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(01/06/10 10:32pm)
____simple_html_dom__voku__html_wrapper____>With 2010 upon us, it’s time to look forward to what’s to come. Thus, I’m going to spend the next 10 days or so discussing important questions I have for some of my faves. The questions will cover anything from plot points to industry chatter. Whatever topic, these are the questions everyone will be asking.Check out the "Burning Questions" post on the WEEKEND Watchers blog.
(12/23/09 2:04am)
____simple_html_dom__voku__html_wrapper____>2009 was a pretty fun year for television viewers. From epic highs (Lost season five) to sad lows (Heroes season four) to programs that are a confusing mix of the two (Jersey Shore), things have at least been interesting all year. To celebrate, I’ll be spending the next week and change looking back at those highs and lows with various categories and fake awards that cover as many programs as I can. One final note: I don’t watch everything, so if your favorite or a program that we all know as “great” isn’t noted, it’s because I haven’t caught up yet.Please check out the just-beginning look back at 2009 in television on the WEEKEND Watchers blog.
(12/23/09 1:53am)
____simple_html_dom__voku__html_wrapper____>There are barely two shopping days left before Christmas. Here are some
last-second gift ideas for the pop culture lover in your family. Thankfully, most pop culture fiends are easy to buy for, but just in case you're having trouble, the following should be solid gifts that anyone would be ecstatic to open.TV-on-DVD: Nothing tells someone you care as much as giving them a box set of their favorite television program. Picking up a season of your receiver's favorite is quick, easy and lets them know that you actually know something about them. If it's for an older family member, watch them be still-surprised that this sort of thing exists and if it's for a prospective love interest, make sure to tell them that you'd be happy to watch a disc or two with them next weekend. TV-on-DVD might be a little pricey, but just about any major retail outlet is having a sale that should knock the price down. Chuck Klosterman books: Klosterman is the wannbe pop culture writer's hero, so why not give them a chance to revel in his words some more? The true pop culture consumer probably has all of Klosterman's older books, but his first novel, Downtown Owl or 2009's book of essays, Eating the Dinosaur. Other books: Just in case the person you're buying for has all of Klosterman's books, there are a number of other alternatives to chose from: Bill Simmons' Book of Basketball, The A.V. Club's Inventory, anything from Malcolm Gladwell, Douglas Copeland's Generation A or Nathan Rabin's The Big Rewind: A Memoir Brought To You By Pop Culture. If your receiver has read all of these too, then maybe get them a gift card to an outdoor adventure place because they might not have a life.iTunes gift card: Yeah, gift cards are kind of lame and prove that you didn't put much effort into the purchase, but iTunes gift cards are a little different. Sure, you could buy someone a whole album that they enjoy one song off of, or you can just let them pick and choose from a number of different songs that they might enjoy. Of all gift cards, this is the one that says "I actually care" the most. Netflix subscription: This is another pricey one, but perhaps you could sign up for your receiver and then pay for the first six months or something like that. Either way, if you really love someone who happens to really love movies, this is the best way to help support their passion. Or enable. Depends on how you look at it.There you have it. If you're having trouble picking out a gift, take note of the above ideas, because any culture vulture on your list will love 'em all. Consider this WEEKEND's Holiday gift to you.
(12/13/09 7:03pm)
____simple_html_dom__voku__html_wrapper____>We The Kings are part of the latest swell of power pop bands (Boys Like Girls, The Maine) that have made it kind-of big recently, but they’re certainly the worst of the lot. Every single one of their songs sounds and leaves you feeling exactly the same. And that all continues on their second album, the horribly-titled “Smile Kid.” Nearly every track on “Kid” blends into the next thanks to the generic soaring hooks and pretty bland lyrics. While a few of the efforts might be pretty charming when listening to them individually (single “Heaven Can Wait” and “Summer Love”), after 12 of them in a row, it’s not that effective. Throw in some really cheesy lyrics from vocalist Travis Clark (“Heaven can wait up high / In the sky / It's you and I / Heaven can wait deep down in your eyes”) and a guest appearance from Disney’s Demi Lovato and “Smile Kid” leaves a bad, too-sugary taste in your mouth.
(12/13/09 6:48pm)
____simple_html_dom__voku__html_wrapper____>30 Seconds to Mars, actor Jared Leto’s band, haven’t released an album in four years, and during that time they were seemingly being “reborn” both spiritually and musically – as a mediocre band. 2005’s “A Beautiful Lie” was far from revolutionary, but it had its post-grunge, sweeping arena rock charm. The band’s newest effort, “This Is War” is bloated, pretentious and laughable at certain points because Jared Leto is taking himself and his lyrics way, way too seriously. Nine of the 12 tracks on “This is War” clock in at over five minutes, and nearly all of them feature misplaced gang vocals, choirs, self-congratulating cheers or a number of other unnecessary sounds that don’t add anything to the song except that show listeners we should take this album really seriously because it has a message. The lyrics are just the same, with Leto screeching about a fictitious brave new world on the title track, asking if killing to save a life is okay on “Hurricane” and worrying about running from angels on “Stranger In A Strange Land.” “War” is way too impressed with itself and its deeper meaning that doesn’t really exist. Leto and his bandmates fail to recognize the that adding a bunch of nonsense to songs doesn’t make them sound more “epic,” especially when the lyrics are pitiful.
