Film Review: Eclipse

The wait is over! Or, umm, the seven month wait from New Moon, the second installment of The Twilight Saga, to Eclipse. Eclipse is easily the best movie in the series, leagues above the previous two efforts to capture the wildly popular book series in celluloid. This time around, it's all about choices for Bella Swan (Kristen Stewart) - the big choice is between her love for Edward Cullen (Robert Pattinson) and the life Jacob Black (Taylor Lautner) can promise her; she must also make a decision about marrying Edward, and her desire to turn into a vampire. Meanwhile, Victoria (Bryce Dallas Howard, replacing Rachelle Lefevre) is back in Forks with an agenda, along with vicious newborn vampire Riley (Xavier Samuel) joining the picture.

Eclipse finally feels like the big blockbuster to match the box office numbers this series pulls in. It's also the first film I'd recommend to those who aren't big fans of the book. I'm chalking up the win to director David Slade (30 Days of Night, Hard Candy); Slade gives the film a darker atmosphere, matched with appropriate scope and streamlined vision. Slade truly delivers on two of the biggest emotional scenes from the book (a sequence in Edward's bedroom, and the highly anticipated tent scene), and brings some great action moments. Slade balances the sweeping fight sequences and gorgeous landscape shots with intimate close-ups; it matches the gravitas of the vampire battle, but also draws in the emotional core of Bella-Edward-Jacob. Slade also ups the technically aspects, giving the film an expensive and sleek look that the previous cinematography lacked. Overall, Slade infuses Eclipse with a kinetic energy the other films were sorely missing.

Kristen Stewart (the wig isn't that bad) and Robert Pattinson (the contacts are that bad) seem more comfortable and mature. Stewart has grown up and let go of those acting tics many criticized; she seems much more relaxed and focused on screen. She makes mopey and hapless Bella relatable, and even comes across as fiery heroine at times. Pattison has a quiet rage beneath his cool demeanor; it's wonderful when he does lash out, letting Edward's guard drop. I believe the two stars are incredibly talented, but the horrendous script doesn't let them sink their teeth into any meaty material. The amount of wooden, laughable dialogue in this film is ridiculous. Taylor Lautner is still an absolutely atrocious actor, to the point that any scene with him is nearly ruined. I don't care about how washboard his abs are, Lautner should have been fired after Twilight; he seems like a small boy among the ensemble.

Almost everyone else in the film's massive ensemble is given a backseat role; after her Oscar nomination, I wish Anna Kendrick had a little more screen time. Jackson Rathbone's Jasper is as creeper as ever; Billy Burke's Charlie is still one of best parts of the movie, mainly for being intentionally hilarious; and Bryce Dallas Howard's Victoria is an improvement on the character, toeing the line between charming woman and menacing villain. And then there's that killer soundtrack...

The movie can still be unintentionally hilarious, campy (flashback costumes!), and takes its teen romance angst so seriously it's sometimes impossible not to laugh; if you want real vampires, check out HBO's delicious True Blood. Stephenie Meyer is no master storyteller, and the slight nature of the books still shows. However, Stewart and Pattinson are fully committed, and the energy between them drives the film. Eclipse probably won't convert new followers to the moody vampire madness, but fans will appreciate that this feels like a fully-realized movie, not just shoddy CliffsNotes of the novel. The entire Eclipse team has stepped up their game. Eclipse, and the entire Twilight Saga craze, is great fun as guilty pleasure - it's a franchise built around a girl desperately pining for love, for animalistic desire. It's old school melodrama; at the end of the day, it's hard not to revel in these characters wearing their tortured hearts on their sleeves. B

Quote of the Day

Let's be serious - I'd be drop kicking bitches and stabbing jaws if any Team Edward ho tried to TOUCH ME. Sorry R.Patz, Tay-Tay makes me want to turn pedophile...

