I sit down with The Walk Ons to talk about rock and roll. bad life choices, exploding drummers, and suffering for your art.

The Walk Ons
We Did This On Purpose (Drug Front Records, 2010)
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@TheWalkOns

Posted by Andrew Raff on January 26, 2012 12:20 AM
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In this second preview episode of the Buzz Rant & Rave Podcast, I sit down with Renee Cole, who works in her day job as a professional Lady Gaga tribute artist.

You can find her websites at:
The Lady Gaga Experience Starring Renee Cole.
Renee Cole
@ReneeCole_

Posted by Andrew Raff on December 30, 2011 1:44 AM
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In this trial recording of the Podcast, I talk with Dan Suitor and Amy Watts over the quaint technology known as the landline phone about how and what we're watching on TV at the end of 2011.

MP3 file download

Posted by Andrew Raff on December 20, 2011 3:03 PM
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I started to do a post on who I'd nominate for Emmy awards back in the spring, but never completed it before the Emmys released the actual nominations. So, here are my picks for who I think should win (rather than will win) the awards as well as who I would have nominated for the category.

Outstanding Lead Actor in a Drama

Should win: Jon Hamm (Mad Men)

You know that Jon Hamm doesn't have an Emmy for Mad Men, right? (He's lost 3 years consecutively to Bryan Cranston for Breaking Bad.) He should. And in this season of Mad Men, Hamm got to play Don Draper as he's struggling through a difficult period after his divorce. The Suitcase is perhaps the best highlight reel of an episode possible for the show's lead actors.

The world has forgotten about Terriers, so Donal Logue was not nominated for an Emmy for Terriers, but his was one of the standout performances on TV of the year. Kyle Chandler as Coach Taylor is one of the iconic performances of the last decade, but Don Draper is the iconic performance. Buscemi plays intimidating and powerful control without having the physical presence of the real-life Nucky Johnson.

Outstanding Lead Actress in a Drama

Should win: Connie Britton

This is a toss-up between Britton's cumulative excellence and Moss's emergence as lead with a brilliant period of self-discovery for her character culminating in a confrontation with her mentor. The Suitcase was Moss's best moment so far on the show, and not yet having finished season 5 of Friday Night Lights, I don't know if this season provided Britton with anything comparable, like the first four seasons.

Outstanding Lead Actor in a Comedy

Should win: Steve Carrell

Steve Carrell has never won an Emmy for his work on The Office. Let me repeat: Steve Carrell has never won an Emmy for The Office. He brings a mix of egocentrism, weirdness and humanity to the character. He's not nearly as mean as Ricky Gervais's David Brent, but manages to create awkwardness through generosity and self-delusion.

Outstanding Lead Actress in a Comedy

Should win: Amy Poehler Poehler plays the right mix of grounded and crazy, optimism and cynicism as Leslie Knope on Parks & Rec. She is the catalyst for the action, gets some of the biggest laughs, but also gives the supporting cast the ability to out-weird and out-funny her. As a result, Parks has not only one of the strongest ensembles in comedy, but a true female lead in a comedy (rather than a half-hour dramedy.)

Outstanding Supporting Actor in a Drama

Should win: Peter Dinklage (Game of Thrones)

In the thousands of pages of George R.R. Martin's A Song of Ice and Fire, Tyrion Lannister stands out as the most interesting character. He is smart, underestimated, ostracized, drunk, cynical and horny. Dinklage captures all of those elements and manages to let the character be as interesting as possible. His portrayal of the character is as fun, layered and complex as the character himself. Walton Goggins is electrifying and captivating in every moment on screen. He makes Justified more engaging and dynamic whenever he's on screen and elevates the show as a supporting character. This is one of the most competitive categories, with many good options.

Outstanding Supporting Actress in a Drama

Should win: Margo Martindale (Justified). As the tragic villian of Justified, Martindale's Mags Bennett got to play maternal, mean, sweet, controlling and lost all within the span of a season. A brilliant performance of a unique character.

Outstanding Supporting Actor in a Comedy

Should win: Ty Burrell (Modern Family). My choice to run away with the category would be Nick Offerman's Ron Swanson. He makes this ridiculous libertarian character working in local government human and completely insane at the same time. But then this category could justifiably be made up of the entire supporting cast of Modern Family. Replacing Colfer and Cryer with Nolan Gould and Rico Rodriguez would make it a stronger category. Even though I think that Offerman, Day and Pudi are the class of this field, the Modern Family ensemble works so perfectly and Burrell's character was dialed in to the right balance of buffoonery and believability. But the Academy can't go wrong with any of the Modern Family cast.

