Wednesday, February 25, 2009

episode: dollhouse, "the target" (1.2)


Critics didn't love the pilot of Dollhouse, and to be honest, I wasn't crazy about it either. There was obvious studio head meddling going into the narrative. The opening "introduction" to Echo was so short it had to be afterthought, and the closing snippet about Alpha's escape was an obvious last-minute push to add mystery and intrigue to these characters and their relationships with one another. So without going into too much about the pilot, I say -- skip it and watch the second one. The second episode, "The Target," is a much better hour of television and you get all of the introductory materials (via well-used flashbacks) in a more cohesive and less disorienting way.

"The Target" was based off of Richard Connell's short story The Most Dangerous Game" (which you can read in its entirety here), with a slight twist at the end. There are three reasons why this episode worked really well -- and why I ultimately recommend the show, basing my judgements on something other than gratuitous love for creator Joss Whedon. First, Elisha Dushku can only act one role (tough/vulnerable/naive) -- BUT you hardly notice her inability to act when she's playing this role. (See also Faith on Buffy the Vampire Slayer.) In the pilot, she played a hostage negotiator, complete with inhaler (huh?) and glasses (seriously?), and Dushku didn't sell it. But here, in "The Target," she sells that she's a sportsman and that her shift to retaliate is plausible and engaging. Second, this episode showed more of her relationship with her handler, Boyd Langdon (played ever-so wonderfully by Harry Lennix). We learn why she instantly trusts him (she was programmed to trust him when he says the phrase "Everything is going to be okay"), and we learn how Langdon was initially brought into the Dollhouse. He became Echo's new handler when Alpha went all Patrick Bateman on everyone, including her previous handler, but without touching Echo. And third, the flashbacks offered a fluid narrative device in showing -- and not telling! -- us about Echo's resurfacing memories. Whereas in the pilot, Echo remembered things kind of randomly, but here, with this narrative device, Echo gains access to privileged information, just as we do in learning about Langdon, Alpha, and the Dollhouse.

So here's my theory, one that I think leans more towards the humanist side in all of this, but not in any way that would detract from the science or morality of the show. I don't think Echo is the first doll to recover suppressed memories. (Certainly Topher isn't "erasing" or extracting memories; he's merely relocating them in the brain.) I think Alpha was the first doll to start remembering his missions, and when he learned of his true identity -- either his "real world" identity or his identity (or lackthereof) as a doll -- he decided to load into his brain martial arts skills in order to defend himself. Remember, Topher says that Alpha implanted HIMSELF with those skills, so why and how could he do this? He did this because he knew the truth about the dollhouse.

So what does that have to do with Alpha's Echo trail for Agent Ballard (who, I'm convinced, is named after the sci-fi writer J. G. Ballard)? I'm not too sure, but I definitely think Alpha has feelings for Echo. I think he fell in love with her, and every time her memories were altered and went back to a tabula rasa state, Alpha grew increasingly angrier with his and her situation. This theory falls apart when you consider Ballard in the mix (why doesn't Alpha just expose the Dollhouse immediately?) or Echo (why didn't Alpha just take Echo with him when he escaped?), but both of these concerns could certainly be answered later and still be in line with my theory.

Basically... I want the show to be more about interpersonal relationships than ethics. Is the Dollhouse ethical? Are the dolls still people without memories? (For what is the "I" if the "I" has no past?) How long will Boyd Langdon have qualms, inner conflicts regarding the Dollhouse? I'm more concerned about Alpha and his relationship to Echo. And even if it isn't romantic, perhaps he thinks of her like his sister. And hopefully -- since Alan Tudyk will be playing the as-of-yet unseen role -- Alpha will have an ironic sense of humor. Alpha can be dark and twisty, but he can also be fun to watch.

Tuesday, February 24, 2009

exciting casting news: michael cera, michel gondry, alan tudyk, and andy richter


I don't which of the following makes me happiest, but I am ecstatic to announce all of them.

