Fierce, did you? The resident R&B diva has several catchy songs in her repertoire, but this lilting ballad about a lover's beauty through time is, quite honestly, her best. It might not be just one of my "cool" songs, it might be my favorite song of hers overall.
But no one really mentions their favorite songs when asked, "What are you favorite songs?" No, because those answers and follow-up conversations are too awkward and uncomfortable. Everyone has a set of, say, five or so songs they name-check in conversation as being their favorites because it's easier and others will respect you more. They still love them, but they're not the real top tier. Don't pretend you don't. You may do it with albums or artists instead of songs, but it's the same concept. What follows are my five so-called "cool" songs.
"Folds in Your Hands," Passion Pit
I absolutely love this track. A lot more than most Passion Pit, actually, which usually strikes me as heavily overproduced (don't waste your time telling me that's the point, I've heard it before). It's infectious, fun, well-written, and interestingly and conservatively produced. An iPod playlist staple.
"Alone Apart," The Swell Season
I've profiled The Swell Season and this song in particular before, and "Falling Slowly" is actually my favorite song from the duo, but this one is just so soul-stirring and touching I can't help but feel really connected every time I listen to it. Markéta Irglová's voice is stirring.
"Citizen," Broken Bells
Another duo with a far superior song ("The High Road") but with another that I often prefer simply for sheer musical quality from time to time. The transitions from melodic sing-a-long to moody, introspective ballad are beautiful. And "Call on a bright star/Or play your hand as idiots" might be one of the most gorgeously rendered couplets in any modern song I've ever heard.
"In The Waiting Line," Zero 7
An indie take on a siren song, the vocal is so sensuous and seductive that the lyrics almost become obsolete. Closer examination of those lyrics, however, reveal an aching, meticulously constructed tune that few people have in their iTunes libraries, but more should.
"That's Why You're Beautiful," Beyoncé
Oh, you didn't really think you'd escape a music-based post on this blog without a little Sasha Fierce, did you? The resident R&B diva has several catchy songs in her repertoire, but this lilting ballad about a lover's beauty through time is, quite honestly, her best. It might not be just one of my "cool" songs, it might be my favorite song of hers overall.
Wednesday, July 28, 2010
Welcome Back to the Runway!
Welcome back to the Runway, boys and girls! As you know in reality television, one season, you're in, the next season, you're out.
This season's challenge for Project Runway is to revitalize itself as the watercooler show it once was back on Bravo before it switched to Lifetime. It has failed at this challenge for the past two seasons, both becoming snoozefests despite actual talent (well, last season, at least. Season 6 was really quite bad) because of a lack of drama.
This season, they've ramped up the drama, eliminating three contestants in two episodes, handing the win to the same designer twice in a row in those first two episodes (unheard of until now), and emphasizing any and all personal conflicts.
Now that you know the challenge they face, let's meet the most intriguing contestants of the season so far.
Sarah has been declared safe in both of the past two challenges, but her design aesthetic is very edgy and appealing. She also seems to have a "don't fuck with me" attitude that I really enjoy. She's definitely one to watch, and possibly my favorite under-the-radar contestant of the season.
Christopher seems like a sweet guy, and has also flown under the radar for the past two challenges. You know what else he's done for the past two challenges? Crank out some of the best clothes there. He is like Sarah in that he can avoid the drama and not get called out and yet still create a good reputation for himself. Another one to watch closely.
Gretchen didn't deserve her win this week, but she completely deserved it last week. She is definitely channelling Leanne Marshall as another hippie chick from Portland, Oregon, but she seems a little more full of herself and a little brassier.
A.J. is also brassy, and loves his haute couture, punk rock styling a little too much, but he knows how to do bold designs, and that's a key skill in this game.
Valerie, the CLEAR winner this week to anyone not named Heidi, Nina, or Michael, definitely knows how to do consumer-friendly fashion very easily. She also knows how to do detail very well. If she can keep it up, she can definitely rival Gretchen for judge love.
Who are you impressed with so far? Is the show any better? Leave comments!
This season's challenge for Project Runway is to revitalize itself as the watercooler show it once was back on Bravo before it switched to Lifetime. It has failed at this challenge for the past two seasons, both becoming snoozefests despite actual talent (well, last season, at least. Season 6 was really quite bad) because of a lack of drama.
This season, they've ramped up the drama, eliminating three contestants in two episodes, handing the win to the same designer twice in a row in those first two episodes (unheard of until now), and emphasizing any and all personal conflicts.
Now that you know the challenge they face, let's meet the most intriguing contestants of the season so far.
Sarah has been declared safe in both of the past two challenges, but her design aesthetic is very edgy and appealing. She also seems to have a "don't fuck with me" attitude that I really enjoy. She's definitely one to watch, and possibly my favorite under-the-radar contestant of the season.
Christopher seems like a sweet guy, and has also flown under the radar for the past two challenges. You know what else he's done for the past two challenges? Crank out some of the best clothes there. He is like Sarah in that he can avoid the drama and not get called out and yet still create a good reputation for himself. Another one to watch closely.
Gretchen didn't deserve her win this week, but she completely deserved it last week. She is definitely channelling Leanne Marshall as another hippie chick from Portland, Oregon, but she seems a little more full of herself and a little brassier.
A.J. is also brassy, and loves his haute couture, punk rock styling a little too much, but he knows how to do bold designs, and that's a key skill in this game.
Valerie, the CLEAR winner this week to anyone not named Heidi, Nina, or Michael, definitely knows how to do consumer-friendly fashion very easily. She also knows how to do detail very well. If she can keep it up, she can definitely rival Gretchen for judge love.
Who are you impressed with so far? Is the show any better? Leave comments!
Friday, July 16, 2010
Inception: Sweet Dream or Beautiful Nightmare?
...go with me here. I'm still trying to figure out exactly what I feel about Inception. Now don't get me wrong: I loved it. A lot. But what I really can't figure out is this: if I were to take a step back and look at the film critically, how would I rate Inception.
I got nothing. Seriously. I've never been so at a loss for opinion of a film. This might be a long one, so brace yourselves.
On the positive side of things, there is no filmmaker more visionary and innovative today than Christopher Nolan. The director who showed exactly how good comic book films can be, and how great a performance can be, really takes an intriguing concept and completely fleshes it out to the point where everyone can see it, if not understand it. (More on that later.)
But to the critics who are bashing Inception as being "not a masterpiece," I say: so what if it isn't? The fact is that Nolan took serious risks on this screenplay and on this movie, and I applaud him for all of them.
Inception succeeds in being both an auteur's film and a big summer blockbuster, something that hasn't been done since, oh, gee, I don't know... The Dark Knight? I really don't know of any filmmaker who can do exactly what he wants to do, make his film as smart as he wants his audience to be, and have the people of America and all around the world come in droves to see it.
I won't bore/spoil you with plot synopsis. It's not required for this piece anyway.
Leonardo DiCaprio is aggressively passionate and wonderful in his role as antihero Dom Cobb, a Danny Ocean for the smarter set. While Ocean's Eleven and its poorly planned offspring were always, to me, a bit hindered by the smugness of the cast, this group has a seriousness of purpose with moments of humor. No one character is more serious than Cobb, however, and no one actor is more committed than DiCaprio.
The other actors range from fine to fantastic in their roles. Joseph Gordon-Levitt and Ellen Page, both more commonly associated with their humorous, quirky roles (from the films (500) Days of Summer and Juno, respectively), are both perfectly understated here, but don't get a lot of room for grandstanding. Tom Hardy as a shapeshifter is humorous and a good foil for Gordon-Levitt's ultraserious character. Michael Caine cameos as a father-in-law type as only Michael Caine can. Marion Cotillard (who beat Page in the 2007 Best Actress Oscar race for her role in La Vie En Rose) is mysterious and antagonistic in her role as Mal, Cobb's wife. And Cillian Murphy, obviously a Nolan favorite (remember him as the Scarecrow from Batman Begins?), is a centerpiece of the plot and plays his role with aplomb.
So if the acting is solid, the writing is good, and the direction is amazing, what could be bad about this movie? Well, in truth, nothing is BAD, just...unfinished. All of the characters except Cobb are paper-thin and without any real development. The plot is sometimes rushed, and the reasoning behind the big heist at the center of the film is murky, to say the least. And the climax is far too long. I feel like there was climactic music going on for at least half an hour.
These things will not bother you as you watch Inception, as they should not. Nolan has crafted the perfect popcorn movie with a brain. You'll be confused, you'll be intrigued, and you'll want to watch again. But you won't be disappointed. Inception is grade-A filmmaking, and, along with Toy Story 3 and The Kids Are All Right, surely one of our Oscar nominees for Best Picture come January.
I got nothing. Seriously. I've never been so at a loss for opinion of a film. This might be a long one, so brace yourselves.
On the positive side of things, there is no filmmaker more visionary and innovative today than Christopher Nolan. The director who showed exactly how good comic book films can be, and how great a performance can be, really takes an intriguing concept and completely fleshes it out to the point where everyone can see it, if not understand it. (More on that later.)
But to the critics who are bashing Inception as being "not a masterpiece," I say: so what if it isn't? The fact is that Nolan took serious risks on this screenplay and on this movie, and I applaud him for all of them.
Inception succeeds in being both an auteur's film and a big summer blockbuster, something that hasn't been done since, oh, gee, I don't know... The Dark Knight? I really don't know of any filmmaker who can do exactly what he wants to do, make his film as smart as he wants his audience to be, and have the people of America and all around the world come in droves to see it.
