Banner by Adam Friedli.
Sunday, July 31, 2011
Saturday, July 30, 2011
Cavemen Go in the News
In the last week, Cavemen Go has gotten mentions on two blogs. I want to send out a special thanks to Joshua Toulouse of Fat Train and Amy Bolan of If It Bleeds...
Josh mentioned Cavemen Go in a new Blog column he's developed titled "Best of My Buddies." On July 26, he published the post "Best of My Buddies - Part One, Green Lantern Corps and Creative Cosplay." Featured in that post were Chad P. of Political Jesus for his tweet regarding the fantastic footage from the upcoming Green Lantern Corps animated television program (which is available on Josh's post) and yours truly for the post "Cosplay Gallery: Rise of the Machines." It is an honor to be recognized, and I hope to write even more content worthy of Josh's "Best of My Buddies."
Amy didn't so much mention the blog as she mentioned me. You see, in case you haven't heard, Amy Bolan is my girlfriend. So, when you read her July 28 post "Big Talk - Big Talk," and I'm sure most of you already have, the boyfriend in question is me. Amy decided to quote a discussion of ours comparing the bands Big Talk, The Killers, and The Cars. The first time I ever gave The Killers more than a cursory radio single listen was they released the 2006 album Sam's Town. My original judgment was that The Killers were overrated and should just turn into a The Cars cover band. (At the time, The Cars weren't touring with Ric Ocasek.) For clarification, Big Talk reminded Amy of The Cars, but they reminded me of The Killers, who reminded me of The Cars, and thus, through the transitive property, Amy and I came to the same conclusion. As for Amy, I love any time she finds me interesting enough to mention on If It Bleeds... and shall try to prove myself even more interesting in the future.
I know I've pointed you all to these blogs several times over, but if you're not consistently checking out Fat Train and If It Bleeds, then you are consistently missing out.
I know I've pointed you all to these blogs several times over, but if you're not consistently checking out Fat Train and If It Bleeds, then you are consistently missing out.
Friday, July 29, 2011
Lego Harry Potter: Years 1-4
A couple of weeks ago, the final Harry Potter film was released in the United States. This means that both the book series by J.K. Rowling and the movie series that was adapted from said books are complete. There are a lot of people who are trying to figure out what their next step is. Some are saying that the upcoming movie series titled The Hunger Games will take its place, and according to the Twitter updates I get on a daily basis the list of A-list actors in the Hunger Games far exceeds the list of A-list actors who are not in the Hunger Games. My first thought after leaving the theater: Maybe now they'll make a Lego Harry Potter: Years 5-7. I spent so much time playing through the original with Amy last summer that I can think of few things that would please me more than to play through a sequel.
Bioshock
I do believe it took me three summers to finish Bioshock. It had nothing to do with disinterest. From the very beginning, the game is already one of the most intriguing stories I've ever encountered. The reason it took me so long was because every time I would sit down to play Bioshock I would get so scared that I couldn't play for long. Someone was always popping out of nowhere and threatening my life, and sometimes they were incredibly hard to defeat. Any time I had just played, you could touch my shoulders and feel the tension that had risen into them. There was a time when I measured the greatness of a work of art by the amount of emotion I felt upon experiencing it. I didn't say happiness or laughter or anything like that. Sometimes anger or sadness, but in the case of Bioshock it is fright and anxiety that make it obviously a work of high art. I'm sure you've all played this game years ago, but if there is anyone out there who hasn't, you really should. It is on almost everyone's list of best games of all time, and there's a good chance it will make it to yours.
Thursday, July 28, 2011
Cosplay Gallery: The Men of Marvel
Yep. More pictures from the San Diego Comic Con 2011. In order that I do not look like a pervert, I thought I'd give you a look at my favorite costumes under the category of men of Marvel. Equal opportunity. That's what I say.
Blade
Deadpool
Doctor Doom
Punisher
Blade
Deadpool
Doctor Doom
Punisher
Autumn Reeser
Actress Autumn Reeser. I feel no shame in noting that I first noticed the charming Miss Reeser while watching The O.C. I was pleasantly surprised to see her in the It's Always Sunny in Philadelphia episode about abortion. But best of all was when I decided to watch the unforgivably lame sequel to The Lost Boys titled Lost Boys: The Tribe (straight to video) that I declared my love for Reeser. She is a fantastic actress, and even in that quagmire of a film, she shone brightly.
Interpreting Modern Love: A Simulblog
The following blog post is a simulblog. Chad P of Political Jesus and I decided to both write our interpretation of the song "Modern Love" by David Bowie. His blog, also titled "Interpreting Modern Love: A Simulblog" can be read here. Any similarities between these posts are strictly the result of the same likemindedness that has fueled the friendship between Chad and myself. I will not see Chad's blog until both blogs are finished and published, and Chad will not see mine.
I was really excited when Chad suggested that we write a simulblog about the David Bowie song "Modern Love." First of all, I think we all have to agree that David Bowie is fantastic. Second of all, there's a sense of continuity in thought between the various works of David Bowie over the year, something of a constructive understanding of the universe. Third of all, I understand that Cavemen Go is only as good as the community that surrounds it, and a simulblog such as this is, in and of itself, an act of community.
Just by looking at the title "Modern Love," I get an impression of what this song means. David Bowie is reflecting on what he thinks love looks like here and now, or there and then, considering the song was released in 1983. (I was born in 1982, so I guess David Bowie is ruminating about what love looked like circa the time when my parents were constructing a family. I suppose I'm more connected to this question than I had originally imagined.) The song is qualified, however - the song is not titled "Love," but "Modern Love." It is love situated in a particular place and time. This, of course, makes me wonder where we find David Bowie's vantage point regarding "Modern Love." Does he consider himself part of this modernism? Or does he find himself as something of a pre-modernist or post-modernist?