Michael Cera has finally signed on for an Arrested Development movie!!! I think I just blue myself! Arrested is my second favorite television show (right after BSG, right before Mad Men), and I am oh-so curious to see what new ideas Gob will come up with (will any ever match "Fuck Mountain"??) or what other phobias Tobias has (because you know the Never-Nude is not the only one). Eek!

Michel Gondry is in talks to direct The Green Hornet. Yes, the one with Seth Rogen. Yes, the film that will no doubt be the most random amalgamation of awesomeness ever. How can this get any weirder? I know. Cast Meryl Streep as Rogen's love interest... and then everyone BUT Streep is nominated for an Oscar.

• This news is somewhat hidden in the spoiler chat (so don't click on the link if you don't like spoilers!), but according to Kristin at E!, Alan Tudyk will star as Alpha on Joss Whedon's Dollhouse. Be still my beating, bursting heart. Tudyk played Wash on Firefly (it really is true that Whedon keeps the paychecks coming for his merry band of men), and Wash is a favorite character in the Whedonverse. He was everything Xander on Buffy the Vampire Slayer tried to be but couldn't be. I'm surprised this news hasn't broken out elsewhere -- which makes me question the validity of the announcement -- but Tudyk would certainly heat things up on the show. And, oh, he's pretty damn easy on the eyes.

• And lastly, what may be the nicest surprise ever, NBC has announced that Andy Richter will be reteaming with Conan O'Brien on The Tonight Show. They were such a good team back in the day, and they have such great chemistry together. (If you missed O'Brien's last appearance on Late Night, watch it over at Hulu, and definitely pay attention at the 5:58 mark for O'Brien's early reporting on a team of people who played "old-timed baseball." Doesn't get much better than that.) In addition to joining O'Brien in some sketches (O'Brien has reassured us that his humor will not be "growing up" when it moves to an earlier timeslot, yay!), Richter will also be the announcer -- which means we will get some Richter-O'Brien lovin' every night.

Monday, February 23, 2009

best/worst of oscars fashion


Best Dressed of the evening, Kate Winslet and Penélope Cruz

I have to admit, I usually hate dresses that are dyed, one-shouldered, or just overall asymmetrical, but I loved, loved, loved Winslet's dress. It was my favorite of the night, and she looked absolutely stunning. Her hair was reminiscent of Grace Kelly, but the dress was all her own. And Cruz also looked fabulous (no one can pull off bangs like this woman can), though her dress was a little fairy-tale wedding-ish for it to be the best dress of the whole evening. But I cannot find a flaw with either of these designs.



Other Best Dressed, Taraji P. Henson and Evan Rachel Wood


ACK! SHIELD YOUR EYES! Tilda Swinton and Reese Witherspoon

Sunday, February 22, 2009

highlights of the oscars

For a list of complete winners and the other nominees, go here. (It's scary how quickly Wikipedia is updated with information...) And for additional reading, I recommend this recap from I Watch Stuff. It's very funny (Sophia Loren eats babies, apparently).

The good news is... the Oscars didn't suck this year. In fact, there was a lot to recommend.

:02: Host Hugh Jackman starts his Oscar tribute medley (complete with the line "swim in a sea of excrement" during a serenade to Kate Winslet). The "low-budget" set was just as entertaining as some of the numbers (especially the Benjamin Button cut-out and the lime green Frost/Nixon lawn chairs), which included "the Craiglist dancers" (!!!) and a Frost/Nixon duet with Anne Hathaway. While dancing with Hathaway's Nixon, Jackman delivered one of my favorite lines of the evening: "Oh, Nixon..."

:07: The best part of the opening? Jackman's tribute to The Reader. He starts off with the line, "The Reader, I haven't seen The Reader" and goes into a full-on futuristic dance number with people in shiny leotards -- which has absolutely nothing to do with the post-WWII Nazi Germany film.

0:12: I'm not quite sure why the Oscars decided to hand out the acting awards by five fellow winners -- perhaps to honor the craft rather than any one person -- and I'm still undecided on how I feel about it. I have to admit it, though, the Best Supporting Actress presenters (Eva Marie Saint, Goldie Hawn, Angelica Houston, Whoopi Goldberg, and Tilda Swinton) had the best material. It was nice to see the nominated actresses already in tears (Viola Davis broke my heart!), humbled by the kind words spoken by these past winners. (Of course, all of the nominated male actors were nowhere near this level of touched...)

