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losille2000 · 4 years

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Mister America, Prologue: Massachusetts

CHAPTER NUMBER: 1/? CHARACTERS: President!Chris Evans/OFC (see notes) GENRE: Romance/Drama FIC SUMMARY: After a massive social media write-in campaign organized by others, Chris finds himself thrust into a spotlight that he is unprepared to handle. His campaign managers suggest that a political marriage might help him weather the storm and help his image during the campaign... just so long as it isn’t the one woman Chris really wants. RATING: M WARNINGS: Nothing. AUTHORS NOTES: This story is AU in the fact that this is the 2020 presidential race, and Chris is a candidate. But everything in the past is still the same with him being an actor. Also, COVID-19 is not a part of this story. I needed to play in a land where COVID didn’t exist and “Captain America,” in his alter ego, punched out a Nazi in a metaphorical(?) way. For more on the story, go here.

This first part is prologue-y.

I have also curated a soundtrack for all 50 states, and then some. You can listen on Spotify right now, may eventually put it on Youtube. There will be 50 chapters (I’m hoping), but many of them will be shorter.

Also on AO3!

Boston, MA Evans for President Campaign Headquarters November 3rd, 2020 30 Minutes Before First Polls Close

Stage fright is no joke.

When it hits, it hits like a semi truck going seventy on an icy Massachusetts road. In the blink of an eye, you’re completely obliterated. Except this is on stage and you’re not dead, even though you wish you were. In fact, you’re very much alive. Alive enough to feel the force of the impact, followed by the squeezing in your chest and choking on your breathless words. Paralysis takes over. Cold clammy sweat slicks your palms and also trickles down your back to that one spot between your shoulder blades you can’t reach, but causes your costume to uncomfortably stick to your skin.

There’s no escape. You know what’s coming. You worry you’ll forget your lines, or trip on your cue, or make a complete and utter fool of yourself. You feel like an imposter, questioning why you’re here, in this role, when that dude, JD, from your acting class years ago was a million times more talented than you, and you’re the one that got that teen movie deal. You’re the one who became one of America's most beloved superheroes for a decade.

You’re also the one who has a very real chance of winning the 2020 presidential election, despite no college education, limited understanding of what elected officials in DC actually do on a day to day basis, and the closest thing you have to experience as a “boss” or “commander in chief” of anything was a movie set or two where you were director and executive producer.

Nope.

What I, Chris Evans, have is a dedicated online fan base who took the time to write my name into ballots when they discovered I had filed for ballot access in every state of the union. I didn’t do the filing on a whim; we sat around late one night talking about the interviews I had been conducting in DC for a website about party positions on important issues. My business partners and I came up with the idea that a long form documentary about campaigning would be interesting, and we determined the best way to understand the process was to become a “candidate” myself. Meaning, we only planned to use the credentials to be on the front line of the campaigning process. I was never going to create signs and make speeches or debate with others.

I never intended to run a legitimate campaign.

But, as I mentioned, something strange happened during the Democratic primaries. People started to vote for me, a trickle of rain in a hurricane.

I won a few primary delegates.

Without even trying.

Not enough to win the Democratic ticket, but enough to make pollsters sit up and take notice.

My loyal fans stepped in again, undaunted, and ignited a storm. They dubbed it “Operation America’s Ass” and created a grassroots campaign across the country with GoFundMe donations and a lot of pluck. I thought it was a joke. A part of me still does think it’s a joke. I mean, what other explanation is there for this mess? For the red, white and blue bunting hanging on the walls with the “Chris Evans for President” sign plastered underneath it? For the staffers who stop briefly to see if I need anything...‘Would you like a drink, sir?’... or, upon seeing how pale I look, give me a vote of confidence… ‘Are you ready for your acceptance speech?’ There’s absolutely no good explanation as to why there are twenty or thirty people buzzing around the hotel suite waiting for results. They’re so energized with hope for a better future.

Hope that I can be everything they ever wanted in a president.

An Independent president, free from party oversight.

A president with class.

A president for the people.

A president who can bring the United States back from the brink of destruction at the hands of previous leaders.

I wish I had their confidence.

When they asked me on career day in school what I wanted to be when I grew up, I always said artist. When I was older, in high school, I knew I was going to be an actor. Never president. The job never entered my mind as being a possibility, not even when I used to work for my uncle’s congressional campaigns. Or when I started filming those interviews.

Why does anyone think I, a straight white momma’s boy from Boston should be president in 2020? Just because I made a few popular Tweets about the current president’s lack of leadership?

It has to be a joke. A cosmic one. I’m a punchline. I am convinced they’ll jump out from behind a doorway and yell “You’ve been PUNK’D! We really got you this time, now here, Bernie, you’re the better candidate.”

And yet…

What if they see in me something I do not?

I place a lot of stock in being in the moment. I’ve also put a lot of work into accepting the twists and turns of life instead of allowing all the “what ifs” and “what should I dos” to eat away at me. I told everybody after I was done with Marvel and financially secure enough to only work on projects I really wanted to, I’d take life as it came at me.

Well, it came after me.

To be fair, I originally chose to get into politics, even in a tiny way, because I wanted to be informed about my choices. I created a website so others could learn, as well. As time went on, I became more involved on Capitol Hill. I even did some lobbying for a few causes dear to my heart. And, yes, I did file the ballot access paperwork.

Had I unintentionally set my path in this direction? Was it inevitable for me to become a contender for the presidency?

Fortunately, I learned early on in the process that a lot of being a presidential candidate is being a convincing showman. An actor. The world's a stage, after all, and I am but a player. You have to have some solid ideas and convictions to back up the image, but a lot of the governing comes from other members of the executive branch. Should I win, I’d only be signing off on everything.

Of course, that “everything” affects the lives of more than 300 million souls. I wouldn’t trust me with a kitchen knife, much less nuclear launch codes and people's livelihoods and education and health and…

My hands shake with nerves just thinking about it.

Let it be said, once I do make it out onto the stage--be it as an actor or presidential candidate--I rise to the challenge. The energy from the audience buoys me. Makes me feel alive. But I am not, by nature, someone who likes to sign away so much personal freedom in exchange for the weight of carrying an albatross around my neck. I thought signing for Captain America would be tough; the human toll of running for president even moreso.

Actually being President? I can’t even wrap my mind around that.

It would be easy to call it quits, even now when the votes are already cast. I could have done it a long time ago, when the reality of the situation hit me the first time. I didn’t. Something told me to hold back, play it out. I persevered. Why? Somewhere, along the line, I began to believe I could do this. I could make a positive difference in the lives of Americans.

I certainly want to do right by all my supporters--and my detractors. I want to be a leader for all Americans.

But can I, really, while knowing my incredible deficiencies?

Maybe I can’t, but I can be the team leader. A brand ambassador, if you will. A good leader delegates. And I intend, should I win, to surround myself with the best and brightest. I will accept no less. I will do ‘Whatever It Takes,’ as our slogan boasts. I am American, first and foremost, and I care deeply about this country.

A real Captain America, if you will. Maybe not as strong or powerful as others, but I sure as hell can give a great speech and will defend my country from bullies until my last breath, whether they be purple… or orange.

Except, I suppose if I’m elected, I won’t be Captain America anymore. They’ll call me Mr. President.

Or, horror of horrors, what if the new name my nearest and dearest coined makes it out into the public. They tease me with it just to see my visceral revulsion and get a laugh. But if I have learned anything about the internet--and pop culture--is that if something is catchy, it sticks around for a long time.

Maybe I ought to get used to the idea of being a punchline.

So, I suppose I have a question for you.

Won’t you consider a vote for Mr. America?

#chris evans #captain america #chris evans fanfiction #chris evans fan fiction #chris evans fanfic #chris evans fan fic #mister america #president!chris evans #president

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aion-rsa · 4 years

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The Best TV Comedies of 2020

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Have we ever been in more need of a laugh than in 2020? Amidst a historic global pandemic, a tumultuous American political election, civil unrest, wildfires, MURDER HORNE… alright, you get the picture. 2020 has been the pits, man. Thankfully, this year from hell featured some bright spots on television, even if rays of sunshine were sorely lacking in reality.

If the shows on our list weren’t making us laugh, we would have been ugly-crying since March. While we were all locked in our homes, we got reacclimated with the Warner Brothers (and sister), said goodbye to BoJack Horseman, and met regular human bartender Jackie Daytona, making quarantine a bit more bearable, if only in 30 minute increments. From brand new series like How To with John Wilson, to swan songs for Den of Geek favorites like Schitt’s Creek, TV comedies in 2020 kept us cackling through the chaos.

To determine the best TV comedy of 2020 in a particularly stacked, diverse year, we polled 12 Den of Geek staffers and contributors. Below, you’ll find our honorable mentions and our list of the series most likely to raise your mood in the darkest year of our adventures.

Honorable Mentions

The following shows received votes but just missed out on the top 20:

Ramy, Never Have I Ever, Feel Good, The Great, Avenue 5, The Duchess, Staged, Famalam, Inside No. 9, Ghosts, The Shivering Truth, Bob’s Burgers, Katy Keene

DEN OF GEEK TOP 20 COMEDIES OF 2020

20 – Big Mouth (Netflix)

How long can a show about puberty, a very specific time in the life cycle, remain viable? Well based on the fourth season of Netflix’s animated comedy Big Mouth, just about as long as it wants to. Big Mouth season 4 succeeds by finding new avenues to delve into the psyches of its young characters going through chaaaaanges. In the process it also finds ways to expand its storytelling capabilities, delving into issues of trans youth, code switching, and anxiety. Through it all it remains as hilarious, and disturbingly vivid, as ever. – Alec Bojalad

19 – The Eric Andre Show (Adult Swim)

It’s not like Eric Andre reinvented the wheel or anything with the fifth season of his anarchic, absurdist talk show. If you were never a fan of anti-comedy that centers heavily around duping random people on the street, gross-out gags, and the torture of unsuspecting guests, then you’re not going to start liking it now.

However, for those of us already onboard The Eric Andre Show train, it’s no small feat that, five seasons in, this is still one of the funniest shows on TV. You’d think by now Eric would’ve run out of guests who have no idea what they’re in for, but, no, there’s an all-new batch of naive celebrities whose lives are effortlessly worsened by Eric, his crew, and his new house band. You’d assume he couldn’t prank people on the streets of New York City and Newark, New Jersey anymore because he’d be recognized by now, but, no, he pisses off a lot of people and breaks a lot of other people’s brains with ever-inventive, bizarre, obnoxious pranks.

Finally, you might think the series would suffer irrevocably from the departure of co-host Hannibal Buress only two episodes into the season, but Eric demonstrates he’s more than capable of spreading chaos all on his own (though he’s sometimes assisted, alternatingly, by a Hannibal clone named Blannibal, comedian Felipe Esparza, and Screen Actors Guild Awards nominee Lakeith Stanfield). Season five is the same The Eric Andre Show as it ever was, but that still makes me laugh harder than anything else on television right now. I’d be happy for Eric to keep making this show forever. – Joe Matar

18 – Saved by the Bell (Peacock)

A Saved by the Bell reboot shouldn’t have worked. But as Peacock’s recent series showcased, with the right creative team and angle, you really can successfully reimagine an outdated but beloved ’90s teen comedy for 2020. Working as both a soft reboot and sequel, this is meta-comedy at its best. Saved by the Bell is fully aware of what made the original special and why they don’t still make shows like it now. Juxtaposing those two competing views through the lens of the privileged and perfect Bayside kids and the new normal students makes this an accessible and seriously funny series with a biting humor rarely seen in teen comedy. – Rosie Knight

17 – Everything’s Gonna Be Okay (Freeform)

Australian comedian Josh Thomas brings his off-kilter sensibility to a loving and sharply funny portrait of a modern family in Everything’s Gonna Be Okay. In the pilot, Thomas’s character Nicholas, a gay twentysomething from Australia, visits his father in the US and learns that his physically and emotionally distant dad is dying. Things really pick up as Nicholas steps up to care for his two teenage half-sisters, Matilda (Kayla Cromer) and Genevieve (Maeva Press), while also trying to date, and manage his melodramatic mother from the other side of the planet.

Matilda especially comes into her own as she hopes to go to college away from home next year— something others doubt since she’s autistic. Her autism is a reality that becomes part of the fabric of the show, a setup rather than a punchline. Few shows would include a teenage threesome that manages to be funny, heartfelt, and matter-of-fact, but in Matilda’s world, sex (and exploring her sexuality) are often all three. Everything’s Gonna Be Okay is a family show that acknowledges the realities of family: death, disabilities, teenage girls with sex drives, and laughter at funerals. – Delia Harrington

16 – Star Trek: Lower Decks (CBS All Access)

Created by one of the writer/producers of Rick and Morty, it’s no surprise that the first episode of Lower Decks involved some pretty broad humor and wildly out of control situations. The producers of the 1970s Star Trek: The Animated Series understood the creative potential of animation when they replaced Ensign Chekov with a giant cat, and Lower Decks follows suit, the pilot giving us blood, guts, gore, zombies and a giant spider, all in Rick and Morty’s madcap tone.

As the show has developed over its first ten episodes, though, it’s become something more than that. The knowing humor is a delight—the focus on things like “second contact” (the less glamorous setting up of diplomatic relations after first contact), ascensions to a higher plane of existence gone wrong, and re-visiting half-forgotten alien races like the Pakleds shows the same sort of gently teasing love of the franchise that Galaxy Quest did. But the characters have also developed into real, complex people to the point that a character death is genuinely moving, and the audience are really able to care about what happens to these essential cogs in Starfleet’s machine next. – Juliette Harrison

15 – Solar Opposites (Hulu)

A big part of what makes Rick and Morty so great is that, in addition to all the sci-fi hijinks, there’s meaningful development of the show’s characters and world. Unfortunately, as the series has progressed, this is also what’s dragged it down. As Rick’s nihilism has increasingly alienated the people around him, a lot of the fun has been lost. The show still puts out the occasional brilliant episode (for example, the season four finale), but it almost feels like all the characters on Rick and Morty straight-up hate each other and watching it can be kind of a drag sometimes.

It’s such a treat then, to see all that fun sci-fi silliness rebirthed in the form of Solar Opposites, co-created by Justin Roiland and Mike McMahan (Rick and Morty co-creator and writer/producer, respectively). Making good use of all the storytelling lessons they learned from their other sci-fi cartoon show, the two have released a confident and consistently funny debut season. Though it feels awfully similar to Rick and Morty at first blush, it has more in common with classic sitcoms, with its focus on goofy, self-contained plots about the alien family at the show’s center. However, the series shakes the sitcom formula up a lot with a surprising dedication to callbacks and continuity, most notably exemplified by the continuing, dramatic tribulations of a community of people who have been shrunken down and forced to live in the aliens’ multilevel terrarium. The combination of madcap sci-fi alien plots contrasted with the trials of the melodramatic dystopian shrunken-people world makes Solar Opposites one of the most inventive comedies of the season, and I’m excited to find out where it’s going next. – Joe Matar

14 – Dave (FX)

There are countless hip-hop artists whose backstories would make for compelling television. So why did FX choose to spotlight a goofball white rapper from the suburbs with a mediocre penis joke for a stage name? It takes only one episode to realize any preconceived notions about Dave, based on the life and rap career of Dave Burd, aka Lil Dickey, should be spit from your silly mouth faster than Lil Dickey spits bars on a freestyle.

