Sadly, I have not seen a movie in the theater since The Dark Knight in July! JULY, PEOPLE!!! Only two months, but feels much longer. Which means that in addition to not seeing any new flicks (luckily, most of August and September blew, though I am missing Tropic Thunder, Pineapple Express, and Burn After Reading), I haven't seen any previews! I live for previews! I love seeing previews for movies I haven't even heard of yet, and that hasn't happened in at least 3 months (the Rio didn't play any new trailers before The Dark Knight, damn them!). So I had to wait for the Fall Movie Preview Edition of Entertainment Weekly, devour it's contents, and look up all the trailers on YouTube. And now that that's done, here's what I'm looking forward to most...
Nick and Norah's Infinite Playlist (10/3): Probably sick of seeing the TV spots for this one already, but I am beyond excited for this movie! Michael Cera can do wrong, as far as I'm concerned - the kid's golden. And his costar, Kat Dennings, is really growing on me, plus, points for not looking like a stick figure with no soul!
Australia (11/14): It's Nicole Kidman, Hugh Jackman, epic, beautiful and directed by Baz Luhrman. Need I say more? That man has owned me since Moulin Rouge and this is actually his first film since then! Crazy! But it honestly looks big and grand and sweeping and romantic and all the other things I'm a big ol' sucker for!
Doubt (12/12): This one's got tons of awards buzz already, it's based a really great play, and it stars Meryl Streep, Amy Adams, and Philip Seymour Hoffman. I watched the trailer and this movie looks intense. In that "I'm not gonna enjoy this and be happy, but watching this will be fascinating!" way. Kinda like that. And that works for me too.
High School Musical 3 (10/24): I am beyond embarrassed to admit this, but I kinda love the HSM series. They're comfortingly lame, and although the bubble gum pop music is rather schmaltzy, it's catchy and fun. I've been trying to figure out how I'm actually going to see this in the theater; I can't possibly go to a regular show stuffed to the brim with teeny-bopper Zac Efron fans that will giggle and screech and coo throughout the entire film, plus I might disintegrate into a pile of mushy, pathetic goo on the floor if I have to actually ask for a ticket to this movie. It's beyond humiliating (I actually had to hide my face while watching this trailer while I was alone!)....and yet, count me in the stoked pile! If you want to revel in the heights of my geekitude, feel free to laugh at this trailer!
The Curious Case of Benjamin Button (12/25): It's directed by David Fincher, which means stylistically it's gonna be awesome! Also, it's the story of a man's life as he ages from an old man at birth to a baby at death - that sounds insanely cool! And as if starring Tilda Swinton and Cate Blanchett weren't enough, the title role is played by Brad Pitt (I've always thought he was a vastly underrated actor - and I love him for more than his good looks, though those are a plus), and he plays the character at every age, aided by make-up and effects that look spectacular.
Twilight (12/12): I haven't read the books this is based on, but I'm a huge Harry Potter and "Buffy the Vampire Slayer" fan, so I think that places me in the target audience. I've really enjoyed Kristin Stewart's work (in Into the Wild especially) as well as director Catherine Hardwicke (Lords of Dogtown) and the hot lead vampire was Cedric Diggory in the 4th Harry Potter film. Plus, as usual, I'm a sucker for doomed romances and lusty, shall-I-kill-you-or-screw-you interaction; Spike was totally my favorite character on Buffy.
Frost/Nixon (12/5): This is also based on a recent stage play about a series of interviews between ex-talk show host David Frost and then-former President Richard Nixon. Knowing little about the interviews and what was said in them myself, I can't wait to see what is discussed and the dynamic between the men sounds really interesting. Also, reprising the stage roles are the always excellent Frank Langella and Michael Sheen, whoopee! Nixon is a figure easily demonized, and yet absolutely intriguing and almost sympathetic in his frailty, failure and vulnerability, so I really want to see how this plays out.
Revolutionary Road (12/26): Entertainment Weekly described this film as "Mad Men + American Beauty + Kate and Leo acting their butts off" and watching the trailer, that sounds exactly right. I loved American Beauty and it's director Sam Mendes, so I'm excited about that. I have been a fan of Kate and Leo ever since Titanic (which yes, I still love shamelessly), and they've only gotten better with age. And my recent obsession with the period detail of "Mad Men" pretty much clinches my anticipation for this film. The trailer just about rips my guts out.
