Random Topics: Delicious Strawberry-Flavored Death

For anyone who hasn't watched Fox's awesome sci-fi show, Fringe, this last half of season three might be your last chance to see it during its original run - Fox recently announced that they were moving the show to Friday nights, a time slot that has pretty much guaranteed a quick death for everything put there in the past. The ratings were already pretty grim in its normal Thursday slot, so in all likelihood this is it for Fringe. However, that doesn't mean that Fox wants the show to die; Entertainment President Kevin Reilly recently gave fans a (probably false) glimmer of hope to latch onto, saying, "If it does anywhere near what it did on Thursdays, we can glue that show to the schedule because it can be a big win for us." Recently, the Fox marketing team gave a little visual support to this sentiment, making what is probably one of the best promo spots that I've ever seen. You might have to be an actual fan of the show to appreciate the humor and all the callbacks in it (which sort of defeats the purpose of it), but it's a real treat for those who do watch Fringe. The ad, which can be viewed below, is supposedly only for online use, but Fox has said that something of a similar nature will be airing on TV soon. So, here's hoping Fringe can beat the odds and continue to make fantastic, freaky, and forcible TV!

Random Topics: 2010 Spike VGAs

Last week, the nominees for both the Golden Globes and the SAG awards were announced, but did you know that there was actually an awards show being televised last Saturday? If you did, you're probably a huge nerd, because the awards show that I'm referring to was the 2010 Spike TV Video Game Awards.

Of course, I myself am a huge nerd, so I took some time away from actually playing video games to watch the rebroadcast of the ceremony. For those of you with better things to do (which would be pretty much anything), the VGAs are usually just fucking awful. The show is so awkward and unfunny that it becomes painful to watch - and I actually like video games: If the prospect of seeing a trailer for the next Elder Scrolls game is meaningless gibberish to you, then you'll want to stay far, far away from the VGAs. Jeff Green, one of the most respected game industry veterans, has a great piece about the problems with the show on his blog.

But the actual award show is pretty pointless anyway, because the real reason that people (myself included) watch the show is to get a glimpse at the games that are coming out next year. And this year was especially exciting for me, because MASS EFFECT 3!!!!!!!!!!!!! I'll probably be writing something soon about the Mass Effect series, but I think that honestly might be the most excited I've ever been by a trailer (especially one that essentially revealed very little about the product). In any case, you can view the trailer here, and I'm sure I'll be writing more about the game as we get closer to its release, because I fucking love Mass Effect.

Game Review - World of Warcraft: Cataclysm

So here we are with the first ever video game review on The Casualty Report! Except not really! This is more of a discussion; for reasons that will become apparent I don't feel confident actually giving out a grade or claiming to have a truly informed opinion about this game. In any case, hopefully this will still be interesting and somewhat helpful (though probably not). You've been disclaimed!


World of Warcraft: Cataclysm
Developer: Blizzard Entertainment
Publisher: Activision Blizzard

Attempting to write about an MMO is a pretty daunting and usually futile task. Part of the reason that the genre is so popular is that the experience is so open-ended, and condensing a game so gigantic in scale into a brief write-up does not really do justice to the intentions of those who made the game or those who will play it.

Fuck it, though, I'm gonna go right ahead and try. My experience with World of Warcraft as a whole is minimal, and it's downright infinitesimal when compared with what the avid player puts in. A few years ago I was lured into trying out Blizzard's popular, gargantuan beast of a game with an offer of a free ten-day trial, during which I became thoroughly addicted and quickly reached the trial level cap of 20. I (wisely) realized that if I subscribed at that point, not only would I be using up money that I didn't really want to spend, but I would also probably be using up a large chunk of my free time in playing WoW. So I decided, with great difficulty, to just back away slowly and hope the addictive monster would let me go, and I never tried to play again for a long time.

Random Topics: See! I'm Not Crazy!

Just saw this on one of the TV blogs I sometimes frequent. Remarkably similar to the points that I was making about the Buffy reboot. Could it be...(dramatic sound effect) thievery?

The answer's no, by the way. More likely, it means that everyone who has given this a second's worth of thought has concluded that it's a dumb idea. Yeesh. Maybe I need to try to be less of a nerd, cause it can just be real stressful sometimes. I promise this is the last I'll post about it.



Unless it keeps bothering me.

Film Review -- Harry Potter and the Deathly Hallows Pt. 1

Harry Potter and the Deathly Hallows Pt. 1
Director: David Yates; Writer: Steve Kloves
Warner Bros. Pictures

Every Harry Potter movie has seemed a bit of a doomed proposition from the get-go; the films have to deal with issues of managing fan expectations and lessening disappointment to a far greater extent than most adaptations, simply because the fans of the series are so passionate and numerous. The novels seem to be so much a part of the modern collective consciousness (or, at least, that of the audience that sees the films) in a way that even the Lord of the Rings or the Chronicles of Narnia can't compare to. Ironically, the franchise's intense popularity has prevented the movies from excelling - the filmmakers can't possibly hope to deliver the same depth and experience that the books provide, which leads to inevitably unfavorable comparisons.

Of course, I might be completely talking out of my ass, and maybe the real reason that the Harry Potter movies have been largely disappointing to me is that they just weren't all that good. Oftentimes it feels like the films emphasize style over substance, that they're more concerned with advancing plot than character, and that they fumble some of the most compelling aspects of the books. I feel obligated to defend the third and fourth films as being pretty good, and the fifth and six were alright, but I certainly wouldn't call any of them great. And while I still wouldn't call Harry Potter and the Deathly Hallows Pt. 1 "great," it is my favorite Harry Potter movie yet.

Random Topics: Why the Buffy Reboot Makes Absolutely No Sense

I haven't written anything for this blog for quite some time. School and being lazy have occupied a lot of my time, and I just haven't felt motivated to write much. I needed something to jolt me back into my writing groove, and boy oh boy did Warner Bros. ever come through in the clutch. Recently, Warner Bros. Pictures announced plans to bring Joss Whedon's beloved heroine, Buffy Anne Summers, Vampire Slayer Extraordinaire, back to the big screen. Details can be found in the above link, though they are few at this point, but here's the important stuff, after the break:

A Worthy Cause

For my first order of business in my return to this blog, I thought it would be fitting to call attention to the blog of someone much smarter, funnier, and more talented than I. That person is one Patrick Rothfuss. Rothfuss, for those of you who aren't quite as massively nerdy as I am, is the author of the widely-acclaimed fantasy novel "The Name of the Wind," as well as the forthcoming sequel, "Wise Man's Fear." Now, I haven't read any of his work, but "The Name of the Wind" is definitely near the top of my gargantuan list of books I want to read, and I have followed his blog for the past couple years or so.

One of the reasons I consider myself to be a fan of Pat's, without having read anything by him, is that every year around the holidays, he runs a fundraiser of sorts to benefit Heifer International. He reaches out to all of his fellow author friends, a fantastic Sci-Fi/Fantasy specialty press called Subterranean Press, and a plethora of other sources to come up with a ton of books, comics, and other items of interest to give away for charity.

The specifics of the fundraiser, which is called Worldbuilders, can be found at his blog, but the basic idea is that for every $10 you give to Heifer International, you get a chance to win one of the fabulous books that Pat has assembled. And these are things that any Sci-Fi/Fantasy lover would drool over - limited editions, signed copies, advanced reading copies, rare and out of print volumes - it's a cornucopia of nerdy awesomeness. And the best part is, Rothfuss has pledged to match 50% of the amount raised, because he's just a great guy.

Last year, Worldbuilders raised almost $200,000 for Heifer International and gave away some pretty sweet stuff. I've given money the past two years, and managed to pocket two books for my contributions. So, if you're the type of person that gets irrationally excited by the thought of owning a book signed by Neil Gaiman or Jim Butcher, be sure to head over to the Worldbuilders site and fork over some of your cash - it's a good cause with great prizes.

Hmm, Now Where Did I Put That Blog of Mine...

Howdy, readers. It's been a while since I've put anything up here, and I'm sorry for that - a sentiment that I seem to be expressing a lot on this blog. Well, you can't say I didn't warn you this time, since I said I would be pretty busy with school. I mean, technically you could point out that I promised I would have a podcast up "next week" back in September (I recorded most of it, but finally just gave up), but let's just let the past stay in the past. Carpe diem, and all that good stuff!

In any case, I finally have some time off for Thanksgiving, and I'll be doing a bit of writing over this break. I'm not promising much, and anything I put up is likely going be very random and not necessarily fit the loose format I devised for the blog, but I hope you'll forgive me.

Suffice it to say, I'm back, and I hope all my wonderful, dedicated, imaginary fans will come back too.

TCR Podcast - Episode 2

As I wrote in my previous post, I'm continuing with the making of the awful podcasts for a little while - and here's the second one right here! I have to apologize for the atrocious sound quality (and general quality) - I'll really try to do much better for the next one. Incidentally, the next podcast will probably come up either Monday or Tuesday of next week. Unless it's Wednesday. Anyway, on this podcast, I talk about my plan for the blog, the debut of FX's Terriers, have a dumb conversation with myself about ratings, touch on the new Thermals album (their music is featured today), and rapidly talk about some things I've been meaning to get to for over a month. Enjoy!

Download the podcast here:
http://www.mediafire.com/?5g98il8oxbf0e33

New Plan - It's Like a Blog, but Without the Reading!