-Kate Omstead, on the possibility of a Team Edward vs. Team Jacob audience fight at the midnight screening of Eclipse

Quote of the Day

What's an empanada?
-Ross Ramone

Quote of the Day

So over this. I don't do lines.
-Ross Ramone

Film Review: Knight and Day

Remember the days when a star's name alone could carry a giant movie? If for nothing else, Knight and Day (horrendous title!) harkens back to the day when big marquee names made people flock to the movie theater; thankfully, it's also a blast. The movie revolves around rogue secret agent Roy Miller (Tom Cruise), who brings June Havens (Cameron Diaz) on a wild chase across the globe after his latest mission went horribly awry. The movie really does travel across the globe, with gorgeous location shots - Boston, Washington DC, Austria, Spain, a tropical island "off the grid." Reportedly, Cruise and Diaz also did most of their own stunts. This is a big-budget summer action-comedy-romance (does that blend have a catchy name...?), and the money shows.

Certainly, Knight and Day won't be winning awards, and the plot is rather formulaic, but the movie knows exactly what it is. The entire film revels in its goofy atmosphere. The movie is fun, entertaining, chock full of big action set-pieces (an extended fight scene on a plane uses some inventive weapons), and pretty damn funny. Many critics screamed that the characters being a tad two-dimensional, the plot overly silly, and the emotional core too cold; I think they're taking Knight and Day a little too seriously.

The whole thing works because Tom Cruise and Cameron Diaz exude serious charm every second on screen. Cruise blends Ethan Hunt from Mission: Impossible with the comedic skills he flexed in Tropic Thunder and a little bit of his own kooky persona; Cruise shows once again why he's a true movie star, and I really hope Knight and Day is his return to the spotlight (early box office receipts speak differently...). He perfectly toes the line between hardened spy and goofy gentleman. Diaz is cute and hilarious, especially during a truth-serum-induced haze in the film's final act. I'm usually not a big fan of Diaz, but she's irresistible here. Unfortunately, for the first few action sequences, Diaz is left to hide behind Cruise and scream; thankfully, she has a quick learning curve. Cruise and Diaz make a superstar couple.

The movie does have big problems - Cruise and Diaz aren't completely believable developing their romance, even when their comedic banter is great (they worked together nine years ago on Vanilla Sky); the plot winds around in circles a little, with some sizable plot holes; a subplot involving a strange suburban home oddly deflates when the mystery is revealed; a serious confrontation late in the movie seems like rapid, awkward shift in tone. For me, the movie often felt like a B-rate Mr. & Mrs. Smith. Also, a ridiculously talented supporting cast of Viola Davis, Peter Sarsgaard, and Paul Dano is completely underutilized.

Despite its faults, Knight and Day zips along at an enjoyable pace; it's a wonderful lighthearted blockbuster popcorn flick, exactly when summer cinema should be. Director James Mangold (Walk the Line, 3:10 to Yuma) shows again that he can make an accessible, crowd-pleasing genre film. Sit back, have fun, escape for two hours - Knight and Day isn't asking anything more from its audience. C+

New Gaga Song

Gaga premiered the new song "You and I" at the Eltonball this weekend, a giant AIDS fundraiser in the UK put on by her friend Elton John. Who knows if this track will be on her third album (allegedly she has all of the demos recorded, and the record will be released early 2011), but enjoy this wonderful and personal high-energy ballad from the Lady, which sounds a lot like the stuff she was writing before The Fame. Also, check out her stellar and candid interview in this week's double summer issue of Rolling Stone.

The original video at Elton John's concert was removed from YouTube; here is Gaga singing the tune at her Monster Ball show in Montreal.

Quote of the Day

Blah blah blah blah blah stupid dumb dumb.

-Ethan Smith, reading a college form letter

Quote of the Day

On principle, I don't listen to songs by robots.