I've written a couple of similar blogs under the column heading of "Pop Deconstruction," and I'm sure that there are those among you who would assume that I will lump David Bowie in the same camp with me, a postmodern kind of iconoclastic individual, simply because I love David Bowie and I want something in common with him. I believe that you would be correct with the assertion, but only superficially. I believe that I am motivated more by an understanding of the works of David Bowie than by my need to think of us as alike. Let me be a little less vague and say it straight: David Bowie's "Modern Love" is a description of the face of modern love from the critical and also self-critical perspective of a post-modern thinker.
Much of "Modern Love" describes a bland day-in/day-out habitual existence. The spoken first words say, "I know when to go out and when to stay in. Get things done." This line screams of the gospel of American Protestant productivity. (Is this an American song, then? David Bowie is British, but the album was recorded at the Power Station in New York in 1982.) Follow rules. Stay productive. Earn money. Give a tenth of it to the church, and show up for Sunday service. This is your duty to "God and man." But is there not also a hint of the first wave of the over-medicated American lifestyle? Bowie sings, "I catch the paper boy, but things don't really change. I'm standing in the wind, but I never wave bye-bye." The protagonist feels isolated and powerless, incapable of reaching out and making a real connection with another individual, passionless. He drinks too much coffee in the morning, his way of giving into the unbearable monotony of existence, buttressed by anti-depressants and anti-anxiety medications, perhaps cholesterol medicine as well, and then whiskey and sleeping pills to prevent insomnia. Our protagonist is a zombie. "There's no sign of life."
The chorus of "Modern Love" is potentially heretical. It seems, at this point, like David Bowie himself is describing his response to this kind of thoughtless, passionless existence. He says that he will never fall for modern love, which "walks beside" him and "walks on by" him, his only purpose to get "to the church on time." The gospel of "Modern Love" is a gospel of unfeeling obedience in hope of some sort of salvation. All of life passes the modern individual by, because all this individual is concerned with is getting to church on time. The idea of life as getting to church on time seems to terrify Bowie. It makes him party, makes him revolt against this sheepish behavior which masquerades itself as the highest good for humankind. Regarding putting ones trust in sluggish humankind and the God that supports this type of living, Bowie continues to revolt. He despises confessions and he despises the religion that enslaves and essentially destroys the heart. His final verdict: He doesn't believe in modern love.
Much of the American Christian public would just ignore David Bowie as an atheist, an unbeliever. Is there truly no religion for Bowie? Is there truly no belief? I think many would rather focus on the fact that Bowie's beliefs are not orthodox, and ignore the truly fruitful question: What are Bowie's beliefs? Much of Bowie's works of the previous decade (the 1970s), showed a strong religious and almost messianic dimension. The song "Starman" from the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars paints a picture of some divine being who wants to enter into a relationship with humankind, who does not shun passion and sexuality, but incorporates it into the religious experience. The Jewish and Christian scriptures speak of a God who created humankind, but Bowie pushes us to prove that there is life on this planet. In songs like "Life on Mars?" from my personal favorite Bowie album, 1971's Hunky Dory the question, "Is there life on Mars?" should almost certainly be read, "Is there life on Earth, the kind of life that is worth saving?" The descriptions of sailors fighting in the dance hall and lawmen beating up the wrong people suggest that there is not.
If you ask me, a religious person myself, I think that Bowie's criticism of "Modern Love" is not impossible to incorporate into the life of a religious individual. One need not kill the religious impulse in order to be a postmodern, critical individual. Certainly, his criticism is harsh, making it difficult to bow, to follow doctrine, scripture and tradition, to be a loyal and obedient sheep. But is a sheep really a good model for religious individuals, particularly Christians, to follow? The creativity that Bowie admires and elevates on Hunky Dory offers a positive answer to the negative criticism of "Modern Love." Who could ever imagine a creator God without the power of creativity? Who could ever imagine a humankind cast in such a God's image without the power of creativity? David Bowie challenges us to look to individuals like Andy Warhol ("Andy Warhol") and Bob Dylan ("Song for Bob Dylan"), to reinvent ourselves and the world around us. And what better models could we take. If you do happen to get to church on time, perhaps you'll learn about an individual named Jesus who is called the Christ or the messiah, an individual who was anything but a sheep, whose creativity, for better or worse, changed the entire world.
What is the answer to "Modern Love"? Post-modern love, a love that shuns neither passion nor sexuality, that appears in different forms in different people, that values creativity, and thoughtful retooling of existence. Was it Jesus or P-Funk who once said, "The kingdom of heaven is within"? (Trick question. Some version of this statement has been said by both parties at various times.) If the highest command of "Modern Love" is to get to the church on time, then we have clearly missed the point. When you get to that church, you'll be the same passionless individual who is so incapable that he cannot even wave to the paperboy as he passes by, who can neither connect with a person nor a personal God. David Bowie's postmodern love prepares us for life-changing relationships, and casts us as interesting and original individuals, the "Golden Ones" of "Oh! You Pretty Things," rather than mindless sheep following a shepherd because we're not smart enough to do anything else. If the kingdom of heaven is within, then the tools of a strong heart and mind and the ability to enter into a relationship with the divine are how you get there.
As for me, I'm with Bowie. I don't believe in modern love either. I do believe that the song "Modern Love" is a fantastic and thoughtful song. I think it might be time for me to find out what Chad thinks. Come join me.