A telling sign that Dave was going to be a sleeper hit was the involvement of co-creator Jeff Schaffer, a longtime EP and writer on Curb Your Enthusiasm and the creator of FX’s The League. Together Schaffer and Burd mapped out a first season that sees Dave navigate the early stages of his music career with a level of narcissism he believes is needed to be taken seriously in the rap game. But the series also shows another side of Dave, self-deprecating in a surprisingly endearing way, rarely swayed by what others think, and frustratingly true to himself and the path he sees for his life. This is FX’s star vehicle for Burd, but the show manages to make him the center of the universe while still developing key players in his life as the season progresses, giving each character an affecting spotlight episode. The standouts include episodes about Dave’s real-life friend and hype man GaTa and his struggles with bipolar disorder, the evolving managerial relationship with his roommate (Andrew Santino), and how sudden fame begins to erode a once promising relationship with his girlfriend, Ali (Taylor Misiak).

Already renewed for season 2 and a ratings hit with FX/Hulu reporting high streaming numbers, Dave is no longer an underdog and will carry a new set of expectations as the titular character’s career ascends. If you’re still a skeptic, you need to adhere to television’s golden rule when it comes to Dave: Don’t judge it until you binge it. – Chris Longo

13 – Brooklyn Nine-Nine (Fox)

At only 13 episodes, Season 7 was the shortest season yet of Brooklyn Nine-Nine, but it packed a lot into those 13 half-hours. With Melissa Fumero pregnant in real life, the writers used this to cover six months in series by following Jake and Amy’s attempts to conceive a baby, helping those limited episodes to feel like they were filling out more time. The show has also struggled to work in its annual Halloween Heist episodes since moving to NBC and being put into a winter start slot, but in 2020 Rosa managed to triple her victory by engineering Heists on not just Halloween, but Valentine’s Day and Easter as well.

Season 7 aired too early to deal with the Black Lives Matter protests that dominated the summer of 2020, but the writers have already pulled all their planned scripts for Season 8 and re-written them in light of those events, so that is yet to come. 2020 had a little bit of everything that makes B99 great—a dose of Pimento, Jake and his daddy issues, Holt’s adorable corgi Cheddar, and one final appearance from his nemesis Madeline Wuntch. For once, the season didn’t end with Holt somehow being removed from his job as Captain of the 99, but there’s still plenty to look forward to in Season 8—maybe 2021 will be the year that Charles Boyle finally wins the Halloween/Valentine’s Day/Easter/Cinco de Mayo Heist? – Juliette Harrison

12 – Animaniacs (Hulu)

Rampant remakes and sequel reboots have turned into the norm, but streaming services have especially embraced this idea as a way to anchor a library of programming. These endeavors are extremely hit or miss, but Hulu’s revival of Animaniacs is one of the few exceptions that feel justified for a return. Animaniacs always functioned as a radical cocktail of perversions of pop culture and classic comedy and 2020’s Animaniacs actively thrives with decades’ worth of new material to lampoon. The series has stripped itself back to its basics and temporarily removed most of the old supporting players, except for Pinky and the Brain, but this allows Animaniacs to build itself back up and establish new recurring characters and segments.

There’s such clear joy present in Animaniacs, whether it’s from the voice actors, the creative staff, or the animation team. Segments like an unauthorized Russian version of the Animaniacs or catchy songs about Shakespeare and the different First Ladies of America prove that the classic series’ sense of humor has successfully been maintained. If anything, the cartoon is even more fearless. It’s the perfect burst of ‘90s Saturday Morning nostalgia that’s also exceptionally funny and thought provoking. – Daniel Kurland

11 – Rick and Morty (Adult Swim)

Rick and Morty is a colossal behemoth of storytelling that’s developed a fascinating and often antagonistic relationship with its audience. 2020’s Rick and Morty content only includes five episodes from the second half of the show’s fourth season, but they’re some of the series’ wildest installments when it comes to storytelling, perpetual jokes, and the show’s ability to deconstruct itself and its fandom. The series Emmy-winning “Vat of Acid Episode” explores the emotional highs and lows of “save states” while “Never Ricking Morty,” the show’s “Story Train” episode, is perhaps the most structure-obsessed piece of television that’s ever been written.

Rick and Morty continues to expand its universe in exciting ways and allow its characters to realistically mature. These episodes provide fascinating insight on both Rick’s relationship with Morty as well as his bond with Beth. Even Jerry and Summer get their moments to shine and Rick and Morty feels more like an ensemble than ever before as it prepares to shake things up even more in season five. – Daniel Kurland

10 – Aunty Donna’s Big Ol’ House of Fun (Netflix)

In 2019, Netflix gave us I Think You Should Leave, the sketch comedy series from Tim Robinson that birthed memes that somehow only get more relevant (and funnier) as time goes on. In 2020, Netflix, likely mindful they needed to hold us over until Robinson finishes filming season 2, gave us a gift from down under called Aunty Donna’s Big Ol’ House of Fun. If you liked Robinson’s sketch series, imagine that on crack, dialed up to 100, and featuring the three silliest Australian dudes to ever walk on that continent. The series stars Mark Bonanno, Broden Kelly, and Zachary Ruane, a group of friends who formed a comedy group called Aunty Donna and gained a large following on YouTube with their absurdist humor that features simple premises that often descend into frenetic madness. See: them explaining how a board game works or doing roll call at school.

In Big Ol’ House of Fun, the series opens with a musical number that will have you wondering whether everything’s a drum. Episode 2 will change the way you think about your morning coffee. Friendly faces like Scott Aukerman and Ed Helms (or is it “Egg” Helms?) even stop by just to play ball. Through its infectious and (mostly) good-natured absurdist energy, the series lives up to its name with endlessly quotable and memable sketches. And much like I Think You Should Leave, Aunty Donna material only gets better when you rewatch it. Here’s to hoping Netflix will let us come back and visit this Big Ol’ House again for season 2. – Chris Longo

9 – Mythic Quest: Raven’s Banquet (Apple TV+)

Created by Rob McElhenney, David Hornsby, and Megan Ganz of It’s Always Sunny in Philadelphia fame, Mythic Quest: Raven’s Banquet is a new Apple TV+ comedy that easily justifies a subscription to the streaming service. Set within a video game studio for a popular MMORPG, Mythic Quest leans into certain workplace comedy tropes, but never feels derivative of the genre or that it’s just Always Sunny with a fresh coat of paint. The comedy effectively explores and skewers gaming culture, but a knowledge of the industry is not at all necessary to enjoy the program.

Smart and creative scripts are punctuated by the show’s phenomenal cast, which features the likes of McElhenney, Hornsby, and Danny Pudi. However, Charlotte Nicdao’s work as Poppy Li, the studio’s neurotic perfectionist lead engineer, is a revelation. Mythic Quest works so well because of how it grounds its quick comedy in powerful character dynamics. The series’ “standalone” flashback episode, “A Dark Quiet Death,” received a ton of acclaim, but there are few episodes of television from 2020 that contain more heart and honesty than the series’ quarantine-centric installment. – Daniel Kurland

8- Search Party (HBO Max)

HBO Max’s first bingeable, bonafide hit was outsourced from TBS. After languishing on basic cable with critical praise but low viewership, Search Party made the move to the new Warner streaming service for Season 3 and proved that the series was the perfect “watch it all in one afternoon” comedy. What began as a comedic mystery series about a group of prototypical Brooklyn millenials on a quest to find their missing former classmate shifted in its third season to become a satire on celebrity trials and how tabloid spotlight can turn unassuming people into sociopathic narcissists.

Search Party’s strength is in its ensemble. Alia Shawkat brings an interesting vulnerability to disaffected Dory, but her other “searchers” are the real bright spots. John Reynolds is perfectly cast as the de facto worthless millennial “beta male,” and John Early and Meredith Hagner are consistently laugh out loud funny as self-obsessed, attention seeking airheads. Search Party has a twisty, interesting plot, but it’s also a scathing indictment on an entire generation obsessed with celebrity, self-analyzation, and searching for “meaning.” If you have not yet watched one of the year’s funniest shows, get caught up before Season 4 debuts in January 2021. – Nick Harley

7- How To with John Wilson (HBO)

Life is strange. If you take a moment to actually watch and analyze many of the seemingly ordinary, day-to-day things you witness while walking down the street in a major U.S. city, you’ll be shocked at how alien it can all appear. In New York City in particular, every imaginable human behavior is on display somewhere, and documentarian John Wilson is out there capturing it all on camera. How To With John Wilson may seem like a series designed to teach you useful everyday skills like how to split a check or how to improve your memory, but in reality, it’s a love letter to New York, in all of its beautiful, ugly, life-affirming, and soul-crushing splendor.

It’s also insanely hilarious. Wilson’s deadpan, stammering narration on top of quick cut, slice of life footage is an endlessly watchable setup-punchline joke machine. Wilson also is wise to go down the rabbit hole and follow weird digressions wherever they lead him, like a Mandela Effect conference or the home of an anti-circumcision activist. Further, the series finale is the first piece of television to fully capture the reality of post-pandemic city life, putting to shame all of those half-assed Zoom created depictions of life in 2020. Few shows can effortlessly glide between cringe comedy and poignant moments like this. How To with John Wilson is unlike any other show on television, an absurdist masterpiece that makes the mundane feel surreal and vice versa. – Nick Harley

6- High Fidelity (Hulu)

In a time full of reboots and remakes, High Fidelity earned its existence and then some. To its many admirers, it warranted a second season for more eclectic music choices, guest stars, and beautiful lingering shots over the credits. Sadly, that is not meant to be. Hulu’s High Fidelity is so much more than just a gender-swapped adaptation, though Zoe Kravitz leads the endeavor in the lead role of Rob, the idiosyncratic record store owner counting off Top 5s, especially her Top 5 heartbreaks.

Rob’s rich world is full of characters we’d love to spend more time with, like snarky Cherise, she of the eclectic taste who keeps putting off her musical dreams for “someday.” Or Simon, Rob’s ex and current best friend, who narrates an episode that completely changes how the audience views Rob. Zoe Kravitz carries this beautiful mood piece, sharing chemistry with just about everyone. While it seems relaxed and fun on arrival, High Fidelity eventually reveals itself to have plenty to say about being accountable for our actions and allowing oneself to be happy, before wrapping Rob in a warm summer night and sending her on her way. – Delia Harrington

5- Pen15 (Hulu)

The debut season of Maya Erskine and Anna Konkle’s brilliant series in which they, two adult women, play middle-schoolers surrounded by actual kid actors playing their classmates, was, in my opinion, the funniest show last year, but, as I didn’t actually get around to watching it until this year, I didn’t know that at the time. Rectifying my past mistake, this year—despite the fact it’s only aired half a season so far due to production being halted by COVID—it’s not just my favorite comedy, it’s my favorite show, period.

Though it still has its fair share of laugh-out-loud moments, the comedy in the second season has, admittedly, been scaled back a bit, but it makes perfect sense for where Pen15 is right now. From the start, what the series has done painfully well is zero in on the utter nightmare of living through our stressful and confusing pubescent years. As the series deepens its exploration of these characters’ experiences with friendship, romance, sexuality, the internet, and the impact of divorce, the stress and confusion should and absolutely do ratchet up. This season is also doing a great job of further developing the show’s side characters, with a standout arc for Dylan Gage as Gabe, who is grappling with the discovery that he may be gay. Though it’s still a hilarious series in places, Pen15 most wins me over most for how uncomfortable and tragic it can be with its stunningly well-observed depiction of surviving junior high. The secondhand shame and embarrassment you’ll feel makes it one of the toughest, but most worthwhile, watches of the year. – Joe Matar

4 – Ted Lasso (Apple TV+)

Jason Sudeikis’s Ted Lasso first originated as a character back in 2013, when NBC Sports commissioned a commercial for its upcoming coverage of the English Premier League. “An American Coach in London” introduced the concept of an American football coach deciding to try his hand coaching “the other football” with top flight club Tottenham Hotspur. It was a hilarious five minute clip that seemingly exploited the “fish out of water” concept to its natural conclusion.

The character seemed destined to be a one-off goof. But then Sudeikis and producer Bill Lawrence decided to try their hand at the overmatched coach one more time with a series for Apple TV+. The end result was one of the most essential new comedies of the 2020 TV season. Ted Lasso works because its’ funny, first and foremost. The show proves that this fish still had plenty of more time to spend out of water after all. More important, however, is how aggressively wholesome and optimistic it is. In a year that saw ugly Americans all over over TV screens, Ted Lasso represented the stars and bars the only way he knew how: by believing in the best of people from aging football star Roy Kent, to selfish young buck Jamie Tart, to even the woman who got him this job in the first place as an elaborate revenge plot. – Alec Bojalad

3 – Schitt’s Creek (Pop)

If Schitt’s Creek were a fairy tale (and in all the best ways, it is), it’d be about a group of puppets brought to life by a magic spell. When the Roses lose their fortune, they’re forced to swap wealth and glamour for unfashionable small-town living. They start out wooden, obnoxious and alone. Then, over six seasons, we watch them transform into a flesh and blood family who figure out how to love each other in a community that’s as weird as they are, and that ends up loving them back.

If that sounds schmaltzy, then I’m saying it wrong. Schitt’s Creek doesn’t do schmaltz. It does smart and absurd and naughty. It does jokes and brightness and kindness. Or it did, because now it’s gone. 2020 waved Johnny, Moira, David and Alexis off with a final season packed with treats: Patrick’s spray tan, David’s bed-wetting, the world premiere of “The Crows Have Eyes III: The Crowening”, Moira officiating a wedding dressed in a Rapunzel wig and pearlised bishop’s mitre…

However painful it was to say goodbye, the alternative – another six seasons with diminishing returns – would have been much worse. Dan and Eugene Levy’s sitcom went out on a high, with a finale that left fans in joyful tears. Not least for moments like the one in which a usually armoured-by-sarcasm David tells his sister, “For what it’s worth, I am continuously impressed by you.” The feeling’s mutual, Roses. – Louisa Mellor

2- BoJack Horseman (Netflix)

Though BoJack Horseman premiered only the back half of its final season in 2020, those eight episodes were some of the best dramatic and comedic storytelling on television this year. This final season operated as almost a microcosm of the series’ entire run. Just like the show’s beginning, season 6B begins with BoJack in a place of relative stability. He has just finished rehab and is prepared to embark on a career as an acting professor at Wesleyan. Of course, something from his past has to pop up to shatter his fragile equilibrium, just like it always does. In this case, it’s a pair of journalists working on a story of what really happened the night Sarah Lynn died back in season 3. What follows is as sadly predictable as it is tragic… also there are jokes!

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BoJack Horseman has been a frequently occurring item on many of our year-end best-of lists since the show first premiered in 2014. And each time, it’s hard not to continually expound upon what a bizarre, touching, and incisive drama Rapahel Bob-Waksberg’s animated creation is. That temptation remains for this final season, which is as devastating as they come. But this year, for the show’s final appearance on any of our best-of lists, let’s not lose sight of how funny this all is.

Yes, this is an exploration of the human condition and how the only way to repair our damage is to acknowledge it and then put in the work to get better. It’s also the show where Mr. Peanutbutter, his fiancée Pickles Aplenty, and international pop superstar Joey Pogo open up a Lazy Susan/small plate restaurant called “Elifino.” The animation remains just as bright in this final season, the dialogue just as witty and convoluted, and the background jokes just as rewarding. BoJack Horseman season 6 shoulders a grand narrative burden of closing out the story of the world’s most miserable Horseman. That it is able to do so is remarkable. That it’s able to do so while maintaining its sharp sense of humor is even better. – Alec Bojalad

1- What We Do in the Shadows (FX)

Adapting a beloved indie comedy film to the small screen seems a near impossible task. But when Taika Waititi convinced Jemaine Clement they should do exactly that, it was a stroke of genius. With Waititi busy on his Marvel movies, Clement was left to write and produce the FX series alongside Stefani Robinson and Paul Simms. What We Do in the Shadows began with a solidly silly first season but came into its own during a stellar second season which leaned into the absurdity innate to the idea of ancient vampire roommates. The series has also given us a new action hero for the ages in Harvey Guillén’s Guillermo de la Cruz.