-Mama Smith

RIP MJ

Thank you.
I vividly remember June 25th, 2009. We'd spent the day mourning Farrah Fawcett's passing, when suddenly the surprise death of Michael Jackson hit. I was going out to dinner with my mom, brother, and good friend Maddy. I remember checking my Facebook right before leaving the house, stumbling upon a blurb on TMZ about MJ being rushed to the hospital in critical condition. I thought it was an internet hoax, and headed over to the restaurant. Still, the shock of the story (TMZ being known for its reliable celebrity news) stuck in the back of my mind. When it was officially announced (our restaurant had numerous televisions) that MJ had indeed left us, a shock ran through the restaurant - everyone there was suddenly a group of friends coming together to mourn a legend. It was surreal, having emotional conversations with strangers about Michael Jackson, what he meant to each person there. Even in death, MJ was bringing people together, just like he did his entire life through his music. I can't drive past the Big Fish Restaurant in Crofton, MD without putting some Michael Jackson on (my personal favorites? P.Y.T., Wanna Be Startin' Somethin', and Bad). And in that sense, the Michael we know and love is still with us today. Shamone.

Quote of the Day

Oh thank God, that was getting to be, like, the Quidditch World Cup, going on for days...

-Ross Ramone, about the 3-day, 11-plus-hour match from Wimbledon

Music: British Lady Love

I have a weird obsession with British female vocalists, and these three ladies bring it like no other. Their albums were some of my favorite music from 2009, and are still in heavy rotation on my iPod. Buy these albums - not a single track is filler. Seriously. I've imbedded a bunch of YouTube videos throughout the post, check 'em out.

FLORENCE + THE MACHINE - LUNGS

Florence Welch has the most incredible voice I have ever heard live, full of raw power and emotion; her live vocals add a boil beneath her songs that could never be captured on a record. She also made a rock concert out of an indie-soul-folk album, and returns to Terminal 5 in New York on November 1st & 2nd. On Lungs, Florence is a soulful faerie queen leading you through her magical forest; listen to her music, and that crazy description will make perfect sense. Her songs make your heart sit in your throat and your brain feel drunk: the overwhelming build of "Dog Days Are Over,"the medieval power of "Rabbit Heart (Raise It Up)," the primal rage in "Howl," the sweep of "Between Two Lungs," the overwhelming passion of "Cosmic Love," the pure joy in "You've Got the Love." Her track "Heavy In Your Arms" is also featured on exclusively on the Eclipse soundtrack, and the deluxe version of Lungs features some killer bonus tracks. Sorry if I'm flooding you with links; every song this woman touches is pure breathtaking gold. My words could never do her justice. This is my favorite album from the past year, hands down.

NOISETTES - WILD YOUNG HEARTS
I also have a thing for black girls fronting rock bands; they bring a dimension and edge that you don't often find in the genre. Front-woman (and bassist!) Shingai Shoniwa has a raspy growl of a voice, a unique and sultry vibe. The Noisettes were, well, noisier on their first album What's The Time Mr. Wolf?. Over time, Shoniwa's voice matured, and the group found a more consistent, smoother sound on their follow-up, Wild Young Hearts. The lead single "Don't Upset the Rhythm (Go Baby Go)" was a huge hit in the UK; it's rock disguised as dance music, and builds to a grinding howl. From the album's haunting opener, "Sometimes," to the finale burner "Cheap Kicks," Shoniwa torches through one wonderful cut after another. "Atticus" is a stunning ballad, while "Never Forget You" is a rollicking break-up tune. And the title track? Unstoppable. This is an album you jump around to alone in your room. Also, Shoniwa does a brilliant cover of The Killer's "When You Were Young."


BAT FOR LASHES - TWO SUNS
Natasha Khan has the voice of an angel... or maybe a ghost. Both of her albums (Fur and Gold came first) were nominated for the Mercury Award, UK's biggest honor for indie artists. Two Suns is a haunting, mystical, and etherial dream of a journey. Two Suns was conceived as an album, and should not be picked apart, but the video for "Daniel" (written about the boy from... Karate Kid?) is beautiful and frightening. "Moon and Moon" is pure poetry, "Pearl's Dream" (Pearl is Natasha's alter ego on stage; think Sasha Fierce for the indie set!) bangs around in your head, and "Siren Song" is one of my favorite tracks of all time - it's a stunning, transportive song that reaches into your soul and grabs something deep. Maybe all this sounds insane, but Khan writes music that feels like falling through space. It's powerful, mesmerizing stuff. She also has an obsession with wolves, which is pretty cool.