Should go without saying, but I am also stoked for the next Bond flick, Quantum of Solace.
Before I start, just know that I kind of hate the idea of eulogizing on blogs. Everyone else already does it, and better than I, so I try to avoid it if I can. It seems trite of me to even attempt. And yet here I am because this one has genuinely saddened me.
I've never been particularly concerned with elderly celebrity deaths; as long as the geezers made it past 70 or 80, the loss didn't seem so tragic. They had their time - about as much as most - and most of them had stopped working prolifically at that point anyways. Sure, I'll have a twinge of regret if I liked them, but nothing hangs over my head like a storm cloud. I save that kind of grieving for the ones who died young. I had the black pall up for over a week when Heath Ledger died; I hate losing talented actors when they're just coming into their own, just beginning to show us what they can do. It's really unfair.
But Paul Newman is different. I wouldn't say he was my favorite actor, but he had my attention. When news broke that he was privately battling cancer, my gut knotted. I don't know why it should be that way; he had all but retired from acting 5 years ago. There weren't going to be any other projects. But Newman had a certain quality that endeared him to me. I don't know what it was. I'll leave that to the real writers and film historians to articulate. God, he was fun to watch. In his roles he was sharp, strong, bitter, funny, laconic, weak, knowing, sly, brash, sexy, broken and he always had a twinkle in those impossibly blue eyes. The thought that he's gone makes me sad.
Perhaps it's because he seemed like a decent human being in life; he brought something to the world beyond his films. I won't pretend that my reasons for liking him really had anything to do with his philanthropy, but knowing that his food products line donated all of it's proceeds to charity seems pretty amazing. It also doesn't really matter that he was married to the same woman for over 50 years, but his marriage to Joanne Woodward it somewhat inspiring in this age of rampant celebrity (and non-celebrity) divorce. And maybe the fact that he had 5 daughters (his only son died in 1978) makes me sympathetic and feel like I know him better than I do because my dad had 4 daughters and lost his only son. None of this played a daily factor in my regard for Paul Newman, but it somehow makes his death seem more poignant for me.
The truth is, beyond my shallow appreciation for those eyes (oh, those eyes!) and his rather handsome figure in his youth, the only reasons I really loved him were Cat on a Hot Tin Roof, The Hustler, The Long Hot Summer, What a Way to Go!, Cool Hand Luke, Butch Cassidy and the Sundance Kid, The Sting, Mr. & Mrs. Bridge, Nobody's Fool, Road to Perdition, and Cars, to name a few of my favorites. But I figure those are pretty damn good reasons!
Do you remember when Morgan Freeman had starring roles in movies? When he wasn't just lending stellar support, but inhabited complex, well-written, leading characters?
Perhaps I'm exaggerating; he did win an Oscar for Million Dollar Baby in 2004 - that was only 4 years ago. And that was a great role. But his most recent starring role was in The Bucket List. Granted, I didn't see this - I flat out refuse to until it premiere's on TNT in 3 years - but I don't think I need to in order to infer that it sucked. Or at least that it wasn't a worthy vehicle for the talents of either Morgan Freeman or Jack Nicholson.
Remember in the '80's and '90's when he was awesome? Got Oscar nominations for Street Smart, Driving Miss Daisy and The Shawshank Redemption? Displayed impressive gravitas in Lean on Me, Glory, Robin Hood: Prince of Thieves (call me crazy, but I will always love this one), and Unforgiven? His presence is so effective and subtle in Se7en, Kiss the Girls, Amistad, and Nurse Betty. Even a smattering of his supporting roles smack of genius casting: God in Bruce Almighty, Robert Redford's friend in An Unfinished Life; a troubled police chief in the recent Gone Baby Gone; even the President of the United States in Deep Impact (one of the only good things about this flick).