What makes season two so excellent is the writing and performances that play on the fish out of water setup the show has so much fun with. In “The Curse,” Nandor checks his email and discovers a chain email from Bloody Mary. Most of the hilarious runtime focuses on the crew trying to uncurse themselves. It sounds simple but it is honestly one of the funniest episodes of TV you’ll watch all year. “The Curse” is only topped by “On the Run,” which allows Matt Berry to go full Matt Berry as Laszlo leaves the nest and becomes a bartender, Jackie Daytona, who loves girls volleyball in smalltown America. It’s a pitch perfect riff on feel good sports movies while also being hysterically funny. It’s still a complete crime that Robinson didn’t win the Emmy for this one.

But the real power of What We Do in the Shadows is its heart. Even within the broad comedy, genre parodies, and often gross out humor, this is a show about love, family, and friendship. Guillermo’s arc feels radical and boundary-pushing. It’s so well built in from the very first season that it’s also incredibly satisfying. This is the kind of comedy we need more of: inclusive, intelligent, and most importantly just really, really, f**king funny. – Rosie Knight

The post The Best TV Comedies of 2020 appeared first on Den of Geek.

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superkickingit · 5 years

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Kelsi Likes Seinfeld

Go to the bottom of this post to see all of my Seinfeld recommendations including books, merch, articles, and more!

There was an echo issue with my audio in the segments while I am on camera. I am working to fix the issue if there is any way to, but until then here is the video if anyone still wants to see it:

youtube

Recently, I decided to start a weekly show called “Kelsi Likes.” The title is an anagram! Each episode is about a different topic with only one thing in common…that I LIKE it!

I’ll be doing episodes on wrestling, cartoons, my favorite movies, horror, my love of Halloween, tv shows, characters, my love for the 90s and so much more!

But this episode is about one of the most iconic television shows of the 90s...

Seinfeld, “the show about nothing,” that was actually about everything and anything!

Even if Seinfeld wasn’t your favorite show in the nineties or if you never cared to watch it at all, no one can deny that it has had a huge impact on the current social and television landscape. Seinfeld played a huge role in television history, in academic television analysis and in society itself by becoming a massively influential, cultural phenomenon.

In college, I wrote a paper titled “The Evolution of the Television Industry in the 1990s.” Seinfeld was one of the specific shows I analyzed and wrote about to prove my thesis: “television of the nineties was revolutionary and stands out from previous decades.”

Here are a few excerpts from the paper:

Hailed as “the best sitcom of all time” is NBC’s Seinfeld, which first aired in 1989 and ended in 1998. The show follows Jerry, Elaine, George and Kramer as they go through everyday life making fun of and analyzing everything and anything. Famously described as “a show about nothing,” Seinfeld’s striking appeal is the wonderful comedy writing and revolutionary idea of having a show that revolves around quirky, but regular, people and their daily encounters. TV Guide describes the show this way:

As put forth by the series itself, Seinfeld was a comedy about nothing.But in reality it was about the very worthy subject of modern manners-waiting interminably for a table at a Chinese restaurant, for instance...and it addressed these issues with all the acute observation and satirical brilliance of a Restoration comedy. It’s just that the manners of Jerry, George, Elaine and Kramer were often atrocious. (Lasswell, 235)

Nothing overly monumental happens to the main characters, but it’s the writing, the acting, and the premise of “nothing” that made this sitcom stand out above all others. It’s original. Even today, over twenty years after the show has ended, it’s still widely considered “the best” sitcom of all time.

This show can be said to have single handedly defined nineties television and the uniqueness of the era. Entertainment Weekly describes Seinfeld as

...that brilliantly self-reflective series about a stand-up comic and his three pals, [and it] went on to become the defining sitcom for the ‘90s. In its eight years on the air, Seinfeld changed the tone of TV, our Thursday-night plants, the way we talk. It spawned enough imitators to fill Yankee Stadium, boosted sales of Jujyfruits and Binaca, and even made medical history--a journal reported that a Massachusetts fan laughed so hard, he kept fainting. It made a mint for NBC--and not a junior one either. (Gwinn, 11)

Always challenging TV “Political Correctness,” Seinfeld addressed countless topics that had never been discussed on television before.

Over the years, the quartet broke tube taboo after taboo, mocking deaf people, cancer, football-shaped goiters, and mental retardation. Even masturbation and oral sex slipped onto the airwaves, thinly disguised with masterful euphemisms. Not exactly safe, family, Tony Danza-type television. But it was precisely Seinfeld’s shocking deviations from formula that separated it from the sea of tapioca. The show gave us a peek at our Jungian dark shadow. It let nothing--not feelings, not death--get in the way of a punchline. (Gwinn, 11)

Overall, Seinfeld was a step in the opposite direction of the regular family-friendly sitcoms such as The Cosby Show and Happy Days that had aired in previous decades. This, however, is exactly why Seinfeld was able to flourish and succeed. In effect, the 90s television audience was left with a new type of comedy that has not since, one could argue, been matched in quality and content.

I also asked some friends and family what Seinfeld meant to them.

My friend Trace (who has a UCF podcast: @UCF_Knightline) described Seinfeld like this:

Well written and witty, the scenarios the characters found themselves in were absurd, yet relatable. Who hasn't lost their car in a parking garage or struggled with someone who is a close talker? The terms seeped into our public consciousness and decades after its debut, the show is still as relevant as ever.

When I discovered Jerry Seinfeld, simply put, his poke at little things made me laugh. My enjoyment of his comedy made me want to check out his new show. Seinfeld's core characters weren't written to be like-able, yet proved to be enduring and, ironically, quite like-able.

My 14- and 15-year old nephews have only recently discovered Seinfeld through syndication and laugh out loud as I did when I first watched the episodes during their original run and dozens of times since.

It was billed as a show about nothing, yet became a show about anything and everything and remains my favorite show of all-time. No matter when I tune in, be it a few minutes in or only with a few minutes left, I watch and laugh and yell out the lines and ... yada, yada, yada all over again!

My co-host of my wrestling podcast, Paul, gave me a list of his favorite Seinfeld episodes!

My dad, Donald, also gave me a list of his favorite episodes and had this to say about the show:

Favorite Episodes for the Show’s Lead Characters:

Jerry (Possibly the most innately funny lead of a sitcom of all time) = With 180 shows to choose from? Maybe The Puffy Shirt, Season 5.

George = A three-way tie between The Marine Biologist, The Opposite, and the “I was in the pool!” Hamptons episode, all Season 5.

Elaine = The Bizzaro Jerry and The Little Kicks, both Season 8.

Kramer = Any and all of his appearances since the Seinfeld pilot (there were only two episodes in which he didn’t turn up: The Chinese Restaurant and The Pen). If I had to choose one favorite, it would probably be The Merv Griffin Show (Season 9); Also love any of the episodes that feature a Kramerica Industries venture, i.e., the NYU intern assisted oil bladder system (The Voice, Season 9), and his other various “Eureka!” ideas like Make Your Own Pie pizza restaurant or his PB&Js sandwich shop, the Coffee Table Book about coffee tables, The Beach cologne, ketchup and mustard in the same bottle, and the aforementioned male brassiere twist. Should I also include the co-created homeless person powered Rickshaw endeavor, Jerry’s imagining of a future Kramer’s car periscope invention, and possibly the roll-out tie dispenser? Cosmo’s umbrella corporation far outdistances George’s more pedestrian and fictional Vandelay Industries that was made up for extending Costanza’s unemployment benefits as a would be latex salesman.

Hardly a day goes by in my life that doesn’t include an occurrence or interaction within it that I can someway, somehow relate to a Seinfeld episode. Guess that does it for now, gotta go watch some Seinfeld reruns. It NEVER gets old, kinda like watching the movie “Jaws”. So Kelsi Likes, “you’re going to need a bigger list.” LOL

Lots of people on Twitter also weighed in and tweeted about their favorite episodes:

I also put out a number of Seinfeld-related polls on Twitter:

The last poll shown above references Seinfeld food bits, and there is actually a massive amount of food references throughout the entire run of the show! I found this fun article/list that compiles all the references and includes episode numbers and descriptions: Complete Food Tour of Seinfeld by Moze Halperin and Jillian Mapes from flavorwire.com

“Kelsi’s Kountdown” - My Favorite Seinfeld Quotes

The sea was angry that day my friends…

HELLO NEWMAN

SERENITY NOW!

These Pretzels are Making Me Thirsty

No Soup for You

Honorable Mentions:

GET OUT

Just pop the top, and toss the stump

TURN PIMP…I’M NOT A PIMP!

Jambalaya

You son of a bitch bastards

Schmoopy! No you’re schmoopy!

Yada yada yada

CABLE BOY…What have you done to my little cable boy?

I was in the pool.

Oh, No, I'm so sorry. It's the MOOPS. The correct answer is The MOOPS.

Here’s to feeling good all the time!

Believe or not answering machine message

You’re living in the past, man. You’re hung up on some clown from the 60s, man!

Well HELLLOOOO

Just Take One Dip and END IT!

Shut up ya old bag

You’re an anti-dentite!

If this wasn’t my son’s wedding day, I’d knock your teeth out you anti-dentite bastard

In the video at the top of the blog post I also talk about my most underrated Seinfeld episode list as well as my favorite Newman episodes.

“Kelsi’s Kountdown” - My Favorite Seinfeld Episodes:

The Chicken Roaster (1996 – Season 8)

The Bris (1993 – Season 5)

The Soup Nazi (1995 – Season 7)

The Little Kicks (1996- Season 8)

The Rye (1996 – Season 7)

In the video, I also recommended a number of books, articles, and Seinfeld-themed merchandise.

Here is what I recommended (including links!):

The book “Seinfeldia”: A very comprehensive look at behind-the-scenes facts and information about the show. You can buy it anywhere, including Amazon.

The Complete Series on DVD: Includes AMAZING, in depth bonus features, including interviews with the cast and creators, that will keep you entertained for hours.

Factinate Article: Includes a lot of very interesting facts and tidbits about the show

The book “Seinfeld Trivia”: Available anywhere, including Amazon

A Rolling Stone Article: Lists and describes the 100 Best Seinfeld characters

TwentyTwoWords.com Article: A visually appealing article that lists the best quotes and includes stills from the show.

Festivus! The Book: About the Festivus holiday tradition referenced on the show.

Seinfeld Funko Vinyl Idolz: Awesome figurines that can be displayed. I own all of the figures seen in the picture below except for Puddy.

ScreenRant Article: Written by Sean Harrigan this lists the best 15 Minor Seinfeld Characters

#jerry seinfeld #seinfeld #90s #90s tv shows #90s tv #90s tv series

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hotelconcierge · 8 years

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Lies of Omission

it’s a lot of responsibility, granted

New York Times, “Norway Is No. 1 in Happiness. The U.S., Sadly, Is No. 14.” Note that the Times is careful to say that they are “sad” about these results. That’s how they show that they are objective.

This nonsense concerns the 2017 World Happiness Report, written by a bunch of PhD golems doing part-time for the United Nations. Let’s go straight to the conclusion.

“The country is mired in a roiling social crisis that is getting worse,” [Dr. Jeffrey Sachs] wrote in [the concluding] chapter dedicated to America’s flagging happiness. “Yet the dominant political discourse is all about raising the rate of economic growth.”

To fix that social fraying, Dr. Sachs argues policy makers should work toward campaign finance reform, reducing income and wealth inequality, improving social relations between native-born and immigrant populations, overcoming the national culture of fear induced by the Sept. 11 attacks, and improving the educational system.

Right away, you should be skeptical. The survey (Gallup World Poll) from which this report draws its conclusions did not ask about September 11. It did not ask about campaign finance reform. It did not ask about the educational system. For comparison across nations, the report used one question to measure happiness:

“Please imagine a ladder, with steps numbered from 0 at the bottom to 10 at the top. The top of the ladder represents the best possible life for you and the bottom of the ladder represents the worst possible life for you. On which step of the ladder would you say you personally feel you stand at this time?”

And then tried to explain this score via “happiness predictors”: GDP, life expectancy,

“If you were in trouble, do you have relatives or friends you can count on to help you whenever you need them, or not?” (Yes/No; “Social support”)

“Are you satisfied or dissatisfied with your freedom to choose what you do with your life?” (Yes/No; “Freedom”)

“Have you donated money to a charity in the past month?” (Yes/No; “Generosity”)

“Is corruption widespread throughout the government or not?” and “Is corruption widespread within businesses or not?” (Yes/No; “Corruption”)

That’s it. One might suggest that yes/no questions of this sort are subject to some degree of cultural interpretation. One might argue that using a single question to measure “freedom” or “social support” would earn an F minus in frat boy hangover Sociology 101. One might muse that some of these terms are broad enough to encompass several dozen overlapping variables, giving them little if any explanatory power. One might claim that the “happiness” question does not measure day to day happiness at all, but rather a peculiar sort of satisfaction / imagination (my life may be quite pleasant, but since I can imagine life as a “crunked out” Soundcloud rapper, 6/10).

Even if the methodology was pristine, however—and there probably is some signal beneath the tinnitus—Dr. Sachs’ conclusions are inexcusable. His ideas may be correct, they may be disastrous, but nothing in the data even remotely supports them. Indeed, he almost directly contradicts the prior chapters, which argue for the primacy of social factors over economic ones. Chapter five:

...Eliminating poverty in the USA reduces misery by 1.7% points, unemployment by 0.3% and physical illness by 0.5% out of the total 5.6% in misery. Taken together, those three factors barely make as much difference as mental illness on its own.

Dr. Sachs admits this:

America’s crisis is, in short, a social crisis, not an economic crisis.

Then follows with:

The first priority should be campaign finance reform, especially to undo the terrible damage caused by the Citizens United decision. The second should be a set of policies aiming at reducing income and wealth inequality. This would include an expanded social safety net, wealth taxes, and greater public financing of...

The disconnect is so sharp that I have to wonder if Dr. Sachs got sick of writing and decided to plagiarize Wikipedia. I sympathize. I’m just not sure if you should be doing that sort of thing when you work for the United Nations.

II.

Despite all this, the World Happiness Report is not political propaganda. Like most bureaucratic documents, it is self-propaganda. Opening paragraph:

The first World Happiness Report was published in April, 2012, in support of the UN High Level Meeting on happiness and well-being. Since then we have come a long way. Happiness is increasingly considered the proper measure of social progress and the goal of public policy...

The authors of the report want to persuade you that happiness (as they measure it) is the correct measure of social progress. Two of the lead authors have published books about Happiness Science, the third is Dr. Sachs. The political conclusion is clickbait, a spoonful of stevia to help the methodology go down. That’s why the chapter on China ends with:

If the objective of policy is to improve people’s well-being, then [Subjective Wellbeing] is a more meaningful measure than GDP, as China’s experience attests.

And chapter 6, on work:

Generally, the analyses reported in this chapter provide additional empirical evidence for the merit of policies that focus on both the quantity and the quality of employment to support worldwide wellbeing.