Hello, all you fine people that read my blog! I feel as if I've been treating you wrong lately, and that just pains me so deep. So I've decided to try to make it up to you. No, I didn't get you candy, or chocolate, or flowers, or a nice little card with a cute animal saying "sowwy" on it. No, only the best for my readers: You get to listen to me prattle on about things on a regular podcast!

Some of my more jaded (imaginary) followers might be thinking, Hey, didn't this asshole say he was gonna do a regular podcast like a month ago, and then fail? Well, fucker, I suppose you're technically correct. But I'm still treating this as good news because I think I've figured out a way where I can still have a tiny amount of content posted regularly, at least enough that I can justify still bothering with this blog. Here's the deal: I'm at college right now, and while I'm definitely not an incredibly busy person, most of my free time is consumed by either schoolwork or doing things with my boyfriend. If I felt extremely motivated, I could pretty easily find the time to upload a new post probably like 4-6 times per week for The Casualty Report, but I feel like that's just not enough for me to do everything justice (especially considering fall TV season is heating up). However, I still want to be able to contribute something to the blog. So, I polled the best and brightest minds in science and, after an in-depth review of their responses, I've determined that TCR will now be taking the form of a (roughly once or twice a week) podcast.

This doesn't mean I won't occasionally write some good old-fashioned words for whatever nerds out there that still "read" things, but I won't be writing much. I'll probably have a good deal of time over the holidays to write, so I'll probably do some best-of-the-year lists and midseason check-ins on the TV shows I've been following. In the meantime, however, check back every now and then for some poorly-made and mind-numbingly boring podcasts!

Hiatus

What up, peoples. I'm aware that there has not been anything new posted here for a little while, and I figured I should probably just admit that there won't be anything coming up anytime soon. I'm just too busy with school and other things (Eli) to really devote much time to this blog, so there may not be any new content for a little while. If I happen to get a lot of time, I may do some limited writing, but until further notice, I'm taking a little break. Peace out!

TCR Podcast - Episode 1

Hey everyone! This is a bit of an experiment for me - I've created a boring podcast to match my boring blog! Some said it couldn't be done, or shouldn't (or they would have if anyone read this except Eli), but that's just how much of a rebel I am, I guess. Anyway, I'll probably be doing new episodes roughly every Monday, so check it out!

On this podcast, I introduce the TCR podcast, discuss my agenda for the coming week, talk about the weekend box office numbers and Scott Pilgrim, and briefly discuss the pilots of Covert Affairs and Rubicon. If you like it, please subscribe to the blog's feed (and hopefully I'll make it so that it's subscribable on iTunes as well). Apologies for some slight technical difficulties.

Download the podcast here: http://www.mediafire.com/?w3zcazb9vwlcc1k


NPR piece on Scott Pilgrim

New TV Review -- Rubicon

Rubicon
Gone in the Teeth
AMC Sundays 9 p.m.

In some ways, Rubicon, AMC's new original series, bears a good deal of resemblance to the show I was talking about here yesterday, USA's Covert Affairs. Both shows are centered around the cloak-and-dagger world of international intrigue. Both shows come from creators that have had limited experience as TV showrunners (Jason Horwitch, the creator of Rubicon, helmed NBC's Medical Investigation a few years back but otherwise has almost no notable credits to his name). And both shows are airing on cable networks where the ratings expectations are relatively low.

That's pretty much where the similarities end. AMC has been slowly developing a very interesting and impressive slate of original programming (their forthcoming adaptation of The Walking Dead has me pretty excited), which puts Rubicon under a different level of scrutiny than Covert Affairs. It's only fair to be expecting big things from the home of critical darlings Mad Men and Breaking Bad. I'm nowhere near ready to pass judgment yet on whether Rubicon as a whole will grow into an equally appealing show, but this pilot left me fairly underwhelmed.

Track of the Day - 8/15/10

"Suburban War" - Arcade Fire
Listen Here

Off of their new release, The Suburbs, "Suburban War" is one of my favorite tracks from the album. Or maybe not, since every time I listen to the album something different jumps out at me. Whatever, just listen to the damn song if you want.

Previous day's connection: I'm not telling you! But wait, it's not because I'm a douchebag (though that's probably true), it's cause I'm using the same connection for today as well! Cause for celebration, or annoying cop-out? Only time will tell...

TV Review -- Covert Affairs

Covert Affairs
Walter's Walk
USA Tuesdays 10 p.m.

So I promised y'all that I'd get to the second episode of USA's newest original series, the spy-actioner Covert Affairs, and I always keep my promises* (*Note: not a promise). In any case, despite my general lack of interest in most of USA's fluffy fare, I found the pilot to be surprisingly enjoyable and intriguing, enough so that I decided to stick around and try a few more episodes. Let's just say that Walter's Walk was not quite the pleasant surprise I was hoping for.

TV is an interesting medium to analyze, partly because it's actually comparatively easy for shows to make changes and tweaks, or even completely reinvent themselves. It's hard for the makers of, say, a movie to make adjustments halfway through filming that dramatically change the tone or emphasis of the film. TV, however, provides ample opportunity to do just that - and perhaps the amplest of opportunities comes after a show's pilot, which is made far in advance of the rest of the episodes. It's apparent in watching Walter's Walk that the showrunners of Covert Affairs decided to seize the chance to make a few tweaks. The Domestic Protection Division (DPD) has a new office, a set change which is pretty unremarkable, but hey, it's there. The character of Conrad (Eric Lively) has been replaced with Jai (Sendhil Ramamurthy, or Mr. Mohinder "Annoying Voice-Over" Suresh from Heroes), and I can't say I was particularly attached to Conrad, so the switch is fine by me. But beyond the set and casting changes, it seemed to me like the showrunners removed something that's a bit more disconcerting: they took out the fun.

Track of the Day - 8/14/10

"King of the Beach" - Wavves
Listen Here

Today's selection comes to you courtesy of San Diego noise rockers Wavves, who released their third album earlier this month. The album's title track, "King of the Beach" is like an acid-tinged updated Beach Boys track that straddles the line between obnoxious and addictive. I myself lean more towards "addictive," (which is totally funny cause the lead singer has an alcohol problem haha...) but give it a listen and see if you agree! About the song, not whether alcoholism is hilarious. Because who wouldn't agree with that, am I right?

Previous day's connection: Probably a bit of a groaner here, but Wilco is military speak for "Will Comply," used as an affirmative response. So it's literally a way of saying yes. Hence... Yeasayer. Yeah, I'm sorry, it's been a while since I've had to think these through.

Film Review -- Scott Pilgrim vs. the World

Scott Pilgrim vs. the World
Director: Edgar Wright; Writers: Edgar Wright, Michael Bacall
Universal Pictures

I should probably start off this review by saying that I have not read the Bryan Lee O'Malley comic books upon which Scott Pilgrim vs. the World is based. I've heard mixed things from those who have, with some readers saying they enjoyed the film more than the comics, and others frustrated at the casting and tone of the film. I, however, can only provide the impressions of someone who went into the theatre with no pre-existent expectations or fears - and I walked out at the end largely content.

Like the comics, the movie follows the 22 year old Scott Pilgrim (Michael Cera), who plays bass in a struggling band and whose life seems to be void of real emotion and responsibility. Some critics (particularly those that have read the comics) have expressed displeasure (with maybe a splash of vitriol) at the casting of Cera in the title role, but I had no real problems with his performance or how he occupied the role. While Cera was merely fine for me, however, Mary Elizabeth Winstead was fantastic in the role of Pilgrim's new love interest, Ramona Flowers. Winstead plays the role with just the right blend of aloofness and pathos, making it completely understandable why her character provokes such passion from others. And that brings us to the plot of the movie: Cera becomes infatuated with Winstead, but in order to be with her must defeat her seven evil exes. Director Edgar Wright brings the perfect tone to match the rather ludicrous plot, filling the movie with self-referential humor, absurdity, and some insane Mortal Kombat-esque fight sequences. The fight sequences are fun at first, but begin to drag a little as the movie progresses - which mirrors Cera's attitude as he begins to realize that entering in to a real relationship isn't quite as fun as he imagined. The movie snatches some hilarious performances out of superhero actors Chris Evans and Brandon Routh as members of the League of Evil Exes, and Cera's friends and family are given equally funny moments to shine (Allison Pill, Anna Kendrick, Ellen Wong, and Kieran Culkin all deliver a good amount of laughs throughout). The movie does occasionally seem like it's not entirely sure where it wants to go, and the absurd and detached tone hampers it from reliably providing genuine emotion and character growth, but it seems clear to me that this was not designed to be a "deep" film. Unlike another film with Michael Cera, Juno, Edgar Wright revels in the pop culture-referencing gleeful randomness of the movie and doesn't really attempt to give it a serious, emotional core.

Scott Pilgrim vs. the World delivered about two hours worth of pure entertainment - the script was witty and light, and Wright utilizes a directorial style and tone that makes it hard to not want to cheer as you watch, as corny as that may seem. While some may find it's lack of emotional realism off-putting, I think the movie was made much like the video games it references - intended to entertain. It's undeniably unique in terms of it's fantastical story-telling, but it's not the "cultural milestone" that some are trying to make it out to be. For me, it's simply a fun and escapist diversion that's near impossible not to enjoy.

