The Fix

 
 
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I wrote this over a span of hours the morning after the finale and it ended up a bit long.  You MUST have seen the big "Lost" series finale before reading this (that's your spoiler alert).
 
Personally, I thought the end of "Lost" was incredible.  I was so emotionally drawn in and didn't realize how I had become so attached to some of these characters.  I have never been so teary during a show and so ultimately happy at the end (Two moments in particular got to me: Charlie and Claire finally together was the moment I really started to lose it, and when Jack walked in to the roomful of people at the end I was physically shaking).  From what I've seen/read there are many people who just "didn't get it" and I do not claim to be better than they are.  I feel that I've always felt some sense of understanding and enlightenment in my life.  Having sometimes recognized the chance encounters and momentary directional signs in my life that lead to the grander picture, I know that things happen for a reason.
 
You don't have to be religious to have enjoyed the finale of "Lost" but since I AM, that's the perspective from which I personally see it.  Understanding the broader scope of life and recognizing that it's THE PEOPLE in your life who are truly most important and it's the daily minutiae of life that connects you to those people.
 
The island itself could have had a more proper send-off the way the characters did, but it did not sink and we know that it keeps going on (as it always has) presently under the watch of Hurley and Ben.  When the two of them ceded power to someone else and when they died is a mystery, but not one the show was going to answer.  The show conclusively defined itself as "Jack's Journey" since it has always held him as a central focus and book-ended itself with his earthly arrival (plane crash) and spiritual departure (death) in the same location.
 
For anyone still unclear, the "sideways storyline" of season six occurred ages after Jack's death (and after absolutely everyone had died, whether young like Boone, or possibly after centuries like Hurley and Ben may have lived).  They had a "perfect life" constructed and knew they would all find themselves brought together before ascencion to 'whatever's next', Heaven or otherwise.  Sayid and Kate still had troubles, to be sure, but these are troubles that they lived with so much in life that they continued to be plagued by them in the afterlife until they could find their inner peace and enlightenement.  Sayid was always torturing himself more than anyone else and despite his love for Nadia (that he could never have) it was only with Shannon that he was calmed.  Kate ran from her past and ran from everything until she found what she needed (in the end it was always Jack).  I liked how the "sideways storyline" resolved itself and don't think that the purgatory resolution is a cop-out to the rest of the show at all.
 
Yes, there are some mysteries that the show has left unresolved that will continue to frustrate.
 
Why could women not give birth on the island?  Well, from what we were shown, some could.  Jacob and the Man in Black were birthed and seemingly so were babies for generations to come... until the Dharma Initiative.  Ethan was apparently one of the last born on the island, but in 1977 when the Jughead bomb was detonated there was residual radiation and electromagnetic energy that affected women who became pregnant and ended up dying before successful birth could occur.  Sun became pregnant ON the island and would have died before she came to term with Ji-yeon.  It was never specifically stated, but it seems that the bomb detonation was THE event ("the incident") that caused this to happen.  Claire arrived over 8 months pregnant and gave birth to Aaron without having the same poisonous effects happen.  This is also why she was kidnapped by Ethan and given shots, to protect her and the baby (Charlie, Jack and the rest did not understand and, appropriately, reacted strongly to protect her, so Ethan unfortunately became too dark and violent in how he handled the situation, which resulted in his death).
 
There WAS an Egyptian fertility statue of Tawaret that existed on the island (and was detroyed by the Black Rock crash, leaving just a four-toed foot), but we never saw who built the statue or the temple.  We know there were centuries of people who came and lived on the island (even preceding the arrival of Jacob and the Man in Black) so it was sometime over all those years that Egyptians arrived and constructed these things.  Dharma stations and videos were found before we, the viewers, learned who actually constructed those stations and village homes (we just didn't get to see Egyptians living and working the way we saw Dharma folk in the 70's).  I'm fine with filling in gaps like these based on the answers provided within the show and hope you are too ('cuz there ain't no more).
 