So if you’re wondering why this report needs to be repeated every year, so the same people can say the same things and the New York Times can host,

“The libertarian argument that economic freedom should be championed above all other values decisively fails the happiness test: There is no evidence that economic freedom per se is a major direct contributor of human well-being above and beyond what it might contribute towards per-capita income and employment,” Dr. Sachs wrote.

the answer is, it doesn’t, it gets printed, admired, and tossed in a recycling bin. At best, the report exists to be pointed at, like a highlight of a college application brochure: “We’re not just looking at GDP—we’re looking at happiness.” At worst, it exists because the guy who’s always giving unsolicited back rubs said it should. Good luck cutting the program that investigates well-being.

The big acronyms (WHO, UN, OECD) command a Pope-like respect that your local school board does not. This is because you forget that organizations are made up of people. The elementary particle of corruption is the human being.

“Briefly stated, the Gell-Mann Amnesia effect is as follows. You open the newspaper to an article on some subject you know well. In Murray's case, physics. In mine, show business. You read the article and see the journalist has absolutely no understanding of either the facts or the issues. Often, the article is so wrong it actually presents the story backward—reversing cause and effect. I call these the "wet streets cause rain" stories. Paper's full of them.”

“In any case, you read with exasperation or amusement the multiple errors in a story, and then turn the page to national or international affairs, and read as if the rest of the newspaper was somehow more accurate about Palestine than the baloney you just read. You turn the page, and forget what you know.” (Michael Crichton)

III.

One more punchline. Here’s the table that appears in the Times.

Here’s an excerpt from the same table within the actual report:

I had no idea what being 14th looked like; turns out, not too bad. America’s score of 6.993 appears nowhere in the Times article (or rest of the report). We’re 93% as happy as Norway; we’re better than Germany (16), UK (19), France (31), Spain (34), Italy (48), and Japan (51). How’s your socialized medicine now, suckers? (jk, jk.)

In summary: a specious dataset gives rise to a redundant report with radically disconnected conclusions, the worst of which are picked up by a major media outlet, which excludes any part of the dataset that would compromise the message of societal ruin.

And yet not one point is demonstrably false. There are lies of omission, true. Leaps of logic. There may even have been an intent to deceive. But it’s not like it’s “fake news” or anything. That’s for the other team.

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smashpanda · 3 years

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Ani-Me #13: Groovin’ To That COWBOY BEBOP (Ep. 1-13)

Welcome to Ani-Me! The Series Where You Make Me Watch Anime! To be clear, you aren’t making me do anything because I have enjoyed every bit of this so far.

And surprise, nerds! Look what I’m doing! Haha, I actually had this whole fun plan to do the anime poll and then Ozymandias-style be like “I already WATCHED THE WHOLE SHOW!!!” But it would take too long to finish watching all of it (it’s been a busy as hell month). Besides, I got half way through the show and decided that was definitely enough space to really dig into how I was feeling about the start. So without further ado, it’s time for…

Today’s Entry: COWBOY BEBOP (1998-1999)

So, I’m doing this because I felt like I needed to have reckoning with this show.

That’s because I actually tried watching it once before. This was about 10 years ago. An old friend thought it was positively insane that I had never seen it before. He wasn’t the first to sing its praises either. Even at the time I was open to the idea and gave it the old college try for a bunch of episodes, but… it didn’t take. I think I was mostly crashing up against the proverbial rocks of all those tangible details I was not prepared for. Which were really just the kinds of things that had kept me out of anime for so long. Like the facial contortions being so different from western animation. Or the way this particular story seemed to fixate on cool posturing in a way that likely would have more appealed to me during my teenage years. Heck, I was even wondering why there was a romantic, emotional pop song at the end (again, I had REALLY not seen a lot of anime). Then there was that very complicated issue of “fan service,” because I was watching with someone who was like WHY ARE HER BOOBS ALL OVER THE FUCKING PLACE!?!?! Simply put: they were really not having it. Plus the fact that we were watching the dubbed version, which felt like it played into a number of sexist tropes. So much of this was the problem with my initial experience.

But I imagine anime fans are so fucking tired of these kinds of complaints from outsiders, no? Hell, even just a year into this column series, I’m tired of them, too. But here’s the thing: these complaints are the common obstacles for outsiders and some are not without merit. And as much the casual dismissal from outsiders about anime can rankle, it’s also important to remember how it is for the outsiders - to realize how much of that anime-fan tiredness manifests online in the forms of equally-casual dismissals (mostly from toxic white dudes) for “not getting fan service,” etc. Point is, misunderstanding and excuse-making can go in a lot of directions. And honestly it was all part of the system of why I think I stayed away from anime for so long?

Thankfully, everything’s about timing.

So much of this column series has been about throwing myself in the deep end, getting used to the cinematic language, knowing the filmmakers, and growing comfortable with the cadence of a particular form. But honestly, I think so much of it has to do with just being much older, too. Basically, I calmed the fuck down. The previous things that bothered me are still there, but it just feels like so much less of a big deal. Even “the rules” of what I tend to believe about storytelling are so much more expansive. As they say, finally “I’m not young enough to think I know everything.” Along with that, there’s the popular online joke that something “hits different,” but coming back to Cowboy Bebop after a decade… it hits different. Like I said, timing is everything. Which brings us to another reason I really wanted to do this now…

So John Cho goes to my grocery store a lot.

A little while ago I saw him in full Spike hair and it was rad as hell.

So I’ve also been thinking a lot (read: too much) about how to cover Anime TV. Ideally, I like the idea of doing one giant essay about a series, but sometimes 1) overall thoughts don’t take on essay-like form the way they did with, say, Evangelion. And 2) that sometimes takes out the fun of talking about little things in each episode. But at the same time, I don’t want to feel the need to do the FULL RECAP thing with every episode, which sometimes bogs down the more important thoughts / gets repetitive (I felt like I ended up doing that with a lot of Korra recaps). So really, it’s going to be a case by case basis. And for Cowboy Bebop, I decided on a sort of “fly casual” approach with no plot recapping - just the evolution of my thoughts along with some other random passing ones. And it will all likely crest into big overall thoughts that will come with the end of the series.

Cool? Cool.

1. ASTEROID BLUES

“Oh, this is good, isn’t it?”

I said this to myself while watching and I simply cannot explain the difference the subs make for me personally when it comes to this show. Like I know the dub has a lot of fans and history, but everything about hearing the show in Japanese just plays stronger to me. The rhythm, the cadence, and most of all the timing of jokes. There’s just this way each of their voices better line up with the droll affectation of the show. Combine that with me finally being used to a lot of anime’s particularly cinematic language? The show just plays so FUNNY now. Like I’m laughing out loud four times an episode. But that’s not the only thing that’s changed.

When I tried watching a decade ago, there was also this funny thing where I was having a very different relationship to the cinematic affectations of the late 90’s. Like how much of this episode reflects the El Mariachi / Desperado machismo that defined a certain kind of posturing coolness. Back then I worried a lot about that specific brand of indulgence. But now it all feels so silly and playful (as if, at the time, I wasn’t so much reacting to the worry of that coolness as how much the me of TWO decades would have eaten it up). Like I was the perfect age when this show came out the first time.

But I think that’s the real thing that hits me now with the episode: how playful it all feels. Like the absurd shot of the woman leaning on the counter to drink beer, the cat drinking all the crap on the ground, the sole motive of wanting beef, and Spike fitting a whole sandwich in his mouth. It takes none of these things seriously - except when it takes them seriously, of course. The episode’s structure is really built around the two bait and switches. The first is the fun fake pregnancy where it turns out that’s where she keeps the vials. And the second - tragic, with her death. Fast. Brutal. Forlorn. From minute one it’s sort of spelling out the tonal nature of this show: the fast loose hijinks > serious comeuppance > the Sisyphean process of bounty hunting without success… But hey, at least they got that beef.

It’s an apt metaphor.

2. STRAY DOG STRUT

In my original go round, I remember this being the episode liking this enough to stick with it longer. But now it plays even better. It’s kind of a classic fun and games episode, with the great set-up for the dog reveal - and the classic “lose but kinda win” ending a la Santa’s Little Helper (along with the dramatic irony that the dog is worth millions). I think I actually referenced this two columns ago, but there’s this kind of “kafka-esque’’ funny edge to the show. That “there is hope, but not for us” sentiment that populates a show of lovable losers trying and failing to navigate life’s absurdity.

But what I also like is that it’s not from a complete lack of competence. The gag where they both look up from the aquarium and Spike’s already got the gun drawn? That’s perfect stuff. Same goes with Spike absent-mindedly missing Abdul because he has shit on his foot. Both help establish this incredibly enduring character that thrives on both confidence and a genuine lack of awareness (which is often how he is able to pull a fast one on the audience, too).

The episode also helps clarify the show’s setting of an American Cultural Diaspora, filtered through the lens of Japanese culture. Could the Abdul stuff read as problematic? Oh absolutely, but the Game of Death / Way of the Dragon reference is also so singular to Kareem Abdul Jabbar’s influence that I’m not sure how much intention exists from the creators outside of it. And for an episode that delivers hijinks like Spike stealing the “just married” car and the incredible sound cue / animation of the corgi slapping onto the hood of his ship… I can’t help but smile.

3. HONKY TONK WOMAN

Ahhhhhh Faye Valentine. It’s funny, I wont say that I’m “used” to fan service at this point, nor really have any interest in excusing its extreme nature… I’m just sort of not letting it stop me from engaging everything around it? Does that make sense? But once again, I can’t explain just how much original language helps her character specifically. Megumi Hayashibara has this kind of wonderfully bored, disinterested tone that fits the characterization better.

The other thing that really hit with this episode was the James Bond-ness of the series (I mean in this gambling-centric episode drrr). But it’s the riff on the silhouettes in the opening titles, the pastiche of cool, and again, I keep coming back to that late 90’s disaffection that falls in line with Bond’s unruffled ethos. To wit, there’s a reason young men like disaffected characters, of course. In that it’s just as much of a power fantasy as so many other things are. They have all these budding, confused emotions and life feels so uncontrollable, so it becomes easy to grasp onto characters who play it cool, who show suaveness and are unbothered by the ups and downs going around them. Of course they want to be like that.

Which would normally be a possible “indulgence problem” if this show wasn’t also so keen on taking the piss out of Spike and company. That’s the thing: it’s just so damn playful at the same time. Unlike something Bond-esque, it’s always looking to make Spike the punchline. And the twisty, confusion-laden plots of chip-swapping and rubes and one one-ups-man-ship? I cackled constantly. And I have to say the fight in this one is so, so good. And the last line?

“Bye” … chef’s kiss… is… is that thing the kids still say?

insert grandpa face

4. GATEWAY SHUFFLE

It’s probably weird that THIS is the thing that most stands out to me, but it’s weird how much Twinkle reminds me of “Mom” from Futurama, right down to her large adult sons. I also like how much the episode plays with the dramatic irony of Spike and company being totally oblivious idiots (which will be a running gag), especially them on the verge of killing themselves with the virus. Also also, it establishes the sheer volume of problems that Spike fixes with sleight of hand. Also also also, there’s the fact that this episode is where Faye joins the team for good, thus setting up the fun larger team dynamics.

Is it weird that I don’t have much more to say about this one? It sort of reflects the way some Bebop episodes just feel slight in a way, which isn’t to say they aren’t fun or don’t have good gags. It’s just sort of the nature of this show, sometimes. Cause you’ll get an episode like this and then the next time you’ll get… Well, you’ll get an episode like…

5. BALLAD OF FALLEN ANGELS

“Who is this Sephriroth mother fucker?!?!?”

Such is the way I noted the entrance of Vicious. Given the overlapping timeline, I’m guessing there was something about long gray haired evil dudes with big swords in the water? Either way, the far more obvious influence on this one is John Woo. There’s the gunplay. The cathedral. The operatic posturing. It all brings me back to a place and time so vividly. That place and time being a teenager in the 90’s with a camcorder, boy, I can’t tell you how often we ran around with toy pistols diving off to the side and putting it in slow motion (we could never seem to find doves, but were always on the hunt for a group of pigeons to run through). This instinct also highlights the potential problems with these tropes. It would be SO easy for this to be nothing more than juvenile posturing / copying an en vogue aesthetic, but - as I’m learning is common for this show - Cowboy Bebop kind of hits this different note entirely…

Mostly thanks to the score. Because it all comes back to that ending with the haunting chorus of Green Bird, which gives me an array of complex feelings (along with it being a song I’ve had in my head for weeks now). On a pure aesthetic level, the scene is perfect. The pure combination of image, sound, and symbolism to hit an emotional response so squarely. A decade ago I felt this moment was more about hiding the story in a way - as if teasing backstory instead of even showing it - which isn’t entirely wrong, but now it feels more economical than anything, merely touching a lot I can have patience that will be dealt with . And more important than the specifics is understanding what it means to Spike emotionally - how much Vicious is part of his life and lost love and injury and pain, the cycles of opera and birth death rebirth death that all fit the same lyrics to the song…

“Spring has come

Worms are showing their faces

Little birds are eating them

Spring has come

Children are going to school

Farm dogs are giving birth to puppies

Spring has come

Women are looking in mirrors

Egg pies are baking”

In short, I understand why it’s a classic.

6. SYMPATHY FOR THE DEVIL

It’s here I realize that writing about Cowboy Bebop is a bit counter to my general instincts. For I’m someone who likes digging into problems because it helps me understand things. With Korra or Falcon and The Winter Solider or something, I can stop, dig into the structural problems of a given episode, talk about approach, and feel like everyone was coming out the other side with a bigger understanding. I get that sense of purpose. But what’s odd about this show is everything is incredibly sound on the writing front. Every weekly “session” gives us a contained, thoughtful, playful little story with little differing nuances (it actually reminds me a lot of the Lone Wolf and Cub story structure, which yes, I’ve read all of by the way). And it’s no different with this episode (which also reminded me a bit of the ventriloquist dummy episode of Buffy?). There’s even so many really great things that stand out. Like this is the first episode where Faye really clicked for me (the gag where she casually eats the dog food is an all-timer). I also loved the kid getting Last Crusade-ed at the end.

But the “what makes us care” is a whole other ball of wax. Because this was the last episode I watched in my initial trial a decade ago. There wasn’t any big reason I stopped, just that simple lack of interest. And I think it speaks to the trouble of telling stories about disaffected characters. The whole idea is that they’re often hiding pain or interest or backstory or whatever else. Then the idea is you’re slowly supposed to peer in (and I’m far enough into the show to know how they do that). But if you’re not really all in on a character’s emotional journey from those critical starts? Sometimes it’s hard to work up that investment. If I was watching this as a teenager in the 90’s? I would likely have a whole different feeling because I’m watching in more of an aspirational sense. But watching an episode like this, from where I am now? I understand why it’s easy to feel a lack of connection, even when the boy is giving all the tears about the release of death… It feels like an emotion on display, a thing I’m looking at, but kept a distance from - and thus a harder thing to certainly feel.

7. HEAVY METAL QUEEN

For shits and giggles I watched this one with dub. It’s interesting because it instantly reminded me that part of the reason I like subs so much is it needs your undivided attention. With the dub? Suddenly my eyes could wander, sometimes to twitter sometimes and then I’d realize I missed something and rewind a second. In that capacity the subs are actually allowing for more distraction? Which is why 1) I worry that most shows seem designed to be watched with someone half paying attention and 2) I tend to watch things sans phone as much as possible. Look, it’s not that this multitasking activity is “bad” inherently. I love listening to podcasts as I cook or clean. It’s just with cinema it’s so easy to do and miss out on what I really want to be doing. Which is being enveloped in a story.