But in the past 10 years he's also struggled valiantly in supporting roles in Chain Reaction, Hard Rain, Dreamcatcher (this was a HUGE miscalculation - nothing could save this one), Batman Begins (and it's sequel), Lucky Number Slevin, Feast of Love, and Wanted. I haven't hated many of these films, but the characters Freeman has played in them are hardly interesting apart from what Freeman brings to them. This makes his participation a huge coup for the filmmakers, a chance to take advantage of Freeman's talents and elevate rather stock characters into a more stable presence, but I so want to see him in something GREAT!
In a lot of his press for Wanted, James McAvoy talked reverentially of Freeman's ability to take crap dialogue and read it as if it was Shakespeare. The words on the page were slightly ridiculous, but Freeman made them sound credible. I'd agree that this is well within Freeman's greatest gifts; we believe him in almost anything. In his review for Kiss the Girls, Roger Ebert wrote:
"'Is there a better actor in America than Morgan Freeman?' Pauline Kael once asked, to which one could add, is there one with more authority? Freeman has a rare presence on the screen, a specific gravity that persuades us. He never seems to be making things up. He never seems shallow, facile, or unconvinced, and even in unsuccessful films like Chain Reaction, he doesn't go down with the ship: You feel he's authentic even as the film sinks around him."
I can't say anything more insightful; in fact I've probably unintentionally plagiarized part of this quote without meaning to in the comments I wrote above, before I looked up this quote. Go me! Now you all know how unoriginal I really am!
So while I appreciate Freeman for soldiering on in supporting roles, for lending his unique genius to roles that would otherwise remain unremarkable, I'm ready for Morgan Freeman to go back to kicking ass and taking names! I want to see him star in a movie where he is front and center and gets to really act! According to IMDb he's got 6 films in the works - plenty of opportunities to really shine!
Winner:They teased it in the promo and I thought there was a chance it would win this week, and it did! Nothing else Chuck wore could even compare to the shiny lavender suit. He did sport a fantastic plaid vest (in all primary colors) with his school uniform, but it was really no contest with the utter ridiculousness of this suit!
After my last Emmy rant, I swore I was going to boycott the entire Emmy process as it is just too aggravating. And, true to my word, I didn't watch. But that doesn't mean I didn't look up all the winners just to see how screwed up the voters got it this time around. Of course, just to spite me, they didn't do all that bad this year. I can't speak for the probably tedious broadcast (there were 5 hosts, including Howie Mandel, Heidi Klum, and Ryan Seacrest, gag!) but when it came to most of the results, they were pretty damn savvy! Shocker!
"Mad Men" won Best Drama and "30 Rock" won Best Comedy. That's about exactly right! I mean, I'm an "Office" fan and wouldn't have minded a win for them, but all reports say that "30 Rock" deserved it, so good on you getting it right, people! Same for "Mad Men" - it was in a tougher category, and most of it's fellow nominees would have been worthy, but for me, "Mad Men" is the best, hands down. And given it's relatively low familiarity (not on a major network and all) I think it's great it was recognized like this after only it's first season!
The only major dud amongst the major winners was Jeremy Piven triumphing yet again for "Entourage" when that award so belonged to Neil Patrick Harris in "How I Met Your Mother." But Jean Smart won supporting for "Samantha Who", Tina Fey and Alec Baldwin both won for "30 Rock" (about damn time in Baldwin's case!), Glenn Close won for "Damages", and in the ultra-amazing Best Actor, Drama category, Bryan Cranston won for "Breaking Bad." This one tickles me because the man could barely get a nomination, let alone a win, for all his years of awesomeness on "Malcolm in the Middle." (Although I would probably be just as happy for "Mad Men"'s Jon Hamm or Hugh Laurie, who still hasn't won.)
I could crow about a few of the other winners (Paul Giamatti in "John Adams", yay, love him so much!) but I already addressed my greatest reliefs, and if you wanna look up the rest, just check here. Peace out!
I haven't done a Top 10 list in forever, and I blame this topic here. I was inspired by this back in July, and had no problem figuring out my Top 10, but found it damn near impossible to write the copy. Severe writer's block when it came to this topic, I tell you. In fact, you can probably blame this post for my general absence on my blog these last few weeks. Whenever I sat down to blog, I made myself try to finish this piece first and it broke me every single time. Not only would I walk away from this piece, tearing out my hair in frustration, but I rarely let myself just move on and write the other fascinating topics brewing in my head. So sorry to have deprived you of my genius. Hope you enjoy the fruits of my rather painful labor.