Walt WAS special, yes, and the island enhanced his powers.  He had a telekinetic ability to attract animals to him (as when he read the comic book on the beach and then the polar bear was drawn towards him).  He was able to make astral projections that would warn Shannon of danger (though he appeared wet and whispering backwards).  He somehow got into the computer to communicate with his father Michael in the hatch.  Were any of these things resolved/answered in the story?  No.  Is it irritating?  Well yes, definitely, when you rewatch these episodes and realize that these things don't really get explained.  What does it mean in the overall scheme of things?  We are all connected and there are some with more power than others (like a scholar, preacher or doctor having more influence over an individual; though sometimes it could be the uneducated man, or child, who has a true answer).  Apparently, Walt's story was concluded when John Locke chose not to recruit him for the journey back to the island ("The Life and Times of Jeremy Bentham", season five), though I really wanted him to turn up in the finale.
 
Hurley and Miles both had the ability to communicate with the dead, but the origin of their abilities wasn't explained because it wasn't necessary.  Why are they this way?  They just are.  I'm fine with that!
 
Why does the island do what it does?  It just does.  It was created that way and made to be special.  Jacob explained to Richard that it was "a cork" and in the finale we see that it has a LITERAL CORK.  I was fine with that too and it's all the explanation necessary to me, while others will say it's not enough.  Their constant "why?" will pervade into perpetuity and not be satisfied.  Our simple human brains cannot possibly imagine all the wonder that God has constructed in the universe, yet it is our "why" curiosity that continues to make us grow as humans and intellectuals.
 
By the end, Christian Shephard was aptly named (and there was a scene early in the finale where Kate laughed to Desmond about the absurdity of the name), but how much on the island was really the Man in Black posing as Christian and how much was THE ISLAND ITSELF using Christian's image?  I say that the Man in Black was Christian everytime that he was seen on the island by Jack and Locke (whether walking through the jungle chased by Jack in season one's "White Rabbit" or in the cabin telling Locke to move the island in season four's "Cabin Fever").
 
I DO NOT think it's the Man in Black on the freighter with Michael and the bomb in the season four finale ("You can go now, Michael.").  I believe it is the island itself in this instance.  The Man in Black was never shown to be able to "teleport" or "project" the way it happened in this scene.
 
Jack found his father in the hospital lobby in season four after a SMOKE ALARM went off, but I believe that was the island calling out to him, not the Man in Black (Smoke Monster).
 
Kate had a dream in season four of Claire in Aaron's room.  She told Kate "don't bring him back, don't you dare bring him back"!  This was also the island, in my opinion.
 
Walt appeared to Locke at the end of season three while standing above him lying in the pit of Dharma skeletons.  I think this was not Walt, but the island as well.  If it was Walt, then his powers were truly underdeveloped in explaination and he was far more powerful than had been let on (he did scare the Others after all, rewatch the episode "Three Minutes" near the end of season two for confirmation).
 
The polar bears were brought to the island by Dharma for experiments.  Having a polar bear on a tropical island is a strange mystery that the writers put in the pilot episode to confound us, but they were eventually explained thoroughly.  They were kept in the cages on the Hydra Island station for the zoological research.  As seen in the season four finale, the well under the Orchid station containing the donkey wheel had become frigid like an Arctic climate.  At some point a polar bear was used down there to turn the wheel and move the island, thereby being ejected from the island at the Tunisian desert exit point (just like Ben and Locke).  Since it couldn't survive the desert climate, a dead polar bear skeleton was found with a Dharma collar in Tunisia by Charlotte in her flashback sequence during the season four episode "Confirmed Dead".  At some point, once Dharma was all dead, the polar bears were out of the cages and on the main island (one was killed by Sawyer in the pilot episode, another chased Walt up a tree in season one's "Special", and that bear was killed after attacking Mr. Eko and dragging him to a cave in the beginning of season three).  Polar bears explained!
 
The season two finale featured a bird flying over and seemingly screeching Hurley's name (this is referred to as "the Hurley bird") but this has never been revisited or touched upon.  Another instance that can be chalked up to the unanswered island mysteries.  HOWEVER, if you believe as I do, that animals on the island could sometimes be special then this explanation holds.  The boar inside The Black Rock made Richard drop the nail he was using to free himself, thereby making him reliant on the Man in Black for freedom (another boar on the island raided Sawyer's tent in season one and helped him gain perspective).  Also, go back to season three's "Expose" with Nikki and Paulo (which I still consider a great episode!) and listen to the sound when the spider bites her.  It's the Smoke Monster sound!  This was never resolved further since the characters were literally buried with their own mysteries.
 