(12/13/09 6:27pm)
____simple_html_dom__voku__html_wrapper____>Producing period piece films are always tricky. Producing period piece films with good, realistic action sequences is even trickier. But with his examination of infamous Depression-era bank robber John Dillinger, director/writer Michael Mann has gotten nearly everything right. Sure, some specific details might not be absolutely correct and liberties might have been taken, but thanks to the beautiful way the film is shot and powerhouse performances from all three of its leads, “Public Enemies” is slow-burning, tension-filled two-plus hours.“Enemies” tracks Dillinger (Johnny Depp) and his crew as they move through the country, robbing banks and just living in the present while the FBI has assigned agent Melvin Purvis (Christian Bale) to take them down. What transpires is an intelligent game of cat-and-mouse that isn’t unlike Mann’s “Heat” in the sense that both men plan and scheme in hopes of meeting their ultimate goals. Depp is, as usual, fantastic in this film. His portrayal of Dillinger is the correct combination of romance, charisma and evil and makes “Enemies” a much better film whenever Dillinger is on the screen.And of course, since this is a Michael Mann movie, the technical aspects cannot go unnoticed. Mann shoots the whole affair on digital, which gives it very cool documentary-like style that really works for the cold-blooded affair that’s happening on the screen.The most glaring problem with the film is the lack of character development on either side of the coin, but as Dillinger says early in the film to Cotillard’s character: “I like baseball, movies, good clothes, fast cars, whiskey, and you” and really that is all we need to know to enjoy this film.
(12/10/09 12:02am)
____simple_html_dom__voku__html_wrapper____>Animation has come a long way in the aughts. While Pixar turned its late-’90s success to all-’00s domination, a few other studios and filmmakers were able to deliver us intriguing and compelling animated journeys. Here is the (Pixar-heavy) list of 15 best animated films of the decade, in no particular order.“WALL-E” (2008) – The finest of Pixar’s recent masterpieces, the charming love story of a binocular-eyed trash robot hit home with so many people because of its emotional depth and statements on big business, the environment and technology. For the adults turned off by “WALL-E’s” silent start, take a page from your kids and rediscover what makes this film so great. “Spirited Away” (2003) – Hayao Miyazaki is perhaps the only singular auteur of animation today, and the 2002 gem “Spirited Away” is both a dark and whimsical film with an inherent mood and symbolism that arguably surpasses any of his other films. The film’s message about both nature and human desires too is timeless. “Finding Nemo” (2003) – “Finding Nemo” is a precious, adorable movie that can be watched time and time again. The jokes, the goofiness and the mood grow on you every time you see it. But Pixar’s charming mark and Ellen Degeneres’s added hilarity are almost superseded by the film’s attention to detail in how fish look, swim and act. “Up” (2009) – Yet another Pixar and the most recent of the bunch, “Up” is Pixar’s tenth film and the first in 3D. It is a lovely story of adventure and fatherly bonding told through the eyes of such an unconventional character in mainstream animated films, an old man. “Shrek” (2001) – “Shrek” is simply a hilarious animated adventure funnier than some mainstream comedies. It is now iconic because of its voice work by Mike Myers and Eddie Murphy and because the film is accessible to all audiences simply looking for a good time at the movies. “Coraline” (2009) – “Coraline” is the best film to incorporate 3D ever. Created by Henry Selick of “The Nightmare Before Christmas” fame, the stop motion animation used throughout the film is remarkable and unmatched visually. Although lacking a strong narrative, the meticulous creations of Selick become individual works of art. “Howl’s Moving Castle” (2004) – When all films are going digital nowadays, “Howl’s Moving Castle” stands out as a masterpiece of classically hand-drawn animation. Miyazaki’s moving adventure and epic is a visual wonder. “Monster’s Inc.” (2001) – A highly underrated Pixar classic, “Monster’s Inc.” is charming and intelligent without sacrificing familiar comedy from the likes of Billy Crystal, John Goodman and Steve Buscemi. “Wallace & Gromit: The Curse of the Were-Rabbit” (2005) – Perhaps too eccentric for mainstream moviegoers or children, this claymation is still touching and full of heart. And who doesn’t love a story about a guy and his dog?“Persepolis” (2007) – Emotionally powerful and stunning with its black and white images, this autobiographical tale about growing up amid the Iranian revolution is a stellar adaptation of the graphic novel. “Ratatouille” (2007) – This one is perhaps the most inaccessible Pixar film ever and might not be as memorable as the others on this list, but being a damn solid Pixar film says a lot more than being a really great non-Pixar film. “Fantastic Mr. Fox” (2009) – It might have only been released last month, but Wes Anderson’s adaptation of the old-school Roald Dahl classic story is quirky, imaginative and appealing to everyone from ages three to 93 – and that counts for a lot. “Happy Feet” (2006) – Some parents were turned off by Robin Williams’ sexual euphemisms that were frequent in “Happy Feet,” but most were enchanted by the joy of watching a penguin tap dance. What could be cuter?“The Incredibles” (2004) – Not to flood the list with Pixar products or anything, but this is flick is not only one of the animation superpower’s best films, it’s also one of the better superhero movies of the decade. It’s an exciting little thrill-ride from start to finish, with solid voice performances all around. “Waltz With Bashir” (2008) – Like “Persepolis,” this one is an autobiographical look at life in the Middle East, only this time the country is Israel. The compelling story is backed up by really different-looking animation.