10. Bill and Ted - Bill and Ted's Excellent Adventure: The entire premise of the movie is that if these two guys are separated, future world peace will be destroyed. If that doesn't say bro-mance, I don't know what does. These guys are totally in sync and basically function as two halves of the same person; in what world are your grades linked inexplicably to your best friend's? The moment: When Bill thinks Ted has been stabbed through his armor, he falls to his knees and mourns his best friend saying, "Bogus. Heinous. Most non-triumphant. Aw, Ted, don't be dead, dude." It's pretty sweet. And then Ted shows up and they enthusiastically air guitar, hug and call each other fags. True love.
9. Maverick and Goose - Top Gun: You could write a paper about all the homo-erotic subtext going on in this movie, but it's Goose and Mav's closer than brothers friendship that wins our hearts. They are literally and figuratively each other's wingman, and when Goose tragically dies, we're not sure Maverick will be able to pull himself out of his grief. The moment: Either Goose helping Mav with the ladies by accompanying him on "You've Lost That Loving Feeling," or Mav cradling Goose's lifeless body in the water.
8. Dally, Johnny and Ponyboy - The Outsiders: There's two love stories going on in this one; first there's Johnny, the faithful friend to Ponyboy, who accidentally kills someone from the rival gang when Ponyboy's life is in danger. Johnny's also the kind of friend who will listen to Ponyboy quote Robert Frost and find it beautiful. Then there's Dally, the tough older guy who gives them money to escape the murder rap, checks in on them with food, and reveals his secret hero heart when they're in danger. The moment: Either Johnny dying from serious burns, while quoting Robert Frost: "Stay gold, Ponyboy, stay gold." Or Dally's intense reaction, bitching Ponyboy out to hide his anguish while he tries not to cry over Johnny's death.
7. Seth and Evan - Superbad: On the surface, this is a vulgar, profanity-laced homage to teenagers trying to get laid. But the real heart of the movie is Seth and Evan's friendship. Their expletive-ridden rants are merely a cover to avoid talking about the impending change in their friendship when they leave for different colleges. It eventually comes spilling out as they fight in the street (and end up holding hands), and when they do get to the party, Seth selflessly rescues an unconscious Evan from the cops.The moment: The drunken "I love you's" in the sleeping bags would definitely count, but my money's on the moment they part ways at the mall, each with a potential dreamgirl: Evan uncomfortably watches Seth walk away, while Seth keeps craning his head up the escalator, unwilling to let Evan out of his sight.
6. Butch and Sundance - Butch Cassidy and the Sundance Kid:Definitely the gruffest duo on this list, the bromance is never obvious, but come on: they spend the whole movie griping at each other, but we know deep down there's no where else they'd rather be. Always watching the other person's back, Butch is the brains, Sundance in the brawn, and they make a beautiful pair of criminals. They're so close it's even okay that they're in love with the same woman. The moment: Wounded and surrounded by the Bolivian army, they patch each other up, make light of the dire situation, pretend it's all going to be all right, and run out together in a blaze of glory, immortalized in that final freeze frame, side by side.
5. Jerry and Rod - Jerry Maguire:These guys just love feeling sorry for themselves. Which is why they need each other. Rod is loyal, and gives Jerry a lot of useful advice about how to date a single mother, and Jerry advises Rod to remove the giant chip on his shoulder. By the end of the movie, they're hugging and crying in front of reporters and photogs, shameless in their platonic love. The moment we knew: When Rod is on a talk show and finds out about his lucrative new deal he thanks everyone he knows, then says, "Wait, wait, I'm forgetting someone. Jerry Maguire. My agent. You are my ambassador of quan, man!" That is the moment that makes me tear up every time, without fail.