I was really excited when Chad suggested that we write a simulblog about the David Bowie song "Modern Love." First of all, I think we all have to agree that David Bowie is fantastic. Second of all, there's a sense of continuity in thought between the various works of David Bowie over the year, something of a constructive understanding of the universe. Third of all, I understand that Cavemen Go is only as good as the community that surrounds it, and a simulblog such as this is, in and of itself, an act of community.
Just by looking at the title "Modern Love," I get an impression of what this song means. David Bowie is reflecting on what he thinks love looks like here and now, or there and then, considering the song was released in 1983. (I was born in 1982, so I guess David Bowie is ruminating about what love looked like circa the time when my parents were constructing a family. I suppose I'm more connected to this question than I had originally imagined.) The song is qualified, however - the song is not titled "Love," but "Modern Love." It is love situated in a particular place and time. This, of course, makes me wonder where we find David Bowie's vantage point regarding "Modern Love." Does he consider himself part of this modernism? Or does he find himself as something of a pre-modernist or post-modernist?
I've written a couple of similar blogs under the column heading of "Pop Deconstruction," and I'm sure that there are those among you who would assume that I will lump David Bowie in the same camp with me, a postmodern kind of iconoclastic individual, simply because I love David Bowie and I want something in common with him. I believe that you would be correct with the assertion, but only superficially. I believe that I am motivated more by an understanding of the works of David Bowie than by my need to think of us as alike. Let me be a little less vague and say it straight: David Bowie's "Modern Love" is a description of the face of modern love from the critical and also self-critical perspective of a post-modern thinker.
Much of "Modern Love" describes a bland day-in/day-out habitual existence. The spoken first words say, "I know when to go out and when to stay in. Get things done." This line screams of the gospel of American Protestant productivity. (Is this an American song, then? David Bowie is British, but the album was recorded at the Power Station in New York in 1982.) Follow rules. Stay productive. Earn money. Give a tenth of it to the church, and show up for Sunday service. This is your duty to "God and man." But is there not also a hint of the first wave of the over-medicated American lifestyle? Bowie sings, "I catch the paper boy, but things don't really change. I'm standing in the wind, but I never wave bye-bye." The protagonist feels isolated and powerless, incapable of reaching out and making a real connection with another individual, passionless. He drinks too much coffee in the morning, his way of giving into the unbearable monotony of existence, buttressed by anti-depressants and anti-anxiety medications, perhaps cholesterol medicine as well, and then whiskey and sleeping pills to prevent insomnia. Our protagonist is a zombie. "There's no sign of life."
The chorus of "Modern Love" is potentially heretical. It seems, at this point, like David Bowie himself is describing his response to this kind of thoughtless, passionless existence. He says that he will never fall for modern love, which "walks beside" him and "walks on by" him, his only purpose to get "to the church on time." The gospel of "Modern Love" is a gospel of unfeeling obedience in hope of some sort of salvation. All of life passes the modern individual by, because all this individual is concerned with is getting to church on time. The idea of life as getting to church on time seems to terrify Bowie. It makes him party, makes him revolt against this sheepish behavior which masquerades itself as the highest good for humankind. Regarding putting ones trust in sluggish humankind and the God that supports this type of living, Bowie continues to revolt. He despises confessions and he despises the religion that enslaves and essentially destroys the heart. His final verdict: He doesn't believe in modern love.
Much of the American Christian public would just ignore David Bowie as an atheist, an unbeliever. Is there truly no religion for Bowie? Is there truly no belief? I think many would rather focus on the fact that Bowie's beliefs are not orthodox, and ignore the truly fruitful question: What are Bowie's beliefs? Much of Bowie's works of the previous decade (the 1970s), showed a strong religious and almost messianic dimension. The song "Starman" from the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars paints a picture of some divine being who wants to enter into a relationship with humankind, who does not shun passion and sexuality, but incorporates it into the religious experience. The Jewish and Christian scriptures speak of a God who created humankind, but Bowie pushes us to prove that there is life on this planet. In songs like "Life on Mars?" from my personal favorite Bowie album, 1971's Hunky Dory the question, "Is there life on Mars?" should almost certainly be read, "Is there life on Earth, the kind of life that is worth saving?" The descriptions of sailors fighting in the dance hall and lawmen beating up the wrong people suggest that there is not.
If you ask me, a religious person myself, I think that Bowie's criticism of "Modern Love" is not impossible to incorporate into the life of a religious individual. One need not kill the religious impulse in order to be a postmodern, critical individual. Certainly, his criticism is harsh, making it difficult to bow, to follow doctrine, scripture and tradition, to be a loyal and obedient sheep. But is a sheep really a good model for religious individuals, particularly Christians, to follow? The creativity that Bowie admires and elevates on Hunky Dory offers a positive answer to the negative criticism of "Modern Love." Who could ever imagine a creator God without the power of creativity? Who could ever imagine a humankind cast in such a God's image without the power of creativity? David Bowie challenges us to look to individuals like Andy Warhol ("Andy Warhol") and Bob Dylan ("Song for Bob Dylan"), to reinvent ourselves and the world around us. And what better models could we take. If you do happen to get to church on time, perhaps you'll learn about an individual named Jesus who is called the Christ or the messiah, an individual who was anything but a sheep, whose creativity, for better or worse, changed the entire world.