(12/09/09 4:18am)
____simple_html_dom__voku__html_wrapper____>Oh, action movies. You’ve had a rough decade. Things looked so good coming into 2000 thanks to “The Matrix”’s success in 1999. Well, we know how that turned out. Now 10 years later, we are sitting here wondering why these days movies with no discernible plot or likable characters or practical effects pass for “great” action. Screw you, Michael Bay (even if you do appear on this list). However, there were some good action flicks in the aughts. Here are great ones and others that we all probably love but refuse to admit it. The Real Deal:“The Bourne Trilogy” (2002, 2005, 2007) – We were even fans before Paul Greengrass took the helm in “Supremacy” and “Ultimatum,” so as a whole, The Bourne Trilogy is a no brainer. They are brilliantly shot, choreographed and acted with a riveting narrative stringing it together. Matt Damon’s Jason Bourne is the single iconic action hero of our generation, unless of course you count Jack Bauer. “The Dark Knight” (2008) – The best of the superhero movies is held in such high esteem for its depth and performances, we forget “The Dark Knight” is a thrilling action movie with some of the best stunts and non-special-effect work done in a long time. “Casino Royale” (2006) – Daniel Craig made James Bond cool again in this gritty addition to the franchise that is not so much a return to form as a new entity altogether. Craig is easily the best Bond since Sean Connery, and his rich background brought a realm of depth and emotion to the ultimate action hero that we forgot the man’s actually blonde. “The Hurt Locker” (2009) – “The Hurt Locker” is an absolute thrill ride. But instead of huge explosions, we tense up waiting to find out if something will explode. Instead of large-scale shoot outs, we get a riveting look as these Iraqi Marines patiently stake out a building housing an enemy sniper. “Black Hawk Down” (2001) – Ridley Scott’s two-and-a-half hour war epic has very few slow moments. Bullets are whizzing through the air constantly and explosions are frequent. The editing is rapid and so with so many characters and names, it’s difficult to keep track of everyone. But amidst the bloodshed is some remarkable human emotion. “Crouching Tiger, Hidden Dragon” (2000) –“Crouching Tiger” is the best kung-fu movie of the decade with vivid and fight scenes and acrobatics that are remarkably real. It’s got few stuntmen, no special effects or green screen trickery, and there’s a charming narrative to boot. This is the film you would get if Gene Kelly made an action movie. “300” (2007) – So the characters are nothing more than one-dimensional, testosterone fueled meatheads, but “300” is awesome, and a lot of fun. I had a hard time rationalizing these excessively brutal murders as artistic, so a guilty pleasure will have to do. “Kill Bill” (2003, 2004) – “Inglourious Basterds” was too much talking! “Kill Bill” lets us get right to the violence and revenge. What’s better than killing 99 guys with a samurai sword? Having a woman in tight yellow spandex kill 99 guys with a samurai sword. “Spider-Man 2” (2004) – The focus on Peter Parker over Spiderman is what made this sequel great, but no can forget Alfred Molina’s absolutely awesome Dr. Octopus. “Spider-Man 2” had better action, better acting and better suspense than the original. It’s the perfect superhero movie. It’s only fault: getting us excited for “Spiderman 3.” “Minority Report” (2002) – Steven Spielberg’s underrated sci-fi thriller is jam-packed with action of all sorts, be it jumping from futuristic cars, conducting a giant touch screen computer, hiding from miniature spider robots or fighting with one of those cool rotating pulse guns.Guilty Pleasures:“The Fast and The Furious” (2001) – Yeah, it’s self-important and features a “who can top who” in the horrible acting department, but for whatever reason, it seems pretty difficult to not enjoy this movie. Well, maybe only if you’re a person who lives their life a quarter-mile at time – but we do. “The Italian Job” (2003) – Another goofy movie feature cars, “Italian Job” is also an unnecessary remake – but it’s damn fun to watch. Mark Wahlberg is probably at his best when having to deliver cheesy lines with a straight face and when he’s punching people – thankfully this one has both.“Bad Boys II” (2003) – Call it excessive, stupidly violent and generally nutty, but this is still one hell of a fun thrill ride, if only for two great chase sequences and Martin Lawrence’s last above-terrible performance. “Mission: Impossible III” (2006) – JJ Abrams’ film directorial debut breathed new life into a series that was always popular but never really that good. Even amid Tom Cruise’s public image meltdown, this movie finally gave his Ethan Hunt some much needed humility and depth. “National Treasure” (2004)/”National Treasure: Book of Secrets” (2007) – Two fun, light and absolutely entertaining movies featuring a goofy role Nic Cage encompassed well. Better than the decade's "Indiana Jones" installment.