4. Dunbar, Wind In His Hair and Kicking Bird - Dances With Wolves: I'm a sucker for this one. I love that Dunbar bonds with Kicking Bird about learning and understanding each other, and I love that his relationship with Wind in His Hair is initially antagonistic and is entirely about instinct and emotions, which makes it that much better when they bond over "Good Trade." Warms my heart. The moment we knew: The morning Dunbar will leave the Sioux forever, he and Kicking Bird exchange gifts, the ultimate symbol of friendship and respect. But the clinching moment for me is Wind In His Hair, perched on a high cliff, watching his friend leave and shouting, "Dances With Wolves. I am Wind In His Hair. Do you see that I am your friend? Can you see that you will always be my friend?" BAWLING here.
3. Andy and Red - The Shawshank Redemption: Who doesn't love this one? Red is a cynical, worn down, used to the disappointment of life in prison. But when Andy Dufresne comes into his life he is reminded of the simple joys of life, like drinking a beer outside on a hot day and listening to classical music. Andy reminds Red to hope. And so Red does. Even when Andy escapes, Red hopes for a day when he might see his friend again... The moment we knew: ...and then he does. After a long trip, he makes it to that Pacific Coast and as the camera rises father away, we see these two friends approach each other on the beach, together again.
2. Riggs and Murtaugh - Lethal Weapon 1-4:I have a weakness for good ol' Riggs and Murtaugh. Before Mel Gibson was crazy and Danny Glover did commercials for Windsor Pilates, they were my favorite buddy cop duo ever. Riggs' sarcastic rebel collides with family man Murtaugh's irritation so beautifully, I don't even mind watching Lethal Weapon 4. The banter, the man-love, Murtaugh's constant fear that Riggs with sleep with his daughter, the constant refrain "I'm too old for this shit." Ah, love it all.The moment: My personal favorite is Lethal Weapon 3 (love Rene Russo!) so it's the one I'm most familiar with, as far as great bromance moments go. It would be easy to say the scene of Murtaugh breaking down while Riggs yells at him about what his retirement will do to their partnership, but I think the more telling scene occurs earlier in the film: when Murtaugh accidentally fires his gun while placing it into his holster, Riggs goes nuts, cussing up a storm and knocking over lockers, convincing everyone the sound they heard was not a gunshot, but Riggs freaking out. And he does it all to save Murtaugh's ass. Can you feel the love?
1. Everyone Male - Lord of the Rings trilogy:This is the movie that inspired this list. Obviously the extremely loving relationship between Sam and Frodo is the heart of the bromance here, but really, there are, like, 12 bromances going on in this movie. Aragorn and Legolas, Merry and Pippin, Gandalf and Frodo, Leogolas and Gimli, Boromir and Faramir, and on and on and on. It's full of more man love than I've ever seen in a single (or three) films in my entire life. And it's all completely platonic and sweet and touching and practically chokes me with it's goodwill. And I mean that in a good way. The moment: There are plenty to choose from, and I'm really tempted to choose one involving all 4 hobbits, or the big reunion scene between the fellowship at the end of RotK, but I'm gonna have to go with the one that packs the single greatest emotional punch: Sam carrying Frodo the last yards to Mt. Doom. "I can't carry it for you, but I can carry you."
So I know I missed last week (I'm sure you were all devastated) but to be frank, Chuck just hasn't worn anything especially great in the last two episodes. His clothes batting average for this season is shockingly low, given what he's capable of. To be fair, last week he did wear a sweater vest paired with pink argyle socks to play squash in, but I couldn't find a screencap that really did it justice, and I don't wanna tease you all with that great image if I can't deliver the goods. The only other noteworthy wardrobe contribution was a maroon suit paired with a pink shirt - fruity enough, yes - but there were no accessories, no cravat, nary a bowtie in sight and that is just unacceptable. Where is the batshit crazy??? Give the people what they want!!!
This week was more of the same as the entire episode all took place at one party so we only saw a bathrobe and his party clothes. However, his party outfit was to my liking, so it's the winner by default. Again, a lovely cravat, and this one is paisley patterned and that just tickles me pink.
Here's hoping next week will signal a return to the absolutely awesome shenanigans of the Chuck Bass wardrobe - the promo featured him in a lavender suit!
Unless you've been hiding under a rock, I'm sure you've heard some of the buzz surrounding this show. It got the most Emmy nominations for a drama this year, and coming from a show that isn't on basic cable or HBO, that's quite an accomplishment. I resisted the hype for most of the first season (it's about an advertising firm in the '60's, and I so do not care about advertising although the '60's are cool), but eventually caved and watched a few repeats and I was intrigued.