Certain instances of Vincent on the island became important as he lead the islanders to various discoveries (he found the skeleton arm holding the keys to the Dharma van and found the doctor from the freighter washed dead on the shore).  The dog always gave a vibe like it was on to something and could never verbalize the way a human would.  If/when you rewatch, pay attention to the dog.  For a time, I thought it might be revealed that Vincent died in the crash and he was always the Smoke Monster spying on the castaways!  Of course, this theory turned out wrong, but was fun to wonder about.  Still, Vincent was a regular character that was needed by all his owners (Michael, Walt, Shannon, Rose and Bernard) and after all, he was the first one Jack encountered on the island at the beginning of the pilot episode and ended up being the last to be with him when he died in the finale (Jack did not die alone).  Like Hurley, he never harmed anyone and was always there when needed to do what was right.  Good boy!
 
Vincent was not in the church at the end though, too bad.  Poor Michael was destined to be a "lost soul" trapped on the island as a whispering ghost and could not move on.  Frank Lapidus, who had a big hand in helping Jack and the islanders (the Ajira plane and freighter helicopter, hello!) was also not in the church, but not every single person holds the same importance (and overall, Lapidus was always a supporting member, glad he re-emerged from the submarine to fly the plane though; Jeff Fahey rules!).
 
You can read plenty of "Lost" business online if you want/need more.  If my write-up here is all you read, then thanks for bearing with me and getting through it!  "Lost" is a show with a deeper meaning and more substance than most programs and deserves the conversation.  As much as I like things like "Glee", it just comes off so fluffy in comparison and doesn't hold a candle to how much I revere "Lost" (though that is its purpose and I am glad for the place it holds in my life; the way I can appreciate "The Three Stooges" and CITIZEN KANE in the same breath).  Another show I love, "24" has ended this week and there are few other shows I follow with the same devotion and investment.  I know what "Lost" has meant to me over the years and the way I felt during the grand finale.  Having rewatched the majority of the series just before season six began, I know the episodes are easily rewatchable as high entertainment so I encourage you to not disown the show if you did not immediately like last night's conclusion (or this whole season).  I hope I've been able to help with some nagging threads that the creators did not tie up in the finale and I hope you have a great time in your next devotion.  "See you in anotha life, brotha!"
 
P.S.
My friend Jaime was murdered in Texas last week after working a late night shift and being nice to the wrong people.  A man and woman asked for a ride, but instead the two shot him six times and stole the car.  Jaime was like a real-life Hurley, a big guy who was always seemingly happy and doing nice for others.  He didn't get to see the end of "Lost", one of his favorite shows, so I guess he reached the end of his story (in "Lost" speak, the island was through with him).  I will always remember the kindness that he showed others and the way his passion was shared.  It wasn't about the show between he and I, it was about our personal relationship.  The memory and message survives and the relationship lives on in my heart.

 

 

I've seen all the movies by the Farrelly Brothers, but this one had slipped by until now.  They have a very wild sense of humor and (for the most part) have all been worth recommending to someone.  THE HEARTBREAK KID was released in 2007, coming and going in a flash.  Some of the reviews were savage, but it's clearly not among the worst movies.  In fact, I actually enjoy it and if you're up for the antics here, then you might too.  [Admittedly, I have not seen the original film of the same name from 1972 so I have no basis for comparison there.]

The story begins in San Francisco and involves Ben Stiller coming to a decisive point in his life, looking at his next steps.  He meets the lovely Malin Ackerman and they soon begin a relationship.  Within six weeks she finds out that she'll have to transfer to Rotterdam, Germany for work.  The only way she can stay in the country is if she is married.  Ben is encouraged by his father (real life dad Jerry Stiller) and his buddy (always funny Rob Corddry) to 'live life' and is asked 'why not?'.  Cue the wedding bells.  Cue also the consequences of such an impulsive decision, Farrelly-style.  It is immediately clear that he knows very little about his newlywed bride and things soon begin to escalate as they embark upon their honeymoon.

This girl doesn't just have little annoying tics (there are some), she has huge problems (there are many).  She just didn't seem to think about mentioning any of them to him.  They arrive at their luxurious resort in Cabo and he has already become scared and exasperated on night one.  When he meets a perky southern family, he gets swept up in the fun that they're having (as opposed to the dread he now feels when he's with his bride).  Once he meets smiley Michelle Monaghan, the plot thickens.  Why won't he just tell her he's married??  Movies like this don't make it that easy.

