STIMULI | TELEVISION Latest Review AMERICAN IDOL Simon Fuller 2002 America, meet your cultural zeitgeist. The talent show to end all talent shows (not counting The Gong Show) came trilling across the Atlantic in 2002. Over the course of seven seasons, the show has produced at least one genuine mega-star (Carrie Underwood), plus a handful of winners whose post-Idol career arcs have proven the general public to be just as fickle as Idol voters (Taylor Hicks, we hardly knew ye). The show's reality show elements are often negligible; the real fun is in watching the judges: neologist Randy "Pitchy" Jackson; barely-there Paula Abdul; and straight-shooter (and show creator) Simon Cowell whose often-spot-on assessments of the singers' performances are reason alone to tune in. Cowell's increasingly contentious relationship with host Ryan Seacrest? That's just a bonus, dawg. Review by John Brodeur ~ 24|Aug|2008 Previous Reviews ENTOURAGE Doug Ellin 2004 Upon its debut, Entourage was billed as Sex and the City for guys. While the women of Sex and the City may have worshipped at the temple of Manolo Blahnik, their relationships to humans (not stilettos) were the show's heart. Entourage instead chooses to focus on the shiny toys and fleshy trophies that accompany fame. Based on Mark Wahlberg's real life rags to riches story, Entourage follows Vincent Chase (Adrian Grenier) and his "entourage" of friends who loyally clung to his coattails when he hit Hollywood. Ostensibly about their struggles to maintain their friendship under the strain of success, it is actually a celebration of materialism, nepotism, and chauvinism. If you look past these problems, all you’ll find is wooden acting, smug writing, and boring plotlines. Jeremy Piven’s oft-praised performance as Chase’s agent is a bright spot, but it’s the tiniest of stars in an otherwise pitch-black sky. Review by Matt Milner ~ 07|Jul|2008 LATE NIGHT WITH CONAN O'BRIEN Conan O'Brien 1993 Who would have thought Conan would become such an institution? When the gawky redhead took over the NBC's Late Night in 1993 as successor to the wildly popular David Letterman, few expected him to last more than a few years. But O'Brien, a writer by trade, proved durable; the show even survived the departure of original sidekick Andy Richter, with bandleader Max Weinberg stepping in as the straight man to O'Brien's not-as-straight man for many comedic bits. Running gags like "In the Year 2000" haven't gotten old, even eight years into the new millennium, while new gags proliferate (check out hornymanatee.com). But get it while you can: In 2009, O'Brien will succeed another late-night staple, Jay Leno, on NBC's Tonight Show while SNL-alum Jimmy Fallon will take O'Brien's place on Late Night. Review by John Brodeur ~ 02|Jul|2008 WEEDS Jenji Kohan 2005 Weeds has quickly become the pinnacle of premium channel comedy, even with storylines that keep getting crazier and crazier. The focus of the show stays on Nancy Botwin (Mary-Louise Parker) as an up-and-coming pot dealer in the fictional suburb of Agrestic, California, but with its diverse array of characters, the show ends up being a social commentary on more than just suburban life. Class disparities, marital problems, religion, self-image, town government, gang violence, puberty… the list goes on and on, yet the show covers each talking point with responsibility that other series should look up to. Review by David Wicks ~ 26|Jun|2008 CALIFORNICATION Tom Kapinos 2007 Californication is, at best, a disappointment. Not because of its forced, pretentious and scattered writing, fully equipped with trite cultural references, nor its hollow dispassionate acting. No. The Showtime series is disappointing because it contains a kernel of hope, albeit small, that will never see the light of day. The show could have been turned into a farcical, subversive observation on America’s skyrocketing consumerism and over-sexualization, especially in contrast to the nostalgia laced memories Hank Moody (Duchovny) recalls in the form of grainy filmstrip montages. But even that potential is destroyed and its remnants are hidden behind smokescreens like gratuitous sex, cast on screen as often as possible just because the premium network can get away with it. Beyond that, the viewer is constantly tormented by Moody’s processed