Outstanding Supporting Actress in a Comedy

Should win: Sofia Vergara (Modern Family). Sure, she's beautiful and has an exaggerated accent. But Vergara's timing is perfect. She takes what could be a terrible hackneyed character and manages to be consistently hilarious.

Outstanding Comedy Series

Should win: Parks and Recreation

It isn't as inventive as Community, as relatable as Modern Family, as introspective as Louie, or as fully committed as Always Sunny, but Parks and Recreation put together a tremendous string of funny episodes that have biting criticism of society and still managed to be warm and engaging. A brilliant series of episodes and performances, including Amy Poehler, Nick Offerman, Chris Pratt, Rob Lowe, Aziz Ansari, Adam Scott and Li'l Sebastian.

Outstanding Drama Series

Who should win? Mad Men

There are some very solid choices for best drama this year, even while television's current best drama, Breaking Bad, fell through the cracks to not air any episodes during the eligibility year. Friday Night Lights is a unique, special show in its last season. Game of Thrones and Boardwalk Empire came out of the gates with solid seasons -- the last stretch of Game of Thrones was epic. But Mad Men had one of its best seasons to date, with Don Draper experiencing a trying time and falling to a personal low. Looking back just at the episode titles and summaries, more of the Mad Men episodes worked well and distinctly compared with the two HBO shows.

Posted by Andrew Raff on September 15, 2011 6:17 PM
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Kurt Sutter quit Twitter this week.

In and of itself, that's not particularly newsworthy, but why he did is symptomatic of a problem that is undermining American society and threatening our democracy.

Seriously.

Sutter is the executive producer and showrunner of Sons of Anarchy on FX. He's also someone who says exactly what's on his mind, without much thinking. He is admittedly very self-reflective and publicly self-critical. Like most writers, mixing extreme ego with extreme neuroses. And he applies his analytical eye not just to his own work, but to the industry as a whole. These are all factors that make Sutter seem like someone who would be great fun to talk with at a party and also a consistently entertaining Twitterer.

But although thousands of fans of Sons of Anarchy follow Sutter for bits of information on the show's production and news about the upcoming season and cast, posting on Twitter can have a much broader reach than hanging out with fans at Comic-Con or a Harley Davidson enthusiast rally. (Which I'm sure has a non-square term that motorcycle clubs actually use.)

Through a proliferation of entertainment news media and the internet, there's both much more entertainment news coverage (from the vapid television of Access Hollywood and E! to the more detailed gossip at Deadline Hollywood and Gawker. The upside to this trend is the detailed analysis of critics at sites like Hitfix and NPR and a deeper focus on entertainment news from traditional sources like New York Magazine and The Hollywood Reporter.

And television series showrunners are not just writers and producers, but also the public voice for a show. And television shows are big business not just for the cast and crew, but the networks, advertisers and more. So the showrunner is effectively the CEO of each production. So the words of a television series showrunner are going to be read by people in the industry.

So when Sutter makes a controversial statement, such as alleging that the deal that AMC made with Lionsgate and Matthew Weiner for future seasons of Mad Men were forcing AMC to cut the budgets of its two other big shows, The Walking Dead and Breaking Bad. Writer and Director Frank Darabont had recently left The Walking Dead surprisingly quickly and AMC was reported to be in talks with Sony for a smaller, less expensive final season of Breaking Bad which may have resulted in the studio shopping the best show on television around to other networks.

That's an opportunity to do some solid journalism, talk to sources at AMC and around the industry and work off of it to do some serious reporting.

And while not every outlet who picked up the "Sutter tweets wacky stuff" story did actual reporting on the underlying story, at least the Hollywood Reporter did. OK, they sensationalized the Twitter drama, but at least they reported on the actual news.

That alone may prove that the entertainment media is more diligent and less frivolous than the national 24 hour cable news networks.

As the most astute media critics working who share a network with stoner films and foulmouthed puppets, the Daily Show saw the trend:

Instead of researching facts and analyzing policies to help citizens with independent analysis and judgment, the news media is happy to simply report what one side says and then report what the other side says. There's little attempt at analysis and little depth to the overall amount of reporting.