I ended up getting to see THE HEARTBREAK KID two and a half times in the last few days and it grew on me.  There is some "been there, done that" feeling, but lesser comedies have that in much larger doses.  If you think of this as a semi-sequel to THERE'S SOMETHING ABOUT MARY then you won't feel as bothered (Ben Stiller the put-upon protagonist?  No way!)  Malin Ackerman even has some distinct Cameron Diaz qualities about her, though this character becomes very selfish and near-irredeemable (nearly) at the movie's mid-point.  Her character is actually trying to do better in life and just needs alot of help, though it's too bad that her violent temper drives away a man that may have been able to assist her.

When you realize that the Farrellys haven't done an R-rated comedy since ME, MYSELF & IRENE in 2000, you realize that their dirty comedy muscles just needed flexing again.  The sex scenes use some very descriptive, hilarious language and there is at least one visual late in the film that is a female equivalent of "franks and beans".  A fun movie overall and definitely worth a rental.  Probably one that flew under your radar too.

Also of note is Danny McBride.  If you've been seeing some of the more popular summer comedies lately (TROPIC THUNDER, PINEAPPLE EXPRESS), you may have discovered Danny, who brings along his mustache for a supporting appearance here.  Farrelly trivia:  The presence of Polly Holliday as one of Michelle Monaghan's family members.  You know... Flo.  Like the tv show.


 

 

I expected to like this movie, but instead I loved it.  The more Disney princess movies you've seen, the better you'll like ENCHANTED.  There is plenty of influence that has been crafted into it and lovingly so.  Released around Thanksgiving of 2007, ENCHANTED features the lovely Amy Adams as cartoon heroine Giselle, who has been banished to real world New York City by a jealous wicked queen (played by Susan Sarandon).  That's where the real fun begins as Giselle slowly discovers that this world is not quite the same as her own.  However, she does still have her outgoing personality, perky charm, and the ability to communicate with animals.  She is cared for by the mystified character of Patrick Dempsey.  Soon, her fair prince (James Marsden) is on her trail, accompanied by the weasely Nathaniel (the engaging Timothy Spall, who young Harry Potter fans will surely recognize and immediately distrust).  There is also Giselle's chipmunk pal, Pip, who is accustomed to regularly using english, but is reduced to chirps and chitters in our world.

Amy Adams is continuously beautiful throughout the movie, as befits a gal deserving of princess stature, but her innocent expressions and comedic timing kept me smiling.  She was previously at her cute-best in Spielberg's CATCH ME IF YOU CAN opposite Leonardo DiCaprio.  She was well utilized in TALLADEGA NIGHTS ("Ricky Bobby is a driver, not a thinker!") and was Oscar-nominated for her sweet performance in the indie JUNEBUG.  Amy is still climbing high, co-starring this winter with Meryl Streep as a nun in DOUBT.  Athough she was honored with nominations by the Golden Globes and others, the Academy overlooked her lovely turn here in ENCHANTED (which is often the case with comedy).

The music is sparse compared to the Disney films from which ENCHANTED is inspired, but the songs are infectiously catchy (not irritable) and those sequences alone are worth repeating.  You can tell the entire cast is having a blast with their characters and enjoying themselves.  Children of all ages will enjoy themselves too.  There is alot to love here and the filmmakers deliver it with a wink and a smile.


 



 One more photo of Amy... just because.




 

 

The recent debut of J.J. Abrams' "Fringe" on FOX had me very much entertained.  It's not as immediately enthralling as "Lost" (also created by Abrams) and not yet as spell-binding as its closest inspiration, "The X-Files" (but it's not been on long yet, give it time).  "Fringe" is a very strong show with puzzling mysteries to be unfurled by the leading trio.

Newcomer Anna Torv plays an FBI agent who is coerced into working with a special department where she must investigate various unexplained phenomena each week.  We are told that they are all linked in something known as "The Pattern" (that all-encompassing plot device that makes even the weirdest things share equal weight).  A scientist driven to the brink of the crazy pit has also been brought into service for the team.  Played by John Noble, he has a crazed genius brain and a childlike curiosity of the world around him as if his rediscovery is for the first time.  His son, played by the original Mighty Duck from "Dawson's Creek" himself, Joshua Jackson, is the third component in the trio.  His love towards his father over the years had greatly diminished, but now that they are forced to work together his attitude may slowly change and more of their history will be revealed.