It follows the personal and professional exploits of Don Draper (Jon Hamm, really excellent, complex and smoldering), head of creative for the Sterling/Cooper ad agency in New York. He's a total philanderer (although it being the '60's, most professional men on this show are stepping out on their wives and thinking very little about it), but he also harbors a secret about his past (hint: he's not really Don Draper, a dark, twisty secret that the first season takes great pleasure in teasing). Life at Sterling/Cooper also follows secretary turned copy writer Peggy (Elizabeth Moss) who is drawn into an affair with married co-worker (and slimeball) Pete (Vincent Kartheiser, deliciously sleazy, yet funny, and it's so bizarre that I seriously love his character and acting on this show, where's he playing someone so despicable, and yet I actively loathed him on "Angel" where his character was far more sympathetic, if not a little whiny). The advertising firm also has room for fascinating characters like unambiguously gay Sal, shy, married Harry, co-partner Roger Sterling (John Slattery, an infamous "Hey, it's that guy!" I have actually mentioned here before, fabulous in this role), office manager Joan (curvacious redhead Christina Hendricks, whom "Firefly" fans will remember as the conniving temptress Saffron), and even Don's naive wife, Betty (played by January Jones, one of those ingenue actresses I didn't suspect could really act, but is just terrific in this role). Suffice to say, there's plenty of salacious drama with this crew, and a lot of it actually has to do with office politics and ad campaigns. A show that can realistically incorporate business with drama; what a novel approach. The show gets mad props for it's amazing attention to period detail and facts; this show isn't just drama, but full of pitch perfect period politics (tongue twister) and is almost more fun to look at because of the sets, costumes, blocking and intricate detail than because of the plot. (Almost.) Rather than pay surface homage to the period it depicts, this show is immersed in the attitudes of the '60's; the first season revolves around the Nixon/Kennedy presidential election, and season 2 (which jumped ahead to 1962) makes pointed references to the Jackie/Marilyn debate (and all it's obvious Madonna/Whore connotations), a 1962 American Airlines crash, and the rising power of women in the workplace and at home. The show can be sexist, racist, and classicist, but these topics are skillfully and subtly approached and honestly reflect the less enlightened views inherent in the early 1960's. One of my favorite elements of the show are the lengthy scenes. People talk like real people, where what is really said is often not what is actually said, and where mood and subtext play key roles, often over long 3-5 minute scenes practically unseen in modern television. (Don't get me wrong, I love the wacky, melodramatic flightiness of "Gossip Girl" and it's rapid editing, but these long scenes in "Mad Men" that are allowed to build and sit and marinate are just as good and more welcome amongst today's ADD inspired editing).
So if any of this sounds the least bit enticing, run out and rent Season One, now on DVD. :)
"GREEK" I'm not all about the serious drama though. Which is why I've also fallen in love with this frothy little gem. It's on ABC Family Channel, and it's about sororities and fraternities, a system I have always loathed and believed every negative stereotype about, so I didn't watch this show during it's first season either. But you know how ABC Family Channel is - they play repeats of "What I Like About You" and "Full House", and of course "Gilmore Girls", which is my own personal crack, and before you know it, you've been sucked into "Kyle XY" and eventually, "Greek."
It's full of antiquated ideas about "brotherhood" and "sisterhood" and ridiculous pledge rituals and house alliances that occasionally drive me nuts. However it's nice to get an inside look at the way the Greek system actually works (as I've never bothered to read the fine print before myself) and getting to know some characters that actually enjoy the real benefits of being part of a sorority and aren't raging bitches like I'd always assumed was a pleasant surprise as well. Hidden beneath all this hoo-ha about houses and loyalty, there are some really good plots and characters. For example, the very first episode features the boyfriend of the main character cheating on her, and they don't break up! Some of the reasons for this are ridiculous, but some of them aren't, and I enjoy a story that doesn't feature infidelity as a laboriously built-up plot device, and doesn't necessarily mean the end of a relationship. Some of you may disagree with me, but I find a couple who try to fix their relationship after infidelity occurs, and maybe try to figure out why it happened infinitely more interesting than the predictable blow-out, end-of-relationship scene. Call me crazy.