I won't bore/spoil you with plot synopsis. It's not required for this piece anyway.
Leonardo DiCaprio is aggressively passionate and wonderful in his role as antihero Dom Cobb, a Danny Ocean for the smarter set. While Ocean's Eleven and its poorly planned offspring were always, to me, a bit hindered by the smugness of the cast, this group has a seriousness of purpose with moments of humor. No one character is more serious than Cobb, however, and no one actor is more committed than DiCaprio.
The other actors range from fine to fantastic in their roles. Joseph Gordon-Levitt and Ellen Page, both more commonly associated with their humorous, quirky roles (from the films (500) Days of Summer and Juno, respectively), are both perfectly understated here, but don't get a lot of room for grandstanding. Tom Hardy as a shapeshifter is humorous and a good foil for Gordon-Levitt's ultraserious character. Michael Caine cameos as a father-in-law type as only Michael Caine can. Marion Cotillard (who beat Page in the 2007 Best Actress Oscar race for her role in La Vie En Rose) is mysterious and antagonistic in her role as Mal, Cobb's wife. And Cillian Murphy, obviously a Nolan favorite (remember him as the Scarecrow from Batman Begins?), is a centerpiece of the plot and plays his role with aplomb.
So if the acting is solid, the writing is good, and the direction is amazing, what could be bad about this movie? Well, in truth, nothing is BAD, just...unfinished. All of the characters except Cobb are paper-thin and without any real development. The plot is sometimes rushed, and the reasoning behind the big heist at the center of the film is murky, to say the least. And the climax is far too long. I feel like there was climactic music going on for at least half an hour.
These things will not bother you as you watch Inception, as they should not. Nolan has crafted the perfect popcorn movie with a brain. You'll be confused, you'll be intrigued, and you'll want to watch again. But you won't be disappointed. Inception is grade-A filmmaking, and, along with Toy Story 3 and The Kids Are All Right, surely one of our Oscar nominees for Best Picture come January.
Tuesday, July 13, 2010
Isaac and Ishmael
Sorry for the lack of posting as of late. Blame 40 hours a week of work.
I just finished watching the de factor Season 3 opener of The West Wing, "Isaac and Ishmael". It isn't the greatest episode ever, and it is definitely preachy, but it also has a really important message about this war we're in against terrorism that when the episode first aired had just started.
The entire episode makes a lot of great points, but perhaps the greatest is made by First Lady Abbey Bartlet. One of the students the White House staffers are with during a security breach asks how Islamic extremism and the resulting terrorism started. This was her answer.
"Sarah... God said to Abraham, "Look toward the heaven and number the stars and so shall your descendants be." But Abraham's wife, Sarah, wasn't getting any younger, and God wasn't coming through on His promise... Sarah was getting older, and she was getting nervous because she didn't have any children. So she sent Abraham to the bed of her maid, Hagar, and Abraham and Hagar had Ishmael. And not long after they did, God kept His promise to Sarah, as He'd always intended to, and Abraham and Sarah had Isaac. And Sarah said to Abraham, "Cast out this slave woman with her son, for the son of the slave woman will not be heir with my son Isaac." And so it began: the Jews, the sons of Isaac. The Arabs, the sons of Ishmael. But what most people find important to remember is that, in the end, the two sons came together to bury their father."
I'll keep this brief, because to me, that particular piece of prose speaks for itself. But whenever anyone thinks the problems in the Middle East can be solved with just a war or a bomb, remember exactly how far back this entire conflict extends.
I just finished watching the de factor Season 3 opener of The West Wing, "Isaac and Ishmael". It isn't the greatest episode ever, and it is definitely preachy, but it also has a really important message about this war we're in against terrorism that when the episode first aired had just started.
The entire episode makes a lot of great points, but perhaps the greatest is made by First Lady Abbey Bartlet. One of the students the White House staffers are with during a security breach asks how Islamic extremism and the resulting terrorism started. This was her answer.
"Sarah... God said to Abraham, "Look toward the heaven and number the stars and so shall your descendants be." But Abraham's wife, Sarah, wasn't getting any younger, and God wasn't coming through on His promise... Sarah was getting older, and she was getting nervous because she didn't have any children. So she sent Abraham to the bed of her maid, Hagar, and Abraham and Hagar had Ishmael. And not long after they did, God kept His promise to Sarah, as He'd always intended to, and Abraham and Sarah had Isaac. And Sarah said to Abraham, "Cast out this slave woman with her son, for the son of the slave woman will not be heir with my son Isaac." And so it began: the Jews, the sons of Isaac. The Arabs, the sons of Ishmael. But what most people find important to remember is that, in the end, the two sons came together to bury their father."
I'll keep this brief, because to me, that particular piece of prose speaks for itself. But whenever anyone thinks the problems in the Middle East can be solved with just a war or a bomb, remember exactly how far back this entire conflict extends.
Monday, June 21, 2010
Emmy Voters! Listen Up!
Dear Emmy Voters,
You all are a rambunctious group of free-thinkers who love to take certain risks while still remaining remarkably safe in your nomination choices. This has been proven the past few years by repeated nominations for Mad Men but none for it's standout, Christina Hendricks, for example, or by lots of wins for 30 Rock but none for its edgiest and most hilarious performer, Tracy Morgan.
This year, I'd like to see you take some chances. I'd like to see not only some surprise nominations, but some surprise wins. I want to be on the edge of my seat at the Emmys this year.
On my wish list: first, I would like to see you recognize The Good Wife, truly the year's best new program, drama or otherwise, and perhaps the best television show on air right now. It deserves a nomination for Best Series, Drama, as well as wins for it's two powerful women, Julianna Marguiles as lead and Archie Panjabi as supporting. I have little doubt that Marguiles will prevail, but in case there is a groundswell of support for Glenn Close in the superb but likely cancelled Damages, just remember this: Close has won twice in a row for this role. She does not need another win.
Panjabi, I'm certain, will have a much more difficult road to a win. She must face Rose Byrne, Close's guest star who regularly spars on-screen with one of the greatest actresses of our time and often comes off the winner; Elisabeth Moss, Mad Men's heart and soul that should be in the lead race but downgraded to supporting and is now in the prime position to win; Hendricks from the same show after an outstanding body of work this season; and the always magnificent Lisa Edelstein of House, long a favorite of mine who was allowed her first real chance to shine this season with an episode devoted solely to her. Still, among these many great actresses, I am committed to Panjabi, an absolute enigma in leather boots.
Second, I would like to see more widespread recognition of Glee beyond the Best Series, Comedy category it is incredibly likely to win. I want to see nominations for Matthew Morrison, Lea Michele, and Chris Colfer, with a win for Jane Lynch. The show is a well-rounded effort, and it would be criminal not to recognize all the different aspects involved in the production of it.
Finally, I would like to see a win for Kathy Griffin in the Best Guest Actress, Drama category. I never saw her performance on Law and Order: SVU, but I did see how hard she worked for it on her show, My Life on the D-List, and I really want her to take home a golden statuette.
I hope you'll keep all these things in mind when voting, Emmy voters. Because I know you all read this tiny little blog in the middle of the cybersphere. Especially you, Tina Fey.
Love,
Kevin
You all are a rambunctious group of free-thinkers who love to take certain risks while still remaining remarkably safe in your nomination choices. This has been proven the past few years by repeated nominations for Mad Men but none for it's standout, Christina Hendricks, for example, or by lots of wins for 30 Rock but none for its edgiest and most hilarious performer, Tracy Morgan.
This year, I'd like to see you take some chances. I'd like to see not only some surprise nominations, but some surprise wins. I want to be on the edge of my seat at the Emmys this year.
On my wish list: first, I would like to see you recognize The Good Wife, truly the year's best new program, drama or otherwise, and perhaps the best television show on air right now. It deserves a nomination for Best Series, Drama, as well as wins for it's two powerful women, Julianna Marguiles as lead and Archie Panjabi as supporting. I have little doubt that Marguiles will prevail, but in case there is a groundswell of support for Glenn Close in the superb but likely cancelled Damages, just remember this: Close has won twice in a row for this role. She does not need another win.
Panjabi, I'm certain, will have a much more difficult road to a win. She must face Rose Byrne, Close's guest star who regularly spars on-screen with one of the greatest actresses of our time and often comes off the winner; Elisabeth Moss, Mad Men's heart and soul that should be in the lead race but downgraded to supporting and is now in the prime position to win; Hendricks from the same show after an outstanding body of work this season; and the always magnificent Lisa Edelstein of House, long a favorite of mine who was allowed her first real chance to shine this season with an episode devoted solely to her. Still, among these many great actresses, I am committed to Panjabi, an absolute enigma in leather boots.
Second, I would like to see more widespread recognition of Glee beyond the Best Series, Comedy category it is incredibly likely to win. I want to see nominations for Matthew Morrison, Lea Michele, and Chris Colfer, with a win for Jane Lynch. The show is a well-rounded effort, and it would be criminal not to recognize all the different aspects involved in the production of it.
Finally, I would like to see a win for Kathy Griffin in the Best Guest Actress, Drama category. I never saw her performance on Law and Order: SVU, but I did see how hard she worked for it on her show, My Life on the D-List, and I really want her to take home a golden statuette.
I hope you'll keep all these things in mind when voting, Emmy voters. Because I know you all read this tiny little blog in the middle of the cybersphere. Especially you, Tina Fey.
Love,
Kevin
Saturday, June 19, 2010
25 of 30: The Best of Rock
For three and a half seasons, 30 Rock was the reigning champion of television comedy. While edgy shows like Nurse Jackie and United States of Tara on Showtime tried to outdo the broadcast excellence of Rock much in the same vein as cable dramas like Mad Men and Dexter have, nothing could top Rock...