What is the answer to "Modern Love"? Post-modern love, a love that shuns neither passion nor sexuality, that appears in different forms in different people, that values creativity, and thoughtful retooling of existence. Was it Jesus or P-Funk who once said, "The kingdom of heaven is within"? (Trick question. Some version of this statement has been said by both parties at various times.) If the highest command of "Modern Love" is to get to the church on time, then we have clearly missed the point. When you get to that church, you'll be the same passionless individual who is so incapable that he cannot even wave to the paperboy as he passes by, who can neither connect with a person nor a personal God. David Bowie's postmodern love prepares us for life-changing relationships, and casts us as interesting and original individuals, the "Golden Ones" of "Oh! You Pretty Things," rather than mindless sheep following a shepherd because we're not smart enough to do anything else. If the kingdom of heaven is within, then the tools of a strong heart and mind and the ability to enter into a relationship with the divine are how you get there.
As for me, I'm with Bowie. I don't believe in modern love either. I do believe that the song "Modern Love" is a fantastic and thoughtful song. I think it might be time for me to find out what Chad thinks. Come join me.
Wednesday, July 27, 2011
Cosplay Gallery: The Women of Marvel.
I hope you didn't think those mechanic cosplay pictures were the only ones I was going to highlight from Comic Con. I've got another installation today (and plenty more to come). While the robots only needed to construct a fantastic costume, these cosplayers were required to not only have a great costume, but to actually look physically similar to some of our favorite Marvel female heroes.
Black Cat
A couple Black Widows
Miss Marvel
Psylocke
There was also a fantastic Emma Frost at the Con, but the only picture I could find of her was with another cosplayer sporting a Professor X costume. The Professor X costume was decent, but the guy just didn't look like Xavier, and he happened to be covering most of the fantastic Emma Frost outfit. I would also like to mention that I did not pick these costumes because of how much they inspire boys to lust. They're fantastic costumes. There are plenty of other blogs where you can find pictures of the women of SDCC 2011 in the most revealing costumes, a handfull of Slave Leias, some women nipping through their Star Trek t-shirts, and such. This post is about the artful creation of costumes and the fantastic delivery. It is about costumes that make me feel like I am among some of my favorite heroes and heroines.
Black Cat
A couple Black Widows
Miss Marvel
Psylocke
There was also a fantastic Emma Frost at the Con, but the only picture I could find of her was with another cosplayer sporting a Professor X costume. The Professor X costume was decent, but the guy just didn't look like Xavier, and he happened to be covering most of the fantastic Emma Frost outfit. I would also like to mention that I did not pick these costumes because of how much they inspire boys to lust. They're fantastic costumes. There are plenty of other blogs where you can find pictures of the women of SDCC 2011 in the most revealing costumes, a handfull of Slave Leias, some women nipping through their Star Trek t-shirts, and such. This post is about the artful creation of costumes and the fantastic delivery. It is about costumes that make me feel like I am among some of my favorite heroes and heroines.
Tuesday, July 26, 2011
George R.R. Martin's A Game of Thrones
I went to a panel with Orson Scott Card, one of the leading voices in science fiction and fantasy, and he kept speaking about writing and I remember hooting and hollering in support. I've heard since then that Card is quite a bigot, but his every word about the craft that I studied in college was golden. One of the main things he said that I agreed with was that J.R.R. Tolkien did nearly everything wrong while writing his Lord of the Rings trilogy, and yet the series is brilliant anyways. His point was that fantasy writers should not follow the story-telling methodology of Tolkien. It's a great way to make a train wreck of a novel.
Over the last year I've had several conversations with people who love fantasy fiction about why I dislike most of what the genre has for me to read. I'd repeat lines from Card like, "The actual story of Lord of the Rings doesn't even start until the Hobbits get to Rivendell!" I'd throw in riffs I'd learned in my writing classes about the formulaic nature of genre fiction. What I was looking for in fantasy fiction is a book or series that is good on the sentence level just as much as it is on the overarching story level. It needs to be fantastic regarding character development. It has to follow all of the rules that literary fiction follows, rather than the cookie cutter rules of many fantasy publishers. Josh Toulouse of Fat Train said to me, "George R.R. Martin's A Song of Ice and Fire is exactly what you've just described to me. You have to read those books."
It took Amy reading A Game of Thrones for me to really be interested, however. I remember her sitting on her bed, obviously excited about something she'd read, but also frustrated that we couldn't talk about it because she didn't want to spoil the book for me. So I started reading the book, and it is now one of my favorite books of all time. A reviewer called George R.R. Martin the American Tolkien, and I agree with this description if you are talking about the scope and impact of the two writers' best series. I would prefer to call Martin as an American Tolkien who happens to know a heck of a lot more about writing, human psychology, and just about everything other than the evolution of Elvish linguistics over the centuries.
A Game of Thrones, the first novel in the A Song of Ice and Fire series by George R.R. Martin, is one of the highest quality books I've ever read. If you're looking for a great story or if you're looking to learn how to write better, this is the book where you will find what you're looking for.
Cosplay Gallery: Rise of the Machines
After looking through some of the cosplay archives from the San Diego Comic Con last weekend, I thought I would display only the best of the best. These costumes are really fantastic, and quite intricate. Today, I'm focusing only on robots, armor suits, and techno musicians.