Grade: B+

Track of the Day - 8/13/10

"O.N.E." - Yeasayer
Listen Here

Hey, didn't we just have a Yeasayer track? Well, yes, but that was all the way back a month ago, so technically no. Ha! Anyway, this is off their latest release, Odd Blood, which is a bit more pop-ish than their debut LP. "O.N.E." is a pretty good example of that pop influence, as the song bounces along to an addictive rhythm and synth-tastic sound. Check it out!

Previous day's (month's) connection: For anyone who can remember all the way back to the last time I did this thing, the connection between Grizzly Bear and Wilco is that both bands were featured in Volkswagen commercials. Huzzah! Okay, onwards and upwards I guess!

Film Review -- Inception

Inception
Director: Christopher Nolan; Writer: Christopher Nolan
Warner Bros. Pictures

Hey, so this was supposed to be up a while ago, while the movie was still number one at the box office and everyone was talking about it. But, unfortunately, I suffer from a serious and debilitating disease known as chronic laziness, which hampered my writing abilities. Apologies to my audience of one, and on to the review!

Inception is one of those movies that people who write about film have a lot of reasons to love. In part because it arrived in the middle of a summer season that has seen some fairly lousy blockbusters, and in part because it's unabashedly ambitious in an industry that increasingly puts out safe and boring films and assumes its audience is both retarded and gullible (see: Cats and Dogs: The Revenge of Kitty Galore). Putting aside it's ambition for now, however, I found watching Inception to be the most entertaining two hours I've encountered at the movies this year.

Christopher Nolan here has crafted a remarkably tight, fast-paced action/heist film wrapped in a coating of intricate fantasy. I don't think the movie is particularly "deep" or "meaningful," but its plot is superbly constructed and the film expects its audience to be sharp. Whereas The Matrix, for example, required its audience to comprehend the simultaneous existence of two realities, Inception's storyline takes the audience on a trip through five of them. The basic premise that certain individuals can infiltrate the dreams of others and all of the rules that govern this process are dispensed with quickly and without time for extensive discussions of how this is all possible - one of many smart moves by Nolan, as the movie moves so quickly that the audience is simply forced to accept the rules at face value. Again, The Matrix this is not - Inception moves at a blazing pace, without any long pauses for exposition. To prevent this from becoming completely overwhelming, the film introduces Ellen Page as an audience surrogate, a newcomer to this whole world of dreaming. Page joins a fantastic cast, headed by Leonardo Dicaprio, as their characters attempt to plant an idea into the head of the heir to a giant corporation. Saying any more about the plot risks going into spoiler territory, but the story unfolds exactly like your typical heist movie, if your typical heist movie also included amazing action set pieces with fights in zero gravity and snowmobile combat. Dicaprio is solid in the lead role, but Marion Cotillard shines as his (SPOILER REDACTED). Overall, though, the acting is simply top-notch - Nolan integrates his regulars Cillian Murphy, Ken Watanabe, and (briefly) Michael Caine well with younger stars Joseph Gordon-Levitt and Ellen Page.

I've had the opportunity by now to read a good share of the critical responses to this film, and I think I'm probably somewhere in the middle of all the hype and backlash. I don't think that Nolan is insufferably pretentious and a giant hack, but I also don't believe that Inception is one of the greatest films of the modern era. I think Nolan has a powerful command of the basic concepts of story-telling (something surprisingly rare in Hollywood), an ability to write serviceable dialogue that moves the plot forward (ditto), and a very healthy amount of ambition (aaaaand ditto). This movie is not brilliant - as I said, a lot of the dialogue is merely serviceable (though it's occasionally sharp), and some of the exposition is a bit transparent - but it's extremely well-made and entertaining. I was on the proverbial edge of my seat for the entire duration, and the entire theatre was dead silent from the moment the movie started to the final scene (whereupon everyone uttered a collective groan due to the SPOILER REDACTED). Ultimately, I think the biggest reason I enjoyed this movie is that it didn't treat me like I was a child or a moron - it assumed I could follow a complicated plot that required a large degree of suspension of disbelief and complete focus (and Nolan has made sure that any functioning member of society should be able to follow it with relative ease). I think the reason I enjoyed Inception is because it's how every movie should be made.

Grade: A

Okay, But For Real

Yeah, sorry about that. Keep your internet sets tuned for new content coming soon!

Aaaand We're Back

Well, I said I would probably be back on Saturday, and it's Saturday! Technically, it could be pointed out that there was an extra week of other days in between there, but hey, we don't need that kind of negative thinking now. What's important is that I'm back, and I'm very sorry to everyone who was expecting new content here. Which is Eli. Sorry Eli. Anyway, there will be exciting new stuff coming up tonight! Huzzah!

A Little Down Time

Hi, imaginary readers! I'm going to be busy (hehe) for the next couple days, so there won't be any new content going up on The Casualty Report until Saturday at the earliest. While I'm sure this would be crushing news to my audience, thankfully I don't have one so it's all good! When I come back, however, this is a sampling of what you can expect for the next week:

- A review of Inception
- A review of the second episode of Covert Affairs
- Continuing coverage of both Louie and The Good Guys (I'm really gonna try to catch up, I promise)
- In Case You Missed It: Frightened Rabbit's The Midnight Organ Fight
- Thoughts about Comic Con (here's one: I wish I could go)
- Whatever else I decide warrants wasting my time on

So, I'll be back soon! Smell ya later!

Track of the Day - 7/19/10

"A Shot in the Arm" - Wilco
Listen Here

One of my favorite Wilco songs off of my favorite Wilco album, Summerteeth. Wilco has always been one of those groups that I enjoy, but something about them usually stops me from getting fully invested in their music. This track however, and most of the rest of the album, is a Wilco that I can get behind completely. Check it out!

Previous day's connection: Actually, two here, though only one was really intentional. First (and intentionally), both Yeasayer and Grizzly Bear were featured on the compilation album Dark Was the Night, which was actually the first place I heard of either band. Second, both groups are based out of Brooklyn. Like I said, all music fucking comes from Brooklyn now. Fortunately, Wilco hails from Chicago, so today's will be a bit less redundant. Give it a go!

Track of the Day - 7/18/10

"Deep Blue Sea" - Grizzly Bear
Listen Here

Another night where I'm about to collapse, so I've picked a song that's incredibly soothing and dreamy to fit my current mood. "Deep Blue Sea" is a pleasant little track from Grizzly Bear that floats along nicely while utilizing sparse guitar and drums to good effect. Try it out yourself!

Previous day's connection: I'm probably too out of it to actually coherently explain this, but both "2080" and "Five Years" put time limits on the singer's lifetime - five more years for "Five Years" and by the year 2080 for "2080." Hey look at that! That wasn't too terrible. Hopefully I'll be a little more awake tomorrow, though.

Music Review -- Big Boi

Big Boi
Sir Lucious Left Foot: The Son of Chico Dusty
Def Jam, Purple Ribbon

One of the most important, character-defining questions of the modern era, one which threatened to split the nation down its seams and lead us to another bloody civil war: Speakerboxx or The Love Below? Really, though, the only proper answer to that question is "both" (but The Love Below is totally streets ahead. Just sayin'), but for those of you Speakerboxx fans out there, you're in for a real treat.

Antwan Andre Patton a.k.a. Big Boi a.k.a. Sir Lucious Left Foot a.k.a one-half of the greatest hip-hop duo alive finally released his debut solo album earlier this month after years of waiting and growing anticipation. His former label, Jive, were complete dicks and are essentially responsible for delaying the album a year and keeping several killer tracks featuring Andre 3000 off of the album. Yet despite all that drama, Sir Lucious Left Foot is an album that feels both incredibly polished and fresh. The tracks are heavy on the bass, but Big Boi delivers a slightly more varied and funkified sound than on Speakerboxx, and puts his high-caliber guests (T.I., Janelle Monae, B.o.B., and many more) to great use here. Big Boi's lyrics and smooth flow serve as an anchor for the tracks, allowing his guests and the music to branch off into a myriad of styles and sounds, from the electric thump of "Shutterbugg" to the piano-heavy R&B of "Turns Me On." While I've always viewed Big Boi's main strength as the ability to step in and deliver a couple fantastic verses, he's actually consistently good throughout the album - there's no real filler material here (almost unprecedented for a rap album).

I'll still maintain that The Love Below owns Speakerboxx, but Sir Lucious Left Foot is an impeccably crafted effort that stands as probably the best hip-hop album so far this year. It instantly hooks you, and the level of quality throughout ensures that you won't stop listening to it until the end of the last track. And it's a very promising sign of things to come: as Mr. Left Foot himself says, "Damn, that wasn't nothin' but the intro."

Grade: A-

If you only have time/money/patience for one track: "Follow Us"
Alternative choice: "Royal Flush" - one of the tracks that Jive cut, but it's definitely worth checking out as it features both Raekwon and Andre 3000 (at the top of his game)

Track of the Day - 7/17/10

"2080" - Yeasayer
Listen Here

Today's track is by Yeasayer. I'm tired right now, so that's about all I can come up with. If you want to know some stuff about it, you should listen to it, cause it's a song and they're for listening, not reading about. Sorry.

Previous day's connection: Both Janelle Monae and David Bowie are artists who have used alter-egos in their careers/made albums based around fictional characters. Janelle Monae based The ArchAndroid around the fictional story of Cindi Mayweather, while Bowie of course had Ziggy Stardust. Fun facts.