Until now, of course. This past television season saw Glee, Modern Family, and Cougar Town all outdo Rock on broadcast television on a regular basis, thanks to Rock's underwhelming second part to the fourth season. Since then, it's become popular to deride 30 Rock as "over" and "past its prime."
You know when the first time critics and audiences tried to kill this Tina Fey comedy was? Before it even aired. During the same television series that 30 Rock premiered, Aaron Sorkin's new dramedy Studio 60 on the Sunset Strip debuted. Guess which show the critics stood behind? Guess which show failed?
This post is to remind everyone out there exactly how good 30 Rock really is. I'm going to list the top 25 best episodes in order, with a particular point of personal satisfaction with the episode. (It'll be significantly more detailed for the top five.) Pretty simple. You might not always get the context, but hey, that's all the more reason to Netflix/buy the DVD sets and figure out exactly why this show is so damn funny.
25. "Don Geiss, America, and Hope" (Season 4) - the porn movie titles for Kabletown, such as Fresh-Ass: Based on the Novel "Tush" By Ass-Fire
24. "Jack-tor" (Season 1) - Liz's pep talk to Jack, plus the GE Product Integration video outtakes of Jack screwing up
23. "Dealbreakers Talk Show #0001" (Season 4) - the high-definition camera does different things to different characters, and they're all hilarious
22. "The One With The Cast Of Night Court" (Season 3) - Jennifer Aniston as 'crazyputty' Claire Harper
21. "MILF Island" (Season 2) - the breakout star of the titular reality show, Deborah, and Jack's fascination with her
20. "Emmanuelle Goes To Dinosaur Land" (Season 4) - Drew: "Hooks crossed!"
19. "The Funcooker" (Season 3) - Liz wants to be reborn like a phoenix from the ashes, but she doesn't mean to nearly set her co-workers on fire
18. "Secrets and Lies" (Season 2) - Patrice, one of Jenna's gays, to Liz: "Oh, Melissa? Your face is on the phone. Soccer practice is over, and you need to PICK IT UP!"
17. "Pilot" (Season 1) - A damn fantastic beginning (bonus: Jack's response to "We own Kmart now?": "No. So why are you dressed like we do?" was only his second line of the entire series and is still one of his best)
16. "Fireworks" (Season 1) - one of the all-around best episodes of the series, with the character development in Liz a highlight
15. "Mamma Mia" (Season 3) - You gotta love the Meryl Streep musical-imitating search for Jack's father, played by the magnificent Alan Alda (bonus: Kenneth to Jack: "As head of this tour, I'm going to deny your request")
14. "Kidney Now!" (Season 3) - "He Needs a Kidney" is the best charity song to ever not raise any money (bonus: The Vontella Martin Show)
13. "Episode 210" (Season 2) - this writers' strike-affected episode struck gold with Liz's drunken phone calls to the co-op board at her new apartment building (bonus: "Midnight Train to Georgia" as sung by the cast!)
12. "Generalissimo" (Season 3) - Alec Baldwin plays two roles while trying to get Elisa Padreira (Salma Hayek)'s grandmother to fall for him
11. "Hiatus" (Season 1) - the first and best appearance of Elaine Stritch as Jack's mother, Colleen Donaghy, was pure genius
10. "The Ones" (Season 3) - Liz to Elisa, la viuda negra: "Why are you so quiet when your parties are so loud?!" (bonus: Elisa's 'What the Frak?' shirt!)
9. "St. Valentine's Day" (Season 3) - the confrontation between Elisa and Jack in the church in front of the statue of St. Lucia, the patron saint of judgmental statues, takes an unfortunate turn when Jack will never touch Elisa's big boobs again
8. "Hardball" (Season 1) - Where to start? Jenna's voting for "Osama in '08," Liz makes Josh do the worm, and Alec has pictures of Josh rough-housing with Lance Bass at SeaWorld
7. "Cougars" (Season 2) - Val Emmich made us all "gay for Jamie," even if that's not a thing (bonus points: dance remix of 'Muffin Top'!)
6. "Tracy Does Conan" (Season 1) - Dr. Spaceman (pronounced Spechemin, naturally) is introduced, and LaDonica has not been real helpful to Kenneth the Page
The Top Five (A.K.A. where it gets real, y'all)
5. "The Rural Juror" (Season 1)
This is where 30 Rock became the genius show it is known as today. What other show would create an entire episode off of two words they just can't pronounce together? Jane Krakowski's Jenna Maroney character became not only funny, but pertinent to the story's development. Rachel Dratch had a phenomenal guest shot as a completely misunderstandable Barbara Walters. Fey's Liz Lemon wanted to be an actress, but she wasn't blonde. Lonny Ross' Josh had to let a security guard watch him pee to get a screener of Jenna's movie. Tracy Morgan's Tracy Jordan develops the Tracy Jordan Meat Machine, which isn't the worst celebrity product idea Baldwin's Jack Donaghy's ever heard of ("You're working out with Whoopi!"). The character development is in high supply, too. It's one of the finest episodes for the whole show, and definitely Maroney's personal best.
4. "Somebody To Love" (Season 2)
This ingenious episode introduced us to Celeste "C.C." Cunningham, a "D" congresswoman from Vermont who Jack hooks up with but then can't stand to be apart from, despite their need to be secretive. They meet at a party thrown by John McCain and Jack Bauer. Yes, John McCain is very real. Jack McBrayer's Kenneth Parcell loses Jack's suit pants and does ridiculous stunts to get them back. NBC's parent company, the Sheinhardt Wig Corporation, has been turning children orange. Liz is convinced her neighbor, Fred Armisen's pita pocket Raheem, is a terrorist, and becomes an American hero who saw something and said something. Finally, in what might be the funniest thirty seconds of modern television comedy, we find out that C.C. had a Lifetime movie made about her, "A Dog Took My Face and Gave Me a Better Face to Change the World: The Celeste Cunningham Story," starring Kristin Wiig's Candice Van der Shark. The clips of the Lifetime movie are mind-blowingly funny. This is how 30 Rock beats its competitors: it knows how to use its guest stars. Speaking of which...
3. "Believe In The Stars" (Season 3)
Oprah Winfrey on 30 Rock could have been stupid. It could have been ridiculous. It could have been forced. It could have been horrible. It wasn't. Instead, it was the most inspired bit of stunt casting in the history of television, weaving in Oprah brilliantly as a hallucination for Liz, when in reality, Oprah was nothing but a spunky 7th grader named Pam who, nonetheless, solved a race/gender conflict between Jenna and Tracy with class. Speaking of that conflict, we saw Tracy dressed up as Becky, Liz's college roommate and a white woman with a monster claw who was going to lunch with her girlfriends and wanted to sit outside. ("Lipstick!") We also saw Jenna, a black man, singing "Ease On Down The Road" from The Wiz. We found out there's no such thing as Olympic tetherball, which caused Kenneth to lose his faith in Jack, which caused Jack to break Kenneth. Jack met Maulik Pancholy's Jonathan when he thought he was M. Night Shamaylan. Oh, and did I mention Liz gets out of jury duty by pretending to be Princess Leia? One of the best-written episodes of the series, and Fey's best acting work to date.
2. "Blind Date" (Season 1)
It's no secret 30 Rock had some difficulty getting off the ground early in its run. What's often forgotten is the genius of "Blind Date," an episode that saw Jack set up Liz with his friend Thomas. That is, of course, Gretchen Thomas, the brilliant plastics engineer-slash-lesbian. Jack corrects Liz's file when he finds out she's not a lesbian, though her shoes are definitely bi-curious. But as it turns out, Liz does love Gretchen, just as the Gayle to her Oprah. But Gretchen shuts it down before they go to IKEA together. Meanwhile, Jack becomes obsessed with Kenneth Ellen Parcell, an unreadable poker player who defeats him because Jack can't discern his tell. He almost gets rid of Kenneth, but Jack decides to keep him around, because of what the Italians (who have never won a war or mass-produced a decent car) say: keep your friends close and your enemies closer. After all, in five years, we'll all either be working for Kenneth or be dead by his hand. For anyone who ever says that early Rock wasn't truly its best, just point them to this expertly executed third episode.
1. "Black Tie" (Season 1)
30 Rock doesn't get any better than this. A masterfully written, acted, subplotted, directed, and cast work, it includes the magnificent Paul Reubens, also known as Pee-Wee Herman, as a prince incapacitated by generations of inbreeding who dies for Jenna at his 25th birthday party. Literally. Jack asks Liz to accompany him to the party, where they run into Jack's ex-wife, Bianca, played brilliantly by Isabella Rosellini. When Jack panics, he introduces Liz as his live-in girlfriend, which sends Bianca into a wild rage. "The whole thing makes me want to vomit!" Meanwhile, Frank is tempted to cheat after a tiring altercation with his wife and kids ("How is that Elmo's fault? Did Mommy have some wine to drink before she called Elmo?") by Tracy and a woman with smooth jugs, but Kenneth talks him down in a brilliant spoof of the angel/devil dynamic seen, well, everywhere. The whole episode is entirely plot-relevant, yet it stands out in every way possible. When Glee wants to do a Madonna episode but manages to not advance a single plot, it should be reminded of "Black Tie": a fun, on-location episode that did something different but still developed its characters in truly interesting ways. Maybe one of the top five sitcom episodes ever written, "Black Tie" is a testament to exactly why 30 Rock has become the critical darling and audience favorite it is.