Anyway, I’m more or less good with this episode. I wish I had more to say than that. But once again I feel like I’m coming out of an episode with an “okay, that was solid” feeling. Perhaps because also plays into 90’s dated-ness in a way where all the things that should feel modern feel just so… heteronormative? I dunno. It’s like VT feels like a character I should be adoring, but with 20 years she feels like a half-measure. And even at the time, it’s really hard to get past the dude in the sombrero ogling the waitress who looks like lady liberty. Like, the gross metaphor is utterly clear, and not in a way where it’s countering it on any level. But there’s always those moments of elation, like Spike firing his space gun to better direct himself back - that make the show still feel special.

8. WALTZ FOR VENUS

So this is the first episode I unequivocally loved.

Perhaps it’s just because it does some of my absolute favorite writing things. Like, hurray! They finally got paid! But true to understanding their ethos, it happens almost immediately in the opening, thus setting up proper expectations for what is to follow. And then it does my absolutely favorite thing, which is make you absolutely care for a character you hate without realizing that’s what it’s doing. Roco at first comes off as annoying, jealous, brash, etc. But with time and perspective, the eagerness ends up being motivated. And the way it all crests into him using the “like water” teachings of Spike’s supernatural reflexes? Perfect moment!

And then he gets fucking shot.

I literally screamed NO in my living room. But that’s what good writing does, it takes you through journeys subtlety then knocks you on your ass with whiplashing emotion (I also realized this entire beat, right down to the thumbs up in the middle, happens in Mad Max: Fury Road). And what’s more is that even on death’s door stop, all his eagerness and wonder could be summed up in that youthful question: “Hey, if I knew you earlier, would we have been friends?” Gah, it’s just gutting. And so absolutely perfect in its dramatic articulation.

With this kind of competent writing on the “fun / plot” level, it’s also funny how much I remember the little details that the show is so good at. Like the use of the Hagia Sophia on Venus. Or the way the rich guy shouts to save himself and then gets his toupee knocked off.

… And then there’s those super gay panic 90’s details like shoving the gun in gay man’s throat that make my skin fucking crawl. As good as things can be, those ugly shadows loom large.

9. JAMMING WITH EDWARD

I love that they finally get around to explaining why earth sucks and everyone is in space in episode 9! This is also one of those episodes where the cyberpunky-ness of a rogue A.I. would play more fresh back in the late 90’s? By now it’s just hard to grab onto, given how many times we’ve seen this plot done again and again. But thankfully, the show has the complete dignity to continue its tradition of being playful instead of serious, in that MPU is a little freaking weirdo whom I am glad escapes.

I sort of don’t know what to make of Ed yet? I like certain affectations and weirdness, but I’m hoping it crests into something interesting. Otherwise, most of my notes cater around very specific reactions to moments. Like how Nazca lines were just in my trivia league! Or how the episode had huge Android: Netrunner vibes! Also a Summer Wars-like internet world! And great quotes like “there’s nothing made on earth that’s good” and paying it off with the cheap missile firing a dud.

But I also just want to mention lines like, “I hear that that hacker is gay hahaha” which I want to come back to because I don’t think is just a “Japanese culture” thing. That’s a “90’s gay panic” thing. And what’s important to talk about with these moments is that I don’t handwave them now as being dated and in the past. Because they weren’t “the past” for me. They were what I lived in. And revisiting it all from where I am now makes me FURIOUS. That’s because they were all part of a gay panic culture of the 90’s than gave me so many internal complexes and fears about being bisexual (I didn’t understand that’s what I was, really, I was mostly terrified I was gay and thought it would literally get me killed) and bunch of other stuff. It was just brutal. And I spent that entire decade around all this kind of media being like “hahahhahaha no big deal, right guys?” and I didn’t realize inside it was just tearing me apart - in the worst sense of making me deeply afraid in myself. It wasn’t the past, it was hell.

Anyway!

10. GANYMEDE ELEGY

I was wondering when we’d get to a Jet episode. So far he’s been the kind of character I don’t know much to make of. He mostly exists to be a no-nonsense foil to Spike’s irreverence. But even in this episode, a lot of his gruffness comes off as harmless, but then there’s the “be strong for her” ggRrrRRrrr pRoTeCt wOmAn philosophy just rubs me the wrong way. Though I think there’s a lot of valid reasons people gravitate toward characters like Jet? Even if I hesitate to get all pop-psych with it, I think characters like this remind a lot of people of their dads? I dunno, more curious what others think.

But Jet’s backstory completely fits it with what I’m now calling the C.B.M.O. (Cowboy Bebop Modus Operandi) in that it presents a forlorn, almost classical noir backstory - doesn’t go too deep with it, leans heavy on the pastiche, but at least has the dignity to be fun in the process. And by the time we get to the ending, the final confrontation with Alisa and Rhint still plays emotionally valid, which I think is all you need in this show (including strong thematic gestures of literally throwing the watch AKA your past into the ocean).

But also once again, what’s more burned into my mind is little moments and decisions. It’s trying to light the lighter with the bad memory cooked up in your head. It’s underlining the dramatic irony of tragedy with cutting lines like “this must be because i have good karma.” Also that end song totally sounded a lot like Seal’s “Kiss From A Rose.” Also we got gem lines like…

“I live and wander with a group of weirdos now”

I do, too… I do, too.

11. TOYS IN THE ATTIC

Let’s get right to the plum gag: bahahahahahhahahah the alien being an advanced form of leaving lobster in the fridge is just SO AMAZING. I was cackling like mad.

And honestly, I think the lead up with the entire episode was pretty damn great. It just has a completely different energy, not just in regards to playing with the sci-fi / horror tropes (which it’s not laying it on thick or anything), it’s just this fun verve. You feel it in the energy of how everyone hangs out. Like Faye completely taking Jet for all he’s worth in the strip poker game and his “honorable” reaction (this side of Jet’s gruffness I like a lot more). Which all just serves as the perfect dramatic irony of the encroaching, otherworldly horror. It also sideswipes these great little lines about how humans “quickly forgot the lessons they just learned.” And once again we get an episode where all the highs are in the little details, like the little beat where the alien good wiggles again before it’s fully melted. Even the episode’s overlaid vignette structure about lessons (which could be trite when applied in gauche fashion) instead only exists as a distracting bit of artifice that is only really leading to a sublime gag: “You shouldn’t leave things in the fridge… that is the lesson.”

Five stars. Would rent again.

12.-13. JUPITER JAZZ - PART 1 AND PART 2

I feel like it makes sense to write about these two episodes as a single entity.

First off, I have to say how much I like the pacing of them. Most of the sessions of Cowboy Bebop are lean, mean, and economical, which is all part of the fun. But even though the show has its moments of rest / down time,” it’s often rushing through conflict and rarely milking the drama in a way that lets you sit with the tension. Which just means I rarely feel like we ever have a real chance to just dig into a longer story pace. Which is of course what we finally get in this mid-point two part epic that brings us back to Vicious. Which, of course, we all suspected would happen (I say this like we’re all watching the show live for the first time, haha). But now that we’re finally getting into the story itself…

I’m not sure how crazy I am about it? Like, it’s all coming back to that problem of “how much do I really care about all these characters?” I like them and stuff. Really, I do. And it’s really nice to get moments of genuine emotion, like when Spike gets legitimately angry at being called Vicious. But there’s just this thing where I can’t get the emotional investment in the show to really drive that constant want of engagement. There’s fallibility, but so little genuine vulnerability. So it’s not really the kind of show you “lean into.” Which is all part of the ongoing cool disaffection. But hey, isn’t that just how noir operates?

The thing most people don’t understand about noir is that all that disaffection and hidden emotion always bubbles up by the story’s end, often in the spectacular ways of coming undone. Like, the vulnerability explodes by the end. But with a TV show slowly dolling that out like four times across 26 hours? Yeah, that’s not what the noir structure was built for so it just makes it harder to engage. Particularly when characters like Vicious still feel like cyphers in a way. Same goes for the way Julia feels like that haunting ghost. Like we learned “more” about them, but I don’t feel “closer” if that makes sense.

And it also doesn’t help matters that these episodes do some of my least favorite story tropes. Like when a female character is like, “I’m a girl who can take care of myself!” which seems to position them as not being the damsel, but then the male character saves them anyway, which just makes them EXTRA good at rescuing the kind of super-capable women who think they’re above damsel-ing! The fact it does so on the sly that feels even ickier than that. Same goes for yet more homophobia in the episode. And speaking of LGBT+ treatment…

I have NO idea what the heck to think of Gren? Like did they really say that Gren just got a hormonal imbalance from insomnia from going to prison??? Wut??? I don’t want to google things until I’m done with the show but needless to say I’ll be reading from trans / non-binary writers on the subject because I’m having huge flashbacks to The Crying Game discourse that so radically shaped more 90’s-ness when it comes to this stuff. Speaking of which, of course the character dies. And it’s amazing how many people don’t even recognize the problems of this trope, or even that it IS a trope. The reason the “kill your gays” trope exists is because it’s always written by straight people trying to grab other straight people’s sympathy (look, see now you care about this character because they died and that’s sad!) Meanwhile it only teaches LBGT+ people that they are doomed and should be afraid and that their “sacrifice” only exists to teach the straights lessons or whatever. Again, we’re just back in 90’s tropes that I internalized and have come to resent in much more meaningful fashion.

And yet, despite all the things that stick in my craw, this show always has these little things that seep right into my brain and stay there. Like that moment where Lin dies and Vicious clarifies, “he protected the rules,” which is just a forehead-slapper of a perfect line. And then the last little variation on the end title that really hits you: “Do you have a comrade?” Oof. These little things are what makes me ultimately care about the show. It’s not the drama. It’s the little ingenious moments that stick in there and keep rattling around in my brain.

Speaking of brain rattles, this also finally brings us to why I also felt comfortable stopping halfway through the show to write all this down… The other night I felt inclined to start listening to the soundtrack and it was all just there in my brain already, set in stone.

Point being, I’m in.

<3HULK

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sneaksite · 4 years

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This past week, Donald Trump’s campaign did what one senior aide on the president’s 2020 team described to The Daily Beast as the “dumbest thing I’ve read in a long time.”In a cease-and-desist letter dated June 9, 2020, the president’s re-election staff demanded that CNN retract and apologize for a recently released poll that had presumptive Democratic presidential nominee Joe Biden leading Trump by 14 points. The letter, which the cable news network immediately laughed off, heavily cited the work of Trump pollster John McLaughlin, whose company alleged that CNN had somehow engaged in a “defamatory” act of “misinformation” and deliberately “skewed” data in an attempt to depress the president’s supporters. The legal threat quickly became a punchline in political media and even in some sectors of Trump’s own political operation. In one respect, it was just the latest effort by the president’s aides to attempt to satisfy the boss’ appetite for retribution. But it also revealed an element of the Trump political operation that has increasingly demanded time, money, and attention—mainly, the task of convincing Trump that the electoral landscape and polling deficits he faces aren’t as dire as he’s been hearing. “This helps keep the president from flying into a rage as much as he otherwise would,” said a White House official who’s been in the room for these types of sessions.On June 4, for instance, the president convened multiple meetings at the White House with top officials in his administration and from his campaign, including his son-in-law and White House aide Jared Kushner and campaign manager Brad Parscale, to have a series of discussions about strategy and communications. According to a person familiar with one of those gatherings, Trump sounded impressed that the support among his conservative base had remained solid in the presented data given recent media coverage and the maelstrom of crises he’d been facing.At one point, members of the president’s team began briefing him on the campaign’s own private polling, much of which did not look favorable. They sought to reassure the president by telling him that their numbers showed a large “enthusiasm gap” between Trump and Biden voters, and that much of the public polling wasn’t to be trusted, according to two sources familiar with the meeting. In particular, they argued that public polls skew in favor of the Democratic Party at this time because polling firms were polling registered voters and not “likely voters.” In the characterization of one source close to the president, a chunk of the re-election team focuses on proving to the president that his “dumpster-fire numbers” aren’t as bad as they seem, or reinforcing Trump’s conviction that pollsters get it wrong “all the time.”Trump World Thrilled That Their Terrible Poll Numbers Aren’t Worse But not everyone on Team Trump is buying the spin. In fact, efforts to pacify the president about the polls and his campaign’s position ahead of November have been undercut from within, with several key advisers making personal entreaties to Trump in the past few weeks to try to convince him that he should not brush off the numbers, even unpleasant ones that comes from news organizations such as CNN. “I have told the president that the numbers are real and that I believe he can and will win, but that right now it looks bad,” said a Republican who recently spoke to Trump. “He said, ‘Come on, don’t you know that’s all fake?’ But in a lot of these internal numbers [that I’ve seen], we’re way down right now.”“Something needs to change,” the Trump ally added.This person wasn’t the only one sounding the alarm over the past month. Two other sources who’ve spoken to the president lately—one of whom is a senior administration official—said that when the topic of polls came up they advised Trump that the surveys on swing states and key demographics seemed bleak. Both said they were concerned the president wasn’t taking them as seriously as they had wished. Outside the campaign, a belief has grown that the Pollyannaish advisers surrounding the president—and who are feeding him news that won’t puncture his feel-good bubble—are doing a disservice to both their clients and their professions. “There are a few pollsters who are bought and paid for, and they will tell you [the client] what you want to hear,” Frank Luntz, a famed-GOP pollster and Trump-skeptical conservative, said, without naming names. “There are pollsters [for whom] if the check is big enough, the lie will be big enough.”“I don’t envy those who have to tell Donald Trump what he doesn’t want to hear,” Luntz continued. “I’ve met him several times, I’ve met Biden several times. I would rather present bad [polling] information to Biden than Donald Trump. Presenting bad information or tough information to Joe Biden, you’ll break his heart, if you present tough information to Donald Trump, he breaks your arm.”GOP Stimulus Plan Is a Trillion-Dollar Trump Re-Election FundBut some Trump confidants are more willing to take the chance of harm than others. Late last month, David Bossie and Corey Lewandowski, two prominent informal advisers to the president, visited the White House to warn Trump that his electoral prospects were deteriorating in certain states crucial to securing a second term in office. Lewandowski, who also serves as a senior adviser to Trump 2020, has often second-guessed official campaign strategy, while whispering in the president’s ear that his current aides are failing him.The Trump campaign counters that the surveys that have shown him trailing Biden do not account for the economic turn around that they believe is taking place, which the president and his allies have dubbed the “Great American Comeback.” The campaign has also argued that their own secret polls give Trump the edge over a “defined” Joe Biden—a descriptor that is both unscientific and a concession that the campaign has so far failed to effectively define its opponent with just a few months left before election night.When The Daily Beast reached out for comment on this story on Friday, the Trump campaign’s communications director Tim Murtaugh wrote back: “2016 proved that public polling is routinely wrong about President Trump, otherwise Hillary Clinton would be in the Oval Office right now. Our internal data consistently shows the President running strongly against a defined Joe Biden in all the states we track. And we know the President’s supporters are more enthusiastic than Biden’s. Trump supporters would run through a brick wall to vote for the President. Nobody is running through a brick wall for Joe Biden.”But Trump’s approval rating on his handling of the coronavirus fallout has itself dipped dramatically in recent weeks. And there is no evidence that the pandemic is truly fading. And on top of that, Republican senators facing competitive reelection fights this year have been far less sanguine in their rhetoric on the economic fallout, suggesting they’ve opted for empathy rather than triumphalism. It’s not an enviable position, Luntz concedes. But it’s not yet fatal either. “It’s not doomsday. We are too early in the election process. We never anticipated we would be where we are [today, even] two days ago,” Luntz stressed, citing the economic implosion, the coronavirus pandemic that has a U.S. death toll upwards of 100,000, and the mass protests following the police killing of George Floyd. “The changes in racial awareness and opinion is the story of a generation and we got all three of them happening at the same time. Nobody knows what’s going to happen in November. Nobody knows what’s going to happen next Friday. Everybody would be wise to just keep quiet.”Read more at The Daily Beast.Get our top stories in your inbox every day. Sign up now!Daily Beast Membership: Beast Inside goes deeper on the stories that matter to you. Learn more.

from Yahoo News - Latest News & Headlines https://news.yahoo.com/trump-advisers-tell-him-poll-084107336.html

#Sneaksite

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batenchantingcollectorsong · 4 years

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from Yahoo News - Latest News & Headlines https://ift.tt/3d2Y1Ew

#Blogger

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attredd · 4 years

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from Yahoo News - Latest News & Headlines https://ift.tt/3d2Y1Ew

#Trump Aides Know His Polls Are Terrible—And Tell Him Otherwise

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newsfundastuff · 4 years

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#IFTTT #Blogger

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aion-rsa · 4 years

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The Best TV Shows of 2020

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Some year, eh?