Film Review -- A Single Man

A Single Man
Director: Tom Ford, Writers: Tom Ford, David Scearce
The Weinstein Company

And now we come to our first film review here at The Casualty Report. Film is kind of like the neglected bastard child of the review categories here, simply because I don't see all that many movies in theatres, because let's be honest, that's so passe now, am I right? Anyway, my point is that most of the movies I'll be reviewing (but not all) will probably not be new releases, and you may very well be confused and scared because I can just pick anything and review it. Well, sucks for you.

A Single Man came out (haha, it's funny cause it's about gays!) back in 2009, an adaptation of a Christopher Isherwood novel that was helmed by fashion designer Tom Ford, trying on his director pants for the first time (haha, it's funny cause he's a designer!). As far as debuts go, this is pretty spectacular. Ford does a great job creating an atmosphere of both time (it's set in 1962) and mood, bringing out the pain and sorrow in even the most mundane of interactions. Colin Firth stars as the bearer of this pain, playing a British professor attempting to get over the loss of his lover (Matthew Goode), and not really succeeding - the movie opens with subtle indications of Firth preparing to take his own life. Before he can go through with it, however, Firth encounters one of his students, a wide-eyed young man (Nicholas Hoult) who takes an interest in him. Julianne Moore is also there as Firth's old friend, a lush that she plays very well, but who's reason for being in the movie isn't perfectly clear. The dynamic between Firth and Hoult is somewhat interesting, but it's the tiny glimmers we see (through flashbacks) of the relationship between Firth and Goode that Ford really nails. Through very brief sequences, the audience gets a real sense of their connection, and consequently Firth's grief becomes much more apparent and understandable.

This is by no mean's a great film, but it's incredibly well done. The same production team that works on AMC's Mad Men does a fantastic job replicating the look and feel of the early 60s, and Ford's direction supplies the emotional malaise and personal touches. Ultimately, though, it is Firth's performance that provides the best sense of the spirit of the movie, and it's very easy to see why he garnered an Oscar and Golden Globe nomination for the role. The artistic qualities of A Single Man will hook you in, but it's Firth who delivers the line and sinker.

Grade: B+

Track of the Day - 7/16/10

"Five Years" - David Bowie
Listen Here

And we move way back to 1973 with today's track, "Five Years," the opener to Bowie's awesome The Rise and Fall of Ziggy Stardust and the Spiders from Mars. On an album jam-packed with killer songs, this has actually always been one of my favorites, from the great use of keyboard to the way Bowie's voice crescendos to hit just the right level. Check out the link to see an elder Bowie playing it with the Arcade Fire (and check out them doing "Wake Up" at the same venue for some of the most intense tambourine playing ever)!

Previous day's connection: Both Cat Power and Janelle Monae were slated to be on this year's reincarnation of the Lilith Fair tour (though Monae had almost all of her shows canceled, if I recall correctly). This could pretty much apply to half of the female artists in the music industry, but I thought that a Cat Power/Janelle Monae double billing sounded pretty awesome. And it has to be better than animal names, right?

TV Review -- Louie

Louie
Dr. Ben/Nick
FX Tuesdays 11 p.m.

This really should have been up a while ago, but I'll try to get a review of the fourth episode up soon so I can catch up with the shows live. However, I think it's been somewhat beneficial that I'm behind in these reviews, as it's given me a chance to see each episode twice so far, which gives me a better sense for which jokes really work and what each episode is really about.

And what is this episode about? Well, there's a couple options. On a surface level, it's about getting old. The opening stand-up segment talks about the downward spiral into old age, as C.K. remarks about how his body is basically slowly falling apart. It's not one of his funniest bits, but the episode quickly livens up the material by showing C.K. visiting a doctor who happens to be an old-friend of his, played by Ricky Gervais in a role that fits him to a tee. The interaction with the receptionist is pretty funny and very relatable (again, I could easily imagine that as part of a Seinfeld episode), and C.K.'s bafflement is great: "Do people like come here and steal medical treatment?" Then Gervais enters, and the next couple minutes are essentially a doctor-from-hell joke showcase that's just plain hilarious - C.K. asks Gervais to examine him, to which he says, "I know what's wrong with you. AIDS!" and laughs hysterically. It's a bizarre, widely different tone from the rest of this episode, but it's a testament to the strength of the show and its writing that it can transition so easily between the absurd and the everyday. The next stand-up bit is also just average, though it does bring up Seinfeld comparisons again in it's reference to Indian giving (I suppose it's also possible that I just think everything in life is a Seinfeld reference, which is mostly true). However, we get something slightly different here, as the camera follows C.K. as he wraps up his set and then stands aside to watch his comic friend Nick (from the previous episode) do his act - though not before we learn that black people don't tip.

Nick is utilized pretty damn effectively here. His stand-up bit is somewhat funny, and then gets downright uncomfortable when he brings up assassinating Obama. As a bleeding-heart "liberal fag" myself, I think Nick is a complete idiot, but he reminds me a lot of my uncle - and it's clear that his character is a great foil for C.K. Nick knows he's not very smart, but he's smart enough to sense that something is wrong with the way things are, and he takes this out on liberals and C.K. himself. Oh, and he's also a very proud person, and all this combines to make the fight between him and C.K. almost painful to watch. It's not comedy-violence - this is two middle-aged, overweight men scuffling in a bar, and Louie again showcases it's devotion to reality here by having Nick end up in the emergency room with a cut hand. At the hospital, C.K. and Nick have a discussion about marriage and their age, which ultimately reveals what I think Dr. Ben/Nick is getting at. C.K. wraps up the episode by talking about how a friend from the country came in to New York and was horrified at the sight of a homeless person, while he didn't even notice him. This reflects on the conversation between C.K. and Nick in the hospital - C.K. finds it very difficult to see that his friend's life is no better than his. The episode starts with C.K. expressing a huge degree of self-loathing about his body and his age, but it concludes on a message that suggests that his real problem is that he can't see that everyone faces some form of similar problems. Regardless, this is an episode that's a little front-loaded in terms of laughs (though the stand-up at the end has some good moments), but the back half is just as relevant to what this show is, even when it isn't delivering the laughs.

Grade: A-

"This is the worst thing that's ever happened to me, seeing that. And my dad hung himself in front of me. Whilst masturbating."

Track of the Day - 7/15/10

"Tightrope" - Janelle Monae feat. Big Boi
Listen Here

And now for something completely different: the frenetic and addictive single "Tightrope" from Janelle Monae's latest release, The ArchAndroid. Monae is impossible to pin down - she's incredibly diverse, bizarre (check out the music video I linked to - awesomely weird), and talented, but tracks like "Tightrope" show that she could probably take over the music world if she wanted to. Big Boi stops by for a short but killer verse, and the rhythm and Monae's vocal work just make you want to move your body. Also be sure to check it the remixed "Tightrope (Wondamix)" featuring B.o.B. and Lupe Fiasco for some awesome verses from all parties.

Previous day's connection: And the answer to our three-part, epic quest to discover the mysterious link between Frightened Rabbit, Wolf Parade, and Cat Power? They all have animals in their band names! Wow, that was a bit of a let-down, huh? Well, there's plenty more room for groaning and inevitable disappointment in today's connection! Give it a go!

In Case You Missed It - The Cool

Lupe Fiasco
Lupe Fiasco's The Cool
Atlantic Records (1st and 15th)

Though widely cited as a "concept album" following it's 2007 release, if you were to attempt to unpack just what the "concept" at work on The Cool, you would likely be utterly confused. Fiasco moves from subject to subject as rapidly as he raps, touching on topics like child soldiers, immigration, and the ups and downs of stardom and the rap game. In a way, the fact that it's difficult to decipher the concept makes The Cool one of the better "concept albums" out there - every time you listen to his lyrics, new possibilities for interpretation open up as you unravel the metaphors and double meanings layered thickly over every track.

Lupe Fiasco made a bit of a splash with his debut, Lupe Fiasco's Food and Liquor, but The Cool is a real showcase of his talents as a rapper. Fiasco is incredibly diverse; he can spit fast on tracks like "Go Go Gadget Flow," the most easily listenable, bass-thumping track on the album; or he can take a slow, almost jazzy flow on the groovy "Paris, Tokyo." However he's delivering them, Fiasco's lyrics are simply amazing, and it's clear that this album is painstakingly crafted, from the writing down to the production - something that's surprising rare in hip-hop. This makes each song well worth listening to on it's own merits, as Fiasco slides easily between different styles and topics. Even Fiasco himself admits that only a few tracks really fit the "concept," and then only loosely. This opens up each track to be interpreted on it's own, for some really interesting results. "Gold Watch" asks listeners to "peruse the essentials of cool," while "Intruder Alert" unravels several heartbreaking stories about the consequences of fear.