There's the shady government superior (Lance Reddick) and the shady corporate honcho (Blair Brown) and the shady spooks that surround them all.  After watching the pilot episode, where Torv is stipped down and placed into an isolation tank with an IV tube of LSD pumped directly into her noggin to communicate with a comatose victim, you'd think the show might immediately "jump the shark" (a.k.a. "take off into unbelievability").  That is not the case.  The show is well-crafted with a strong premise and atmosphere, as well as additional details like the interstitial bumper cards between commercial breaks (look inside the apple's core) and the 3-D titles interestingly placed amonst the action at each location.

"Fringe" has been heavily hyped all summer and debuted ahead of most other programming for the most possible attention.  It airs on Tuesday at 8pm central time.  Currently following the FOX hit "House" and in the new year will follow the gargantuan "American Idol" (unless it gets moved to a different night, but FOX will make sure viewers find it).  If you've missed receiving your dose of new "X-Files" mystery/thriller/intrigue each week, then "Fringe" will be that show to take its place.


 

 

Filled.  This movie is filled with a huge strange cast and filled with visuals and filled with music and filled with ideas and filled with off-kilter dialogue and filled with a nearly two and a half hour running time and this sentence is now filled with too much info.  See what can happen?

SOUTHLAND TALES is the follow-up film by the visionary director of DONNIE DARKO, Richard Kelly.  Whereas that film has a cult following and is terrific, Kelly's new project just can't hold it together because it's just TOO MUCH.  It took him years to make and get financed, so it's unfortunate that the final product is as convoluted as it is.  Set in an alternate-reality, post-WWIII, there are ties to many other pictures before it (DR STRANGELOVE and the work of Philip K. Dick primarily, but also the classic film noir KISS ME DEADLY, which makes an appearance in the background...twice), but it is confused with it's own identity (satire?  black comedy?  sci-fi?).  It may not interest the vast populace but Kelly seems insistent that it has a message that all should hear.  Too bad that the select audience that does see the film will miss his message, lost and buried under the weight of so much extraneousness.

I'm curious if you, the reader, had been in the know about SOUTHLAND TALES already or if it's your first time hearing of it (understandable as it was years in development and was in very very limited release when it was finally unveiled last year).  In order to provide this review its own clarity, I'll break down the film into a few pieces and a couple bites that may spark your curiosity further.

There are major points about the government, politics, the Patriot Act and surveillance.  Got that part.  A computer creation called US-IDent rules the internet and all computer users (as watched over by the wife of a politician, a malevolent-looking Miranda Richardson).

There is pointed satire relating to the indulgence of celebrity and their sway over the culture.  Got some of that too, particularly in the "Arnold-like" actor Boxer Santaros (played greatly by the guy having the most fun, "The Rock" himself, Dwayne Johnson) and the porn star Krysta Now (Sarah Michelle Gellar, acting way outside the lines of her previous roles).

Twin brothers played by Seann William Scott help hold the key to "the end of the world" but what they're actually doing throughout the movie seems unknown (simple explanation for one: he's a cop, so he's on-duty).  At least it's not two Stiflers.

Miss seeing Cheri Oteri or Jon Lovitz from "Saturday Night Live"?  Well, they're on display here in dark humorless characters definitely "not ready for primetime" but also not fit for their former sketch show.  You can make a drinking game at home taking a drink whenever a sketch show veteran appears on-screen (Nora Dunn, Will Sasso, Amy Poehler).

Ever wondered what would happen if "Inconceivable!" Wallace Shawn and "They're heeeeeeeeerrrre..." Zelda Rubenstein appeared in the same film and the same scenes??  Wonder no longer.  Oh and toss in "Booger" from REVENGE OF THE NERDS just to see what happens.

Pop-singing drinking game!  Watch Mandy Moore (always cute), a singer in our reality, but in the movie's reality she doesn't sing [half-gulp].  Watch Sarah Michelle Gellar, who's not a real singer in reality, but sings a tune here called "Teenage Horniness is Not a Crime" [gulp].  Watch Justin Timberlake, who IS a real singer, but lipsyncs here (in what is probably the best scene, keep reading) [gulp]!

Timberlake may be the best character in the movie.  WHAT?  Don't hate, appreciate!  His narration carries us throughout the film and when lipsynching to the Killers' "All These Things That I've Done", he is definitely a true highlight as well as being the movie's centerpiece (coming directly in the middle of the film).  It speaks to a soldier's terror of the war he's involved in and the confusion around him ("I got soul but I'm not a soldier"), but it's really just a kick-ass surprise of a moment and the most different thing in a film filled with different things.  The scenes that follow are letdowns in its wake.