We’re often poetic about TV around these parts. It’s no secret that we like to sing its praises as a powerful, restorative, and maybe sometimes therapeutic medium. But during a dangerous, confusing year, delving into the many ways that TV “kept us sane” or whatever feels reductive.

What we can say, however, is this: TV was around this year. And that’s no small feat as not every other medium was so lucky. Concerts and other live performances were canceled. The movie-going experience was upended (perhaps permanently), and even curling up with a nice book at a coffee shop was no longer an option for much of the year. The TV production schedule may have been disrupted, but for the most part, the television machine chugged along, providing us with a diverse (and often overwhelming) number of truly excellent options to take in.

This year we want to honor the best of those TV shows – not for any particular reason other than that it’s fun to do and we’ve all earned some year-end distractions. We had our staff vote on their favorite series, polled you the reader as well, then crunched all the numbers in an intensely complicated propriety equation (not really) to determine our winners.

Please enjoy our choices for the 25 Best TV Shows of 2020.

25. How To with John Wilson

How To with John Wilson is the heir to Nathan For You’s throne, which seems obvious considering the series boasts Nathan Fielder as an executive producer, but the new HBO series shares much of the fiercely beloved former Comedy Central series’ DNA. While Nathan For You used helping businesses as a jumping off point to explore social interactions and the funny, insane things that people may say or do if you point a camera in their face, How To with John Wilson purports to explain how to perform simple tasks like making small talk or splitting a check, but mostly showcases how beautiful, ugly, life-affirming, and odd life in New York City can be. It’s a difficult show to explain, but it uses dry narration and quick documentary-style footage to create laugh out loud set-ups and punchlines, and digresses into some of the most poignant, and “WTF” moments found in a comedy series. You may not learn much, but you’ll laugh a lot.

– Nick Harley

24. The Plot Against America

TV writing geniuses David Simon and Ed Burns (The Wire, The Deuce) are masters of subtlety. Their many shows, several of which are among the best in TV history, know how to conquer small moments en route to a bigger, oft devastating picture. During these very unsubtle times then, how could they possibly adapt Philip Roth’s equally unsubtle book about creeping fascism in America, The Plot Against America? The answer, as it turns out, is with the same gentle touch and keen understanding of the human condition as they always employ.

Like Roth’s 2004 novel, The Plot Against America picks up in an alternate version of the American 1940s, where real life aviation hero and Nazi-sympathizing populist Charles Lindbergh is elected president. The show then follows the working class Jewish Levin family as they deal with the fallout. Simon and Burns’ subtle touch works uncommonly well here. The Plot Against America’s six episodes are in many ways about how gradually and imperceptibly things can get worse until one’s home is no longer recognizable. For obvious reasons, the series resonated this year but its ability to summon creeping dread would have played well just about any time.

– Alec Bojalad

23. Lovecraft Country

A sprawling anthology with an overarching fable set in the depths of Jim Crow America in the 1950s, Lovecraft Country was an epic, political, sometimes gory, always ambitious sci-fi horror unlike anything else in 2020. Following the journey of Atticus (Jonathan Majors), Leti (Jurnee Smollett), and Atticus’s uncle George (Courtney B. Vance) on a mission to find Atticus’s missing father, the story combines real life racist horror with supernatural creatures inspired by H.P. Lovecraft.

Each episode is both a standalone story and part of the whole, playing with different subgenres. Ep 3 “Holy Ghost” is a classic haunted house tale with a historical twist against a backdrop of neighborhood racism, ep 5 “A Strange Case” is an extraordinary body horror which explores the female experience, 6 “Meet Me in Daegu” introduces a character from Korean folklore, while ep 8 “I Am” is a sprawling afrofuturist sci-fi. Created by Misha Green, exec produced by Jordan Peele and JJ Abrams, this is glossy cinematic stuff with a terrific ensemble cast. Talk about bang for your buck.

– Rosie Fletcher

22. His Dark Materials

If season one of this fantasy adaptation was carefully laying the tracks, then season two is hurtling along them, whooping out of the window as it goes. The new episodes started from the high-point of the season one finale and kept climbing. The difference is in tone – this time it’s warmer, keying more successfully into its characters’ emotional lives. It’s bolder too, demonstrating confidence by stepping away from the books to add scenes, humor and modern updates as required.

Season two, adapted from the second book in Philip Pullman’s original trilogy, sees Lyra and Will cross worlds and forge a bond. Will undertakes his own hero’s journey, one involving Spectres, a magical knife and the father he’d long thought dead. The real star though, is Ruth Wilson as Mrs. Coulter, a devilishly complex character into whose head this show is satisfyingly determined to get.

Season two is an episode short, thanks to COVID-19, but we should be grateful it made it here on time at all. The real delight is all the talent and effort that’s gone into telling such a weird story, one that only gets weirder from hereon in…

– Louisa Mellor

21. She-Ra and the Princesses of Power

Season 5 of She-Ra was the show at its absolute best. Every restriction seemed to be lifted and it just let loose with all the joy, deepness, and big queer energy it had ever wanted to display. Bless it for that because it allowed the show to go out on the highest of notes. We’d be here all day if we listed all the fantastic plots this season and how everyone got a chance to shine but no moment stands out more than Catra and Adora kissing.

It’s a moment queer fans had hoped for and were shocked it actually happened. Seeing two leads in a legacy property get to be not only confirmed queer but also kiss is still a rare sight and we can only hope it signals great change in animation going forward. We’re sad to see She-Ra go but glad it got to end so perfectly.

– Shamus Kelley

20. Pen15

During the 2011 “Middle School” episode of This American Life, host Ira Glass interviews producer Alex Blumberg, who presents a radical new approach to education in America: get rid of middle school. Children’s bodies and brains are just simply too volatile in their preteen years to meaningfully learn anything in the years between elementary school and high school. Give them a break, then pick up and try again in a couple years.

It’s hard not to think of that interview when watching Hulu’s wonderful middle school comedy Pen15. Lead characters Maya (Maya Erskine) and Anna (Anna Konkle) are very rarely seen learning something in class or poring over their homework. And why would they be? There are boys to obsess over, school plays to audition for, and moments that will scar them forever to experience.

Rarely has there ever been a more frank, honest, and hilarious exploration of the middle school years than Pen15. Much was made during the show’s first season about the adult Konkle and Erskine’s ability to portray their younger selves. And in season 2, they blend in so seamlessly that the novelty of the casting choice might never even occur to the viewer.

– Alec Bojalad

19. I Hate Suzie

The last time playwright Lucy Prebble wrote a TV series for Billie Piper, it was 2007’s Secret Diary of a Call Girl. London-set, glamorous, sexy and funny, that was a distinctly twentysomething story. Over a decade later, Prebble and Piper reunited to do something different in I Hate Suzie; still funny, but rawer, more experimental, and probing all the ways that a thirtysomething woman’s identity – wife, mother, and in this case, celebrity – can be defined by everything except herself.

Piper plays popstar-turned actor Suzie, whose life explodes when hacked photos of her cheating on her husband leak online. Suzie goes through the stages of grief in eight riotous half-hour episodes that experiment with form and genre. There’s drama. There’s satire. There’s singing and dancing. There’s Dexter Fletcher doing coke off a bare arse, and a whole-episode wank that explores the societal construction of female desire. It is, in modern parlance, a lot, in the most exhilarating and enriching way. These two had better not leave it another 10 years until their next collaboration. We demand more.

– Louisa Mellor

18. Rick and Morty

Did you hear? This guy turns himself into a pickle…a PICKLE! It’s wild. Every subsequent year that Rick and Morty airs, it gets harder to separate the “meme” of Rick and Morty from the show itself. Suppose that’s just what happens when a fanbase proves itself to be…uh, energetic, and the Merchandising Industrial Complex kicks itself into overdrive to produce some truly offensively bad Big Dog-style shirts.

Removed from the meta of it all, Rick and Morty still churned out some great episodes of television in 2020. The back half of the series’ two-part season 4 all aired this year and there were real gems included among them. Though it proved to be divisive, “Never Ricking Morty” was certainly among the most structurally ambitious installments the show has ever attempted. Then there was just the sublimely hilarious “The Vat of Acid Episode,” which was enough to earn the show a Best Animated Series Emmy.

– Alec Bojalad

17. Dark

Dark is already notable for reaching levels of popularity in the United States not often enjoyed by subtitled fare, but it also was afforded the rare opportunity to end on its own terms with its third season in 2020. Audiences fell in love with the generational stories of the families living around the nuclear power plant in Winden, Germany, marveling at casting choices for characters in their older or younger forms whose resemblances were spot on.

The time travel plot tied viewers’ brains into knots, but the desire to see an end to the apocalypse was made even deeper by the strong chemistry between Dark’s own Adam and Eve: Jonas and Martha. As the true source of the alternate timelines and causal loops became known, everything about the show’s reality was called into question, but the ending left a lingering question mark to entice fans to speculate long after the show had ended.

– Michael Ahr

16. The Untamed

While The Untamed technically premiered in 2019, the Chinese xianxia drama was one of the escapist stories that most defined a year we all wanted to get as far away from as possible. Bursting onto the transformative fandom scene to come in ninth on Tumblr’s list of the most-discussed live action TV shows of 2020, the foreign-language fantasy series tells the story of supernatural flautist Wei Wuixan (Xiao Zhan) from his humble beginnings as a teen cultivator-in-training to his controversial role as a demonic cultivator war hero to his time as a masked detective after he is mysteriously brought back to life in a stranger’s body 13 years after his gruesome death.

But, like any good melodrama, The Untamed is really all about the relationships. This is a complex emotional story about siblings and sects, honor and morality. At the heart of the interpersonal narrative is the epic romance between Wei Wuixan and his stoic swordsman boyfriend Lan Wangji (Wang Yibo). The Untamed is adapted from an explicitly queer web novel, but China’s anti-LGBTQ censorship laws require the series tell its love story via lingering gazes, clasped wrists, and declarations of undying devotion. The result is no less queer, as these canonical soulmates sacrifice everything but their fervid commitment to protect the innocent for one another.

– Kayti Burt

15. The Haunting of Bly Manor

In 2018, Netflix shrieked its way into the spooky season game with the breakout hit The Haunting of Hill House. The streamer then afforded creator Mike Flanagan the opportunity to American Horror Story-ize his work into an anthology of his own, thus The Haunting series was born. In typical second child fashion, The Haunting of Bly Manor had a world of expectations to live up to, which included its often-adapted source material, primarily the novella Turn of The Screw by Henry James (or Hank Jim as we like to call him) among two other works. Flanagan, who’s a heavyweight in the horror genre at this point, again eschewed a direct remake for a loose adaptation with Bly Manor, a slow burn, but ultimately a deeply personal and satisfying tale of ghosts, both of the faced and faceless variety, intertwined with Gothic romance.

The returning players from the previous season, Victoria Pedretti (Dani), Oliver Jackson-Cohen (Peter Quint), Henry Thomas (Henry Wingrave), Carla Gugino (The Storyteller), and Kate Siegel (a surprise character in an excellent episode 8), bring back some of the winning chemistry from Hill House. However it’s the newcomers to the series, T’Nia Miller as Hannah Grose the housekeeper, Amelia Eve as Jamie the gardener, and Rahul Kohli as Owen the cook, whose standout performances ground Flanagan’s headier concepts, like the series’ mesmerizing fifth episode. It’s through these characters that Bly Manor poignantly articulates how love can be as much of a burden as it is a blessing. Not long after your Bly Manor binge is complete, Flora’s line, “You said it was a ghost story. It isn’t. It’s a love story,” will crystallize the throughline Flanagan was gunning for. And if that line isn’t a lasting memory of the limited series, perhaps it’s Owen’s lucious mustache, the best on TV in 2020, that will live on.

– Chris Longo

14. Ted Lasso

In a relentlessly dark year, Ted Lasso was one of the few rays of sunshine that warmed our hearts. Its title character is so pleasant and optimistic, he makes Leslie Knope look like a curmudgeon by comparison. Folksy, thoughtful, and almost aggressively friendly, Jason Sudeikis’s Lasso is hired to lead a struggling English Premier League team in a move of sabotage, but ends up charming the pants off of the squad and proving the power of positivity.

The character is practically impossible not to like, and in a time of so much anxiety and frustration, it’s refreshing to spend time with someone like Ted. The title coach isn’t the only reason to watch; the show features well-crafted characters with satisfying individual arcs, comforting, yet well-executed sports movie tropes, and funny fish out of water culture clash moments. Ted Lasso is a breezy, low-effort experience that makes you feel good. What more could you ask for in 2020?

– Nick Harley

13. The Umbrella Academy

The first season of The Umbrella Academy was already a stellar achievement in adapting the gloriously weird Gerard Way/Gabriel Bá graphic novels, but season 2 took the show to another level in 2020. The varied reactions of the superpowered family to being stranded in 1960s Dallas were extremely enlightening and made the characters even more enjoyable with all of their quirks, flaws, and emotional depth.

Of particular interest was the manner in which Allison strove to lead a normal life with a husband that loved her despite the difficulties of being Black in the segregated South and her determination not to use her powers. Fan favorite character Ben also received a noble and inspiring arc that led to a completely new role for him in season 3. Although there are plenty of mysteries remaining, the unfolding backstory leaves us always wanting more of The Umbrella Academy.

– Michael Ahr

12. The Great

“Russia must be saved, and I with it.” An occasionally true story from The Favourite co-screenwriter Tony McNamara, The Great is a satirical look at the rise of Russian monarch Catherine the Great (Elle Fanning, getting a chance to show off her comedic chops), from her arrival from Prussia as a naive teen bride to her time plotting the death of her husband, Emperor Peter III (Nicholas Hoult, seemingly having the time of his career). The Great is cutting, clever, and hilarious, but, like The Favourite before it, its true secret weapon lies in its moments of earnest emotion.

The Hulu series revels in the often absurd nature of its subject matter, but not at the cost of ignoring the trauma and joys of its often gruesome world. The unpredictability of which kind of scene you will get next—absurd, deeply emotional, or both—creates a fantastic dramatic tension that sustains throughout the entire 10-episode first season, perhaps necessary in a story that, should it follow the broadest of historical strokes, the viewer knows will end in Catherine’s triumph. Huzzah!

– Kayti Burt

11. Harley Quinn

This year, we found out the answer to a question that no one was really asking – “who would win: a big budget Birds of Prey DC spinoff movie starring Margot Robbie as Harley Quinn, or one small Harley Quinn-focused animated series that was seemingly about to be left for dead on the ailing DC Universe streaming service?” Harley Quinn won, for everyone who cared to investigate, as the show leveled up in season 2 by having the balls to let Dr. Harleen Frances Quinzel fall in love with her sardonic roommate Poison Ivy on screen and ditch any lingering feelings she had for the Joker, but for those not invested in the romance (they should go have a soup and rethink their priorities) there was so much else going on beyond deconstructing its central character.