self-absorption and the over wrought sentimentality of his relationship with daughter and almost-ex-wife. If only writer Tom Kapinos suffered from Moody’s inability to write. Review by Alex Manevitz ~ 26|Jun|2008 ANTHONY BOURDAIN: NO RESERVATIONS Zero Point Zero Production Inc. 2005 Anyone who claims punk is dead clearly hasn’t seen Anthony Bourdain. On No Reservations, the acclaimed chef travels around the world in search of exotic cuisine in between anecdotes about The Ramones. Whether sampling warthog rectum in Namibia or decades old Twinkie filling in Cleveland, Bourdain approaches every new dish with enthusiasm, humor, and, most importantly, an iron stomach. Each episode profiles the culture of a new locale through its cuisine. By situating the often grotesque, always unique dishes in their proper cultural context, Bourdain avoids merely fetishizing the unfamiliar. Unlike most travel shows, however, Bourdain isn’t interested in depicting each location as an idyllic playground for Western tourists; instead, he instinctively seeks out the gritty, the messy, and the smelly (in true punk rock fashion). Even without his impeccable palate, Bourdain is a worthy travel partner; with it, however, he’s one of a kind. Review by Matt Milner ~ 25|Jun|2008 LOST J.J. Abrams 2004 It's difficult to be a casual Lost fan. If the complex web of characters, arcane mythology, and unconventional narrative structure don't deter you, then you're likely to be obsessed after a few episodes. The premise is relatively simple — after crashing on an island in the pacific, the survivors of Oceanic 815 struggle to find rescue — but from that simple foundation the show branches out into a world filled with polar bears, Utopian scientists, and scheming billionaires. Though many fans and critics grew frustrated with the show during its second and third seasons, the show roared back to life during the second half of season three. At the end of its fourth season (of a six season run), the show is at its creative peak, deftly balancing mystery and science fiction elements with remarkable emotional and thematic depth, but the series must be viewed from the beginning to be truly appreciated. Review by Matt Milner ~ 25|Jun|2008 THIS AMERICAN LIFE Ira Glass 2007 Ira Glass's transition from public radio to television was pretty seamless, and with This American Life, he brings energy and adorableness to some of the best stories from across America. The cinematography of the series is truly brilliant, adding depth to the narratives of people's lives as they are coupled with beautifully composed shots that make their stories even more memorable. Each story is so poignant, resounding, and influential. In fact, I don't eat pork because of the episode about the pig industry. A single season runs the gamut of emotions, leaving no part of the human psyche unexplored. Perhaps the only unfortunate thing about this Showtime series is the short seasons: the network has only produced six episodes for each of the two seasons since the series premiere. Review by Genna Cherichello ~ 25|Jun|2008 BIG LOVE Mark V. Olsen & Will Scheffer 2006 Big Love is HBO's best kept secret. The writing is so sharp, the cinematography is so brilliant, and the acting is so tight that Big Love's always-tense little universe seems tantalizingly real. The show centers around the Henricksons of suburban Utah — one husband (Bill), three wives (Barb, Nicki, and Margene), and seven kids—who share three houses, one long dining room table, and the secret of this arrangement. The husband and wives are characters so well-developed, you feel like you've met them. There are estranged family members who disapprove of polygamy and estranged family members who live in a polygamist cult compound, led by the wily, corrupt Roman Grant (Nicki’s father), who is one of an array of eccentrically entertaining characters. Although the show is about a big love, the Henricksons' would-be peaceful existence is under constant threat of public discovery. The result? Unrivaled television drama. Review by Kristina Chiappetta ~ 17|Jun|2008 30 ROCK Tina Fey 2007 Whip-smart writing, a top-notch ensemble, and healthy doses of post-modern self-awareness entrench 30 Rock atop today’s comedy hill. Creator and star Tina Fey draws on her time at SNL to portray the behind the scenes insanity of a