Iron Man
War Machine
Bumblebee
That guy from Daft Punk
Iron Man
War Machine
Bumblebee
That guy from Daft Punk
Thursday TV Tournament: Match-up 14 Results
Today's match-up is between fourteenth seed, 30 Rock Season Five, Episode Three, "Let's Stay Together," which aired October 7, 2010, and nineteenth seed, Community Season Two, Episode One, "Anthropology 101," which aired September 23, 2010. The results are in:
I took a trip to Brooklyn last summer, and every hip kid in town was talking about how the people got together and petitioned to get Betty White on Saturday Night Live. This was the hip, hipster, indie thing to talk about. I wasn't all that excited about Betty White on Saturday Night Live, and I sure didn't care to see her on Community either. (Oh, and by the way, it's no success to get Betty White on Saturday Night Live when you can't even get enough support to get Donald Glover an audition for the Spider-man reboot.) The 30 Rock episode in question was your ordinary, average 30 Rock episode, but that's plenty enough to beat the second season premiere of Community. Don't worry, Community. The show takes up almost the entire left half of the tournament. You'll see Community a bunch in upcoming match-ups.
Tune in next time for eleventh seed, 30 Rock Season Five, Episode Two, "When It Rains, It Pours," which aired September 30, 2010, and twenty-second seed, 30 Rock Season Five, Episode Seventeen, "Queen of Jordan," which aired March 17, 2011. I will see you then.
I took a trip to Brooklyn last summer, and every hip kid in town was talking about how the people got together and petitioned to get Betty White on Saturday Night Live. This was the hip, hipster, indie thing to talk about. I wasn't all that excited about Betty White on Saturday Night Live, and I sure didn't care to see her on Community either. (Oh, and by the way, it's no success to get Betty White on Saturday Night Live when you can't even get enough support to get Donald Glover an audition for the Spider-man reboot.) The 30 Rock episode in question was your ordinary, average 30 Rock episode, but that's plenty enough to beat the second season premiere of Community. Don't worry, Community. The show takes up almost the entire left half of the tournament. You'll see Community a bunch in upcoming match-ups.
Tune in next time for eleventh seed, 30 Rock Season Five, Episode Two, "When It Rains, It Pours," which aired September 30, 2010, and twenty-second seed, 30 Rock Season Five, Episode Seventeen, "Queen of Jordan," which aired March 17, 2011. I will see you then.
Monday, July 25, 2011
Thursday TV Tournament: Match-up 13 Results
Today's match-up is between third seed, Big Bang Theory Season Four, Episode Eighteen, "The Prestidigitation Approximation," which aired March 10, 2011, and thirtieth seed, It's Always Sunny in Philadelphia Season Six, Episode One, "Mac Fights Gay Marriage," which aired September 16, 2010. The results are in:
I believe that's what they call a shut-out. Though Big Bang Theory filled the top five seeds according to its popularity in the ratings, not one of those seeds managed to move on to the second round. Thrice was it defeated by FX's It's Always Sunny in Philadelphia and twice by NBC's Community. This has taught me two things: 1. The ratings certainly do not reflect the quality of the programming, and 2. Big Bang Theory has had a free-ride for so long that they no longer deliver strong comedy like during their first couple of seasons. I have derived two hopes from my findings: 1. that the masses will flock to smart and interesting programs rather than comfortable and bland comedies, and 2. that Big Bang Theory will pick up some momentum in the upcoming season, justifying its renewal.
Tune in next time for fourteenth seed, 30 Rock Season Five, Episode Three, "Let's Stay Together," which aired October 7, 2010, and nineteenth seed, Community Season Two, Episode One, "Anthropology 101," which aired September 23, 2010. The first round has almost come to an end. Be here for the last three picks.
I believe that's what they call a shut-out. Though Big Bang Theory filled the top five seeds according to its popularity in the ratings, not one of those seeds managed to move on to the second round. Thrice was it defeated by FX's It's Always Sunny in Philadelphia and twice by NBC's Community. This has taught me two things: 1. The ratings certainly do not reflect the quality of the programming, and 2. Big Bang Theory has had a free-ride for so long that they no longer deliver strong comedy like during their first couple of seasons. I have derived two hopes from my findings: 1. that the masses will flock to smart and interesting programs rather than comfortable and bland comedies, and 2. that Big Bang Theory will pick up some momentum in the upcoming season, justifying its renewal.
Tune in next time for fourteenth seed, 30 Rock Season Five, Episode Three, "Let's Stay Together," which aired October 7, 2010, and nineteenth seed, Community Season Two, Episode One, "Anthropology 101," which aired September 23, 2010. The first round has almost come to an end. Be here for the last three picks.
Sunday, July 24, 2011
Lindemans Framboise
I think that Lindeman's Framboise is a fantastic beverage, and that is probably enough for simple beer drinkers like myself. For those of you with a taste for finer things, I have not the vocabulary to describe to you this drink. I thought I'd let Lindemans do the work for me.
Long before hops were common in most beers, various fruits and vegetables were used to season beers. The acidity of Lambic beers blends perfectly with raspberries.
Taste: Magnificent aroma, delicate palate of raspberries with undertones of fruity acidity; elegant, sparkling clean natural taste.
Style: Raspberry Lambic.
Color: Rose.
Serving suggestions: Chocolate desserts (especially chocolate decadence), fresh raspberries, ice cream with a raspberry demi-glaze sauce, créme caramel, baked Alaska, Olympia oysters, caviar. Serve in flute-shaped Lambic glasses at 45 degrees.
Serve cold at 2-3 degrees Celsius.
Thursday TV Tournament: Match-up 12 Results
Today's match-up is between seventh seed, The Office Season Seven, Episode Nineteen, "Garage Sale," which aired March 24, 2011, and twenty-sixth seed, Community Season Two, Episode Twenty, "Competitive Wine Tasting," which aired April 14, 2011. I know you've been holding your breath, so here are the results, my blue-faced friends:
While "Competitive Wine Tasting" has its strengths, "Garage Sale" was one of the best episodes of The Office in years, and that is saying something. This one had some of the shine of earlier seasons, when Jim and Pam were wondering whether or not one would return the other's affections and what have you. And arguably the strongest scene we've ever seen on The Office is the scene where Michael proposes to Holly. This is perhaps the only episode this entire season of Thursday night episodes that brought a tear to my eye. (Maybe Michael's final episode - I don't know...) It will take a fantastic episode to knock it out of the running.