If you're not enticed to see this yet, you probably never will be.  There's alot of David Lynch-style here and that makes it intriguing and impenetrable at the same time.  Another game: count the Lynch similarities (set in L.A. [gulp]; Wallace Shawn's character is VERY similar to another Baron, the one from DUNE [gulp],; Rebekah Del Rio sings a song in Spanish at the same point in the film as in MULHOLLAND DRIVE [gulp]).  I'm drunk from this movie...

The cinematography is strong and the visuals are amazing, I just didn't know what was going on for diffenent parts of the story.  The character threads do start to come together near the end (as diverse as they are with Neo-Marxism and time-space tears), but the blimp could have been labeled "deus ex machina".  Still, I was a captive audience and I could not turn away.  Not every film can say that and I know I'll watch it again! INLAND EMPIRE did that, but on the second viewing I knew I didn't like it much (Lynch again [gulp]).

SOUTHLAND TALES: so bad, it's good?  Maybe ( ...but probably not).  It goes for broke... then breaks.  Worth seeing?  For the discussion, yes, but further viewing is at your discretion I suppose.  It's Kelly's version of the end of the world, thoroughly involving your attention, but trying to make you figure out a plot that is not built to be a puzzle.  By the end you're left wondering what was just said, what just happened and why.


 

 

This is exponentially better than TWELVE and on-par with ELEVEN.  Elliott Gould is royally screwed over and sent to the hospital, so George Clooney and the Gang get back together for a caper against egotistical Al Pacino's land-grabbing casino owner.  The difference here is that unlike in TWELVE, everyone has something to do and a purpose for being in the film together.

It's set in Vegas again, which is a great setting when a film can do the ol' town justice.  While it was a departure from ELEVEN before it, OCEAN'S TWELVE removed the team from America and took on an entirely different agenda, becoming too mixed-up and convoluted (the guys themselves even questioned why Danny Ocean was the self-appointed leader).  The excess characters have been jettisoned ("it's not their fight") while the colorful ones of the past (like Eddie Izzard and Andy Garcia) have been included and officially make up "numbers twelve and thirteen" from what I can tell.  New faces include David Paymer as "The V.U.P." in a terrific comic relief role, Ellen Barkin (who's never been hotter) and Pacino playing notes never seen the way he slimily does here.

Steven Soderbergh continues to direct interesting films, big and small.  His cinematography here makes you want to touch the lights.  I would also be remiss by not mentioning the too-cool-for-school musical score by David Holmes.  Excellent as always.

OCEAN'S THIRTEEN takes it all back where it started and rightfully so.  I felt let down by TWELVE and regrettably let THIRTEEN slip past last summer on the big screen (though I did go to the outside of the Chicago premiere and see Clooney, Damon, and the late Bernie Mac, in person).  It's a fun film with a throwback feel that easily lives up to the Sinatra-style era of the past.  Definitely roll the dice and give it a chance.


 

 

One of tv's riskiest shows.  No holds barred.  No fear.  Anything goes.  Terrific.

I first noticed "It's Always Sunny in Philadelphia" when it debuted on the FX network back in the summer of 2005 alongside another sitcom called "Starved".  This was an attempt by FX at establishing a comedy block of original programming.  However, "Starved" was never fed enough audience and "Sunny" is now set to begin airing their fourth season.  Although slow to develop it's audience, it soon became a certified hit.

Similar to "Seinfeld" in the sense that the characters find themselves involved in the most ridiculously improbable situations with some of the wackiest people.  They also have no reservations about being hateful or selfish to strangers (or to one another) to get ahead and they never ever learn their lessons.  A sample of subjects in the various episodes include gun control, handicaps, molestation, drug addiction, and finding a dumpster baby.  It may not sound joyous, but somehow it is.

Set at their bar called "Paddy's Pub" in the title city, the show was created by it's three leading male protagonists (Charlie Day, Glenn Howerton, Rob McElhenney), with classic performances by one of the funniest/sexiest ladies in sitcoms today (Kaitlin Olson) and a bonafide tv great (Danny DeVito, who joined in the second season).  I got to personally act on-stage with Charlie back in '99 and I'm very proud of his accomplishments here.  His character in particular is an illiterate, manic wildman who utters the following line after unsuccessfully getting a smart-mouthed kid to quiet down: "I will pound your face... into a jelly".