Fiasco also churns out some fantastic head-nodding, driving hip-hop tracks. "Superstar" was the album's biggest single - and for good reason. Matthew Santos delivers a great, soaring chorus, and Fiasco provides some terrific verses that reflect on the nature of being a superstar. "Hip-Hop Saved My Life" provides a look at the other end of a music career, telling the story of a rapper's inspirations and struggle to make it. And that really gets at Lupe Fiasco's ultimate asset: his storytelling ability. Much like Springsteen or Dylan were for rock, Fiasco is hip-hop's preeminent storyteller, packing a single track with a sense of character, personality, and narrative that is simply amazing. Just listen to the driving, rapid-fire "Streets on Fire," which paints a near-future dystopia better in 5 minutes than a lot of sci-fi novels do in 500 pages. Or try "Little Weapon," which evokes the mindset of a child soldier in one verse, before moving to school shootings in the next. The lyrical dexterity and depth at work is really remarkable, but The Cool is also (unlike some "concept albums") quite easy to access and listen to. You can spend hours examining a few tracks, appreciating the multiple metaphors and storytelling at work, or you can just pop it in your stereo (ha!) and blast it for a little while. If you missed The Cool, you missed one of the best hip-hop albums of the last decade (also be sure to check out his third album, Lasers, which is set to be released "soon").

Grade: A

Next time on In Case You Missed It: Frightened Rabbit - The Midnight Organ Fight

New TV Review -- Covert Affairs

Covert Affairs
Pilot
USA Tuesdays 10 p.m.

USA seems to specialize in shows that are very light and fun - the kind of show where you can watch every now and then for a fairly enjoyable waste of an hour. Covert Affairs, their newest original series, definitely fits into the USA mold, and the pilot delivers a pretty entertaining hour-plus (it was given an extended premiere) of television.

I'm a pretty big sucker when it comes to spies. I like Bond movies, the two episodes of Alias I've seen, Chuck - I'll watch pretty much anything that falls in the genre. So maybe it's just the subject matter, but I was actually pleasantly surprised at how much I enjoyed Covert Affairs. That said, the episode starts off on completely the wrong foot. Having the main character take a random polygraph is an incredibly lazy way of writing exposition, and the information it reveals could easily have been teased out later in the episode. Also, there's a concern when you cast an attractive woman such as Piper Perabo in a role like this that she might just be there to be eye candy (especially since it's hard to believe someone so short and scrawny could be an ass-kicking secret agent). And the start of the pilot isn't promising in assuaging these fears - times Piper Perabo was topless in the first 2 minutes: 3. Beyond that, I was also a little unsure about whether Perabo could pull off this type of role - besides Coyote Ugly (a tremendous piece of shit) and that one movie that I saw 10 minutes of on HBO where she was a lesbian or something, I haven't really seen her in anything, and she certainly doesn't look the part. However, a look comes over her towards the end of the pre-credit scene, which I guess was determination - whatever it was, it gave me hope that she would surprise me.

Indeed, Perabo grows more and more believable as the episode progresses, as she delivers a unexpectedly good performance. Part of this is aided by how quickly and efficiently the pilot moves forward - USA Platinum Member Tim Matheson directed. Perabo is yanked out of training and placed in the Domestic Protection Division, supposedly due to her language skills. The episode puts these skills to good use too (and a guest appearance from The Wire's own Lester Freamon!) and it's nice to see that Perabo's character relies more on her intellect and charisma as a spy since it would be ridiculous for her to be a Rambo-style bad-ass. The pilot quickly introduces some characters that show potential to be a solid supporting cast (the blind tech guy, the strict boss who's married to another CIA boss - I like that people in the CIA are encouraged to date each other here, as I'm tired of storylines dealing with relationships between spies and civilians who don't know their partners secrets). Not everything works perfectly in the pilot - the business with the reporter seemed a little random, though I'm sure it will be addressed later - but the episode quickly moves on to scenes that work better and doesn't give you time to linger on it's failures. I actually have a lot more in my notes that I wanted to say about this, but I'm starting to ramble a bit, so I'll wrap it up - but my point is that it's a very good sign that I actually have a lot to say about a show on USA.

I started off by saying how USA shows are typically light fare that is entertaining enough, but pretty shallow. Based on the pilot, I think Covert Affairs actually has a chance to be a good show - in a similar way to Chuck. There's a twist at the end that suggests that there might be more of a serialized arc to the show, and I like what I've seen of Perabo in the lead role and some of the side characters. I'm not adding this to my series coverage just yet, because pilot's can often be deceiving - the show might not warrant much writing in future episodes. However, the pilot was both good and intriguing enough to ensure that I'll be back for a second episode.

Grade: B

"I would love to shuck some oysters with you"

Track of the Day - 7/14/10

"Good Woman" - Cat Power
Listen Here

Singer-songwriter Chan Marshall of Cat Power delivers one of her prettiest and most effective tunes here on "Good Woman," which is an almost country-fied ballad that just feels heavy to listen to - heavy emotionally, and musically. Warren Ellis (of Nick Cave and the Bad Seeds) and Eddie Vedder (of Pearl Jam) help create the beautiful orchestration that makes the track the sad and beautiful piece it is. Check it out, as well as the rest of her excellent 2003 album, You Are Free.

Previous day's connection: I actually can't tell you, because it's the very same connection that I used here. Is that a bit of a cop out? Mayhaps, but I control this blog, and here, my will is king! Bwahahahaha. Okay sorry. But yeah, here's another chance to find the link!

Track of the Day - 7/13/10

"Yulia" - Wolf Parade
Listen Here

Today's track comes from our lovely, icy neighbors to the north in Canada - specifically some of the fine musicians in the band Wolf Parade. "Yulia" is off of their latest album, Expo 86, which I just reviewed. It's a fun, short track that sounds a little more pop than the rest of the album, but Dan Boeckner knows how to craft a good tune and he does so here. Check it out!

Previous day's connection: Both songs were produced with help from producer Peter Katis, who has done a lot of work for Scotland-based Fat Cat Records (Frightened Rabbit's label) and also has a close relationship with The National - he produced the entirety of Boxer, and that album's cover is a photograph of the group playing at his wedding. So that's done with - but wait! No need to fret, cause another day means yet another connection! Hooray!

Music Review - Wolf Parade

Wolf Parade
Expo 86
Sub Pop

I should probably start by saying that I believe Apologies to the Queen Mary, the debut album of Canadian indie rockers Wolf Parade, was one of the very best albums of the past decade, and is one of my absolute favorite records. So I've got some pretty damn high expectations for the band, expectations that weren't really met on their sophomore effort, At Mount Zoomer.

The first time I played their new album, Expo 86, I wasn't really feeling it. The songs felt too long and sounded almost sloppy - it was as if the group just decided to turn up the volume and hope for the best, a la Spinal Tap. And then, my second time through, all of a sudden I started enjoying the songs a lot more, and the music really snagged my attention. It's possible that this was aided by switching from my laptop speakers to my car's sound system, but that doesn't fully explain it, because I was even more impressed on my third listen-through. Expo 86 may not be as instantly awesome as their debut, but it has grown on me to the point where the songs are constantly stuck in my head (in a good way), and I feel like I could listen to it for years without tiring of it.

The album starts off in the middle of a frenetic drum beat, which serves as a pretty fitting metaphor for the album itself. Expo 86 is much less restrained than At Mount Zoomer, and let's Spencer Krug and Dan Boeckner pour everything they have into each song. Krug (who's probably written the band's best songs) and Boeckner (who's written their most accessible tracks) essentially split the song-writing here, and both are near the top of their game. Krug's "Cloud Shadow on the Mountain" kicks the album off with a bang while his excellent "Cave-O-Sapien" (whatever the fuck that means) provides a great closer, and "What Did My Lover Say?" is one of my favorites from this release. However, Boeckner delivers a back-to-back, one-two-punch of classic Wolf Parade awesomeness with "Ghost Pressure" and "Pobody's Nerfect" (slydexia intentional) in the middle of the album, as well as the excellent "Yulia," the album's most straightforward pop-ish track. Expo 86 is in general heavier on the guitar, and Krug's distinctive keyboard sound is largely relegated to the background, but the album replaces it with more of a synth-y sound that works well in most cases, and very well in others.

While it's true that this doesn't top their debut, and nothing on it comes close to unseating "I'll Believe in Anything" - a truly amazing song - from the top of their catalogue, this is an album that deserves a lot of praise. Krug and Boeckner have both been busy with their other bands, Sunset Rubdown and Handsome Furs, respectively, which have both been making really great music. It's not too hard to imagine them simply phoning it in for Expo 86, and I have to admit that I was afraid that exact thing had happened when I started listening to it. However, they've created a album that takes a little time to grow, but if you're willing to give it a chance, it's really quite something to behold. But, you know, with your ears.

Grade: A-

If you only have time/money/patience for one track: "Ghost Pressure"

Track of the Day - 7/12/10

"The Wrestle" - Frightened Rabbit
Listen Here

Scottish rockers Frightened Rabbit are one of my favorite emerging bands, and along with their fellow countrymen The Twilight Sad and We Were Promised Jetpacks, they've been producing some fantastic music in the past few years. "The Wrestle" is one of the best songs off of their 2010 album, The Winter of Mixed Drinks. You also won't find a better example of the band's primary strengths: evocative lyrics, sweeping emotions, and some great music to boot. Give it a go!

Previous day's connection: Both The Hold Steady and The National are based out of the fine ol' town of Brooklyn, New York. It seems to me like about 1/3 of the groups making music today are based out of Brooklyn, but that figure might not be totally accurate. Give this next one a try if you feel like it!

New TV Review -- Childrens' Hospital

Childrens' Hospital
Episode 1.1, 1.2
Cartoon Network (Adult Swim) Sundays 10:30 p.m.