Quote of the Day

God, I've missed New York and all its fucking weirdness.

-Katie Omstead, making a return to the big city

Quote of the Day

I want to be a legend. Is that wrong?

-Lady Gaga, to Rolling Stone (on newsstands tomorrow)

Weekend Box Office: June 18-20

Here are the actual box office receipts from the weekend (in millions), with the film's total U.S. theater gross and weeks in release in parentheses:

1. TOY STORY 3 - $110.3 ($110.3, new)
2. THE KARATE KID - $29.9 ($107.1, 2)
3. THE A-TEAM - $14.4 ($50.4, 2)
4. GET HIM TO THE GREEK - $6.1 ($47.8, 3)
5. SHREK FOREVER AFTER - $5.62 ($223.1, 5)
6. PRINCE OF PERSIA: THE SANDS OF TIME - $5.56 ($80.8, 4)
7. JONAH HEX - $5.4 ($5.4, new)
8. KILLERS - $5.0 ($39.3, 3)
9. IRON MAN 2 - $2.9 ($304.2, 7)
10. MARMADUKE - $2.5 ($27.7, 3)
[data from BoxOfficeMojo.com]



Toy Story 3 made a huge splash, and rightfully so, as the first Pixar film to cross the blockbuster $100 million threshold on opening weekend; the previous high for the flawless studio was $70.5 for The Incredibles. While the numbers were huge, ticket sales were on par with Finding Nemo, The Incredibles, and Toy Story 2; the big number is due to inflation and the rising cost of a 3D ticket. However, this is still an incredible start for the three-quel, and also the biggest opening weekend on record for June. Pixar films are also known for their incredible legs, so watch this film rake in the dough over the coming weeks. The big perk for releasing a family film over the summer are the relatively big numbers a film can do on weekdays.

The only other new release (why would you go up against Toy Story 3?!!) was the plagued Jonah Hex, a Western comic book adaptation that will do no favors for the careers of Josh Brolin and Megan Fox. The film has been getting bad buzz since clips were screened at Comic-Con last summer. Paired with weak interest from the fan boy community, and awful reviews across the board, the movie was a giant bomb. Not only one of the lowest opening weekends for a DC Comic adaptation, but also one of the lowest openings for a Western. Yikes. Trailers made the film look like a certifiable mess, without a clear plot or interesting big action set pieces.

Among holdovers, The Karate Kid, The A-Team, and Prince of Persia held on considerably well. Prince of Persia had the lowest weekend-to-weekend drop on the chart; compared to the U.S. numbers, the film is doing gangbusters internationally. Prince of Persia is also doing well compared to Sex and the City 2, which were released the same weekend; Sex and the City 2 now sits at #11, even though it premiered higher on the chart than Prince of Perisa. The Karate Kid was expected to take a big hit as families would flock to Toy Story 3 (obviously the reason the fourth Shrek film suffered such a sizable tumble), but still had a solid weekend.

Next week, Tom Cruise & Cameron Diaz's blend of big action and romantic comedy inKnight and Day hits theaters, along with Grown Ups, the hyped "all-star" summer comedy flick with the trailer you've seen 847 times.

Quote of the Day

I'm sitting by the window in a conference room in my building and a Marco Polo booze cruise just floated by. Oh how I wish I was on there...

-Jordan Kobb, in a text at 11:43am

Quote of the Day

You're not gonna distract me by talkin' nasty.
-Sookie Stackhouse, True Blood (03.02 - Beautifully Broken)

Stage Review: Bloody Bloody Andrew Jackson

Oh, the man on the twenty-dollar bill has never looked like this before. Bloody Bloody Andrew Jackson is playing Off-Broadway at the Public Theater until June 27th, and hopes to make the transfer to Broadway next season after rave reviews and a closing date that has been extended three times. It would make sense for the show to hit the Great White Way, seeing that it is currently the second highest grossing show the Public has ever seen (behind the Tony-nominated tuner Caroline, or Change). Bloody Bloody tells the story of our 7th President in a irreverent, modern, "fuck you" manner. Andrew Jackson has been stripped of his historical luster; here, Jackson here is a wild teenager, out to have fun while unable to deal with the big questions and problems thrown his way. The plot zips through Jackson's life with a loose narrative structure, focusing on both Jackson's rise to political power, and personal problems with his wife Rachel; it zeroes in on his dealings with the Native Americans, views on populism, and downfall as the President of the United States.