(12/08/09 9:05pm)
BoD: Cory Barker looks at who emoted the most in the last 10 years.
(12/07/09 6:40pm)
BoD: WEEKEND celebrates pop music's last 10 years.
(12/07/09 5:17am)
____simple_html_dom__voku__html_wrapper____>We here at WEEKEND hope you have been enjoying our "Best of the Decade" coverage so far. Last week we brought you a slew of online only features that were television-centric, along with a dip into the video game and political pools. This week, we're bringing you even more cool features, covering film, music, technology and books. Every day will bring a new feature or two, so check back as much as possible or follow us on Twitter -- @ids_weekend -- for the latest update. And here is the tentative schedule:MONDAY: The most memorable books, the best in pop music, the most influential people in film and the worst in mainstream film. TUESDAY: The most memorable technological advancements, the best in "emo" music, the best film performance of the decade and the best action films.WEDNESDAY: The best in metal music, the best film adaptations, the best animated films and a discussion of why some of the decade's biggest properties didn't make our top 50.THURSDAY: The best soundtracks, the best cover songs and a slew of still-developing film features. It's ambitious, and we hope you enjoy it.
(12/04/09 1:04am)
____simple_html_dom__voku__html_wrapper____>Ssssh, can you hear that?That’s the collective cheer of television fans and critics alike. The celebrating is thanks to ratings tabulator Nielsen announcing that they will start accumulating and publishing viewing figures from online television streaming. The plan comes after television industry and media heavyweights got together in September and called for rating-collection reform of any sort – so much that they were willing to open up the bank accounts in these trying times to propel the changes forward. Nielsen’s plan, which will use meters that will most certainly monitor the major web streaming locations such as Hulu, Fancast and official network sites, is currently scheduled to unspool in August of 2010, a full year ahead of schedule. The initiative will cover 7,500 national-people-meter homes, representing about 20,000 people and 12,000 computers. It’s not an overwhelming figure, but it is based on how Nielsen does all its tabulation, so at least they are being consistent.Though this might not sound like that exciting of news, everyone who watches television will benefit from this plan. As online streaming has become more and more accepted by the networks and accessible to audiences, it has gone completely uncollected. While that does not feel like a big deal, it is because as online streaming increases, television ratings have decreased. And so the networks and advertisers have had only television ratings (both live and DVR, thank goodness) in front of them when making important decisions – as in what programs get to stay on the air. Thus, if a program faced extenuating circumstances that did not attract audiences to it when it aired – bad time slot, sports, etc. – but had a major online viewing rate, it didn’t matter. Obviously Hulu and all the individual networks have known how many viewers they’ve had online to a t, but everyone has kept it to themselves. This leads to a slew of speculation about a program’s streaming rate, with fans of struggling programs clamoring that they “know it’s got a huge number because everyone watches it online.” But no one outside the doors of these media powers has known anything, and that is not really fair. The television ratings are public knowledge for a reason – so folks in and outside the industry know what’s popular, what’s not, what’s trending and who’s watching what. With the viewership moving to a new medium, it is time that the Nielsen figures (however flawed it may be) follow them there. Hopefully this move signals interesting developments and conversations for the television industry. Maybe a few more programs will be saved because their online figures are better and maybe a few idiots crying on Twitter about their favorite’s online presence will be forced to find something else to cry about. Nevertheless, for a system that is always behind in reacting to important technological advancements, any new plans from Nielsen are welcomed with open arms.
(12/03/09 1:57am)
____simple_html_dom__voku__html_wrapper____>The aughts have been kind to television. When we look back three or four decades from now, I think this will be thought of as the best run in the medium’s history. Every single one of our top 10 and many of our top 20 would be found on any “best of all time” lists. This was the time that television became “legitimized,” as it moved away from the passive, mind-wasting “idiot box” to a place where skilled storytellers could craft compelling and fulfilling arcs that rival (and many times surpass) anything seen on film. Thanks to a number of industrial and cultural changes, television became legen ... wait for it ... dary.As the mainstream film industry became more obsessed with first-weekend box office figures, rolled over midsize releases, continued to emphasize big-budget visuals over story and became more expensive for audiences, television was there waiting with story and character. Throw in the migration of big-name producers and minds to television, the emergence of scripted cable programming – and not just on HBO, Showtime, AMC, TNT and USA – and the numerous ways we can now watch – TV on DVD, OnDemand, etc. – that allow people to catch up whenever they want, and here we are. Television has reached a whole new plateau of quality. While I am clearly biased, it seems there are more seminal, important television programs this decade than mainstream films. There are certainly more memorable films, but that’s because of the way the individual industries operate. But again, when we look back at this decade in the future, I think the general public will feel more connected to “The Sopranos,” “Lost,” “Mad Men,” “The West Wing,” “The Wire” and even “24,” “The Office” and “30 Rock” than the likes of “The Dark Knight,” “Lord of the Rings,” “Almost Famous” or “Wall-E.” Again, I’m blinded by the tube, but at the least, the best television programs of the decade mean more to the medium as a whole than the best films do to that medium. While television moved toward narrative complexity and more artistic freedom, mainstream film was worried about how to blow something up in a new way. And that’s why television wins the decade.