Initially airing online during the WGA strike back in 2008, Childrens' Hospital (yes, the apostrophe is supposed to be there - the hospital is named after a Dr. Childrens) is the brainchild of Rob Corddry and features a pretty amazing lineup of comedians. It's essentially a farcical parody of medical shows, especially Grey's Anatomy, and it makes this fact very obvious in the first two episodes (first hint: in the pre-credits, two doctors are seen having sex in front of various patients and onlookers. When they finish, the woman informs the man she's breaking up with him). Each episode is only five minutes long, and thus has no room for the audience to get any real sense for who these characters are in the first show - Adult Swim is airing two episodes at a time of the original web series in fifteen minute blocks for the summer, to be followed in the fall with a newly produced second season. Because it's so short, the show basically becomes a bunch of scattershot jokes about the typical medical drama, with lines fired so quickly that you barely have time to laugh before the next one is delivered.

Not that it's speed is necessarily a bad thing - there are some fantastic one-liners and gags in these 10 minutes, including some great, off-color jabs at Jews: "I just can't imagine spending every Christmas with a Jew." Or: "I don't know, I need to think of a good lie. Ugh, I wish I were Jewish." Childrens' Hospital seems to be a good fit with the Adult Swim brand of humor - it's over-the-top and ridiculous, but it's short enough that it doesn't have time to get stale (see also: Aqua Teen Hunger Force). Unfortunately, this also means that the show is completely inessential. It's a funny parody, and you'll likely laugh for a good chunk of the ten minute air time, but it lacks any form of depth. Especially with such a great cast, this is a little disappointing, but the show moves so rapidly that I barely had time to place half of the faces that I saw.

I'm probably not going to review any more episodes of Childrens' Hospital, unless the next couple episodes are more coherently plotted, or the show changes when it moves to the new season. This is not because the show is bad, but mainly because I think most reviews would just be me saying, "These lines were funny. It was funny when they made fun of ER in this way. Hey look it's Ed Helms." I'll keep watching, and I think the show has the potential for a lot of laughs, but it's not something I feel particularly motivated to keep writing about.

Grade: B+

Also, I forgot to mention the pretty excellent short parody of NCIS-type shows that was featured in a "commercial" in between episodes. "I don't negotiate with terrorists...because I am one!"

Book Review -- Bone

Bone: The Complete Cartoon Epic in One Volume
Jeff Smith
Cartoon Books

The Louisiana Purchase is generally considered to be one of the better deals in our nation's history. It has nothing on Bone. For a list price of $39.95, purchasers receive: a 1300 page epic fantasy of the highest caliber, a 1300 page hilarious comic strip, and 1300 pages of one of the most excellently written and well-drawn graphic novels (one of TIME's top ten) ever created.

Bone was a comic book series published between 1991 and 2004 (that's 13 years, for those of you playing at home), written and drawn by Jeff Smith. While it was originally released in nine separate books, the complete edition contains the entire series in one hefty volume. The series is a humorous fantasy epic, and Smith actually provides a shining example to the fantasy genre for how to craft a superb large-scale adventure. The story follows three cartoon-like "Bone creatures" (Smiley Bone, Fone Bone, and Phoney Bone) as they are chased out of their hometown and end up in a mysterious valley, and soon become embroiled in a massive quest to save the world. However, Smith starts the series playfully, emphasizing character building and drawing the reader in with humor and a sense of shared exploration and discovery. Frequent comparisons to Lord of the Rings are apt in this sense, as Tolkien was a master at easing the reader into his monumental world. Smith gradually unfurls more of the mythology and master narrative as the series progresses - add that to the fact that his characters are so compelling and fully-fleshed (and frequently riotously funny), and it's impossible to not want to keep reading. While the ending isn't quite as strong as I would have liked, I can't help but be amazed at the fantastic progression that's evident throughout the complete series.

It would be extremely difficult to talk about every aspect of Bone - I've gone this far without even mentioning Smith's creative utilization of the black and white artwork. Suffice it to say, this is a classic. It's immediately accessible to people of all ages - everyone from young kids to old geezers can appreciate the humor, stellar writing, memorable characters, and the absolutely Herculean undertaking this series was. I honestly do not expect to give out many of these grades; it's reversed for only to the most indelible and spectacular works. Bone is one of those. It's one of those things that you want everyone you know to read, that you can't wait to introduce to children of your own. And it's only $40! Or you could spend the money on a couple Slap Chops™. It's your money, do whatever you want. But really. $40.

Grade: A+

"Do something quick, small mammal, before we are all killed to death!"

Track of the Day - 7/11/10

About Track of the Day: On a roughly daily basis, I'll be posting a link to a song. These will usually be songs that I like from things I'm not reviewing, or newly released singles, or great songs from olden times, or just whatever I feel like at the moment. They don't get a grade - I'm not looking to critique their lyrics or philosophize about their lasting impact on our culture - I'm just pointing my finger dumbly and saying, "Hey, check this out." Also: each song will have some connection to the previous day's song, and there are fabulous prizes (well, somewhere there are - I don't personally have any) for the first person to correctly guess the link.

"Afraid of Everyone" - The National
Listen Here

As I mentioned a few days ago, The National's latest album is excellent, and "Afraid of Everyone" is probably my favorite track off of it. The track starts slowly, before some awesomely reverbed guitar peals kick in, and slowly expands into one of the most sweeping songs on an album full of fantastic sweeping songs. Check out the band performing it on The Late Show!

Previous day's connection: Both "All to All" and "Sequestered in Memphis" are off of their bands' fourth studio albums. Not much to say there. Give this one a try!

New TV Review -- Haven

Haven
Welcome to Haven
SyFy Fridays 10 p.m.

SyFy (or Sci-Fi, for anyone who remembers the days way back when before someone somewhere decided that SyFy was a good name for anything) has a very mixed record with their original programming. You have their original movies, such as Dinocroc vs. Superalligator - the title should speak to the quality of these, which seem to be designed specifically for the drunk/hungover. Then you have a (very few) serious science fiction shows that receive general critical praise, such as Caprica, Battlestar Galactica, and Doctor Who. And then you have the low-budget, popcorn series that it usually handles fairly well, such as Sanctuary, Warehouse 13, and Eureka. So I guess the thing that seems unusual to me about their new series, Haven, is that it is neither fun in a guilty pleasure sort of way, nor is it well written. Or good in any way, really.

Haven is a loose adaptation of the Stephen King novella, The Colorado Kid (I'd say about half of everything is a loose adaptation of some Stephen King story at this point) that stars Emily Rose as young FBI agent Audrey Parker, who is sent on a case to the Maine town of Haven, where unusual happenings and various shenanigans have a habit of occurring. The pilot's first misstep comes in it's first scene, where Parker's boss comes to her house to give her the assignment that leads her to Haven. Ok, for starters, why the hell is this guy coming to her house? Suspension of disbelief is a must for a show like this, but am I expected to believe that it is standard FBI procedure for your boss to show up to your house whenever a new case comes in, and then makes extremely creepy and awkward conversation with you? In addition, you would think that if this case was so important that he would go to his employee's house, he wouldn't spend a good minute talking about her previous cases and her backstory. Well, unless you were looking for really obvious bad writing. Also he steals her vampire book. What the fuck? That's not the main problem, however. The main problem is that the writing in this scene is (I can only assume) intended to be witty. It is not in the slightest. Parker comes off as a whiny, petulant, lazy, and slightly dumb person, which is not a good sign if this is supposed to be the protagonist of the series. And the writing in the opening, unfortunately, only grows worse throughout the pilot. Take, for instance the scene where Parker arrives in Haven - her car crashes after a mysterious hole in the road opens up, which is mildly intriguing. Well, don't worry, because Haven quickly makes you forget about this by having local detective Nathan Wournos (Lucas Bryant) enter into a horrendously corny standoff with Parker. The writing is so cheesy that it's appalling - it's clear that Parker is supposed to be spunky, likable, and a compelling lead, but the writing honestly makes her presence at the beginning nearly intolerable. Parker spends most of this episode complaining to everyone she talks to. Contrast this with the introduction of say, Agent Dunham in Fringe, or Mulder in the X-Files. If you want to make sure the audience is invested in your protagonist, just do exactly the opposite of what Haven does here.

It would probably help things a little if the plot was interesting enough to distract from the terrible, terrible writing. But Haven's pilot is inexplicably self-contained - a "freak of the week" story that's not very freaky or well-done. It's nothing that, again, shows like The X-Files or Fringe haven't done and done better. And the acting of the side characters here, combined with the awful dialogue, makes the pilot almost painful to watch - or hilarious, depending on your viewpoint. It's a bad sign when the funniest line in a show that's supposed to be light and entertaining is "He blew me all the way down the street" - and that unintentional bit is probably only funny to my juvenile mind. At least I assume the show is supposed to be in the vein of shows like Sanctuary and Eureka, and not a serious horror/mystery series, because I just can't see it being close to good with the current level of writing, acting, and humorously bad SyFy special effects.