sketch comedy show. Her fictional counterpart Liz Lemon juggles the responsibilities of massaging the egos of her fragile stars (Tracy Morgan and Jane Krakowski), babysitting her eccentric writers, and meeting the demands of her boss, Machiavellian lunatic Jack Donaghy (Alec Baldwin). Baldwin demonstrates his long underappreciated comedic talents as Donaghy, crafting one of the television’s best characters. At first, 30 Rock seems to be mere farce, but closer inspection uncovers a show with surprising glimpses of pathos, generated mostly from Lemon’s hapless attempts to salvage a normal personal life. Don’t let the uneven pilot dissuade you: a little patience is greatly rewarded once you’re immersed in television’s richest comedic universe. Review by Matt Milner ~ 16|Jun|2008 THE FLIGHT OF THE CONCHORDS James Bobin, Jemaine Clement & Bret McKenzie 2007 Yes, it's two guys with acoustic guitars playing funny songs, but this is no Tenacious D. Flight of the Conchords follows the exploits of the same-named New Zealand (it's not part of Australia!) duo, Jemaine Clement and Bret McKenzie, as they struggle to find a foothold in New York City. Each episode follows the duo's whimsy; whether they're apartment-hunting or channeling David Bowie (in space!), the show is consistently very funny. That owes not only to the quality of the script, but to the supporting cast (Rhys Darby as the band's manager and Kristin Schaal as obsessed fan Mel) and to the deadpan, yet very human, mannerisms of the lead characters. Of course Flight really takes off when Bret and Jemaine get to the songs - and that's exactly as it should be. Review by John Brodeur ~ 16|Jun|2008 PUSHING DAISIES Bryan Fuller 2007 In a land where it seems like you can't move without tripping over another police procedural or sitcom set in New York, Pushing Daisies stands ahead of the pack in providing a very fresh concept, narrative, and set of characters. An adult fantasy, the story concerns itself with a pie maker who can bring back the dead for exactly one minute when he touches them, but the has to touch them again before time runs out or else the next closest person will die. On paper this might seem like a limited concept, but when combined with the great story telling plus the amazing storybook atmosphere that the creator Bryan Fuller provides, Pushing Daisies ends up becoming the freshest new show on television in years. Review by David Wicks ~ 16|Jun|2008 THE WIRE David Simon 2002 The Wire combined the iconic figures of Greek tragedy with some of the most honest and damning social realism that has ever been crafted. Producer David Simon and his crack team of writers intended not only to tell the stories of the men and women connected to the drug war, but those involved in the unions, schools, politics, and media. Simon sought to chart the decline of the American City at the hands of an apathetic public and irresponsible leadership, and the usually abortive struggle to save it. This sounds like it would be crushingly depressing, and occasionally it was, but The Wire included a hefty helping of black comedy and the characters were so human, so familiar, that it was impossible not to hope, sometimes in vain, sometimes successfully, for their salvation. The Wire was more than the best TV series ever; it is the Great American Novel. Review by Rob Wohl ~ 13|Jun|2008 THE OFFICE (US) Greg Daniels 2005 The Office is something of an oddity on American television. It’s spectacularly funny while simultaneously being almost unbelievably dark and harrowing. But this was not always the case. The show began as a carbon copy of the UK version before finding its own voice and shifting the focus of despair from soul-crushing office labor, to soul-crushing inter-personal relationships. The strike-shortened fourth season captured this shift perfectly, particularly in regards to the brilliant Steve Carell’s portrayal of Michael Scott. His performance is the heart of the show, and what a strange, twisted heart it is. Michael Scott manages to be pitiable, pathetic and loathsome all at the same time, which is no small feat. Compared to the bulk of what else exists on broadcast television, The Office is a beacon for what could, and should, be: near perfection. Review by Ben Murphy ~ 13|Jun|2008

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