(12/02/09 11:20pm)
____simple_html_dom__voku__html_wrapper____>Tomorrow we bring you our top 50 television programs of the decade, but there are obviously a number of good ones that didn’t quite make the list for various reasons. So here are 20 programs you won’t find on our list tomorrow and just to spice it up, we’ve included the best episode of each. Hopefully this list gives you an indication of what did make our top 50 – and maybe even angers you a little bit. “Heroes,” “Company Man” – Though it was already a phenomenon by this effort aired near the end of season one, this “Lost”-riffing HRG-flashback episode proved that “Heroes” could deliver more than just snazzy marketing lines. It’s too bad that every episode after this one proved the exact opposite. “Sex and The City,” “Ex and the City” – Even as HBO program fell into the creative depths of hell in later seasons, “Sex” was always about two things: Carrie’s relationship with the girls and her relationship with Mr. Big. At the heart of the season two finale was the latter where Carrie realized that Big would never “get it” thanks to the Barbara Streisand flick “The Way We Were.”“Damages,” “There Is No We Anymore” – The penultimate episode of “Damages” first season featured all the best parts of the series: timeline screwiness, thrilling twists and powerhouse performers. “Big Brother,” “Season 11, Episode 18” – Summer’s soapy and addictive reality program isn’t as respected as its other CBS brethren, but this one – featuring the expulsion of Chima, one of the worst human beings to participate on a reality show outside of MTV and Vh1 – proved that watching talentless people scheme against one another is too great to pass up.“Smallville,” “Covenant” – Sure, it’s been uneven and ridiculously disappointing at points, but when “Smallville” is good, it’s damn good. At the height of its quality all the way back in season three, this episode capped off the previous 21 dark and depressing hours of analysis into the minds of Lex Luthor and Clark Kent in thrilling fashion.“Psych,” “An Evening With Mr. Yang” – USA’s underrated procedural comedy delivers goofy, pop-culture-infused laugh week-in and week-out, but the season three finale took a much darker direction, proving that “Psych” could be entertaining no matter what.“Fringe,” “There’s More Than One of Everything” – While “Fringe” didn’t quite live up to expectations during season one, the final round of episodes showed that it was more than just an “X-Files” rip-off. The best of those was the finale, which took a number of ballsy risks that have sadly yet to pay off in season two.“Desperate Housewives,” “Pilot” – “Housewives” first hour filled us with hopes that the show would be able to straddle the fine line between a smart parody of soaps and the genre’s over-the-top conventions – while being generally awesome. Sadly it spiraled out of control so quickly that only a five-year time jump in season five could make things interesting again.“Entourage,” “Sorry, Ari” – Remember when we thought “Entourage” was good and Jeremy Piven’s Ari wasn’t tired? Though it’s devolved into a pointless and out-of-touch 24 minutes, back in season three, Vince’s “struggles” in the industry and Ari’s positioning to keep him happy were still interesting. Hell, this one even had a cool cliffhanger. “Everwood,” “A Mountain Town” – Though it was waaaaaaaaay too earnest, “Everwood” worked as small town family drama. This effort features a whole lot of father and son heart-to-heart conversations, some hugging and even a little crying. So exactly what all the great “Everwood” eps did.“Glee,” “Wheels” – 11 episodes in and still hotly uneven, “Glee” is still teetering on cultural phenomenon status – and for good reason. This effort dials it down a bit and realistically analyzes the lives of two of the program’s better characters, Artie and Kurt, while giving villain Sue Sylvester a whole new side. “Grey’s Anatomy,” “It’s the End of the World” [Part One] “As We Know It” [Part Two] – The decade’s most popular medical drama was simply toiling away on Sunday nights before ABC gave it the post-Super Bowl slot in 2006. This one had a ridiculous premise – guy with a piece of homemade ammunition inside him – but thanks to powerhouse performances from Ellen Pompeo and guest star Kyle Chandler, this was the moment that hooked a slew of viewers to Shonda Rhimes’ brand of quirky, melodramatic writing. “Terminator: The Sarah Connor Chronicles,” “Born to Run” – After unspooling a complex, dense and sophisticated second season, the finale (and final episode of the series) was nothing short of mind-blowing with each twist followed by one that was even nuttier. “Modern Family,” “The Incident” – Though only nine episodes in, “Family” nearly made the top 50 – and this episode shows why. The comedy mixes the uncomfortable tension of the decade’s best comedies with the familiar heart of sitcoms past to create one hell of a half hour.“Ed,” “Prom Night” – NBC’s quirky early decade dramedy was eventually soiled by the stupid “will they or won’t they” between Ed and Carol, but in season one it was still charming. Mix in some humorous hi jinks from Michael Ian Black’s Phil in attempt to get a television show and the S1 finale was simply a delight. “Criminal Minds,” “The Big Game” [Part One] and “Revelations” [Part two] – As one of CBS’s endless procedural crime dramas, “Minds” surprisingly provided interesting analysis of well, the criminal’s mind. The post-Super Bowl two-parter featuring the best performance of James Van Der Beek’s career was compelling and surprising – which isn’t always the case for the genre.