Speaking of special effects - if you're driving through a small town in a truck for some reason, and all of a sudden there's fog everywhere that makes it impossible to see, would you really just keep driving around? Whatever. Things like that are small potatoes compared to the massive characterization and writing issues present in this pilot. Eric Balfour's character, Duke something, is possibly even more annoying than Agent Parker - and that's saying something. The whole experience for me was just an excruciating countdown towards the end. And the end did provide a little bit of a twist that might suggest some kind of interesting goings on, but it's just nothing compelling enough to make me slog through the atrocious dialogue. It's actually shocking what a poor job this pilot does at setting up the show and making viewers want to keep following it. Oh well. At least SyFy will always have Mansquito. Yes, that's a real SyFy original film.

Grade: D+

"I don't like lobster. I really like pancakes" - Yes, this is really the best line of dialogue I found in the pilot.

Track of the Day - 7/10/10

About Track of the Day: On a roughly daily basis, I'll be posting a link to a song. These will usually be songs that I like from things I'm not reviewing, or newly released singles, or great songs from olden times, or just whatever I feel like at the moment. They don't get a grade - I'm not looking to critique their lyrics or philosophize about their lasting impact on our culture - I'm just pointing my finger dumbly and saying, "Hey, check this out." Also: each song will have some connection to the previous day's song, and there are fabulous prizes (well, somewhere there are - I don't personally have any) for the first person to correctly guess the link.

"Sequestered in Memphis" - The Hold Steady
Listen Here

Going way back to 2008, off of their album Stay Positive, today's selection is from another group that I've never really been able to fully get in to - The Hold Steady. I like all the people that are supposedly their influences (Bruce Springsteen, The Band, etc.), but while I enjoy their music, I'm not all that enthusiastic about it. Still, "Sequestered in Memphis" is a pretty fun rocking song that's probably one of their most accessible tracks. Check it out!

Previous day's connection: Two connections here really. Firstly, and more generally, both The New Pornographers and Broken Social Scene are Canadian collaboratives (or "supergroups" despite BSS not being fond of the term), being composed of artists that typically also work with other bands or on solo projects. Also, both songs were off albums released this past May. Good times! Who can guess this one? (Yes I realize that no one reads this blog, except Eli - Hi Eli! - but I am going to continue to write as if people do. Because I feel like it)

Review -- Louie

Louie
Poker/Divorce
FX Tuesdays 11 p.m.

The second episode of Louie opens in the middle of a poker game, which is being played by Louis C.K. and a few of his comedian friends. It starts out with shots of them laughing and trading jokes, and then abruptly veers into a discussion that is still hilarious, but also extremely uncomfortable and delves into the harsh truths of our reality. That opening is so far the best summation of the core of this show that I've been able to come up with.

After a pilot episode that was funny and showed a lot of promise, Louie almost moves back a little with its second episode, filling in some information about C.K. and his failed marriage that one would normally expect to find in a pilot. Before getting into that, however, the episode starts with the aforementioned poker game, which is one of the most brilliant (and funny) comedic scenes I've seen in a long time. The banter is fun and relaxed between the comics (the whole thing reminded of the mystery writers card game in Castle), with a great bit after it's insinuated that one of the comic's mother collects discarded penises to stuff up her ass: "Your mom really does that?" "I don't know, I don't talk to her everyday." This topic gets conservative/somewhat homophobic comic Nick (who we'll see again in the third episode) to ask their gay friend what it's like having a dick up the ass. Now do you understand why this is airing at 11 with TV-MA notices all over it? Instead of treating the subject in the juvenile and slightly offensive matter that most comedies would choose, Louie uses this as a launching pad for a painfully honest discussion of the word "faggot" and how our interactions with people often have unintended meanings. And then they largely laugh it off, and after the credits it moves into a hilarious stand-up bit where C.K. relates marriage and divorce to a really shitty time machine. But the subtext of that conversation lingers throughout the episode, and it says a lot about the remarkable flexibility of this show that it can transition straight into humor after such a genuinely tense moment.

After the stand-up comes a nice scene with C.K.'s brother, where the two talk about C.K.'s divorce. This conversation's style and humor reminded me a lot of Seinfeld - specifically of the great interactions between George and Jerry - and again showcases how Louie can find thick veins of humor while discussing basically how awful life is. The show is also reminiscent of Seinfeld in that each episode seems to be self-contained - C.K. was going on dates in the last episode, which doesn't really jive with this episode's plot. Here, C.K. starts going through his old yearbook, and finds a picture of Tammy Wickilinis, a girl that he had "a moment" with back when he was young. C.K. tracks her down using Facebook, and meets her at her house. It's clear that his mental picture of her as an older, yet still pretty woman are way off from the moment he sees her - she's overweight, married, and with three kids. They talk, and C.K. seems to slowly realize that he is not alone in getting old and chubby, that even the girl that he idolized as a child has succumbed to age and marriage. Which gives him the confidence for one of the ugliest make-out sessions ever televised - it's a little too gross to be funny. Luckily, Louie underlines it brilliantly by transitioning immediately to a final stand-up bit about how having sex with animals isn't all that terrible.

I really have to credit this show for having the chutzpah to take on such a series of incredibly depressing themes and truths, and somehow manage to make everyone laugh. I still can't really tell you what this show is - I've seen the third episode, and it's both wildly different and yet also similar to the first two - and at times I think it's a more depressing version of Seinfeld, and it times I wonder how I could even think this was like Seinfeld at all. However, I can tell you that it's damn fine television, and I'm fascinated to see what else the show has in store.

Grade: A

"So what you're saying is, gay people are a good alternative fuel source."

Track of the Day - 7/9/10

About Track of the Day: On a roughly daily basis, I'll be posting a link to a song. These will usually be songs that I like from things I'm not reviewing, or newly released singles, or great songs from olden times, or just whatever I feel like at the moment. They don't get a grade - I'm not looking to critique their lyrics or philosophize about their lasting impact on our culture - I'm just pointing my finger dumbly and saying, "Hey, check this out." Also: each song will have some connection to the previous day's song, and there are fabulous prizes (well, somewhere there are - I don't personally have any) for the first person to correctly guess the link.

"All To All" - Broken Social Scene
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Off of their recent album, Forgiveness Rock Record, "All To All" is a fun little synth-y track from Broken Social Scene that rolls along dreamily with nice female vocal accompaniment. While I've never liked Broken Social Scene as much as their critical acclaim would suggest I should, there have always been a few tracks on their albums that I've enjoyed - and this is one of em! Take it for a spin!

Previous day's connection: Both The Velvet Underground and The New Pornographers have incorporated people named Nico/Neko into their work. Yeah, maybe a little bit of a stretch, but I'm counting it especially because Neko Case is only an occasional touring member of The New Pornographers, just as Nico was only present on The Velvet Underground's debut. Let's just move on to the next one, ok?

Feature - Emmy Nominations

The Academy of Television Arts and Sciences announced the nominations for the 62nd Emmy Awards early this morning, and I thought I would share some (well, a lot) of my thoughts. The Emmys have a very difficult task: they are supposed to award the very best that TV has to offer. Seems simple enough, until you consider just how many shows there are on TV, and the fact that none of the voters have seen anywhere close to all of them. So, it's somewhat understandable that the Emmy voters usually reward what they are familiar with - previous winners are almost guaranteed to get nominations, which makes it harder for newer shows to make the cut. This year, however, represents probably the biggest shake-up in the nominations in recent times (and given how conservative it usually is, that's really not saying much). New shows like Glee (a whopping 19 nominations), Modern Family (14 nods), and The Good Wife struck it big, and there were several surprising nominations given to traditionally overlooked shows like Friday Night Lights. So, I'm gonna give my thoughts on a few of the specific categories, and then a brief general impression at the end. Sound fun? No? I'm very sorry.

Outstanding Supporting Actor in a Comedy Series
- Ty Burrell, Modern Family
- Chris Colfer, Glee
- Jon Cryer, Two and a Half Men
- Jesse Tyler Ferguson, Modern Family
- Neil Patrick Harris, How I Met Your Mother
- Eric Stonestreet, Modern Family

I'm glad to see Modern Family getting a lot of love, especially in this category. My vote would be for Stonestreet, but I'd be ok with pretty much anyone winning (Chris Colfer did solid work on Glee, and his nomination is one of the few Glee ones I had no issue with), except for Jon Cryer. Can we please not give the suck-fest that is Two and a Half Men any more awards? I'm a little disappointed that no one from Community made it here (or anywhere - more on that later), and I would have loved to see Ron effing Swanson from Parks and Rec on the list. Donald Glover, Danny Pudi, and even Chevy Chase are more than equal to those selected, but the Academy did alright here.

Outstanding Supporting Actress in a Comedy Series
- Julie Bowen, Modern Family
- Jane Krakowski, 30 Rock
- Jane Lynch, Glee
- Holland Taylor, Two and a Half Men
- Sofia Vergara, Modern Family
- Kristen Wiig, Saturday Night Live

More Modern Family nods here, which is fine by me. I'm not quite a devoted follower of the show, but everything I've seen has been great (and my parents love it). Sofia Vergara would be my choice, as she is downright hilarious, but I'm guessing Jane Lynch pretty much has this clinched already - which I'm ok with; she's more than deserving. Again, enough with Two and a Half Men, and what the hell...Kristen Wiig? Really? That one's pretty weird to me, especially since she plays the same character in nearly all her skits. But hey, it's not like there were any other funny women out there (cough, cough, Allison Brie, cough).