Agree? Disagree? Take it to the comments!
Until now, of course. This past television season saw Glee, Modern Family, and Cougar Town all outdo Rock on broadcast television on a regular basis, thanks to Rock's underwhelming second part to the fourth season. Since then, it's become popular to deride 30 Rock as "over" and "past its prime."
You know when the first time critics and audiences tried to kill this Tina Fey comedy was? Before it even aired. During the same television series that 30 Rock premiered, Aaron Sorkin's new dramedy Studio 60 on the Sunset Strip debuted. Guess which show the critics stood behind? Guess which show failed?
This post is to remind everyone out there exactly how good 30 Rock really is. I'm going to list the top 25 best episodes in order, with a particular point of personal satisfaction with the episode. (It'll be significantly more detailed for the top five.) Pretty simple. You might not always get the context, but hey, that's all the more reason to Netflix/buy the DVD sets and figure out exactly why this show is so damn funny.
25. "Don Geiss, America, and Hope" (Season 4) - the porn movie titles for Kabletown, such as Fresh-Ass: Based on the Novel "Tush" By Ass-Fire
24. "Jack-tor" (Season 1) - Liz's pep talk to Jack, plus the GE Product Integration video outtakes of Jack screwing up
23. "Dealbreakers Talk Show #0001" (Season 4) - the high-definition camera does different things to different characters, and they're all hilarious
22. "The One With The Cast Of Night Court" (Season 3) - Jennifer Aniston as 'crazyputty' Claire Harper
21. "MILF Island" (Season 2) - the breakout star of the titular reality show, Deborah, and Jack's fascination with her
20. "Emmanuelle Goes To Dinosaur Land" (Season 4) - Drew: "Hooks crossed!"
19. "The Funcooker" (Season 3) - Liz wants to be reborn like a phoenix from the ashes, but she doesn't mean to nearly set her co-workers on fire
18. "Secrets and Lies" (Season 2) - Patrice, one of Jenna's gays, to Liz: "Oh, Melissa? Your face is on the phone. Soccer practice is over, and you need to PICK IT UP!"
17. "Pilot" (Season 1) - A damn fantastic beginning (bonus: Jack's response to "We own Kmart now?": "No. So why are you dressed like we do?" was only his second line of the entire series and is still one of his best)
16. "Fireworks" (Season 1) - one of the all-around best episodes of the series, with the character development in Liz a highlight
15. "Mamma Mia" (Season 3) - You gotta love the Meryl Streep musical-imitating search for Jack's father, played by the magnificent Alan Alda (bonus: Kenneth to Jack: "As head of this tour, I'm going to deny your request")
14. "Kidney Now!" (Season 3) - "He Needs a Kidney" is the best charity song to ever not raise any money (bonus: The Vontella Martin Show)
13. "Episode 210" (Season 2) - this writers' strike-affected episode struck gold with Liz's drunken phone calls to the co-op board at her new apartment building (bonus: "Midnight Train to Georgia" as sung by the cast!)
12. "Generalissimo" (Season 3) - Alec Baldwin plays two roles while trying to get Elisa Padreira (Salma Hayek)'s grandmother to fall for him
11. "Hiatus" (Season 1) - the first and best appearance of Elaine Stritch as Jack's mother, Colleen Donaghy, was pure genius
10. "The Ones" (Season 3) - Liz to Elisa, la viuda negra: "Why are you so quiet when your parties are so loud?!" (bonus: Elisa's 'What the Frak?' shirt!)
9. "St. Valentine's Day" (Season 3) - the confrontation between Elisa and Jack in the church in front of the statue of St. Lucia, the patron saint of judgmental statues, takes an unfortunate turn when Jack will never touch Elisa's big boobs again
8. "Hardball" (Season 1) - Where to start? Jenna's voting for "Osama in '08," Liz makes Josh do the worm, and Alec has pictures of Josh rough-housing with Lance Bass at SeaWorld
7. "Cougars" (Season 2) - Val Emmich made us all "gay for Jamie," even if that's not a thing (bonus points: dance remix of 'Muffin Top'!)
6. "Tracy Does Conan" (Season 1) - Dr. Spaceman (pronounced Spechemin, naturally) is introduced, and LaDonica has not been real helpful to Kenneth the Page
The Top Five (A.K.A. where it gets real, y'all)
5. "The Rural Juror" (Season 1)
This is where 30 Rock became the genius show it is known as today. What other show would create an entire episode off of two words they just can't pronounce together? Jane Krakowski's Jenna Maroney character became not only funny, but pertinent to the story's development. Rachel Dratch had a phenomenal guest shot as a completely misunderstandable Barbara Walters. Fey's Liz Lemon wanted to be an actress, but she wasn't blonde. Lonny Ross' Josh had to let a security guard watch him pee to get a screener of Jenna's movie. Tracy Morgan's Tracy Jordan develops the Tracy Jordan Meat Machine, which isn't the worst celebrity product idea Baldwin's Jack Donaghy's ever heard of ("You're working out with Whoopi!"). The character development is in high supply, too. It's one of the finest episodes for the whole show, and definitely Maroney's personal best.
4. "Somebody To Love" (Season 2)
This ingenious episode introduced us to Celeste "C.C." Cunningham, a "D" congresswoman from Vermont who Jack hooks up with but then can't stand to be apart from, despite their need to be secretive. They meet at a party thrown by John McCain and Jack Bauer. Yes, John McCain is very real. Jack McBrayer's Kenneth Parcell loses Jack's suit pants and does ridiculous stunts to get them back. NBC's parent company, the Sheinhardt Wig Corporation, has been turning children orange. Liz is convinced her neighbor, Fred Armisen's pita pocket Raheem, is a terrorist, and becomes an American hero who saw something and said something. Finally, in what might be the funniest thirty seconds of modern television comedy, we find out that C.C. had a Lifetime movie made about her, "A Dog Took My Face and Gave Me a Better Face to Change the World: The Celeste Cunningham Story," starring Kristin Wiig's Candice Van der Shark. The clips of the Lifetime movie are mind-blowingly funny. This is how 30 Rock beats its competitors: it knows how to use its guest stars. Speaking of which...
3. "Believe In The Stars" (Season 3)
Oprah Winfrey on 30 Rock could have been stupid. It could have been ridiculous. It could have been forced. It could have been horrible. It wasn't. Instead, it was the most inspired bit of stunt casting in the history of television, weaving in Oprah brilliantly as a hallucination for Liz, when in reality, Oprah was nothing but a spunky 7th grader named Pam who, nonetheless, solved a race/gender conflict between Jenna and Tracy with class. Speaking of that conflict, we saw Tracy dressed up as Becky, Liz's college roommate and a white woman with a monster claw who was going to lunch with her girlfriends and wanted to sit outside. ("Lipstick!") We also saw Jenna, a black man, singing "Ease On Down The Road" from The Wiz. We found out there's no such thing as Olympic tetherball, which caused Kenneth to lose his faith in Jack, which caused Jack to break Kenneth. Jack met Maulik Pancholy's Jonathan when he thought he was M. Night Shamaylan. Oh, and did I mention Liz gets out of jury duty by pretending to be Princess Leia? One of the best-written episodes of the series, and Fey's best acting work to date.
2. "Blind Date" (Season 1)
It's no secret 30 Rock had some difficulty getting off the ground early in its run. What's often forgotten is the genius of "Blind Date," an episode that saw Jack set up Liz with his friend Thomas. That is, of course, Gretchen Thomas, the brilliant plastics engineer-slash-lesbian. Jack corrects Liz's file when he finds out she's not a lesbian, though her shoes are definitely bi-curious. But as it turns out, Liz does love Gretchen, just as the Gayle to her Oprah. But Gretchen shuts it down before they go to IKEA together. Meanwhile, Jack becomes obsessed with Kenneth Ellen Parcell, an unreadable poker player who defeats him because Jack can't discern his tell. He almost gets rid of Kenneth, but Jack decides to keep him around, because of what the Italians (who have never won a war or mass-produced a decent car) say: keep your friends close and your enemies closer. After all, in five years, we'll all either be working for Kenneth or be dead by his hand. For anyone who ever says that early Rock wasn't truly its best, just point them to this expertly executed third episode.
1. "Black Tie" (Season 1)
30 Rock doesn't get any better than this. A masterfully written, acted, subplotted, directed, and cast work, it includes the magnificent Paul Reubens, also known as Pee-Wee Herman, as a prince incapacitated by generations of inbreeding who dies for Jenna at his 25th birthday party. Literally. Jack asks Liz to accompany him to the party, where they run into Jack's ex-wife, Bianca, played brilliantly by Isabella Rosellini. When Jack panics, he introduces Liz as his live-in girlfriend, which sends Bianca into a wild rage. "The whole thing makes me want to vomit!" Meanwhile, Frank is tempted to cheat after a tiring altercation with his wife and kids ("How is that Elmo's fault? Did Mommy have some wine to drink before she called Elmo?") by Tracy and a woman with smooth jugs, but Kenneth talks him down in a brilliant spoof of the angel/devil dynamic seen, well, everywhere. The whole episode is entirely plot-relevant, yet it stands out in every way possible. When Glee wants to do a Madonna episode but manages to not advance a single plot, it should be reminded of "Black Tie": a fun, on-location episode that did something different but still developed its characters in truly interesting ways. Maybe one of the top five sitcom episodes ever written, "Black Tie" is a testament to exactly why 30 Rock has become the critical darling and audience favorite it is.
Agree? Disagree? Take it to the comments!