Animated shows are typically seen as an immature, lesser form of entertainment than live-action series, but just imagining the creativity you’d need to come up with this many running jokes, in-jokes and meta jokes for the larger-than-life characters of Gotham is exhausting. There’s so much writing talent behind Harley Quinn that a third season wasn’t just expected, but demanded. And indeed, Harley Quinn will live on at HBO Max, but if it hadn’t happened, we’d do what the Doctor ordered and RIOT.

– Kirsten Howard

10. BoJack Horseman

Through its superb six-season run, BoJack Horseman’s tonal brilliance came to be an expected fact of life. Early on, it was tempting to pull non-viewers aside, shake their shoulders, and yell in their face “No, you don’t get it! It’s an animated comedy about a horse that was a ‘90s sitcom, yes, but it’s also a searing exploration of depression, dysfunction, and the dismal nature of the human condition!” It’s to the show’s eternal credit that that stellar comedic/dramatic tightrope act became all but a given a few seasons in and the world adjusted to it thusly. But even with that level of familiarity and comfort, it’s jarring just how well the show pulls off that delicate formula in its final, and perhaps best season.

BoJack Horseman season 6 premiered eight of its final 16 episodes in 2020’s first month and their dramatic resonance carried through the rest of the year. The story ends here as we always expected it might. BoJack’s past finally catches up to him, and when he becomes a pop culture pariah, he slowly begins to undo whatever progress he made throughout the series, culminating in a stunning penultimate episode where BoJack faces the infinite and meets up with all the figures in his life who died along the way. But it’s not until the show’s very end where the message comes into clear focus. BoJack has to start all over again, just like we all must from time to time. The difference this time is that the other people in his life are finally prepared to move on…possibly without him. “Hey, wouldn’t it be funny if this night was the last time we ever talked to each other?” BoJack says to Diane as they look up at the Hollywood night sky. Wouldn’t it be funny indeed.

– Alec Bojalad

9. Legends of Tomorrow

There is no superhero TV show that has strayed as far from its superheroic roots than Legends of Tomorrow. Despite the fact that its full official title is quick to point out that this is indeed DC’s Legends of Tomorrow, you’d be hard pressed to find a DC show less overtly concerned about its comic book roots, or even with any synergistic responsibilities it may have to the other DC shows in its orbit. Sure, Supergirl, Black Lightning, The Flash, and Stargirl are great, and they’re note perfect representations of what makes those characters special, but Legends does everything those other shows do, but with far less recognizable characters, with far more laughs, and an effortlessly perfect ensemble cast boasting chemistry for days.

No matter how high the reality-altering stakes, it all seems less important than watching the friendships between this crew of superheroic time traveling misfits. Legends of Tomorrow is everything good and hopeful and pure (ok, well…maybe not pure, especially where Matt Ryan’s John Constantine is concerned) about superhero shows without any of the baggage, and often without the superheroics. Always hilarious and often surprisingly touching, there’s not a single superhero team on the big or small screen that you’d rather actually hang out with. You don’t have to love superhero TV to love Legends, you just have to love TV.

– Mike Cecchini

8. Schitt’s Creek

People who love Schitt’s Creek LOVE Schitt’s Creek. It’s almost become cult-like in its following, so the arrival of the sixth and final season felt like an event and the end of a journey not just for fans of the show but the stars themselves. Season six isn’t the best season of Schitt’s – it leans into the schmaltz and sentiment heavily and throws realism to the wind in favor of the absurd but if you’ve come this far with the displaced Rose family and the sometimes odd but overall endearing residents of Schitt’s Creek, you won’t be disappointed.

All the major players get their arc. Alexis and Ted’s separation is heartbreaking, Moira’s Crows movie premiere is a hilarious mess, some of the Jazzagals almost join a cult… the season is packed with ridiculous scenarios in between many more moments of genuine sweetness as it gently guides its characters to an end. The finale comes together with David’s wedding to Patrick – a perfectly idiosyncratic affair in the Schitt’s Creek town hall. It’s a moving send off to which we’re all invited.

This is a show about family and community, created by a real family – father and son Eugene and Daniel Levy (sister Sarah plays Twyla) – that spawned a community of fans. This might be the end of Schitt’s Creek but we can always re-visit.

– Rosie Fletcher

7. Devs

Alex Garland’s unsettling, yet visually gorgeous science-fiction parables are always thought-provoking, but FX’s Devs asks bigger questions than any of the writer/directors previous projects. Do we determine our own fates? Does the multiverse exist? Can computers predict our future? Devs isn’t just heady techno-philosophical musings, it spends its runtime being a pretty satisfying corporate thriller, with our protagonist Lily (Sonoya Mizuno) investigating the mysterious disappearance of her boyfriend.

This is a somewhat scathing indictment on Silicon Valley culture, with a Google-esque tech company operating with unmatched power in the shadows. Featuring a moving dramatic performance from Nick Offerman and a star-making turn from Sonoya Mizuno, Devs is just as pretty, existentially threatening, and hard sci-fi as Garland’s beloved films Ex Machina and Annihilation. If you love thrillers, but are also interested in Quantum Theory, this was the limited series you’d been waiting for in 2020.

– Nick Harley

6. The Mandalorian (READERS’ CHOICE)

Starting with its first season and extending into its improved second, The Mandalorian just works. Jon Favreau and Dave Filoni’s creation about the galaxy’s most beloved bounty hunter dad is the kind of forward-thinking Star Wars project that works perfectly on a streaming platform.

If you’re a massive Star Wars nerd, The Mandalorian continues to provide plenty of Easter eggs and callbacks for you, but the show excels at being both a fun reentry point for fans fatigued with the sequels and prequels, and a standalone adventure series for viewers who don’t have much knowledge of Star Wars at all, deftly creating a string of sidequests in a galaxy far, far away that put you firmly in the beautiful Lone Wolf and Cub-like tale of Mando and Grogu as they fly toward an unknown future.

As we recently learned, there will come a time in the next few years when we will be simply drowning in Star Wars TV series, as ten(!) of them are in development, but for now, we get to really savor the intricate worldbuilding going on in The Mandalorian.

This is the way.

– Kirsten Howard

5. The Boys

The Boys was a breakout hit when it first landed on Amazon’s streaming service, but when the series returned, there was a bit of a backlash from fans of the show who were enraged that some of its new episodes would arrive weekly, unlike the binge-ready first season. Luckily, Season 2 had so many “what the fuck” moments in store that the griping soon quietened down, and the show eventually found its stride again after a slow start. Our diabolical, supe-fighting team led by a rather distracted Billy Butcher dealt with one bonkers revelation about Vought International after another this season, while the Supes themselves battled with their own humanity, and both groups often found common ground where they least expected it.

It’s really hard to pick a favorite moment from Season 2, but if you’ve forgotten how out there it was, let us present a wild bouquet that includes “Homelander angrily wanking over the city in the form of his own demented Bat-Signal”, “The Seven filming a very (very) thinly-veiled Zack Snyder-esque superhero movie that had undergone a Joss Whedon rewrite”, “a massive-dicked supe-in-captivity called Love Sausage”, and “a timid child getting confidently pushed off the roof of a house by his own beaming father”. And that’s without bringing up the whole “immortal Nazi” stuff that occasionally propelled the narrative into Verhoeven-level satirical territory.

There were things that didnt work about Season 2, and we can argue about them forever, but there’s one thing that everyone can agree on: if Antony Starr doesn’t get two armfuls of awards for his performance as Homelander, a fucking travesty has occurred.

– Kirsten Howard

4. I May Destroy You

On a night out while writing the second series of her acclaimed sitcom Chewing Gum, Michaela Coel was drugged and sexually assaulted by strangers. What she did with that experience – alchemizing it into a wise and fearless TV drama about trauma and survival – was extraordinary.

I May Destroy You is an extraordinary series. In it, Coel plays Arabella, a young writer also drugged and raped on a night out, while under pressure from publishers to follow up her hit book debut. With long-ranging flashbacks, the story moves through the next year in Bella’s life. We see her draw power from her new identity as a survivor and (often clumsily) navigate close friendships and new sexual relationships. She strays from likeability, changing in response to what happened, and in a transcendent, experimental finale, teaches herself how to live.

Coel is a bewitching lead with excellent support from Weruche Opia and Paapa Essiedu as Bella’s friends Terry and Kwame. This is no dreary misery memoir. It’s surprising, confrontational, often funny and always buzzing with life – a frank and much needed course correction for telling this kind of story on screen.

– Louisa Mellor

3. What We Do in the Shadows

Over the past decade of television, we’ve come to expect a lot out of our TV comedies. Since the Emmy Awards now categorize just about anything that’s 30 minutes long as comedy, the genre is now home to things like shockingly dramatic coming of age tales, intensely personal narratives, and experimental structures. This evolving of the half hour format is a welcome one. At the same time, however, sometimes you just want to laugh.

Enter What We Do in the Shadows. In its remarkable 10-episode second season, this FX adaptation of Jemaine Clement and Taika Waititi’s movie of the same name made a serious case for itself as the funniest show on television. And it did so in shockingly simple fashion. In season 2, the character list remains short: just Nandor (Kayvan Novak), Laszlo (Matt Berry), Nadja (Natasia Demetriou), Guillermo (Harvey Guillen), and Colin Robinson (Mark Proksch) make up the show’s cast of characters for the most part (give or take a Mark Hamill or Nick Kroll). And that’s all they need.

This year, the writers and performers all operate at the top of their game to make every possible plotline work and every character pairing sing. The comedic energy is top notch from the season’s opening “Resurrection” episode through midseason classics “Colin’s Promotion” and “On The Run” and all the way to the finale “Nouveau Théâtre des Vampires.”

– Alec Bojalad

2. Better Call Saul

The penultimate season of Better Call Saul was an absolutely brilliant run of episodes that perfectly set the stage for a climactic conclusion that looks to be every bit as heart-wrenching and explosive as the final season of parent series Breaking Bad. The show successfully introduced Lalo, perhaps the most charismatic and terrifying villain in Vince Gilligan’s Albuquerque, and merged the series’ seemingly disparate storylines by bringing fan-favorite Kim Wexler closer to the dangerous dealings of the cartel.

It turns out that Jimmy becoming Saul wasn’t the tragedy that we should have been anticipating, it was Kim embracing the Saul way that we should have been worried about. The show’s strengths have always been its meticulous attention to details, fascination with processes, and humanistic view of exactly why someone like Jimmy McGill might break bad and become a dishonorable huckster like Saul Goodman. Those strengths only became more apparent in the thrilling, low-key heartbreaking fifth season.

– Nick Harley

1. The Queen’s Gambit

Oftentimes when assessing the quality of TV shows, we talk about how “timely” they are. In fact, if you scroll back through this list, you will find at least a few instances of just such language. The appeal to Netflix’s stylish, thrilling limited series The Queen’s Gambit, however, is just how timeless it is. And in a year with plenty of timely TV shows, that distinction was enough to launch the show to the very top of our best-of list.

Though we on the television side of Den of Geek are loath to call any rightful TV show an “x-hour movie,” there’s no denying that The Queen’s Gambit fits that mold. But this is not just any kind of filmic experience. It’s a throwback to a ‘70s and ‘80s style of simple, elemental storytelling that simply knows how to win over an audience. The beats of The Queen’s Gambit are predictable, but elegant and perfectly executed. Beth Harmon (the ethereal Anya Taylor-Joy) is a quiet, wide-eyed hero armed with one skill that can make the world care about her and in turn make her care about herself.

So she uses that skill and assembles her tools – her King, Queen, Bishops, Knights, Rooks, and Pawns, to embark on a classical bildungsroman journey of self-discovery and chess dominance. Like a deftly executed chess game itself, each of The Queen’s Gambit’s seven episodes acts like a move on a chess board. Some moments are triumphs, some are defeats, and some are sacrifices. But they all lead into one definitive, enormously satisfying checkmate.

– Alec Bojalad

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Other shows receiving votes: Animaniacs, Ozark, High Fidelity, Star Trek: Picard, The Last Dance, Mrs. America, Solar Opposites, The Hollow, Killing Eve, Noughts + Crosses, Outlander, Star Trek: Discovery, Vida, Saved by the Bell, Lucifer, Gangs of London, Mythic Quest: Raven’s Banquet, World on Fire, Crash Landing on You, Infinity Train, Locke & Key, McDonalds & Dobbs, Into the Night, The Good Lord Bird, The Last Kingdom, DuckTales, Little Fires Everywhere, Normal People, Brooklyn Nine-Nine, The Pharmacist, Doctor Who, Away, Dublin Murders, Great Pretender, The Babysitters Club, Tiger King, The Crown, Ramy, The Shivering Truth, Perry Mason, Keep Your Hands Off Eizouken!, The Undoing, Westworld, Doom Patrol, Stargirl, The Clone Wars, P-Valley, Bridgerton, Homeland, Stumptown, The Magicians, Bob’s Burgers, Primal, Jurassic World: Camp Cretaceous, Zoey’s Extraordinary Playlist, Search Party, Roadkill, Raised by Wolves, The Flight Attendant, The Eric Andre Show, Defending Jacob, The Outsider, Julie and the Phantoms, Brave New World, Utopia, Carmen Sandiego, Brockmire, Somebody Feed Phil, Adventure Time: Distant Lands, Dead to Me, The Gift, Ghosts, YOLO: Crystal Fantasy, The 100, The Spanish Princess, I’ll Be Gone in the Dark, Adult Material, Fargo, Deadwater Fell, The Flash, Archer, Weird But True, Evil, Motherland: Fort Salem, Baghdad Central

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josephlrushing · 5 years

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‘Easy Break Pixel’ Caps off a Month of Self-Induced Failures by Google

Perhaps you have heard about this – the new Google Pixel 4 bends and breaks unlike any midrange or flagship phone since the 2014 iPhone 6 … which aside from causing embarrassment for Apple, also caused a shift in testing, design, and materials of construction across the industry.

Perhaps Google didn’t get the memo – or maybe they did polling and found that a significant amount of people didn’t care if their phone was easily broken. Either way, this is just the latest in a series of failures of Google’s own doing that has occurred over the last several weeks. I wanted to round some of them up because I feel they have been either overlooked or downplayed in much of the tech media.

Image from CNet.

Pixel 4 Atrocious Battery Life: This is the #1 complaint about the new line. Bottom line is that the Pixel 4XL has about 50% worse battery life compared to other flagships … and the Pixel 4 has ~20% shorter battery life than the previous generation – which itself was criticized for poor battery life. We will dig into this more in our upcoming review of the Pixel 4 series, but suffice to say that it has already become a punchline – and deservedly so.

Pixel 4 Inexplicably Poor Performance: Another area the Pixel 4/XL lags is performance. Apple’s $100 cheaper iPhone 11 is TWICE as fast across a half dozen real and synthetic benchmarks. But what is worse for me is how it compares to other phones using the same SnapDragon 855 chipset – the Pixel 4 ends up ~15 – 25% below other phones such as the Galaxy Note 10+ using the same processor SoC. That performance lag is not explained by the RAM difference, so it points to poorly optimized OS software or fundamental design problems. Or – slowing the processor to save battery life.

Dim Screen Capped for Battery Life: After learning that the 90Hz display needs to come with a big asterisk due to the conditions that must all be in play to enable it, yet another thing we learned this week was that the gorgeous OLED panel is intentionally dimmed to ~450nits compared to the >900 on the iPhone 11 and Galaxy Note 10+. Again – it is obvious, and also appears to be something done to play for more battery life.