Tune in next time for third seed, Big Bang Theory Season Four, Episode Eighteen, "The Prestidigitation Approximation," which aired March 10, 2011, and thirtieth seed, It's Always Sunny in Philadelphia Season Six, Episode One, "Mac Fights Gay Marriage," which aired September 16, 2010. I'll be there...
While "Competitive Wine Tasting" has its strengths, "Garage Sale" was one of the best episodes of The Office in years, and that is saying something. This one had some of the shine of earlier seasons, when Jim and Pam were wondering whether or not one would return the other's affections and what have you. And arguably the strongest scene we've ever seen on The Office is the scene where Michael proposes to Holly. This is perhaps the only episode this entire season of Thursday night episodes that brought a tear to my eye. (Maybe Michael's final episode - I don't know...) It will take a fantastic episode to knock it out of the running.
Tune in next time for third seed, Big Bang Theory Season Four, Episode Eighteen, "The Prestidigitation Approximation," which aired March 10, 2011, and thirtieth seed, It's Always Sunny in Philadelphia Season Six, Episode One, "Mac Fights Gay Marriage," which aired September 16, 2010. I'll be there...
Saturday, July 23, 2011
Thursday TV Tournament: Match-up 11 Results
Today's match is between tenth seed, 30 Rock Season Five, Episode Four, "Live Show," which aired October 14, 2010, and twenty-third seed, 30 Rock Season Five, Episode Twenty-Three, "Respawn," which aired May 5, 2011. May the best 30 Rock win!
While many have spoken up to call "Live Show" a sad rip off of Saturday Night Live, it was more than enough to stand up against the season finale titled "Respawn." We never doubted that 30 Rock would gain another foothold in the second round, but with "Live Show" the program has a pretty strong foothold.
Stay tuned for the next match-up between seventh seed, The Office Season Seven, Episode Nineteen, "Garage Sale," which aired March 24, 2011, and twenty-sixth seed, Community Season Two, Episode Twenty, "Competitive Wine Tasting," which aired April 14, 2011. I wonder who will win...
While many have spoken up to call "Live Show" a sad rip off of Saturday Night Live, it was more than enough to stand up against the season finale titled "Respawn." We never doubted that 30 Rock would gain another foothold in the second round, but with "Live Show" the program has a pretty strong foothold.
Stay tuned for the next match-up between seventh seed, The Office Season Seven, Episode Nineteen, "Garage Sale," which aired March 24, 2011, and twenty-sixth seed, Community Season Two, Episode Twenty, "Competitive Wine Tasting," which aired April 14, 2011. I wonder who will win...
Friday, July 22, 2011
Thursday, July 21, 2011
Thursday TV Tournament: Match-up 10 Results
When I saw this match-up between fifteenth seed, 30 Rock Season Five, Episode Twelve, "Operation Righteous Cowboy Lightning," which aired January 27, 2011, and eighteenth seed, Community Season Two, Episode Seven, "Aerodynamics of Gender," which aired November 4, 2010, I knew there were going to be some hurt feelings. Well, for me, at least. It looks like the verdict is in:
The Community episode "Aerodynamics of Gender" holds a special place in my heart. The stories of the secret trampoline and Abed's ability to "terminate" women with witty insults were really fun, and this was the first episode of the second season that promised any of the greatness of the first season. The Sixth Sense surprise ending was one of my favorite moments of the entire season. But against a 30 Rock with humor strong enough to stand up to multiple re-watches without diminishing, this episode of Community didn't stand a chance. It hurt not a little to see this episode out of the competition, but if it's not the very best it was bound to go at some point. Congratulations, 30 Rock on a difficult victory. Sometimes, solid and consistent comedy are enough to defeat a giant, killer punchline, as was the case today.
Tune in next time for a match-up between tenth seed, 30 Rock Season Five, Episode Four, "Live Show," which aired October 14, 2010, and twenty-third seed, 30 Rock Season Five, Episode Twenty-Three, "Respawn," which aired May 5, 2011. It's a 30 Rock-off!
The Community episode "Aerodynamics of Gender" holds a special place in my heart. The stories of the secret trampoline and Abed's ability to "terminate" women with witty insults were really fun, and this was the first episode of the second season that promised any of the greatness of the first season. The Sixth Sense surprise ending was one of my favorite moments of the entire season. But against a 30 Rock with humor strong enough to stand up to multiple re-watches without diminishing, this episode of Community didn't stand a chance. It hurt not a little to see this episode out of the competition, but if it's not the very best it was bound to go at some point. Congratulations, 30 Rock on a difficult victory. Sometimes, solid and consistent comedy are enough to defeat a giant, killer punchline, as was the case today.
Tune in next time for a match-up between tenth seed, 30 Rock Season Five, Episode Four, "Live Show," which aired October 14, 2010, and twenty-third seed, 30 Rock Season Five, Episode Twenty-Three, "Respawn," which aired May 5, 2011. It's a 30 Rock-off!