Saturday, June 12, 2010
The Stories Behind The Songs, Part II
One hour, ten hours... Same difference. At any rate... Second verse, more emotionally invested than the first.
10. "I Don't Want To Miss a Thing," Aerosmith
It's probably the cheesiest rock song ever written. It doesn't even sound like Aerosmith, really. But to me, it's just a great anthem of undying love. Not only that, but I use it to be able to say in conversation, "Oh, yeah, I like Aerosmith." ...what? They're not all going to be brilliant reasons. I just really like the song. It's the song I geek out to, really. Check out Allison Iraheta's softer cover that removes some of Steven Tyler's, erm, histrionics.
9. "Halo," Beyoncé
The hard-pumping religiously allegorical "Halo" is arguably her best effort. Though the beat is a little overused (you can hear it, or a version of it, in Kelly Clarkson's "Already Gone," Leona Lewis' "Happy," and Jordin Sparks' "Battlefield," all produced by Ryan Tedder), it's still irresistible. It's also the only time I feel that Beyoncé truly restrains herself. On other songs, her crazy personality is fully on display, but on this one, she keeps it under control. It's a Beyoncé I can admire, not the Beyoncé I'm a little scared of.
8. "Total Eclipse of the Heart," Bonnie Tyler
Oh, my relationship with this song is so interesting. Starting from driving in the Toyota Corolla with my best friend blasting this song to listening to Glee's Lea Michele do her cover version and watching it somehow rocket to number one on the iTunes charts to watching the literal video (haven't watched it? Go. Now. Do it.) over and over again until I remembered those lyrics better than the original ones. The best part? It's a horrible song. Awful. Completely nonsensical. The video's even worse. But I love it. It's truly amazingly bad. My ultimate guilty pleasure.
7. "Knock You Down," Keri Hilson f/ Ne-Yo & Kanye West
"I never thought I'd hear myself say, 'Y'all go ahead, I think I'm gonna kick it with my girl today.'" This is my favorite hip hop song because it is so beautifully orchestrated. The three artists' parts are weaved together beautifully. I consider it a hip hop masterpiece. But it is also a difficult song to listen to, because of when I really loved it most. I loved it, and a good friend of mine who I'm no longer close with loved it too. We would sing it loud and proud driving on 360 with the windows down and music blaring. It's a highlight song, but it does remind me of times gone by that I'm sad don't exist anymore. But to paraphrase the song, when life knocks you down, you just gotta get back up again.
6. "Yesterday," The Beatles
I gotta say, leaving this out of my Top Five is really hard. It's my favorite Beatles tune, quite out of step for the Fab Four. It's an aching tale of a metaphorical morning after a loved one leaves. This song has helped me live through at least one difficult time where I needed to remember the past while still moving on. It is cathartic and a means for living with the past. When you're at your lowest point after a breakup or a friendship ends, take a listen to this song. It can help you realize that just because yesterday is gone doesn't mean you go with it. Listen to Syesha Mercado's heavily stylized cover that recasts the speaker as a woman wronged. It's not better, but it's a pretty damn good stand-alone.
Now, for the Top Five. I would say that most of these could be interchanged. But the following order is probably the most accurate for me.
5. "Paint It Black," The Rolling Stones
Who among us hasn't envisioned that our world gets darker when we're in a bad mood? The Stones took this to an extreme, imagining a world where everything is painted black. The guitar is almost Middle Eastern-influenced, and the lyrics are powerfully gripping, creating an anthem of depression. I will say, however, that I didn't love this song quite as much until Siobhan Magnus tore it up on this past season of American Idol. As good as the original is, I actually prefer Magnus' "demented toybox" version. It's damn impressive, and the sonic scream she pulls out at the end could be irritating but turns out to be the perfect finale. A wonderful interpretation of a wonderful song.
4. "Because of You," Kelly Clarkson
If there's one contemporary pop artist I've followed with the most consistency, it would be Kelly Clarkson. She was my first big concert, the first album I learned all the lyrics to, the first pop star I was ever disappointed in for changing too much, and the first comeback album I ever owned. All in all, she was, and is, my American Idol. This song explains perfectly why I love her so much. Written first when she was sixteen, it's amazingly deep for a pop hit. In it, Clarkson sings about her parents' divorce and how damaging the relationship with her mother was. Sure, I loved "Since U Been Gone" and "My Life Would Suck Without You." I even liked the random "Addicted," "How I Feel," "I Want You," or "Save You." But "Because of You" is special. It's the moment I knew Kelly Clarkson wasn't the average pop star. She's an artist, and she's something special to me.
3. "Falling Slowly," The Swell Season
"I don't know you but I want you all the more for that." Talk about a universal feeling. That gal or guy you see across the room who catches your eye and you can't stop watching. The chance encounter that lasts only a fleeting second but you want to last forever. The aching feeling when you realize that you've truly, completely fallen for someone who doesn't yet love you. It's not a hymn of unrequited love, it's a hymn of a love not yet in existence that you can just taste. I've felt it many a time. It's something you can't fight but in your most difficult moments you succumb to far too often. But just the emotion and the lyrics wouldn't be enough. Glen Hansard and Markéta Irglová are extraordinary artists who evoke incredible emotion of their audiences. I can honestly say that no song makes me more emotional. It's a tearjerker.
2. "So You Can Cry," Ne-Yo
Speaking of songs about pain... This catchy ballad by current R&B king (sorry, Usher) Ne-Yo is about getting over the past and moving on, because life should be a celebration, not a funeral dirge. Like "Yesterday," which is more about remembering the past but still about moving on, "So You Can Cry" appeals to me as a reset button, a way to completely throw away the past and move on with your life. There was at least one period of my life that so desperately needed to be forgotten and thrown away that I wish I had heard this song long ago during that time. It might've helped, because one thing I know now is that in the greatest moments of crisis, music may not be a miracle cure, but it can be a great emotional outlet.
And here we are. Number one. My favorite song of all time is...
1. "You Don't Know Me," Ben Folds f/ Regina Spektor
...the most non-emotional song on this list. Huh? Isn't this all about the story about the song? How did this one win? Let me explain. This was the song of my summer in 2008. Up until that point, that was the best summer of my life (trounced by the summer of 2009 and 2010 is on its way to trouncing it as well). It was bubbly, fun, indie but pop-influenced: the best of all possible worlds. It is the one song I can never tire of listening to (though, strangely, it is behind "So You Can Cry" on my Most Played iTunes list), and the one song I immediately feel sheer joy for when it plays. When someone suggested that American Idol season 9 finalists Crystal Bowersox and Lee DeWyze cover it, I felt immense pleasure that it was being referenced and leapt into defensive Mama Bear mode to protect my favorite song from such debauchery. I have no more love for any other song. This is my song. This is my story. (Cliché ending, right? It had to come sometime.)
Well, there it is. My 20 favorite songs and the reasons why I love them so much. What are your favorites? Give me a taste in the comments section of either Part I or Part II.
10. "I Don't Want To Miss a Thing," Aerosmith
It's probably the cheesiest rock song ever written. It doesn't even sound like Aerosmith, really. But to me, it's just a great anthem of undying love. Not only that, but I use it to be able to say in conversation, "Oh, yeah, I like Aerosmith." ...what? They're not all going to be brilliant reasons. I just really like the song. It's the song I geek out to, really. Check out Allison Iraheta's softer cover that removes some of Steven Tyler's, erm, histrionics.
9. "Halo," Beyoncé
The hard-pumping religiously allegorical "Halo" is arguably her best effort. Though the beat is a little overused (you can hear it, or a version of it, in Kelly Clarkson's "Already Gone," Leona Lewis' "Happy," and Jordin Sparks' "Battlefield," all produced by Ryan Tedder), it's still irresistible. It's also the only time I feel that Beyoncé truly restrains herself. On other songs, her crazy personality is fully on display, but on this one, she keeps it under control. It's a Beyoncé I can admire, not the Beyoncé I'm a little scared of.
8. "Total Eclipse of the Heart," Bonnie Tyler
Oh, my relationship with this song is so interesting. Starting from driving in the Toyota Corolla with my best friend blasting this song to listening to Glee's Lea Michele do her cover version and watching it somehow rocket to number one on the iTunes charts to watching the literal video (haven't watched it? Go. Now. Do it.) over and over again until I remembered those lyrics better than the original ones. The best part? It's a horrible song. Awful. Completely nonsensical. The video's even worse. But I love it. It's truly amazingly bad. My ultimate guilty pleasure.
7. "Knock You Down," Keri Hilson f/ Ne-Yo & Kanye West
"I never thought I'd hear myself say, 'Y'all go ahead, I think I'm gonna kick it with my girl today.'" This is my favorite hip hop song because it is so beautifully orchestrated. The three artists' parts are weaved together beautifully. I consider it a hip hop masterpiece. But it is also a difficult song to listen to, because of when I really loved it most. I loved it, and a good friend of mine who I'm no longer close with loved it too. We would sing it loud and proud driving on 360 with the windows down and music blaring. It's a highlight song, but it does remind me of times gone by that I'm sad don't exist anymore. But to paraphrase the song, when life knocks you down, you just gotta get back up again.
6. "Yesterday," The Beatles
I gotta say, leaving this out of my Top Five is really hard. It's my favorite Beatles tune, quite out of step for the Fab Four. It's an aching tale of a metaphorical morning after a loved one leaves. This song has helped me live through at least one difficult time where I needed to remember the past while still moving on. It is cathartic and a means for living with the past. When you're at your lowest point after a breakup or a friendship ends, take a listen to this song. It can help you realize that just because yesterday is gone doesn't mean you go with it. Listen to Syesha Mercado's heavily stylized cover that recasts the speaker as a woman wronged. It's not better, but it's a pretty damn good stand-alone.