Other Outcomes of ‘Design By Survey’: There is a famous Steve Jobs reworking of a Henry Ford quote “It’s really hard to design products by focus groups. A lot of times, people don’t know what they want until you show it to them.” And yet companies do it all the time – and it shows. It certainly shows on the Pixel 4/XL in more than a few ways: – Adding a telephoto lens but not a wide-angle lens. Look for a wide-angle lens in the Pixel 5. – Missing several popular video modes (literally a “surveys said” decision) – Unfinished FaceID clone with security holes which is lacking buy-in from banks and others

Tech Looking for a Home: People have criticized the large ‘forehead’ on the Pixel 4 correctly, which brings me to another Steve Jobs quote “You can’t start with the technology and try to figure out where can I sell it.” The forehead on the Pixel 4/XL is large despite losing a camera this year because it picked up FaceID – and also the Motion Sense radar sensor that … um, lets you wave your hand to change songs like something that would have seemed cool in the late 90s. Maybe ‘Project Soli’ will be useful someday for something. But right now all it does is decrease the screen to phone ratio for no apparent reason.

Google Stadia ‘Negative Latency’ Kerfuffle: One of my core arguments about Stadia has been that the math between normal latency and promised frame rates don’t converge. Last week we finally got some insight from Google that they plan to limit the devices and control schemes to minimize issues, but also that they are implementing predictive analytics to smooth over intermittent lag. While it won’t help with persistent bad connections, it could be what is needed to make server-based solutions actually sustainable. But for many, it is an admission that they can’t eliminate latency so will simulate gameplay and ‘push the button for you’ instead. Reality? Too early to tell.

No Earbuds for You: Not news, but I have seen more people complaining about the lack of earbuds based on many of the other shortcomings of the Pixel 4/XL. In other words, while they don’t as much care about the lack of earbuds, given the price of the phone compared to the various shortcomings, suddenly the lack of earbuds seems like another way Google has ‘cheaped out’ on users.

Late to Your Own Party: One of the key selling points for the Pixel (and Nexus before that) is that it offers a ‘pure Android experience’ similar to the control Apple has with the iPhone. We have already seen that despite this, the Android implementation on every Pixel phone has been quite buggy on release and taken a while to stabilize while performing better on existing phones. Now Google has slipped even further, most Pixel 4/XL phones have not seen the November 1st update that has been delivered to phones from pretty much every other vendor including Samsung – heck, even my Galaxy Tab S6 has gotten the update! So much for that selling point!

Holiday Coal for Pixel 4/XL Early Adopters: Stop me if you have heard this one before — a company introduces a new product and people rush out to buy it, only to see it on sale a few weeks later for a significant discount, and then they get upset that someone else got a better deal. Google’s Pixel 4/XL Black Friday deals have been revealed – and many people aren’t happy. Honestly, early adopters should know better by now!

Pixel 3 Joins the “Yes, in Fact, Your Battery IS Dead” Crowd: Joining yet another inauspicious iPhone 6 club, Since getting Android 10 Pixel 3 users have been reporting that the already short Pixel 3 battery life has been made worse as the phone has started shutting down without warning with the 30-40% battery remaining. Again, this is very likely the result of over-aggressive battery life management as it was with the iPhone 6 years ago, but given how poor the battery life already is on the Pixel 3, this is really adding insult to injury! The only upside is it isn’t happening to Pixel 4 users!

All Your Health Data Are Belong to US! This one emerged even as I was compiling this list – Google has been working with health care provider Ascension, the second-largest provider in the US. In the deal, Google has had access to the health records of millions of patients across 21 states … without their knowledge. While this is all *legal*, having someone who makes their money turning personal internet data into targeted advertising suddenly having access to health records for those same ‘advertising targets’ is at least somewhat disconcerting.

All 50 State Attorney’s General Expanding Anti-Trust Investigations to Include Android and Search Google is somewhat of an over-achiever here, having received the largest fines and punishments in history based on privacy violations and anti-competitive behavior amongst other things. Their advertising business has attracted extensive global scrutiny due to concerns of anti-competitive practices, and now based on those investigations, it appears that Google has been leveraging their monopolies in anti-competitive ways that include Android and Search.

Bottom Line: How do you feel about these? Do they mostly feel pretty small to you? I mean, sure – we are getting a pretty clear picture that the Pixel 4/XL is a disappointment that suffers from some of the most common failure modes that have occurred across pretty much every major company ever.

Google is a company that has tremendous goodwill even among cynics and skeptics such as myself – if for no other reason than I know that they are better than anyone at keeping that massive trove of data they collect about all of us secure. However, Google has also paid more fines than any tech company in history — due to invading user privacy and using data without permission repeatedly. At a time when governments are becoming increasingly wary of the power held by tech giants, these sorts of self-induced issues can leave a lasting impact.

What do you think? Any other things I might have missed?

from Joseph Rushing https://geardiary.com/2019/11/15/easy-break-pixel-caps-off-a-month-of-self-induced-failures-by-google/

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phillipcole · 5 years

Text

Post-AGT Appearance 995: John DePetro Show WNRI am 1380 April 12

Comments about that little essay would get scattered mention on political shows that day. As of Friday morning no one would have prompted a late night host to speak of it. Some of that description who had me unofficially banned from their shows would consider this only a jab at them but also stay silent. Among those talking with most passion would be local talk show hosts, especially those looking for a different approach to the national dialogue. (I can not assume anyone would be thinking differently about national politics just because of my efforts, only the added disgust fueling the growth of the Libertarian Party.)

John DePetro hosts a daytime talk show on WNRI am 1380 in my real home town Woonsocket, Rhode Island. As callers began to ask him about this, he would look it up late in his Friday show.

DePetro: Welcome back to WNRI, the John DePetro Show this Friday in Woonsocket. Alright, a lot of you want me to officially take a stand about the status of late night talk shows and their treatment of the President vis-a-vis the growing horde of Democrats seeking to run next year. What are they up to about 120 candidates now? Anyway the tweet in question came from entertainer Phil Cole. He’s from Woonsocket, right? Not long ago you could have asked him point blank what he meant. So here it is: his full comment in all their glory.

PBC: There's a growing crisis in America. It's a creeping concern, slowly getting bigger every day and likely to reach critical mass in about a year. IT'S THE LATE NIGHT COMEDY HOST CRISIS! As you recall in 2015 3 prominent late night hosts left their jobs, obviously trying to avoid making jokes about Hillary Clinton that might ruin their careers or worse. Those who remained have been blessed with a President whose every move might be a punchline, but there's a price to pay and it's arriving. It now looks like the only way to remove this President is to defeat him in the 2020 election. The Democratic Party is abundantly blessed with over a dozen people hoping for that honor. Among this diverse set of people there is not one so much better than the others that he or she can be given reverence while the others are called to account for their flaws. There are few among them so obscure, so insane, so hopeless that they are out of the running already. These many persons are likely to exhibit the same errors, gaffes and eccentricities that used to make for days of monologues and a reference worthy of a chuckle every time their names came up thereafter. However, every late night host wants the Democratic nominee to win, so will anyone dare make the joke that might sink the candidate and give the country 4 more years of President Trump jokes? Can late night comedy survive with such a lopsided presentation and the best jokes edited before every broadcast?

DePetro: That’s it folks, a simple question. Do you still watch those shows? I know every time I turn them all they’re trashing the President, and not that innocent humor we used to have: Reagan’s old. George W. Bush is dumb. These men are out for blood-one woman too I guess, maybe more. I assume the President is being harangued every day on shows like Ellen and the View. Am I right? Is there a host who has kept himself clean from the partisanship? Is there any place you can find refuge? Most importantly, who among these people is going to go after Hiawatha, get these people for saying stupid things, renouncing the Constitution and so forth? I know there are some good people in the race, but they still might do stupid things that can bring a laugh. Are comments against them out of bounds now? God forbid, if I make that joke her poll numbers might go down. Some of these candidates are actually depending on getting national attention by saying radical things. If that falls on deaf ears because the people they need don’t say their names at all in trying to protect them, these people will be responsible-the late night hosts I mean-for the world they’re trying to prevent.

#humor #john depetro #late night talk show

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theconservativebrief · 6 years

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They called it “the Lewinsky scandal.”

Bill Clinton was the one who abused his power, entering into a relationship with a White House intern when he was the president of the United States. Yet pundits and ordinary Americans alike typically referred to the episode by Monica Lewinsky’s name.

That’s just one of the things Lewinsky hopes will change now, two decades after Clinton’s impeachment. She’s appearing in a docuseries about the scandal, premiering on Sunday at 9 pm Eastern on A&E, and, she writes in Vanity Fair, “It’s titled The Clinton Affair. Bye-bye, Lewinsky scandal. … I think 20 years is enough time to carry that mantle.”

The series comes as Lewinsky, after an adulthood defined, against her will, by her relationship with Clinton, is having a public second act as a prominent voice in the #MeToo era. In a series of essays at Vanity Fair, where she is a contributing editor, Lewinsky has been writing her own history of the “Clinton affair,” and making the argument that in cases like hers, women’s voices need to be heard.

After years of being forced into the roles of punchline, temptress, or troublemaker, she’s stepping into the role of spokesperson — and it fits her strikingly well.

In 1995, Clinton began a sexual relationship with Lewinsky, then a 22-year-old intern in the White House. In 1998, he denied the relationship during a deposition in Paula Jones’s sexual harassment lawsuit against him. But later that year, he admitted that he had lied, and he was impeached on the grounds of perjury and obstruction of justice. After a trial in the Senate, he was acquitted, and went on to serve out the remainder of his second term as president.

Though he stayed on the sidelines during former Vice President Al Gore’s 2000 presidential campaign, Bill Clinton was soon back in the spotlight, representing the high-profile Clinton Foundation and campaigning for Democrats, most notably his wife. While Donald Trump made Bill Clinton’s past an issue in the 2016 election, many Democrats seemed content to pretend his relationship with Lewinsky never happened.

Lewinsky, meanwhile, struggled. Before and during Clinton’s impeachment trial, the American public had learned intimate details about her sex life, including the fact that Clinton had once gotten semen on her blue Gap dress. She’d also been mocked and vilified in the press, with one Fox News poll asking if she was an “average girl” or a “young tramp looking for thrills” (“young tramp” won).

Lewinsky made some public appearances in the wake of Clinton’s impeachment, appearing on Saturday Night Live in 1999 and briefly hosting a dating show in 2003. But in 2005, she retreated from public life, moving to England and enrolling at the London School of Economics. After graduating with a master’s degree, she tried to find jobs in communications and branding, but employers were wary of hiring her because of her history.

Then, in 2014, she went public again, with an essay in Vanity Fair on public humiliation. “When news of my affair with Bill Clinton broke,” she wrote, “I was arguably the most humiliated person in the world. Thanks to the Drudge Report, I was also possibly the first person whose global humiliation was driven by the Internet.”

She became an anti-bullying advocate after the suicide in 2010 of Tyler Clementi, a Rutgers University student who took his own life after his roommate secretly streamed footage of him kissing another man. She later advised the group Bystander Revolution. And earlier this year, she began writing about #MeToo.

In 2014, Lewinsky had written that her relationship with Clinton had been consensual, and that “any ‘abuse’ came in the aftermath, when I was made a scapegoat in order to protect his powerful position.” But by February 2018, in light of the #MeToo movement, she had begun to reconsider.

The movement has drawn attention to the power imbalances between bosses and their subordinates, and raised the question of whether sexual relationships between the two can ever be completely consensual. Clinton, as president, was perhaps the most powerful boss in the country — and today, Lewinsky believes that the power dynamics between the two made the issue of consent “very, very complicated.”

“I now see how problematic it was that the two of us even got to a place where there was a question of consent,” she wrote. “Instead, the road that led there was littered with inappropriate abuse of authority, station, and privilege.”

And, she added, “I—we—owe a huge debt of gratitude to the #MeToo and Time’s Up heroines. They are speaking volumes against the pernicious conspiracies of silence that have long protected powerful men when it comes to sexual assault, sexual harassment, and abuse of power.”

But even as she was thanking the women who helped define the current era of #MeToo, she was becoming one of them.

In 2017 and 2018, the Clinton impeachment and everything that led up to it have returned to the forefront of public consciousness. The #MeToo movement — and, in particular, sexual misconduct allegations last year against Senate candidate Roy Moore and Sen. Al Franken (D-MN) — led to a reexamination of Clinton’s behavior with Lewinsky (as well as allegations against him by other women).

Bill and Hillary Clinton began to be asked about Lewinsky in interviews — and their answers left a lot to be desired. When asked earlier this year if he owed Lewinsky an apology, former President Clinton insisted he did not. And last month, Hillary Clinton said her husband had not abused his power by having a relationship with Lewinsky.

But in her work at Vanity Fair this year, Lewinsky has consistently offered the nuanced analysis of her relationship with Clinton that this historical moment demands.

“The dictionary definition of ‘consent’?” she wrote in February. “‘To give permission for something to happen.’ And yet what did the ‘something’ mean in this instance, given the power dynamics, his position, and my age? Was the ‘something’ just about crossing a line of sexual (and later emotional) intimacy?”

And on Tuesday, she wrote about what she’d like to see from former President Clinton now. “What feels more important to me than whether I am owed or deserving of a personal apology is my belief that Bill Clinton should want to apologize,” she said. “I’m less disappointed by him, and more disappointed for him. He would be a better man for it . . . and we, in turn, a better society.”

It’s a level of compassion and complexity that’s been absent from the Clintons’ responses, and from so many statements by people in power about sexual misconduct in the #MeToo era.

In her writing since 2014, Lewinsky has honed a particular style that’s all her own. She’s erudite and allusive. Considering a Clinton-era Los Angeles Times headline that read, “The Full Monica: Victim or Vixen?”, she writes:

Victim or Vixen? That’s a question as old as time immemorial: Madonna or Whore? Predator or Prey? Dressed scantily or appropriately? Is she telling the truth or lying? (Who will believe thee, Isabel?)

Shakespeare references aside, she doesn’t take herself too seriously. “Do I wish I could erase my years in D.C. from memory, Eternal Sunshine of the Spotless Mind–style?” she asks herself at one point. “Well, is the sky blue?”

Her writing is chatty, relatable, like a conversation with a friend who’s smart but has a somewhat corny sense of humor, not someone at the center of one of the biggest American political scandals of the 20th century. At the same time, what she’s been through has given her a clearer eye than many when it comes to the aftermath of trauma.

“The process of this docuseries led me to new rooms of shame that I still needed to explore, and delivered me to Grief’s doorstep,” she writes. “Grief for the years and years lost, being seen only as ‘That Woman’—saddled, as a young woman, with the false narrative that my mouth was merely a receptacle for a powerful man’s desire.”

Her experiences have taught her that she, and other women like her (though, of course, there are no women exactly like her) deserve to be heard.

“Throughout history, women have been traduced and silenced,” she writes. “Now, it’s our time to tell our own stories in our own words.”

For decades, America didn’t know what to do with Monica Lewinsky. Was she a celebrity? Her dating show was swiftly canceled. Was she a regular person? Not when she couldn’t get a job. After what she’d been a part of, no path seemed fully open to her.

Finally, in this time of reckoning around sex, gender, and abuse of power, the country is ready to hear from Lewinsky. And she is more than ready to speak.

Original Source -> Monica Lewinsky is finally having her moment

via The Conservative Brief

#IFTTT #The Conservative Brief

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