What sets Bloody Bloody apart from other rock musicals, besides its left-field subject matter, is that the show knows when not to take itself too seriously. Sure, it's filled with expletives, thrashing choreography, irreverence, skinny jeans, and lots of guyliner. However, the show is also bitingly hilarious. HILARIOUS. At the start of the show, I had problems grasping the tone; I had expected something much more self-serious, maybe due what I understood a rock musicals should be. Once I was accustomed to the show's flow, the musical was a wild ride. Not only is the show funny, but incredibly smart. The jokes are pilled on one after another; while Jackson does revel in some fratty teen jokes, the inside jokes about political history (example - there's a lyrical reference to Tocqueville) hit their mark with sly wit.

One of the problems I had with current Broadway rock opera American Idiot is that the show takes itself way too seriously - it's message is nothing new (done much better, and with more complexities, in Rent) or invigorating for the Broadway stage (hey there, Spring Awakening). The show comes off as trying too hard to be "edgy" and "punk." American Idiot does not know when to wink at the audience. I enjoyed American Idiot a lot, but the show is not the groundbreaking piece of art that it think it is. Bloody Bloody is smart and ironic, but doesn't bog itself down by trying to push its importance on the audience; the show even lampoons the emo cliche of having a character sit alone on stage under a spotlight, expressing their deepest feelings. It's a breath of fresh air in its genre. However, not everything works - there are certainly moments and jokes that do try too hard, or simply don't come off as funny. If the show does make its transfer to Broadway, there should still be tweaking done to even out book in certain spots; a few scenes that should have been a riot generated only a mild chuckle from the audience.

Bloody Bloody sets off the politically incorrect humor with well-placed sentimental moments, and moments where the show is much more than a fun historical romp. The show is fused with moments of political satire and allegory; it not only takes on the riff between Jackson as the people's president and the leader of a genocide against the Native Americans, put also acts as a critique on the role of democracy, modern political verbiage, civil rights, and problems with our political system. However, it doesn't make these parallels overly obvious, and that discovery is half the fun. I thought the show's final note was stunning, both in speech and imagery (which I feel were painfully offset by the raucous curtain call number).

Jackson may be the main character in Bloody Bloody, but he is not given a free card for the atrocities he committed. The show wonderful balances between hilarity and seriousness, the light and the dark, the mythology of Jackson as one of our best presidents or one of our worst; it's a hard line to walk, but Timbers and Friedman let their jokes breathe while mining deeper themes as well. The unique experience of this show is why it is so alluring. This is rollicking fun and thought provoking theatre. How nice. Watch out for announcement that this is officially coming to Broadway, and get ready for this crazy boy from Tennessee to rip things up. A-

Quote of the Day

How do you know so many Spanish words? Because, umm, you're not nearly tan enough to speak Spanish...
-Sophie, my five-year-old swim lesson

The Real Housewives of New York City Reunion: Questioning Reality Television

Tonight, Bravo aired the epic three-part reunion special of their booming The Real Housewives of New York City series (which originally aired on three different nights over the last week) back to back to back. Yes, I sat and watched every single part, back to back to back. I won't lie - I throughly enjoy the show. It's absurd and ridiculous in its soap-like drama, but these women also show some truly heartwarming moments. It's the perfect guilty pleasure, the show is an addictive blast. Possibly the best moment of the reunion was the clip reel of one-liners and "bloopers" from the season, touching upon some hilarious metaphors (thanks, Ramona and Kelly!).