“Dollhouse,” “Epitaph One” – Though it never aired on television, this handheld look into the future showed us the ultimate effects of the Dollhouse technology while deepening the series’ theme of identity. It also helped that it didn’t feature Eliza Dushku’s “acting” for most of the episode. “The Big Bang Theory,” “The Terminator Decoupling” – As sort of an anomaly in the time of “The Office,” “Big Bang” provides broad laughs backed by a laugh track – and people seemingly love it. This effort combined all the best parts of the series – namely Jim Parsons as Sheldon – with a funny guest appearance by Summer Glau. Or maybe we just love this one because of Glau. Either way.“Saturday Night Live,” “Reese Witherspoon/Alicia Keys” and “Seann William Scott/Sum 41” – It’s hard to pick out the best episode of “SNL” because we tend to think about the show more on a sketch-level, but the first episodes after 9/11 were just so emotionally charged that everything felt so much funnier. There were probably funnier episodes, but these were the most important.“Weeds,” “Pittsburgh” – The second season of “Weeds” was already incredible, but the season finale launched it to a new level. Nancy’s path of perpetual deep shit continues when Silas ruins her big drug steal by stealing her stash. By the end of the season, viewers were left with Nancy and Conrad standing over an empty safe with about six guns pointed at their heads and nothing to do.
(12/01/09 9:33pm)
____simple_html_dom__voku__html_wrapper____>As we all know, the television industry is fickle. Most of the time, the good programs stay on the air while the bad ones die off. But other, painful times, networks and even audiences make the wrong decision, leading to the cancellations of programs that are creatively stellar. With the various technologies pushing down ratings, quick hooks were even more prevalent in the aughts. The following are some of our favorites that lasted only one season.“Freaks and Geeks” (NBC, 1999-2000) – It made our list for a reason. As one of the most honest, realistic and sharp-written looks into the lives of high school outcasts, “Geeks” remains fully enjoyable and relatable to this day. It doesn’t hurt that it features a slew of current stars (James Franco, Jason Segel and Seth Rogan). Canceled after 18 episodes.“Firefly” (FOX, 2002) – Perhaps the most unceremoniously canceled program in network television history, this Joss Whedon product was innovative, smart, action-packed and entertaining – just like all his programs. Canceled after 14 episodes.“Journeyman” (NBC, 2007) – NBC’s quasi-“Quantum Leap” remake ended up being so much more thanks to the writers’ ability to mix science with science fiction. Much better than it’s lead-in, “Heroes.” Canceled after 13 episodes. “Invasion” (ABC, 2005-2006) – This intelligent re-imagining of the classic “Invasion of the Body Snatchers” story had the bad luck of being the first program to follow “Lost,” and even worse luck of prominently featuring a hurricane just weeks after Katrina. But by season’s end, it was consistently compelling. Canceled after 22 episodes. “Jack and Bobby” The WB, 2004-2005) – Greg Berlanti is known for his earnest family dramas (“Everwood,” “Brothers & Sisters”) and this was perhaps his finest. Featuring a superb adult cast (Christine Lahti, John Slattery and Bradley Cooper) and strong performances from up-and-comers Matt Long and Logan Lerman, “Jack and Bobby” portrayed the relationship between two brothers pretty damn well. Canceled after 22 episodes.“Studio 60 on the Sunset Strip” (NBC, 2006-2007) – Aaron Sorkin’s foray into late night television started off so strong – until he decided to show the comedy skits. Even 2006 classmate “30 Rock” knew better than that. Canceled after 22 episodes. “Wonderfalls” (FOX, 2004) – The quirkiest product to come from Bryan Fuller’s fun factory of quirk, “Wonderfalls” saw a Ivy League slacker start to talk to inanimate objects – that give her missions. We never found out why Jaye had been given this responsibility, but it was sure fun to watch while it lasted. Canceled after 13 episodes.“Kings” (NBC, 2009) – Another missed opportunity for NBC came with “Kings,” a program that was overwhelmingly detailed, creative and well-acted – just the kind of program NBC needs to save its reputation. So of course they moved “Kings” around on the schedule a handful of times before killing it. Canceled after 13 episodes. "Day Break" (ABC, 2007) – Sure, it was basically a poor man's "Groundhog Day" with more drama, but who doesn't love "Groundhog Day," or for that matter Taye Diggs? Canceled after 13 episodes.“Drive” (FOX, 2007) – This one was full of pure-action fluff, but Nathan Fillion (dude couldn’t catch a break for a while) led this intriguing program about a mysterious cross-country race that involved some conspiracy that we never really a thing about. Come to think of it, we didn’t learn much at all – but it was still cool. Canceled after 4 episodes. “Undeclared” (FOX, 2001) – Judd Apatow’s more light-hearted college cousin to “Freaks and Geeks” still did a great job of realistically portraying the lives of college students. Though it wasn’t as charming as “Geeks,” it still deserved more than it got. Canceled after 17 episodes. “The Tick” (FOX, 2001-2002) – Near-genius Ben Edlund’s comic book series “The Tick” had translated well into an animated series, but audience’s weren’t ready for the live-action version. With Patrick Warburton as the gregarious title character and Nestor Carbonell (“Lost”’s Richard Alpert) as Batmanuel, this weirdo was probably too far ahead for its time. Canceled after 9 episodes. “Traveler” (ABC, 2007) – ABC chose to burn this one off in the summer, but the ominous scheduling couldn’t keep it from being like a weekly (and obviously much lower-budgeted) “Bourne” entry. Matthew Bomer and Logan Marshall Green went on to other things, but we still want to know what the hell was going on. Canceled after 8 episodes.