:22: Tina Fey and Steve Martin present the best original and best adapted screenplay awards. (For the record, I'm sad that In Bruges didn't win best original screenplay, but the screenwriter for Milk, Dustin Lance Black, gave an appropriately touching and hopeful acceptance speech.) Fey and Martin are one of the highlights of the evening -- and possibly any Oscars ever. I, for one, appreciated that writers were presenting the awards, and so the intelligence of their act really reflected how important words are to movies.
INT. KODAK THEATRE - OSCAR NIGHT

The two incredible presenters walk out to center stage.

The crowd is amazed by the star power and beauty of the two presenters.

The audience members are too stunned to leap to their feet.

The crowd is thrilled at seeing the presenters, except for those consumed by bitter jealousy.

The audience breaks into wild, uncontrollable applause.
They also gave us this great exchange. Fey: It has been said that to write is to live forever. Martin: The man who wrote that... is dead.

:33: Jennifer Aniston is in the running with Robert Pattinson for most awkward presenter of the evening. Her "acting" casual was really distracting. (Just goes to show, folks, the woman can't act.) But Jack Black saved their performance by explaining how he makes money off doing animation: "Each year I do one Dreamworks project, then I take all my money to the Oscars and bet it on PIXAR!"

:40: Kunio Kato wins for Animated Short Film (La Maison En Petite Cubes) and has difficulty thanking people in English. He does it well, but you can tell he hears how broken his English is because he winces every time he starts a sentence with "thank you." So once he's reached the end, he adds, "Domo arigato, Mr. Roboto." Funniest. Thing. Ever. Just like Josh Brolin, I couldn't stop laughing.

1:01: Ben Stiller presents the Cinematography award with Natalie Portman... as the never-named but much-alluded to Joaquin Phoenix. Phoenix quit acting to become an actor, and here Stiller claims he wants to stop being known as the funny guy. And then during the reciting of the nominees, he walks around on stage.

1:12: Seth Rogen and James Franco star as their Pineapple Express characters in a Judd Apatow short film where the guys watch the films which haven't been nominated -- and, of course, they're comedies. (Ha! Take that you pretentious academy!) When they watch an intense scene from The Reader, they burst into laughter.
Franco: When I watch movies, I want to be intellectually stimulated... or watch young boys have sex with Nazis.

Franco: (While watching Tropic Thunder) Who do you think is a better actor -- Ronald Reagan or Barack Obama?
Rogen: That's... that's Robert Downey Jr.

Rogen: (While holding an Oscar statue) Do you think I could make this into a pipe?

1:22: There's an unnecessary musical medley... not that I didn't like it, I just thought it was inappropriate for the Oscars. Of course, this was a tribute to musicals that were adapted into films (The Sound of Music, Singing in the Rain, Chicago, Grease), with the best moment belonging to the juxtaposing mix of Jesus Christ Superstar's downtrodden "I Don't Know How to Love Him" with Hairspray's upbeat "You Can't Stop the Beat." More importantly, at 1:25, Zac Efron finally comes into the light. (Holy crap, has he been on the stage the whole time?) I geek out a bit because the thought of High School Musical at the Oscars blows my mind. Interestingly, this was put together by Baz Luhrman.

1:35: Cuba Gooding Jr. yells at Robert Downey Jr. for Tropic Thunder. "Aren't you outta your mind?!?" I grow uncomfortable... and pray that the Oscars never let Gooding back on their stage again.

1:38: Heath Ledger wins for Best Supporting Actor. And all is right in the world. His family accept the award, and their speech is composed but still touching. (Adrien Brody is visibly moved. Or stoned.)

1:43: Bill Maher shamelessly plugs his documentary. I want to slap him in the face.

1:46: Ever the entertainer, Philippe Petit (Man on Wire) balances an Oscar statue on his chin as everyone looks on in amazement.