Now, for the Top Five. I would say that most of these could be interchanged. But the following order is probably the most accurate for me.
5. "Paint It Black," The Rolling Stones
Who among us hasn't envisioned that our world gets darker when we're in a bad mood? The Stones took this to an extreme, imagining a world where everything is painted black. The guitar is almost Middle Eastern-influenced, and the lyrics are powerfully gripping, creating an anthem of depression. I will say, however, that I didn't love this song quite as much until Siobhan Magnus tore it up on this past season of American Idol. As good as the original is, I actually prefer Magnus' "demented toybox" version. It's damn impressive, and the sonic scream she pulls out at the end could be irritating but turns out to be the perfect finale. A wonderful interpretation of a wonderful song.
4. "Because of You," Kelly Clarkson
If there's one contemporary pop artist I've followed with the most consistency, it would be Kelly Clarkson. She was my first big concert, the first album I learned all the lyrics to, the first pop star I was ever disappointed in for changing too much, and the first comeback album I ever owned. All in all, she was, and is, my American Idol. This song explains perfectly why I love her so much. Written first when she was sixteen, it's amazingly deep for a pop hit. In it, Clarkson sings about her parents' divorce and how damaging the relationship with her mother was. Sure, I loved "Since U Been Gone" and "My Life Would Suck Without You." I even liked the random "Addicted," "How I Feel," "I Want You," or "Save You." But "Because of You" is special. It's the moment I knew Kelly Clarkson wasn't the average pop star. She's an artist, and she's something special to me.
3. "Falling Slowly," The Swell Season
"I don't know you but I want you all the more for that." Talk about a universal feeling. That gal or guy you see across the room who catches your eye and you can't stop watching. The chance encounter that lasts only a fleeting second but you want to last forever. The aching feeling when you realize that you've truly, completely fallen for someone who doesn't yet love you. It's not a hymn of unrequited love, it's a hymn of a love not yet in existence that you can just taste. I've felt it many a time. It's something you can't fight but in your most difficult moments you succumb to far too often. But just the emotion and the lyrics wouldn't be enough. Glen Hansard and Markéta Irglová are extraordinary artists who evoke incredible emotion of their audiences. I can honestly say that no song makes me more emotional. It's a tearjerker.
2. "So You Can Cry," Ne-Yo
Speaking of songs about pain... This catchy ballad by current R&B king (sorry, Usher) Ne-Yo is about getting over the past and moving on, because life should be a celebration, not a funeral dirge. Like "Yesterday," which is more about remembering the past but still about moving on, "So You Can Cry" appeals to me as a reset button, a way to completely throw away the past and move on with your life. There was at least one period of my life that so desperately needed to be forgotten and thrown away that I wish I had heard this song long ago during that time. It might've helped, because one thing I know now is that in the greatest moments of crisis, music may not be a miracle cure, but it can be a great emotional outlet.
And here we are. Number one. My favorite song of all time is...
1. "You Don't Know Me," Ben Folds f/ Regina Spektor
...the most non-emotional song on this list. Huh? Isn't this all about the story about the song? How did this one win? Let me explain. This was the song of my summer in 2008. Up until that point, that was the best summer of my life (trounced by the summer of 2009 and 2010 is on its way to trouncing it as well). It was bubbly, fun, indie but pop-influenced: the best of all possible worlds. It is the one song I can never tire of listening to (though, strangely, it is behind "So You Can Cry" on my Most Played iTunes list), and the one song I immediately feel sheer joy for when it plays. When someone suggested that American Idol season 9 finalists Crystal Bowersox and Lee DeWyze cover it, I felt immense pleasure that it was being referenced and leapt into defensive Mama Bear mode to protect my favorite song from such debauchery. I have no more love for any other song. This is my song. This is my story. (Cliché ending, right? It had to come sometime.)
Well, there it is. My 20 favorite songs and the reasons why I love them so much. What are your favorites? Give me a taste in the comments section of either Part I or Part II.
The Stories Behind The Songs, Part I
I was planning on moving to 30 Rock first, but I have to figure out exactly which episodes are my favorites before I do that. So it's music first!
Rolling Stone recently came out with a list of the Best 500 Songs ever. Somewhat expectedly, it was heavy on rock and roll, but especially on classic rock (Rolling Stones, Beatles, U2, etc.). I can appreciate some of the selections (Top 10 placement for John Lennon's "Imagine" and Aretha Franklin's "Respect"? Hell yeah!), but others (why does "Paint It Black" not even break the Top 100? Why doesn't "Yesterday" break the Top 10?) really frustrate me.
Thus, I've formulated this theory: it is impossible to compile a subjective list of best songs ever. Each person has different memories of different songs, has different tastes, and therefore no one will be able to create a rubric for grading every song ever written and deciding which is "best."
What is possible, however, is to compile a personal favorite playlist: 20 songs one likes the most. They don't even have to be good songs, really: what is important is the emotion behind the song. What connection does one have to the song? What's the story behind the song?
In these two posts, I'll detail my favorite 20 songs of all time, as well as explain exactly why each of them is so important to me personally. Readers, I don't expect you to agree. You shouldn't agree. But I challenge you guys to come up with your top 20 (or 10, or 5) songs not from a technical level, but from a personal level, and post them in the comments section. You can explain them or you can not explain them, but make sure each song means something.
One note: not everything below is going to be super deep, but there will be some that are pretty personal. I'll do my best to not name names when the explanation is sticky.
20. "Russian Roulette," Rihanna
I absolutely hated how the press handled the Rihanna/Chris Brown incident. It was like they were afraid to pick a side. Like Brown somehow wasn't completely in the wrong. Jesse James cheats on Sandra Bullock and he's a sub-human, but Brown beats his girlfriend and we should "hear both sides of the story." It was sickening. This was Rihanna's first single off her fourth (and best) album, Rated R, and it is by far the most emotionally-loaded song she's ever written. Love is, for her and for all of us, a sick game, one where we never know what is right behind the door. Is it safety or is it jeopardy? The song is beautifully orchestrated and layered. It inspires an emotional reaction at each bated breath and especially at that first cold gunshot.
19. "The High Road," Broken Bells
I can't stand people who follow indie music just so that they can say they follow indie music. (People who legitimately enjoy indie music, however, actually compose a good portion of my best friends, so don't read that wrong. I hate the posers, not the true indie fans.) While I like some independent artists here and there, I would never consider myself an "indie kid" or anything in that vein. (The last song was Rihanna, for crying out loud.) However, a friend introduced me to this song, and I fell in love with it. The first part is just goofy enough to be a blast, like the intro to a Mario game, and the softer outro is a brilliant choice to end it. After hearing this song, I bought the album, and am still to this day the only person I know who owns the Bells' album. So no, I'm not an indie kid, but this is one group I cop to being a fanboy for, and this is the song that started it all.
18. "Don't Rain On My Parade," Barbra Streisand
Admittedly, the Streisand version isn't my favorite version of this song. There's no doubt she has the raw emotion in her voice, but it's always struck me as a little too grand. No, my love for this song first started with Lea Michele's cover version in the midseason finale of Glee, "Sectionals." It's a brilliant song and a brilliant performance, but it's the story I really relate to. Rachel, Michele's character, is the most talented singer on the show, full stop. Yet other characters and fans alike reject her because she steals the show too often. Then, when they most need her, she pulls this out of her hat and kills it. There's a central truth there that the best will be the best no matter what, and just because they're overexposed or too self-aggrandizing doesn't take that away.
17. "Like a Star," Corrine Bailey Rae
Rae's soul-filled waltz about a broken relationship that's just so damn addictive is absolutely beautiful, and especially meaningful since the death of her husband between her two albums. Her British croon is certainly popular elsewhere (Duffy, ADELE, Amy Winehouse), but she does it better than any of her more popular contemporaries on this track that taught me that every relationship has its ups and downs, but for true love, you can live with the annoyances and irritations.
16. "Is That All There Is?," Peggy Lee
"Then one day, he went away, and I thought I'd die. But I didn't. And when I didn't, I said to myself, 'Is that all there is to love? Is that all there is?'" The speaker in Lee's fatalistic anthem doesn't see a point in, well, anything, even death. Everything is a disappointment. I know that I have had, and I'm sure others have had similar, thoughts that life isn't worth living if there's no joy or fun in it. (See also: Jenny in An Education.) Here's the truth, however: life is worth living when you surround yourself with loved ones you can trust. In fact, life can be beautiful. You don't ask, "Is that all there is?" but rather, "What's next?" That's an important lesson for anyone. It certainly was for me.
15. "All Alone," Chris Richardson
We've hit the first song absolutely no one will know! (It's actually probably the last one too...) Richardson was a finalist on Season 6 of American Idol, and was generally considered a lightweight by, well, everyone, including me. However, his debut single (which woefully underperformed) showed up on a recommendation from iTunes. It was only $.99, so I went ahead and bought it. Thank God I did. I take back anything I ever said about Richardson: his tone is great, his lyrics aren't too deep but they're decent, and the song is infinitely listenable. It's Justin Timberlake-esque pop, but unlike the far too ubiquitous former *NSYNC member, Richarsdon can keep me hooked. I just wish he'd release more music!