Casey Cartwright (Spencer Grammar) is the cheated-on party, starting her third year in good standing at the ZBZ sorority. Her geeky freshman brother Rusty (Jacob Zachar) shows up at her college, looking to bond, and decides to rush a fraternity as well. This brings him into contact with her current (cheating) boyfriend Evan Chambers (Jake McDorman), head of the respectable, preppy frat, Omega Chi, and Casey's ex, Cappie (Scott Michael Foster), head of raucous, party frat, Kappa Tau. Of course these three (Casey, Cappie, and Evan) are involved in an angsty, complicated love-triangle, but we join it in medias rey, and many of the details of their past history have yet to be revealed, which I really enjoy. Rusty makes friends with fellow pledger Calvin, who is secretly gay, and his new roommate, fellow honors engineering major, all around geek, and straight up conservative Christian, Dale (Clark Duke), one of the funniest and best-drawn characters on the show. He could have been an antagonistic stereotype, but the interactions between Dale, Rusty and Calvin are some of the best scenes on the show. (Personally, my favorite is kind, laid-back, quippy Cappie. He is so the Pacey of this show, which is much better than "Dawson's Creek", by the way!)
Perfect for shallow, fun, addictive, sometimes wonderfully heartbreaking television!
The new season of Gossip Girl premiered this week and it was good to have it back. I won't bore you with the details since I know I'm the only one who cares, but I have one thing to declare: even when Gossip Girl is bad, it's so good. We fans like to get online and dissect the pros and cons of each episode, but the fact is, it wouldn't be Gossip Girl if Chace Crawford could act, or if the clothes weren't ridiculous, or if Chuck and Blair didn't think they were Valmont and the Marquise de Merteuil, or if Jenny wasn't boring, we didn't hate Vanessa, Blake Lively could speak without marbles in her mouth, or Dan wasn't being a sanctimonious ass. These flaws have become such an expected part of the show, that while I always enjoy an episode with realistic character growth and impressive acting, an episode with spectacularly implausible situations, a naked Chace Crawford monotoning through his scenes, and some good Dan-hate is almost as enjoyable.
So in that tradition, I am going to celebrate weekly one of the most ludicrous elements of the show, and my personal favorite: the wardrobe of Chuck Bass. (I may have mentioned this before. Hee hee.)
Honorable Mention: the croquet uniform. Yes, Chuck Bass plays croquet. Why am I surprised. I couldn't get a picture of it, but he's also wearing knee high argyle socks that match his sweater. And those are shorts.
The Winner: the White Party suit. At a party filled with white, and only white, Chuck Bass wears a suit with black piping (hello, yes, he's the bad boy, we know!) reminiscent of the suit my dad wore on his wedding day. In 1979. There was even piping down the sides of his pants. But, in true Chuck Bass style, the ascot was back (yes!) and he wore sunglasses hanging from his shirt all day as decoration, as he never donned them once.
Hey, I'm back. Sorry for my long absence. Just haven't felt like blogging, although I have come up with plenty of stuff to write about.
For instance, Disney is finally getting around to making another animated "classic" in the princess-mode and employing traditional animation techniques. I guess they got sick of Pixar earning all the praise. This next feature is based on "The Princess and the Frog" and features an African-American heroine and takes place in the Louisiana Bayou, which sounds a lot more interesting to me than the usual princess set-up. Plus it's gonna be another musical! Yay! See the trailer here.
I suppose the princess formula has been largely worn-out; after the huge success of The Little Mermaid and Beauty and the Beast, as well as later films featuring lesser princesses, not to mention Snow White, Sleeping Beauty and Cinderella, the genre seemed a little overplayed. However, I must say (and it could just be I'm a girl who was raised on the princess concept cartoon) that I usually prefer these stories, especially to the more recent Emperor's New Groove, Brother Bear or Home on the Range (does anyone else even remember that one?). So here's hoping that Disney gets their groove back and creates something to rival the love I have for Ratatouille, Monsters Inc., and The Incredibles.