(11/30/09 8:46pm)
____simple_html_dom__voku__html_wrapper____>Much like full-length series that we will celebrate later in the week, all of the great miniseries and made-for-television-movies were found on cable networks. But that's to be expected. Perhaps what wasn't was the variety of topics the great minis/TV films tackled this decade. From demoralizing war tales to sci-fi-heavy melodramas, these productions made us realize that the miniseries can be cool. “Band of Brothers” (HBO, 2001) – This Spielberg/Hanks produced WWII-centric miniseries is probably the most popular mini this side of “Roots,” and for good reason. With a slew of amazing actors and a sweeping, emotionally-charged narrative, “Brothers” is instantly re-watchable – which is something you can rarely say for a mini.“Generation Kill” (HBO, 2008) – David Simon and Ed Burns, the duo behind “The Wire,” brought us this intense look into the first days of Iraq War II that is much like their series-form epic – angry, commenting on a broken system – and that’s just fine. “Planet Earth” (BBC, 2006) – Who thought learning could be so awesome? Breathtaking in every sense of the word (especially in HD), “Planet Earth” should be used in all secondary school education from now on. “Torchwood: Children of Earth” (BBC, 2009) – By cutting the third season of the program into a mini, revamped-“Doctor Who” universe mastermind Russell T. Davies made one of the creepiest, yet more moving sci-fi minis ever. Scary kids always get us."Battlestar Galactica" (Sci Fi, 2003) – Remember, the great sci-fi reboot of the campy cult fave started off as a three hour miniseries and those three hours set the stage for the fantastic, layered program to follow.“Angels in America” (HBO, 2003) – Director Mike Nichols somehow found a way to balance a slew of high-profile actors (Meryl Streep, Al Pacino) and the heavy expectations of adapting Tony Kusher’s award-winning play into seven hours. It probably featured Pacino’s last good performance. "The 4400" (USA, 2004) – Another complicated, sci-fi drama that started as a mini and continued as a series. "4400" had an impressively original premise, strong performances and a generally eerie atmosphere that carried over to the successful series."John Adams" (HBO, 2008) – This eight-hour excursion into the life of one of America's most important men is at times difficult to watch, but powerful performances from Paul Giamatti and Laura Linney make all that struggling worthwhile. "The Company" (TNT, 2007) – Though it should get bonus points for bringing a former Batman (Michael Keaton) and Robin (Chris O'Donnell) together, TNT's look into the CIA-KGB face-off during the Cold War is a cool, solid thriller that never really drags. "Recount" (HBO, 2008) – It kind of sucks that best (only?) film made about the fall-out of the 2000 election didn't get a wide release, because "Recount" was one of the best films of 2008, period. It almost didn't happen due to Sydney Pollack's untimely death, but Jay Roach ("Meet the Parents") stepped in to do a admirable job. "Taken" (Sci Fi, 2002) – Another sterling Spielberg product, "Taken" chronicled the abduction phenomenon over nearly 900 minutes, swooping through history from 1944 to 2001 in pretty epic fashion. By weaving true events with personal reactions, the tales we've only heard conspiracy theories about worked better with a face on them. "The Corner" (HBO, 2000) – Before "The Wire" David Simon told his Baltimore, MD horror stories through a six-ep mini. Somehow "The Corner" is bleaker and grittier than its series cousin, but still features the strong writing we expect from Simon.
(11/30/09 4:26pm)
____simple_html_dom__voku__html_wrapper____>So, Y2K didn't happen, but a hell of a lot of other crazy stuff did in the past ten years. Entering 2000, we'd just come off the fiery end of Woodstock, Apple's computers kind of sucked, "Episode 1" ruined millions of childhood memories and Napster was free from Lars Ulrich's ranting. Things have been much better this decade. We think. To celebrate the end of the decade that we all came of age in, WEEKEND presents a two-week excursion into the past 10 years. This week we'll tackle memorable culture moments, television and video games. Next week brings film, music, books and technology. Along the way, we'll try to determine which year was "best" and provide a slew of online only content for you. The following is a rough schedule for the online only television-centric features:Monday: Best Mini-Series Tuesday: Best One-Season WondersWednesday: Top Episodes from Programs That Did Not Make The CutThursday: Miscellaneous musings, awards and thoughts about the best period in the medium's history.Our list of Best Video Games will also be up Tuesday. Keep checking out the site for updates and follow us on Twitter -- @ids_weekend -- for instant updates. Let's do this.