Spoiler Alert: True Blood S04E04
At the beginning of the episode we find Eric drunk off of fairy blood. As a result, he pinches Sookie's butt and goes skinny dipping. It's a load of fun. Later he says to Sookie, "If you kiss me, I promise to be happy." That's a line to save for the arsenal, if ever I've heard one. Amy's really pulling for Sookie and Eric, but Sookie and Alcide are so cute together, even if they are only vowing friendship. Oh, and did anybody notice the similarities between Jason's escape and the movie Predator? He covered himself in mud, got all stealthy, and then attacked a supernatural foe with a hand-made weapon. I was surprised nobody in the episode made a reference to the Arnold Schwarzenegger film.
Now it's time for some more mysterious stuff...
1. It's a trap
What would Admiral Ackbar say about this whole Bill and Eric situation? I don't know. He died a long time ago in a galaxy far away. But judging by Nan Flanagan's reaction to Bill sending Eric after the necromancer coven, I am starting to think that Bill did, in fact, intend to have Eric killed. Let's not forget his vow to get rid of everyone who knows Sookie's secret. This began with the murder of Queen Sophie-Anne, and why shouldn't it continue by putting Eric, and then his loyal "daughter" Pam, in harms way. I think Nan's response is by far the strongest evidence to support Pam's claim that Bill purposely endangered Eric's life/death.
I mention Pam also, because the second consequence of Bill sending Eric after the necromancer coven popped up this episode. A possessed Marne shows Pam her true self, decay, putrefaction and all. This scene seemed like a call-back to classic Sam Raimi/Peter Jackson horror/comedy.
2. The Spanish Massacre
Nan Flanagan and Bill Compton discuss the "Spanish Massacre," an event that occurred some four hundred years ago, presumably in Spain, where masses of vampires were brought under the control of one angry necromancer who had reason to hunt the vampires. Immediately afterwards, Marne experiences a kind of spiritual flashback regarding the life of the woman who appeared both in her face and in her mirror previously. It is not unlikely that this scene took place in Spain some four hundred years ago. It would seem that the spirit of this vampire-hating, vengeful necromancer has overtaken Marne in a very Twin Peaksy manner, which can't be good for the vampires of Bon Temps.
We already know that Jesus has a Spanish background and a background in witchcraft. Is there any chance that the witch of the Spanish Massacre is connected to him? Is it possible that his grandfather's spirit lingers also?
3. Moon of Artemis
Melinda Mickens returns, much to Tommy's joy. When Tommy tells her that Sam shot him, she explains that she could kill the boy, and she's glad that she got rid of him. She promises Tommy that she's left Joe Lee, only to find out that Joe Lee is still around and he's got Tommy by the throat, literally. All of this talk about killing relatives should make you think of the "Skinwalkers" discussion of a couple episodes ago. If Melinda were to kill Sam, she would become a Skinwalker. If Tommy feels betrayed enough to kill his mother for this horrible betrayal, he could become a Skinwalker. And let's not forget the feud between Tommy and Sam, or the way Sam's going to feel toward Melinda and Joe Lee. He's not exactly against shooting family members.
Jason kills Crystal's brother-husband or whatever he is, making Crystal the "Big Momma Kitty," and presumably giving her power over the entire pack of were-panthers. She hints that during the full moon, Jason will transform into a were-panther and become "Panther Man"/"Ghost Daddy." When Jessica and Hoyt find the near-dead Jason on the side of the road, Jessica immediately administers vampire blood to help Jason heal. Well, we've seen were-wolves and were-panthers under the influence of V - they're crazy and darn-near unstoppable. Add to this the feral rage and lack of control likely to occur if/when Jason first transforms into a were-panther and we're likely to see something huge next episode.
Finally, Sam finds out that Luna has a daughter. Luna admits that her ex-boyfriend is a were-wolf, and that he watches her from time to time. What exactly does the child of a shifter and a were-wolf look like? Surprisingly human, if this episode speaks the truth. Let's hope this wolf is nothing like the pack that Alcide originally lost Debbie to, because otherwise there's bound to be trouble. Of course, it's difficult to take Luna's word at face value, especially when her face can change to anyone else's. She could even be a Jekyll and Hyde, shifter-mother and werewolf-father, intent on loving and hunting Sam.
You're probably wondering why I've tied these three stories together under one heading. Well, Marne's spell to reverse Eric's forgetfulness must be done under the "moon of Artemis." Artemis was known to transform into various woodland creatures, most memorably as a doe, a deer, a female deer. The moon of Artemis is clearly the moon of shifters, were-wolves, and were-panthers, the full moon. With Marne's story included, that makes four stories that are strongly effected by what the moon brings this night.
4. What does that make us?
Bill Compton knows a lot of the old school families of Bon Temps from being acquainted with their ancestors during the Civil War. For example, he fought beside Jedediah Bellefleur. Also, his granddaughter Elizabeth Harris, the daughter of his daughter Sarah Compton and Lionel Harris, married Jedediah's son James. James's son was Arthur, who fathered Joseph, who married the grandmother of Andy, Portia and Terry. Wait a minute. That means Bill had sex with his great great great great granddaughter last episode. Even though she's pretty attractive, that's just kind of gross. And it certainly couldn't help his position if he were caught committing incest.
Oh, and wasn't grandmomma Bellefleur also the grandmother on Who's the Boss?
5. Not the momma
It's getting a little annoying that we haven't learned more about what is up with Arlene and Terry's son. However, has anyone noticed that the bad things have quite often happened when Terry wasn't in the room? Is it possible that there is an evil force that is overpowered by Terry's fantastic force of good, his kindness and simplicity, his love and sacrifice for a baby that is not even biologically his? This would be a fantastic plot for such a fantastically kind character.
See you next week!
Now it's time for some more mysterious stuff...