2:32: A. R. Rahman wins for his original song "Jai Ho" for Slumdog Millionaire. He offers this beautiful line: "All my life, I had the choice between hate and love. I chose love, and here I am."

2:41: Queen Latifah sings "I'll Be Seeing You" during the montage of all those who passed during the past year (ending on Paul Newman -- it always surprises me by how worked up I get by his death). But everyone claps. I thought the point of having Latifah there was so people wouldn't show favoritism through their applause...?

2:57: Five previous Best Actress winners (Sophia Loren, Shirley MacLane, Marion Cotillard, Nicole Kidman, and Halle Berry) appear on the stage... and everyone stands and applauds. You know, for an entire industry who tries to maintain a patriarchal order -- these five women brought an entire audience to their feet, whistling and yelling and clapping at their brilliance. It certainly seems like this is the biggest award of the night. (Seriously, any one of these actresses -- other than Angelina Jolie -- could have honestly won.) After MacLane presents to Anne Hathaway, there's a cut to fellow nominee Meryl Streep, which I thought was nice because Streep looked like the proud mother of her Devil Wears Prada co-star.

2:58: But the best part is Marion Cotillard's thanks to Kate Winslet that really made me happy. She was actually humbled and sincerely grateful for Winslet and her body of work, for her courage and beauty. Cotillard was crying more than Winslet, and Winslet was earnestly touched by Cotillard's appreciation. And then... Kate Winslet wins, and everyone cheers "FINALLY!"

trailer: funny people

My commentaries on Friday night's Battlestar Galactica and Dollhouse episodes will be posted in the next two days, but in the meantime, here's a trailer for an Adam Sandler movie that -- GASP! -- actually looks good. (He's one of those people, like Tyler Perry or Ben Stiller, who I wish would stop making movies.) Funny People was written and directed by Judd Apatow, and of the plot he says, "I'm trying to make a very serious movie that is twice as funny as my other movies. Wish me luck!" It's about a comedian (Adam Sandler) who has a near-death experience and then lives his life as new and fresh from then after. Highlights of the trailer include Leslie Mann's gloriously awful impression of Eric Bana (sporting his natural accent) and the gut-busting line, "I like your movies -- the ones where you kill Bruce Willis." Hanz Gruber love!

Thursday, February 19, 2009

warning: awesomeness will occur


Warning: You should have a five foot radius around you while watching this, and you definitely shouldn't have any liquid or food in your mouth. It could be very dangerous.

episode: lost, "316" (5.6)

Some brief thoughts on last night's episode of Lost...

Overall, I thought it was just an okay episode, but we viewers have been spoiled with rewards this season (the writers have actually been answering our questions), so of course this episode is going to seem slow in comparison with the previous episode. But surely the rest of the season cannot play out in such a fast pace. My only issue with this episode is that it was Jack-centric. Not only has Jack had more (unnecessary) flashbacks than anyone, but there wasn't a conflict with his character. He was the only one who wanted to back to the island, so, as Alan Sepinwall noted, "This was, essentially, an hour of watching Jack pack for a trip to the airport."

• On the other O6ers: Sayid is the new Kate. He is apparently being escorted by a marshal and, as we know from earlier this season, he's a bit of a wanted man. Eloise said that they needed to recreate the circumstances as closer as possible, and if Locke is replacing Jack's father in the coffin, I think it's perfectly acceptable that Sayid would adopt Kate's old character, the "fugitive with the heart of gold." As for Hurley, I definitely think Charlie reappeared to him again and told him to get on the plane. How else do you explain Hurley carrying around a guitar? It's safe to say that Hurley "saw" someone who told him to go to the island -- though it could very well be Libby -- but my money's on Charlie because of the guitar.

• Also, on the flight, Sun is twisting her wedding ring, which mirrors Rose's concern for Bernard on the Oceanic 815 flight. And Ben showing up late mirrors Hurley's panic run to make it to the Oceanic 815 flight on time.

• And with all of these connections, why is no one concerned about bringing Walt back to the island???