From economic issues like raising the debt ceiling and repealing the Bush tax cuts, to scientific issues like global climate change, the mainstream media seems to have little interest in pursuing truth, but rather simply reporting the existence of conflict.

This would be OK in the entertainment news, but it seems more prevalent in the reporting of national politics and policy than anywhere else, which can not serve the public interest.

See also: Myles McNutt, Antenna, The Rise and Fall of @Sutterink: Showrunners [Off] Twitter III

Posted by Andrew Raff on August 16, 2011 9:34 PM
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Even though they sing in Swedish, Movits! brought a sizable crowd out to Bowery Ballroom on a Sunday night. Only a fraction of this crowd spoke Swedish. Part of this is due to the Colbert bump they received by performing on The Colbert Report. But the main reason is likely that Movits plays music that is unafraid to be fun and is full of gleeful enthusiasm that transcends language.

At least, that is the case for me. More than any other artist currently working, Movits makes the kind of music that I want to make. It's got a unique voice, it's fun, it's happy, it's danceable and it features saxophone. Upright bass is an extra plus. Of course, I probably wouldn't go with lyrics in Swedish. Aside from some brands (Ikea, Volvo) and proper names (hockey player names and characters from Steig Larsson's novels), I don't know a word of Swedish. Yet I couldn't stop smiling throughout the show. Perhaps that's a result of a lack of comprehension and perhaps the words are very serious and somber in contrast to the fun and danceable music.

But whatever the lyrical content may be, Movits did get a New York crowd dancing by the end of the show, which is no small feat in and of itself. They play an interesting mix of live and sampled, with most percussion coming via DJ (although a few numbers did feature acoustic guitar or live drum), but with live upright bass and saxophone.

I wasn't in the best mood by the time the show started, because of the long wait between me getting to Bowery and the show starting. The show was billed as Movits playing at 9 with doors opening at 8. Even though Bowery Ballroom set times are often scheduled for 30 minutes later than advertised (but not always), no one hit the stage until 9:45. And then it was unannounced bonus extra opener Zacke, a Swedish rapper (a frequent collaborator with Movits!)

But once Movits took the stage, it was all energy, fun and joy, a wonderful contrast to how Americans often think of Sweden.

Posted by Andrew Raff on May 12, 2011 7:35 PM
Tags: bowery ballroom movits
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The first Swedish pop/jazz/hip-hop group to get the Colbert Bump, Movits made their US television debut on The Colbert Report in 2009:

It was one of the most captivating, interesting and entertaining live music performances on TV. And now Movits are back with a new album, set to drop in the US on April 5 and frenetically awesome new video for the album's lead single, Sammy Davis Jr:

Movits! - "Sammy Davis Jr." from The Syndicate on Vimeo.

Posted by Andrew Raff on March 10, 2011 2:01 PM
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The American Museum of Natural History is one of my absolute favorite places in New York. It was by far my favorite field trip destination in elementary school and continues to be one of my favorite museums in the world. It not only makes science accessible and fun, but has managed to stay largely the same, even while updating to reflect new scientific discoveries. Although if all of the exhibit halls are updated, like the dinosaur and ocean life exhibits, the nostalgic aspects of the New York state or minerals halls provide a comforting continuity.

So I was excited that my application to come to the museum's first tweetup event to promote the new exhibit on the brain, Brain: The Inside Story The exhibit is very well-done and offers an accessible and comprehensive introduction to neuroscience. It is more interactive than typical for the Natural History museum, which is fortunate that they will be doing the limited timed admission. Make sure to leave enough time (or get tickets online in advance) to be able to schedule an appointment to see the exhibit.

It is certainly a worthwhile exhibit to use as a reason to get back to the Museum of Natural History.

The tweetup event allowed a fairly small group of Twitterers to see the exhibit and chat with the curators and scientists who directed the exhibit. Even more exciting, they brought us on a tour of some areas of the museum that are closed to the public.

Besides being one of the best museums in New York, the American Museum of Natural History is also a serious, major scientific institution, employing more than 200 scientists and housing an enormous collection of specimens. The displays in the museum only hold a small percentage of the collection.

Photos from the fifth floor tour follow after the break.