(11/22/09 9:12pm)
____simple_html_dom__voku__html_wrapper____>Though former “The X Factor” winner Leona Lewis is probably more talented than any of her stateside “American Idol” counterparts, her debut album “Spirit” felt oversatured with sappy ballads — just like most other winners’ first forays into pop. On her latest “Echo,” a parade of big-name producers (OneRepublic’s Ryan Tedder as well as Kevin Rudolf and Max Martin) help make the music slightly more compelling, but even they cannot make up for Lewis’ lack of personality.Lewis proves on efforts like the soaring “Happy,” sultry “Can’t Breathe” and synth-heavy “I Got You” that she has all-world talent, but the emotional impact is completely lacking. It’s not that Lewis can’t sing; she can obviously match range and pitch with the best of them. She just does not have any personality to make the songs effective past the mere mechanics.“Echo” is technically impressive in every way, and while Leona Lewis can match vocal wits with Mariah Carey and 1980s Whitney Houston, her inability to echo their personalities makes the album ultimately inaccessible.
(11/22/09 9:07pm)
____simple_html_dom__voku__html_wrapper____>The first album for an “American Idol” victor is always difficult to manage because the swell of hype and a producers’ “vision” can conflict with artists trying to find their way. For season eight winner Kris Allen, the road is even tougher since the man he somehow defeated, Adam Lambert, became a cultural phenomenon during his time on the program. But just as he carved out his own unique identity during the season, Allen’s self-titled debut album proves that he doesn’t need all the headlines — he just wants to make some solid music.Far from the overproduced, mish-mash of Top 40-baiting collection of singles penned by 50-year-old men that are typical post-“Idol” efforts, Allen’s album is organic, natural and at times raw. There are big steps forward here for “Idol”-related releases: Allen co-wrote nine of the 12 tracks and there are actually points where his voice can be heard cracking. Opener and first single “Live Like We’re Dying” features Allen’s side-of-mouth vocal bubbling with all sorts of fast-paced swagger as he pounds on the piano, resulting in a track that would have made the most recent Fray album less of a bore. After that, Allen plays around in the mid-tempo sandbox on a number of solid efforts like “Before We Come Undone,” “The Truth” and “Let It Rain,” all of which combine some impressive hooks and musicianship — albeit with some overstuffed lyrics — that could fit right in against the likes of Gavin DeGraw or Jason Mraz. But try as he might to find himself, Allen struggles just as past idols have in doing so, leaving a few of the album’s latter cuts feeling like filler. His appealing vocal performance saves “Is It Over” and “Lifetime” from being total losses. Thankfully things end on the best note possible, as closer “I Need To Know” is the album’s clear highlight. Here Allen strains over a beautiful, bare-bones piano composition by repeating the song’s title at increasing levels of sadness as the track progresses. For an “Idol” winner’s first album, “Kris Allen” is certainly a success for the spots of his identity that forces their way through. And though portions are derivative, this release proves sometimes “Idol” fans do make a good choice.
(11/17/09 10:41pm)
____simple_html_dom__voku__html_wrapper____>These days, it is hard to distinguish between John Mayer, the great guitarist and solid lyricist, and John Mayer, the Twittering tool-bag. And though past albums prove there’s significant evidence he’s the former, Mayer’s newest album “Battle Studies” goes a long way in showing he might have been too worried about the latter persona to make a good album this go-around.Though not without its high-points, “Battle Studies” is too tongue-in-cheek and at the same time too serious for its own good. With Mayer’s much-talked about relationship with Jennifer Aniston and purportedly lothario ways coloring every track, the change in perspective (sometimes to an extreme extent) on various tracks makes the album ultimately unfulfilling.Opener “Heartbreak Warfare” is the clear stand-out, as Mayer plays with U2-like sonic expansion while crafting a “love is war” comparison with his croon (“Clouds of sulfur in the air / Bombs are falling everywhere”), but with the lyrics being woefully serious and probably about Aniston, the track’s effect is slightly empty.Inversely, “Who Says” unfolds like a weak stoner kiss-off, with Mayer asking “Who says I can’t get stoned?” and noting that he “wants to call up a girl I used to know to fake love for an hour or so,” resulting in one of the worst first single choices of recent memory.The rest of the tracks fit somewhere between those extremes, with “Assassin” playing out like a brother to “Heartbreak Warfare” (musically fantastic, lyrically hyperbolic) and a cover of Robert Johnson’s “Crossroads” feeling severely misplaced amid the quieter, more introspective efforts. “Half of My Heart” featuring Taylor Swift and “War of My Life” are indicative of a more low-fi sound that works for the most part, but they also tap along to no real end.Mayer noted he wanted to be more explorative with “Studies,” and perhaps that’s the reason it’s widely uneven and at some points, boring. Or perhaps a few less tweets would have made things more focused.