14. "Paparazzi," Lady Gaga
Trust me, it was not easy to decide whether it would be this or "Bad Romance" that made it onto the list. (I almost put both.) Some like to dismiss Gaga as nothing but a one-trick pony. I would like to ask those people exactly when they stopped paying attention/started smoking hallucinogenics. Gaga has more than a few tricks up her sleeve, and "Paparazzi" was her first reinvention. She transformed from the party girl to an introspective pop star looking at the photographers who follow her around in a completely different way: instead of scorning them, she inhabited them and made herself her man's stalker. The video was her first insane one (starring True Blood's Alexander Skarsgård), setting the stage for "Bad Romance," "Telephone," and most recently, "Alejandro." When you think about it, "Paparazzi" is the reason why we, and especially I, hang on Gaga's every movement. She's not just an artist: she's a pop culture phenomenon. (If you want a cover to check out, try Felix Theis' acoustic cover. Find it on YouTube.)
13. "My Funny Valentine," Frank Sinatra
Here's a little O'Keeffe family trivia: this song was my mom's first Valentine's Day gift to my dad when they were engaged. Two years ago, as a harkening back to that, I burned a CD of twenty different "My Funny Valentine" covers for my parents for their 20th anniversary. There's something so sweet about the song, and I consider it the anthem of my parents' incredibly strong marriage. My favorite cover is Carly Simon's quieter, more lovely than loving version, but I also love the R&B-twinged Melinda Doolittle cover and Sinatra's original, though I do think it's a song for a woman to sing to a man, not vice versa. (Saying a woman's figure is "less than Greek" sounds significantly more sexist than saying it of a man's figure.)
12. "Say My Name," Destiny's Child
Two artists have two entries each on this chart. Beyoncé is the first: one as a solo artist, one as part of Destiny's Child. (There would have been a third if I could have decided on a Regina Spektor song, but they're all too evenly matched for me to pick a favorite.) "Say My Name" had a striking video that I still remember to this day: that may have been because this was the first music video I ever saw. The then-four members of Child were positioned around an apartment, each member in a differently colored room and dressed to match. The action then shifted to a garage-esque setting, and the singers did a rotating dance that would become iconic. The song is super-catchy, with just the right amount of sass. I smile instantly when the song comes on, remembering all the times I listened to the song as a kid and watched the video. It's the ultimate kiss-off song, and one that I will probably remember the words to forever.
The final song of the lower tier is...
11. "You Oughta Know," Alanis Morrisette
This was not an easy one to remove from the Top 10, but I couldn't find one to drop in its favor. My science teacher once referred to Morrisette's music as being "angry lesbian music," which is incredibly true. However, this song is also a beautiful testament to exactly how thin that line between love and hate really is. Personally, I have hated people I knew I loved. Neither of those emotions is illegitimate: when love is unrequited, hate is born. This passionate rant of a woman scorned may be a tale of hatred, but there is also no doubt that she loves her ex-lover as well. Love is too complex to be trivialized as a one-emotion issue. It is incredibly complex and incredibly passionate, and that's what I love most about this song.
Part II will be up in a little over an hour, so stay tuned for that. It gets loads more personal, I can guarantee you that.
Rolling Stone recently came out with a list of the Best 500 Songs ever. Somewhat expectedly, it was heavy on rock and roll, but especially on classic rock (Rolling Stones, Beatles, U2, etc.). I can appreciate some of the selections (Top 10 placement for John Lennon's "Imagine" and Aretha Franklin's "Respect"? Hell yeah!), but others (why does "Paint It Black" not even break the Top 100? Why doesn't "Yesterday" break the Top 10?) really frustrate me.
Thus, I've formulated this theory: it is impossible to compile a subjective list of best songs ever. Each person has different memories of different songs, has different tastes, and therefore no one will be able to create a rubric for grading every song ever written and deciding which is "best."
What is possible, however, is to compile a personal favorite playlist: 20 songs one likes the most. They don't even have to be good songs, really: what is important is the emotion behind the song. What connection does one have to the song? What's the story behind the song?
In these two posts, I'll detail my favorite 20 songs of all time, as well as explain exactly why each of them is so important to me personally. Readers, I don't expect you to agree. You shouldn't agree. But I challenge you guys to come up with your top 20 (or 10, or 5) songs not from a technical level, but from a personal level, and post them in the comments section. You can explain them or you can not explain them, but make sure each song means something.
One note: not everything below is going to be super deep, but there will be some that are pretty personal. I'll do my best to not name names when the explanation is sticky.
20. "Russian Roulette," Rihanna
I absolutely hated how the press handled the Rihanna/Chris Brown incident. It was like they were afraid to pick a side. Like Brown somehow wasn't completely in the wrong. Jesse James cheats on Sandra Bullock and he's a sub-human, but Brown beats his girlfriend and we should "hear both sides of the story." It was sickening. This was Rihanna's first single off her fourth (and best) album, Rated R, and it is by far the most emotionally-loaded song she's ever written. Love is, for her and for all of us, a sick game, one where we never know what is right behind the door. Is it safety or is it jeopardy? The song is beautifully orchestrated and layered. It inspires an emotional reaction at each bated breath and especially at that first cold gunshot.
19. "The High Road," Broken Bells
I can't stand people who follow indie music just so that they can say they follow indie music. (People who legitimately enjoy indie music, however, actually compose a good portion of my best friends, so don't read that wrong. I hate the posers, not the true indie fans.) While I like some independent artists here and there, I would never consider myself an "indie kid" or anything in that vein. (The last song was Rihanna, for crying out loud.) However, a friend introduced me to this song, and I fell in love with it. The first part is just goofy enough to be a blast, like the intro to a Mario game, and the softer outro is a brilliant choice to end it. After hearing this song, I bought the album, and am still to this day the only person I know who owns the Bells' album. So no, I'm not an indie kid, but this is one group I cop to being a fanboy for, and this is the song that started it all.
18. "Don't Rain On My Parade," Barbra Streisand
Admittedly, the Streisand version isn't my favorite version of this song. There's no doubt she has the raw emotion in her voice, but it's always struck me as a little too grand. No, my love for this song first started with Lea Michele's cover version in the midseason finale of Glee, "Sectionals." It's a brilliant song and a brilliant performance, but it's the story I really relate to. Rachel, Michele's character, is the most talented singer on the show, full stop. Yet other characters and fans alike reject her because she steals the show too often. Then, when they most need her, she pulls this out of her hat and kills it. There's a central truth there that the best will be the best no matter what, and just because they're overexposed or too self-aggrandizing doesn't take that away.
17. "Like a Star," Corrine Bailey Rae
Rae's soul-filled waltz about a broken relationship that's just so damn addictive is absolutely beautiful, and especially meaningful since the death of her husband between her two albums. Her British croon is certainly popular elsewhere (Duffy, ADELE, Amy Winehouse), but she does it better than any of her more popular contemporaries on this track that taught me that every relationship has its ups and downs, but for true love, you can live with the annoyances and irritations.
16. "Is That All There Is?," Peggy Lee
"Then one day, he went away, and I thought I'd die. But I didn't. And when I didn't, I said to myself, 'Is that all there is to love? Is that all there is?'" The speaker in Lee's fatalistic anthem doesn't see a point in, well, anything, even death. Everything is a disappointment. I know that I have had, and I'm sure others have had similar, thoughts that life isn't worth living if there's no joy or fun in it. (See also: Jenny in An Education.) Here's the truth, however: life is worth living when you surround yourself with loved ones you can trust. In fact, life can be beautiful. You don't ask, "Is that all there is?" but rather, "What's next?" That's an important lesson for anyone. It certainly was for me.
15. "All Alone," Chris Richardson
We've hit the first song absolutely no one will know! (It's actually probably the last one too...) Richardson was a finalist on Season 6 of American Idol, and was generally considered a lightweight by, well, everyone, including me. However, his debut single (which woefully underperformed) showed up on a recommendation from iTunes. It was only $.99, so I went ahead and bought it. Thank God I did. I take back anything I ever said about Richardson: his tone is great, his lyrics aren't too deep but they're decent, and the song is infinitely listenable. It's Justin Timberlake-esque pop, but unlike the far too ubiquitous former *NSYNC member, Richarsdon can keep me hooked. I just wish he'd release more music!
14. "Paparazzi," Lady Gaga
Trust me, it was not easy to decide whether it would be this or "Bad Romance" that made it onto the list. (I almost put both.) Some like to dismiss Gaga as nothing but a one-trick pony. I would like to ask those people exactly when they stopped paying attention/started smoking hallucinogenics. Gaga has more than a few tricks up her sleeve, and "Paparazzi" was her first reinvention. She transformed from the party girl to an introspective pop star looking at the photographers who follow her around in a completely different way: instead of scorning them, she inhabited them and made herself her man's stalker. The video was her first insane one (starring True Blood's Alexander Skarsgård), setting the stage for "Bad Romance," "Telephone," and most recently, "Alejandro." When you think about it, "Paparazzi" is the reason why we, and especially I, hang on Gaga's every movement. She's not just an artist: she's a pop culture phenomenon. (If you want a cover to check out, try Felix Theis' acoustic cover. Find it on YouTube.)
13. "My Funny Valentine," Frank Sinatra
Here's a little O'Keeffe family trivia: this song was my mom's first Valentine's Day gift to my dad when they were engaged. Two years ago, as a harkening back to that, I burned a CD of twenty different "My Funny Valentine" covers for my parents for their 20th anniversary. There's something so sweet about the song, and I consider it the anthem of my parents' incredibly strong marriage. My favorite cover is Carly Simon's quieter, more lovely than loving version, but I also love the R&B-twinged Melinda Doolittle cover and Sinatra's original, though I do think it's a song for a woman to sing to a man, not vice versa. (Saying a woman's figure is "less than Greek" sounds significantly more sexist than saying it of a man's figure.)