Continue reading "A Brainy Night at the Museum" »

Posted by Andrew Raff on January 13, 2011 3:28 PM
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Britain and the US are often called two nations divided by a common language. British culture, particularly television doesn't always click with American audiences and adaptations of British series for US television often lose much of the charm of the original in attempting to broaden appeal for us Yanks. (The Office is one of the rare exceptions where the adaptation is worth watching.)

Top Gear has a huge following worldwide because it completely reinvented the way of making a show about cars. Instead of simply reviewing cars, like PBS's Motorweek, the BBC's Top Gear aims to make an entertaining show that involves cars and occasionally actually reviews cars.

The strong personality of lead presenter Jeremy Clarkson dominates Top Gear. He's big, loud, brash and has his own iconoclastic point of view. Any adapatation of Top Gear is going to come up short in finding a host as fitting for the role as Clarkson and also in replicating the chemistry between Clarkson and his co-presenters. The curmudgeonly and vaguely artsy James May represents the opposite brained approach to Clarkson's while Richard Hammond is the affable everyman, usually standing in as the voice of reason.

Because Top Gear is on public broadcaster, it is not beholden to advertisers and the show isn't afraid to review cars poorly. In fact, the show relishes in trashing cars (both critically and literally.) Top Gear is so far off-brand (and expensive) for American PBS, it might have to be watered down for broadcast or basic cable to appease advertisers.

But as great and as British Top Gear is, an American Top Gear could be even better. Clarkson, Hammond, May and The Stig revel in speed, power and destruction -- all things that we do better in America. America has a rich car culture to draw on. While Britain's nanny state mentality towards auto regulation and congestion pricing provide targets for Clarkson to demonize and rail against, there's enough of that in America to use as a scapegoat, but there's also a freer spirit of American motoring.

From the sizzle reel showed at the top of the show, it looks like the History Channel's Top Gear is going to be borrowing liberally from the BBC's archive of challenges. The big film of the first episode pitted a Dodge Viper against a Cobra attack helicopter, in a film inspired by Clarkson's review of the Lotus Exige pitted against a Apache helicopter gunship. Top Gear USA will subject some of Detroit's finest creations to the British Leyland water challenge. And that could be a good thing, because the American iteration of the challenges may well be bigger than the British originals. But although this one was nicely filmed, it didn't really bring anything new to the table. And while the British version highlighted how nimble the Exige is, the US take showed that the Dodge Viper is powerful and clumsy. It might be that the US version may be trying to force square pegs into round holes in order to fit into the Top Gear template rather than create films and challenges that are truly American.

But that's the nature of the adaptation process. The pilot episode of the US Office was a near line for line rehash of the UK Office's pilot. And the reason that the US version is a success is because of how quickly it stepped away from that. Steve Carrell plays with Michael Scott a naivete that runs counter to David Brent's malicious streak. Top Gear US will have to find its own identity. It will retain the lavish cinematography that makes it identifiably Top Gear, but hopefully find a viewpoint that reflects its place in American car culture.

A big part of that is developing the hosts' on-screen personas. It took some time for Top Gear to develop the chemistry between its three presenters; James May didn't even come in to the show until the second season. Fortunately, the US hosts aren't simply aping the personalities of the British hosts. In fact, they're going for a completely different paradigm, which gives me hope that Top Gear USA can find its way.

But what does Top Gear have to do with history? Given that one of the other History Channel shows advertised during Top Gear was Ice Road Truckers, does the History Channel show any programming that's related to history in any way whatsoever? If Top Gear is a breakout success, how long will it be before the History Channel goes through some kind of SyFy-like rebranding?

To adapt a beloved, original show is always a challenge between maintaining the elements that work and not simply copying for the sake of copying. There has to be a reason for making the adaptation. The US version can in fact have a reason for existing and after the first episode is not a complete embarassment. Which is probably a passing grade.

Tim Goodman, The Hollywood Reporter, Top Gear -- TV Review "The two most important things to know about History Channel's American import of the British sensation 'Top Gear': First, no, it's not as good as the original. Second, the new version does not -- in the parlance of those worried souls who keep asking -- suck."

Jalopnik, First Drive: Top Gear USA "It's stretching the capabilities of understatement to say that the domestic edition of Top Gear has a great deal of work cut out for it. The original BBC production is a bona-fide sensation, a hit with people who don't even like cars. At its best, it's pitch-perfect, with the casual banter between the hosts, the high production values, and the obvious love of everything automotive combining into something really magic. It's lightning in a bottle, and there's really nothing else like it. Except now, of course, the History Channel is trying to make something just like it. And judging from the three episodes we saw, they certainly have their work cut out for them."