Outstanding Supporting Actor in a Drama Series
- Andre Braugher, Men of a Certain Age
- Michael Emerson, Lost
- Terry O'Quinn, Lost
- Aaron Paul, Breaking Bad
- Martin Short, Damages
- John Slattery, Mad Men

Wow, this is definitely the toughest category this year, and I think the Academy actually came up with a pretty strong list of nominees here. It's a surprise to see Braugher make it (he was great on Thief, and I've liked the little I've seen of him on Men of a Certain Age - an underrated show), though I doubt he has any real shot of winning. I don't watch Breaking Bad or Mad Men, but from what I've heard, those are both good choices. The Emmys continue to love Damages, as do I, and Short is a solid pick. Emerson and O'Quinn were both somewhat underutilized in Lost's final season, but O'Quinn in particular did great work in his "flash-sideways" episode. My one big complaint is that John Noble from Fringe, who has done honestly some of the finest acting work I've ever seen, was left out. Not a big surprise, given the Academy's general distaste for genre shows, but that one really irks me - replace Emerson with Noble, and I'd be perfectly happy with the category.

Outstanding Supporting Actress in a Drama Series
- Christine Baranski, The Good Wife
- Rose Byrne, Damages
- Sharon Gless, Burn Notice
- Christina Hendricks, Mad Men
- Elisabeth Moss, Mad Men
- Archie Panjabi, The Good Wife

I haven't seen enough of any of these shows to really say whether these are good choices or not. I'm still amazed that Byrne submits under supporting actress given that she's essentially the show's main character and probably has the most lines, but I guess a chance at winning is more important than those kind of semantics. Oh well. Yawn. I guess I can talk about The Good Wife here - it's a show that I've seen maybe 3-4 episodes of, and I've mostly enjoyed it. It's probably the only CBS procedural I'd ever consider watching, and I'm fine with it getting nominations, but I have no real desire to watch it regularly. Okey dokey, moving on!

Outstanding Lead Actor in a Comedy Series
- Alec Baldwin, 30 Rock
- Steve Carell, The Office
- Larry David, Curb Your Enthusiasm
- Matthew Morrison, Glee
- Jim Parsons, The Big Bang Theory
- Tony Shalhoub, Monk

Ugh, this category. Baldwin, Carell, and David I have no problem with - they're giving the same fine performances that they always do. Parsons I can't comment on, since I haven't seen The Big Bang Theory, but given what I've read he seems like a solid pick. However, I thought we were done with Monk, and I'm so sad to see that we're not. Nothing against Shalhoub - I think he's a fine actor - but Monk is such a tepid, mediocre show (a USA specialty) that I just can't understand why he continues to be nominated, year after year - I mean, he's already won three times! The Academy essentially spit in the face of actors like Joel McHale (who was co-hosting the nominations announcement - ouch) who have been doing great, original work on shows like Community. And Matthew Morrison is...well, he's bland. He's so bland that I can't think of a single funny or moving performance from him in the 5 or so episodes of Glee that I've seen. Now, "comedy" is a loose term here - actors aren't necessarily nominated for being funny or even being in real "comedy" shows - Glee certainly isn't. But if you were going to nominate someone like Morrison, why not instead give it to Zachary Levi, who's been consistently impressive comically and dramatically on Chuck? Ah, because no one in the Academy watches Chuck, and lots of them watch Glee.

Outstanding Lead Actress in a Comedy Series
- I'm skipping this one, because I don't really have anything meaningful to say (not that I do for the other categories, but whatever). I'd be fine with any of the nominees winning.

Outstanding Lead Actor in a Drama Series
- Kyle Chandler, Friday Night Lights
- Bryan Cranston, Breaking Bad
- Matthew Fox, Lost
- Michael C. Hall, Dexter
- Jon Hamm, Mad Men
- Hugh Laurie, House

Another one where I don't have too much to say. I'm glad to see that Fox got a nomination, even if he has no chance of winning. He really did excellent work making the audience feel that Jack was the center figure of the show and made everyone forget how terribly his character had been written in previous years. It's also nice to see the Academy giving Friday Night Lights a nod here - lead actor categories are usually almost impossible to break into, and it's refreshing to see them finally recognize a show they've been ignoring for 4 years. Again, I think pretty much everyone here would be deserving of a win.

Outstanding Lead Actress in a Drama Series
- Connie Britton, Friday Night Lights
- Glenn Close, Damages
- Mariska Hargitay, Law & Order: SVU
- January Jones, Mad Men
- Julianna Margulies, The Good Wife
- Kyra Sedgwick, The Closer

Again, I respect the inclusion of Friday Night Lights in this list - which also includes newcomers Julianna Margulies and January Jones (taking the place of Elisabeth Moss, who moved down to supporting to allow her co-star to try for lead). I think Close is the likely winner, though Margulies could be a nice upset - I've been quite impressed with her from my brief experiences with The Good Wife.

Outstanding Comedy Series
- Curb Your Enthusiasm
- Glee
- Modern Family
- Nurse Jackie
- The Office
- 30 Rock

If Glee wins this, I will be sorely disappointed. It's not even that I hate the show - I've enjoyed the majority of the episodes that I've seen. But despite it's rabid fanbase of Gleeks (ew), it's an incredibly inconsistent show that has really struggled to latch onto its strengths and has some of the most disorganized, haphazard storytelling I've ever seen. I'm not surprised that it was nominated, but I genuinely think that anyone who watched the full season of Glee and then watched the full seasons of Curb, Modern Family, Community, Parks and Rec, or Chuck would see that Glee just isn't at the level it needs to be. Also disappointing - the wrong half of NBC's Thursday night comedy block was nominated. 30 Rock and The Office both had pretty weak seasons, while Community and Parks and Recreation were fantastic. It's not surprising that the Academy stuck with the two shows, as they are both previous winners, but it's a little annoying. Also odd is the appearance of Nurse Jackie here, which I haven't seen at all, so I won't comment on that, but it's a bit of a surprise. Canceled critical darlings Better Off Ted and Party Down both missed the cut, which is no real surprise, nor is the absence of Chuck from the list. I'm pulling for Modern Family for the win, though Curb would be alright with me as well.

Outstanding Drama Series
- Breaking Bad
- Dexter
- The Good Wife
- Lost
- Mad Men
- True Blood

Yeah, everything pretty much as expected, same shows we saw in the lead actor and actress categories, and...what the fuck? Where the hell did True Blood come from? I honestly thought I had misread that the first time through, and I'm still not sure it's not just a practical joke on the part of the Academy. I've seen random episodes of True Blood before, and while it's not awful, I don't know why it made best drama. It's just bizarre - none of the actors or actresses made it, and they had nothing in the writing or directing categories either. Well, whatever. The rest of the category looks pretty normal for the Emmys. It's probably not what I would have chosen, but I can't really complain either. I'd be happy with Breaking Bad, Mad Men, or Lost taking the category.



So, what do I think about the prospects for this year's Emmy Awards? Well, I think it's pretty much going to be exactly like every other Emmys (except with more Jimmy Fallon. Hmm). Though I started off by saying that there was a lot of new blood nominated this year, the Academy is clearly still incredibly conservative (minus the whole True Blood thing, but that shit is just strange). Shows slightly outside the mainstream, such as: Community, Parks and Recreation, Better Off Ted, Party Down, Sons of Anarchy, Justified, Treme, Chuck, Fringe, Caprica; all were largely ignored. I don't think the Emmys are as terrible an awards show as some do, and I'll still be watching this year, but I do think that they still have a long, long way to go before they get things right.

Most outrageous exclusions:
- Community. The show had zero nominations. Zero. I think it was easily the best new comedy of last season, and one of the best on television. But no. Nothing for Joel McHale, nothing for any of the wonderful supporting cast, nothing for writing, direction. And to top it all off: Joel McHale had to read the names of people who were nominated by the Academy. What douches.
- John Noble. I knew that Fringe had absolutely no shot at best drama, despite producing a string of utterly awesome episodes to finish the second season. But Noble did have a shot at supporting actor, and he more than deserved it. He showed incredible range in this season, and it's awful that the Academy snubbed him.
- Any FX show that isn't Damages. I have not seen Justified, Sons of Anarchy, or It's Always Sunny in Philadelphia. However, I know people who are big fans of those shows, and I know that they are all critically acclaimed. But, none of them are about the drama at a law firm (Damages), a conceit that Emmy voters are comfortable with, so they all struck out as well.
- Treme. The HBO show from David Simon of The Wire (a.k.a. One of the Greatest Shows on Television That Received A Whopping Two Emmy Nominations For Writing Over Its Five Season Run) was one of the most well-acted and well-written dramas of the past year. It got one nomination this year. For directing.

Most outrageous inclusions:
- Glee. 19 nominations. I know it must seem from reading this that I hate Glee. I honestly don't. I thinks it a pretty good show that could be a lot better, or a lot worse. I definitely don't think, however, that it is 19 nominations-good.
- True Blood. Just what the fuck? Especially in a year where the voters finally decided to recognize both leads from Friday Night Lights, you would think that would be a natural selection for best drama. Or even Damages, or something. Nope, we get True Blood.

Other points of interest:
- The Tonight Show with Conan O'Brien gets 4 nominations. The Tonight Show with Jay Leno gets zip.
- 24 fans (haha) get a little nod for the show's last season with the inclusion of Gregory Itzin for guest actor.
- HBO's miniseries The Pacific beat everyone with 24 nominations, mostly in the technical categories, which I guess is what you get when you spend $150 million on it