This show is an original, love it or hate it creation.  The college crowd had found it during the summer and the cult audience has grown since it's move to the fall and with the dvd release of seasons one and two last year.  Season three is set for release on Sept 9th and it has been reported that FX has ordered 39 additional episodes of the series, on top of the 13 being developed for Season 4 (This according to the page's wikipedia entry: http://en.wikipedia.org/wiki/It%27s_Always_Sunny_in_Philadelphia).  See episodes now on Hulu.com and other online video sharing sites.

Too bold for some, just right for others.  These characters live every week like it's shark week.  In this time of expensive gasoline and high airfare rates, all it takes is your tv screen to take you on a rude, crude trip to sunny Philadelphia.


 

 

Why read this?  Well, the show may have ended long ago (the early 90's, oooohhh), but it's five seasons still stand as some of the best television around.  The series is episodic and for the most part you don't have to see more than one episode at a time to be connected to another (though the teasers at the end of each connect you to the next one sequentially).  It's probably the greatest anthology series carried through by only two characters, neither of which are a host.

What if Sam Beckett had not stepped into the quantum accellerator and vanished, awaking to find himself facing mirror images that were not his own, leaping from life to life, striving to put right what once went wrong, and hoping that each leap will be the leap home?  Well, then ya wouldn't learn nuthin' wouldya?

Whether it was in the 50's or the 80's, as a man or a woman (yes, he even leaped into a pregnant woman once), Sam was given the challenge, unwanted though it may have been, to upright the crooked nature of a life somehow gone awry.  With his brain "swiss-cheesed" at each leap, he must piece together his new situation quickly and adjust before trouble strikes.   He's basically the unknown angel, aided with friendship and vital information from the future by his "spiritual guide" Al.

Each episode features a real human problem that can usually be solved and have the future be altered for the better.  Humanity is in the people all around us, but also in the eyes that gaze right back through our reflections.  The phrase "walk a mile in another's shoes" is all the more real here.  By stepping into the shoes of another (and living within their physical being as well), Sam has undertaken what we all cannot truly do: live life as someone else for a short time, learning and giving through that experience.  I'm all for a good hero with the power to make an impact in the lives of others, and in his journey though time, Sam Beckett becomes the truest form of hero.

If you've never seen this show, or have never sat and given it your full attention, then may you leap at your next chance to do so.


 

 

Alright, so I'm late to the party.  This show debuted in 1999 and ended with only one season airing on NBC.  I was in college and just missed it.  It aired on Saturday nights so I'm sure you missed it too.  The question is: Have you seen it in the years since then?

My roommate and I recently fell for its "Wonder Years" of the 80's charms.  Set in 1980 with a clear 1970's hangover, it features an assortment of characters that fall (for the most part) into the category of either "freaks" or "geeks".  I'm sure you're not surprised.  If you are like me, too young to have gone to high school at that time, you'll most certainly recognize how much simpler alot of things were (and how much has just never changed).

Most of the performers on this show have gone on to other work and varied degrees of success (James Franco, Linda Cardellini, and Seth Rogen most of all).  The series was created by Paul Feig (who's book "Superstud Or How I Became a 24-Year-Old Virgin" is laugh out loud good and one of my favorite books).  The main producer of the show is a man you may have heard a little about over the past year or two:  Judd Apatow (KNOCKED UP, THE 40-YEAR-OLD VIRGIN, SUPERBAD).  The cast is excellent and the writing is tops.  Joe Flaherty (known mostly from "SCTV") steals his scenes as the father of siblings, one freak and one geek.  Plus, you'll not find a Bionic Woman Halloween costume this funny anywhere else.

This show has been on dvd awhile, but I do not have NetFlix (I know, right?) so its revelations to me have been a long time coming.  Regardless, it's never too late to find something that deserves merit and should be shared with others.  A new "Yearbook Edition" will hit store shelves in October.  This is similar to a previous online-only edition that includes two discs not released with the previous store version.  It has been out of print for a few years now and this new release will remedy that with new fans.

With the Apatow machine running at high gear (including this week's big-screen release of PINEAPPLE EXPRESS starring Franco and Rogen), it seems as good a time as any to journey back to high school and sit at our respective tables.