12. "Say My Name," Destiny's Child
Two artists have two entries each on this chart. Beyoncé is the first: one as a solo artist, one as part of Destiny's Child. (There would have been a third if I could have decided on a Regina Spektor song, but they're all too evenly matched for me to pick a favorite.) "Say My Name" had a striking video that I still remember to this day: that may have been because this was the first music video I ever saw. The then-four members of Child were positioned around an apartment, each member in a differently colored room and dressed to match. The action then shifted to a garage-esque setting, and the singers did a rotating dance that would become iconic. The song is super-catchy, with just the right amount of sass. I smile instantly when the song comes on, remembering all the times I listened to the song as a kid and watched the video. It's the ultimate kiss-off song, and one that I will probably remember the words to forever.
The final song of the lower tier is...
11. "You Oughta Know," Alanis Morrisette
This was not an easy one to remove from the Top 10, but I couldn't find one to drop in its favor. My science teacher once referred to Morrisette's music as being "angry lesbian music," which is incredibly true. However, this song is also a beautiful testament to exactly how thin that line between love and hate really is. Personally, I have hated people I knew I loved. Neither of those emotions is illegitimate: when love is unrequited, hate is born. This passionate rant of a woman scorned may be a tale of hatred, but there is also no doubt that she loves her ex-lover as well. Love is too complex to be trivialized as a one-emotion issue. It is incredibly complex and incredibly passionate, and that's what I love most about this song.
Part II will be up in a little over an hour, so stay tuned for that. It gets loads more personal, I can guarantee you that.
Wednesday, June 9, 2010
Gleeless: My Dissatisfaction With The Finale
To paraphrase a wise, apparently-barren woman, "Somewhere in a stately manor in the countryside of England, Journey is crying."
Kids, you should know off the bat that this is not going to be a happy post because I was supposed to move onto 30 Rock and music. Since I'm still on Glee, it can only mean one thing: rant.
If you haven't watched last night's finale, stop reading. This is gonna be spoilery.
The episode last night, "Journey," was rushed, ignored plot, and was completely ingenuine to Glee's roots. Then agian, that shouldn't be a shock: these last nine episodes of the spring have all, in one way or another, failed to live up to the Great Glee Promise.
What is the Great Glee Promise, you ask? Flash back with me to the first thirteen episodes. Remarkably solid, all thirteen had a spirit that you would be hard-pressed to deny. Even the lowest points ("Acafellas," "Hairography") had redeeming moments ("Imagine," for example) that reminded us why we loved the show.
Ryan Murphy, the show's creator, made a promise to Gleeks everywhere that he would stay true to the spirit of the show when it took five months off. When it came back in April, it wasn't the same show we once loved.
That's not all bad: some of the episodes have been great. But on the whole, the episodes have taken a darker turn into dramatic territory, only alleviated by ditzy Brittany (Heather Morris). Even Sue Sylvester (Jane Lynch), the Chuck Norris-esque iconic character, has faltered into melodrama several times.
However, Glee is not bad at drama. Look at "Theatricality" and, especially, "Dream On." Those two episodes were masterpiece dramatic theater. Mike O'Malley's performance in the former as proud father to Kurt (Chris Colfer) was indescribably passionate. The duet of "I Dreamed a Dream" between mother (Idina Menzel) and daughter (Lea Michele) was inspired.
What makes it difficult, then, is when Glee fails to either live up to the Promise of funny, inspiring television OR be dramatic. Last night, the show failed spectacularly to be either.
I'm sure there are some who genuinely liked last night's episode. I ask you to recollect with me on exactly what happened last night. The competition was treated like an afterthought, with the group's Journey medley minimized. (Why wasn't the new version of "Don't Stop Believin'" given proper treatment? It sounded killer!) Not only that, but we were expected to be surprised when Vocal Adrenaline won for their cover of "Bohemian Rhapsody," which was a million times better. The plots had no resolution, with barely-there writing explaining things away. Shelby Corcoran (Menzel) got Quinn (Dianna Agron)'s baby. Rachel (Michele) and Finn (Cory Monteith) kissed and are in love. Emma Pillsbury (Jayma Mays) is still in love with Will Schuester (Matthew Morrison). Sue has a heart and voted for the kids, so she convinced Principal Figgins (Iqbal Theba) to give them one more year to turn things around.
It was all a reset button. A "hey, we're gonna keep doing the same thing for another year" excuse. A reason for Season 2 that could have easily not come to pass.
Glee showed at midseason that they know how to do a finale. This was a major disappointment.
Murphy and the show's writing staff needs to consider exactly where they want Glee to go next season. Do they want it to live up to the Promise? In that case, all the melodrama needs to go, and more humor needs to be injected.
Or would they prefer stick with the "Theatricality"/"Dream On" direction? If they do, then here's what they gotta do, pronto.
1. Eject Sue Sylvester. The woman is born to be in the original Glee world, not this one. If we're gonna see a darker direction for the show, she needs to get her own spin-off where she can be simply Sue.
2. Stop the stunt casting. No more Idina Menzels or Jonathan Groffs. All the characters have to be completely real and genuine. I would even dump part of the main ensemble (Kevin McHale, Jenna Ushkowicz, and my lovely Morris).
3. Make the songs appropriate. Crap like having a mother and daughter do "Poker Face" isn't gonna fly. Nor are episodes entirely devoted to being "funky" to get out of a "funk." Every episode must act as the first few did: drop the hokey themes and assignments and let the music tell the story.
I'm sad that Glee is going through this identity crisis, but I know that it can win its audience back quite easily. They just need to remember who they are and why the show is so great.
Kids, you should know off the bat that this is not going to be a happy post because I was supposed to move onto 30 Rock and music. Since I'm still on Glee, it can only mean one thing: rant.
If you haven't watched last night's finale, stop reading. This is gonna be spoilery.
The episode last night, "Journey," was rushed, ignored plot, and was completely ingenuine to Glee's roots. Then agian, that shouldn't be a shock: these last nine episodes of the spring have all, in one way or another, failed to live up to the Great Glee Promise.
What is the Great Glee Promise, you ask? Flash back with me to the first thirteen episodes. Remarkably solid, all thirteen had a spirit that you would be hard-pressed to deny. Even the lowest points ("Acafellas," "Hairography") had redeeming moments ("Imagine," for example) that reminded us why we loved the show.
Ryan Murphy, the show's creator, made a promise to Gleeks everywhere that he would stay true to the spirit of the show when it took five months off. When it came back in April, it wasn't the same show we once loved.
That's not all bad: some of the episodes have been great. But on the whole, the episodes have taken a darker turn into dramatic territory, only alleviated by ditzy Brittany (Heather Morris). Even Sue Sylvester (Jane Lynch), the Chuck Norris-esque iconic character, has faltered into melodrama several times.
However, Glee is not bad at drama. Look at "Theatricality" and, especially, "Dream On." Those two episodes were masterpiece dramatic theater. Mike O'Malley's performance in the former as proud father to Kurt (Chris Colfer) was indescribably passionate. The duet of "I Dreamed a Dream" between mother (Idina Menzel) and daughter (Lea Michele) was inspired.
What makes it difficult, then, is when Glee fails to either live up to the Promise of funny, inspiring television OR be dramatic. Last night, the show failed spectacularly to be either.
I'm sure there are some who genuinely liked last night's episode. I ask you to recollect with me on exactly what happened last night. The competition was treated like an afterthought, with the group's Journey medley minimized. (Why wasn't the new version of "Don't Stop Believin'" given proper treatment? It sounded killer!) Not only that, but we were expected to be surprised when Vocal Adrenaline won for their cover of "Bohemian Rhapsody," which was a million times better. The plots had no resolution, with barely-there writing explaining things away. Shelby Corcoran (Menzel) got Quinn (Dianna Agron)'s baby. Rachel (Michele) and Finn (Cory Monteith) kissed and are in love. Emma Pillsbury (Jayma Mays) is still in love with Will Schuester (Matthew Morrison). Sue has a heart and voted for the kids, so she convinced Principal Figgins (Iqbal Theba) to give them one more year to turn things around.
It was all a reset button. A "hey, we're gonna keep doing the same thing for another year" excuse. A reason for Season 2 that could have easily not come to pass.
Glee showed at midseason that they know how to do a finale. This was a major disappointment.
Murphy and the show's writing staff needs to consider exactly where they want Glee to go next season. Do they want it to live up to the Promise? In that case, all the melodrama needs to go, and more humor needs to be injected.
Or would they prefer stick with the "Theatricality"/"Dream On" direction? If they do, then here's what they gotta do, pronto.
1. Eject Sue Sylvester. The woman is born to be in the original Glee world, not this one. If we're gonna see a darker direction for the show, she needs to get her own spin-off where she can be simply Sue.
2. Stop the stunt casting. No more Idina Menzels or Jonathan Groffs. All the characters have to be completely real and genuine. I would even dump part of the main ensemble (Kevin McHale, Jenna Ushkowicz, and my lovely Morris).
3. Make the songs appropriate. Crap like having a mother and daughter do "Poker Face" isn't gonna fly. Nor are episodes entirely devoted to being "funky" to get out of a "funk." Every episode must act as the first few did: drop the hokey themes and assignments and let the music tell the story.
I'm sad that Glee is going through this identity crisis, but I know that it can win its audience back quite easily. They just need to remember who they are and why the show is so great.
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