Posted by Andrew Raff on November 22, 2010 12:36 PM
Tags: Top Gear
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For someone who watches way too much television, a full week of having a vague semblance of a life results in using a lazy Friday night in for a major TV catchup day/weekend. And I might as well blog the binge watching.

How major is this undertaking? Pretty much the only show I've kept up on is The Daily Show and Colbert Report. A quick look through what's sitting unwatched on my TiVo:

30 Rock
30 for 30 (x3)
Boardwalk Empire (x7)
Bored to Death
Burn Notice (x2)
Chuck
Community
How I Met Your Mother (x2)
It's Always Sunny in Philadelphia
Modern Family
Sherlock (x3)
Rubicon (x9)
Sons of Anarchy (x23 yes, 23: some of those aren't on the TiVo itself, but I just finished season 1 and started season 2 on Blu-Ray and recorded so far all of this season)
South Park (x3)
Terriers (x2)
The Amazing Race
The Office (x3)
The Walking Dead (x3)

Community - "Conspiracy Theories and Soft Defenses"
Community continues its run as one of the strongest comedies of the year. And while not quite as epic as Epidemiology 206 or Modern Warfare, it was as effective of a parody of the conspiracy thriller genre while also managing to focus on the characters and be hilariously funny. By making some things small scale, such as with the miniature car bomb, setting the big chase scene in a blanket fortress, and making the conspiracy about a single credit, Community manages to poke fun at the tropes of the conspiracy genre without losing focus on the characters and, in this episode, the relationship between Jeff and Annie and how they relate to rules. In the absence of Parks and Recreation, Community has effectively become the overall best comedy on television right now.

30 Rock - "College"
In part, having the hilarious Community as a lead-in really does help putting 30 Rock in a more positive light, just like a stand-up comic is always funnier after a great warm-up act. But this season has been a return to form. This season has focused more on Liz and Jack and used Jenna and Kenneth sparingly.

Terriers - "Asunder"
Wow, this show is simply great. Hank and Britt are two very human characters, well acted by Donal Logue and Michael Raymond James. Theirs is the epic bromance of this TV season. But the show is also wonderfully Lebowski-esque, with Hank and Britt out of their depth in noir-ish plots. But what makes the show effective is that Hank is not The Dude. He's actually competent at being a detective. He wants to be a better person, despite realize the shortcomings that led him to where he is. Having Britt and Katie's most important conversation happen off camera was an especially effective way to making the moment more powerful than even the best dialogue and acting could have been. This is not only the best new show of the season, but may be the top show of the season to date.

Bored to Death - "Super Ray is Mortal"
Does enjoyment of Bored to Death decrease the further you are from Grand Army Plaza? There's no show that's more Brooklyn than Bored to Death. The trio of Jason Schwartzman, Ted Danson and Zach Galifinakis are perfect as the leads and John Hodgman is always enjoyable as Jonathan's nemesis. It's a shame that the season is so short.

Modern Family - "Manny Get Your Gun"
This is the first Modern Family episode of the season that really clicked for me, probably because it centered around Manny acting like a ten year old going into a midlife crisis.

South Park - "Creme Fraiche"
South Park taking on America's obsession with food television and the shake weight may not have been their most effective episode ever, but it was decently funny.

How I Met Your Mother - "Natural History"
Bob Odenkirk is always enjoyable whenever he shows up on TV. And while Marshall's boss at GNB isn't quite as complete of a character as Breaking Bad's Saul Goodman, his HIMYM character is fine in small doses. More effective was the Barney story and revelation. It nicely subverted the expectation that the whale story was something that Barney simply made up and paid the guard to find in the files, but completely subverted the levity of that storyline. While the show is obviously best when it is succeeds at being funny, like The Office, I'm fine with an episode of HIMYM that advances the story and connects emotionally with the characters without being all that funny.

And that's it for the night. Wow, was that a big concentrated dose of television, without even delving too deeply into the heavier material in Boardwalk Empire or Sons of Anarchy. Or even accounting for the second half of Justified's first season that's been sitting around for months. To be continued....

Posted by Andrew Raff on November 19, 2010 11:18 PM
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