• The episode's title is obviously referring to the Ajira flight number (and also alluding, yet again, to the mysterious numbers), but any Christian who sees the numbers 3 and 16 together will automatically think of the oft-quoted passage John 3:16. (Personally, I get really annoyed by how often John 3:16 appears in everyday culture because it's like the Cliff's Notes version of Christianity, and, personally, I find it very reductive. But for the purposes of Lost, and having a character named John playing the Jesus role, I think it's appropriate.) And for those of you unfamiliar with John 3:16, here it is:
"For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life."
Loosely (and not literally) applied, this is pretty gosh darn appropriate, isn't it?

• The Lamppost "station" is a reference to The Lion, the Witch, and the Wardrobe, as the lamppost was the intermediary between the wardrobe/real world and Narnia. (Also, though I don't know how significant this is to Lost, in Prince Caspian the children come across mysterious ruins... though there are no four-toed statues in sight.)

• James Joyce shout out! Ben is reading Ulysses, which I think most people know as a modern (perhaps postmodern...?) retelling of The Odyssey. Leopold Bloom walks around Dublin for a day... but the significance here is that the last chapter of Ulysses is titled "Penelope." And Ben is reading this book. There is no doubt in my mind that Ben has killed Penny at this point -- or at least attempted to kill her. (I'm inclined to think he's already killed her since he's on his way to the island, presumably to never return to the world again. I don't think Ben is interested in living outside of the island. He only left so he could exact revenge on Charles Widmore by killing his daughter.) So although Ben's bloody face is disturbing to look at, it's that much more appalling when you make the connection that he's done something to Penny.

• Jack, our recovering alcoholic, is seen with a drink twice -- but he never drinks. Redemption overload!

• The photograph of the island is dated 23 September 1954, the same year that the United States military brought Jughead to the Island. It is also classified as for "U.S. Army eyes only." So, (1) what does Eloise and Dharma have to do with the U.S. Army (which just adds fuel to the theory that Eloise and Ellie from "Jughead" are indeed the same person), and (2) seriously, no one has a more updated photo?

• The painting at the church -- The Incredulity of Saint Thomas -- is by Caravaggio and is housed in Germany, not LA. Of course, it's appropriate that Lost's own Doubting Thomas, our dearest rational Jack, is the one who is lectured/schooled on the skepticism of faith.

• I think most people's favorite exchange from the episode comes between Jack and Ben. Jack asks him, "How can you read," to which Ben deadpans, "My mother taught me." It's funny because it's a creepy lie -- a lie because Ben's mother died at childbirth, and creepy because Ben sees and talks to his mother, so he very well could have been taught by her -- but there were better lines. Like Frank's delivery of "We're not going to Guam, are we?" But my favorite? Jack asks what's going to happen to everyone else on the flight, and Ben (the self-serving Henry Gale version that I grew to love) responds, "Who cares?"

• As for Frank being on Ajira flight 316... Frank was always supposed to be on the island, first as Flight 815's original pilot and again as the chopper pilot and the final time as the pilot of Flight 316. Chalk this up to course correction.

• And lastly, Jin is totally working for Dharma. I'm expecting some awesome Dharma-Daniel-Jin storylines coming up. (Speaking of time-travel craziness -- as is usually the case -- remember that Sawyer found an Ajira bottle in the Swan station. This leads me to believe that in the 70s, when Jin is working for Dharma, and might have been working for them for years, Ajira actually crashes or interferes with the Swan station in some way. I think the bottle Sawyer holds is in fact from Flight 316 and from the present-past. Remember that in the last episode we see Locke "correcting" the wheel axis, so perhaps there are no more time jumps and everyone -- Sawyer and Jin and Daniel and them, and also those on Flight 316 -- are all stuck in the 70s.)

• One more thing... that Jack-Kate kiss? Puh-lease. The inconsistent character melodrama, I can do without. When I saw her laying on the rock in the island, I held my breath in hopes that... could she be dea-- Nope! (As long as they keep writing her as a woman who only exists to fulfill some need in the plot -- specifically the males' plots -- I will continue to hope that she dies.)