1. It's a trap
What would Admiral Ackbar say about this whole Bill and Eric situation? I don't know. He died a long time ago in a galaxy far away. But judging by Nan Flanagan's reaction to Bill sending Eric after the necromancer coven, I am starting to think that Bill did, in fact, intend to have Eric killed. Let's not forget his vow to get rid of everyone who knows Sookie's secret. This began with the murder of Queen Sophie-Anne, and why shouldn't it continue by putting Eric, and then his loyal "daughter" Pam, in harms way. I think Nan's response is by far the strongest evidence to support Pam's claim that Bill purposely endangered Eric's life/death.
I mention Pam also, because the second consequence of Bill sending Eric after the necromancer coven popped up this episode. A possessed Marne shows Pam her true self, decay, putrefaction and all. This scene seemed like a call-back to classic Sam Raimi/Peter Jackson horror/comedy.
2. The Spanish Massacre
Nan Flanagan and Bill Compton discuss the "Spanish Massacre," an event that occurred some four hundred years ago, presumably in Spain, where masses of vampires were brought under the control of one angry necromancer who had reason to hunt the vampires. Immediately afterwards, Marne experiences a kind of spiritual flashback regarding the life of the woman who appeared both in her face and in her mirror previously. It is not unlikely that this scene took place in Spain some four hundred years ago. It would seem that the spirit of this vampire-hating, vengeful necromancer has overtaken Marne in a very Twin Peaksy manner, which can't be good for the vampires of Bon Temps.
We already know that Jesus has a Spanish background and a background in witchcraft. Is there any chance that the witch of the Spanish Massacre is connected to him? Is it possible that his grandfather's spirit lingers also?
3. Moon of Artemis
Melinda Mickens returns, much to Tommy's joy. When Tommy tells her that Sam shot him, she explains that she could kill the boy, and she's glad that she got rid of him. She promises Tommy that she's left Joe Lee, only to find out that Joe Lee is still around and he's got Tommy by the throat, literally. All of this talk about killing relatives should make you think of the "Skinwalkers" discussion of a couple episodes ago. If Melinda were to kill Sam, she would become a Skinwalker. If Tommy feels betrayed enough to kill his mother for this horrible betrayal, he could become a Skinwalker. And let's not forget the feud between Tommy and Sam, or the way Sam's going to feel toward Melinda and Joe Lee. He's not exactly against shooting family members.
Jason kills Crystal's brother-husband or whatever he is, making Crystal the "Big Momma Kitty," and presumably giving her power over the entire pack of were-panthers. She hints that during the full moon, Jason will transform into a were-panther and become "Panther Man"/"Ghost Daddy." When Jessica and Hoyt find the near-dead Jason on the side of the road, Jessica immediately administers vampire blood to help Jason heal. Well, we've seen were-wolves and were-panthers under the influence of V - they're crazy and darn-near unstoppable. Add to this the feral rage and lack of control likely to occur if/when Jason first transforms into a were-panther and we're likely to see something huge next episode.
Finally, Sam finds out that Luna has a daughter. Luna admits that her ex-boyfriend is a were-wolf, and that he watches her from time to time. What exactly does the child of a shifter and a were-wolf look like? Surprisingly human, if this episode speaks the truth. Let's hope this wolf is nothing like the pack that Alcide originally lost Debbie to, because otherwise there's bound to be trouble. Of course, it's difficult to take Luna's word at face value, especially when her face can change to anyone else's. She could even be a Jekyll and Hyde, shifter-mother and werewolf-father, intent on loving and hunting Sam.
You're probably wondering why I've tied these three stories together under one heading. Well, Marne's spell to reverse Eric's forgetfulness must be done under the "moon of Artemis." Artemis was known to transform into various woodland creatures, most memorably as a doe, a deer, a female deer. The moon of Artemis is clearly the moon of shifters, were-wolves, and were-panthers, the full moon. With Marne's story included, that makes four stories that are strongly effected by what the moon brings this night.
4. What does that make us?
Bill Compton knows a lot of the old school families of Bon Temps from being acquainted with their ancestors during the Civil War. For example, he fought beside Jedediah Bellefleur. Also, his granddaughter Elizabeth Harris, the daughter of his daughter Sarah Compton and Lionel Harris, married Jedediah's son James. James's son was Arthur, who fathered Joseph, who married the grandmother of Andy, Portia and Terry. Wait a minute. That means Bill had sex with his great great great great granddaughter last episode. Even though she's pretty attractive, that's just kind of gross. And it certainly couldn't help his position if he were caught committing incest.
Oh, and wasn't grandmomma Bellefleur also the grandmother on Who's the Boss?
5. Not the momma
It's getting a little annoying that we haven't learned more about what is up with Arlene and Terry's son. However, has anyone noticed that the bad things have quite often happened when Terry wasn't in the room? Is it possible that there is an evil force that is overpowered by Terry's fantastic force of good, his kindness and simplicity, his love and sacrifice for a baby that is not even biologically his? This would be a fantastic plot for such a fantastically kind character.
See you next week!
Wednesday, July 20, 2011
Avatar: The Last Airbender
I've been watching more anime in the last few weeks than I have in years. The other evening the discussion turned to whether or not Avatar: The Last Airbender is properly anime. Is it something one could watch at an Anime night? Feel free to plead your case one way or another in the comment section, but I have already come to a conclusion: If Avatar: The Last Airbender is considered anime then it is one of my favorite anime of all time; If Avatar: The Last Airbender is not considered anime then it is one of my favorite not-anime of all time. Simple enough, right?
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