The objective of this post is not to recap the brutal arguments, or true intentions, from the reunion's three hours (you'd have to be a fan to understand most of the heated conversations), but in part two of the special, and into part three, the women revealed something fascinating in their bickering. Ex-besties Bethenny Frankel (my favorite of the bunch, now with her spin-off Bethenny Getting Married?) and Jill Zarin got into an emotional debate about their friendship falling apart (*falling apart = crashing and burning) this season; this season was much darker than past years, filled with even more hateful chatter and malicious actions. However, this heightened drama is exactly what viewers are gobbling up. During this debate, with the death of their friendship as the dramatic core from this season, Bethenny brought up an interesting point, a point that I believe touches upon a notion that resonates throughout all of reality television: Jill was more than ready to show her husband's cancer diagnosis on the show, but did not want the cameras rolling when Bethenny asked to step into a room and work on mending their friendship. Bethenny was later asked about when two woman on the show called her a "fame whore," citing the fact that she had the cameras in the bathroom while taking a pregnancy test; she said she certainly draws a line at showing certain things, but that the moment with her pregnancy test didn't bother her at all.

Bethenny inadvertently touched upon a much bigger question within reality television - where do you draw the line on what to show from your life on television? When is the footage no longer entertainment, but something far too real, and perhaps downright frightening? New addition to the cast Sonja Morgan (a wonderful source of comedic relief throughout the entire season, and a breath of fresh air when she entered the reunion's second hour) described how she did not want her daughter featured on the show, while (Countess) LuAnn de Lesseps talked about leaving certain details of her personal life (specifically the details surrounding her divorce) private. Reality stars subject their entire lives to the camera, with an audience always been there to watch the torrid details of their lives. However, putting a camera crew in the room automatically destroys the element of "reality." No one's reality involves have a camera documenting their every action; adding a camera to the equation often changes people, causing them to act out in ways that could be extremely unexpected. One reason I hate the New Jersey entry to this franchise is for this reason exactly; I believe those women are chewing scenery to simple cause a scene, trying to one-up each other in front of the camera, and it is disgusting. Could these actions on television not be reality, but people portraying caricatures of themselves? It's an interesting shift to note, the subtle (or not-so-subtle) changes in a person when they know there's an large audience hanging on their every word.

We gobble up reality television: Bravo begins Real Housewives of DC this August, as the franchise continues to expand, and Bethenny Getting Married? premiered to just over two million viewers two weeks ago, the highest rated series debut ever on Bravo. We treat the show like entertainment; believe me, I find the show ridiculous entertaining, and will continue to watch as long as the New York ladies are around. However, reality television peers directly into the private lives of others. It is a blatant form of exploitation, even if those participating have signed off on their lives being filmed. Part of the show's guilty pleasure is beyond just feeling guilty for watching the show; it is also the feeling that it is objectionable to watching moments of another's life that are usually so private (for example, Bethenny dealing with the intense emotions of visiting her biological father's deathbed). Television producers tap into the drama that people hunger for, drama that seems so much stronger when it is happening to real people. If television producers don't always draw the line of what should be show, is it our responsibility to turn away?

The question of crossing this line was actively explored in this season - Kelly Killoren Bensimon had a rather frightening mental breakdown during the "Scary Island" vacation (Housewives-penned nickname), which left the woman she was with extremely rattled; they were very concerned with the woman's health, and she left the island the next morning. However, during the reunion, Kelly labeled the moment as a "breakthrough," and disagreed with moments that were irrefutable facts. For a while (the end of hour two, into the beginning of the final hour), the reunion was not entertaining, but nearly depressing; this was a woman who clearly needed help, a woman lost in her own world. She honestly believes the lies coming out of her mouth, every single word; some of the things she said were so utterly ridiculous, even reunion host Andy Cohen couldn't hide his astonishment. Seeing her breakdown on the show, and her blatant denial that there was any kind of problem during the reunion, was horrifying. This woman needs help.

Also in the reunion, Jill seemed to be paying for her sins over the past season, and was many times overcome with emotion over the statements hurled at her; even Bethenny made a comment about how they might as well murder the woman right there, seeing what was being said to her in emails and questions sent in by viewers. It was a painful experience, seeing this woman so beaten down, in tears, and emotionally lost; who knows the full truth on what is going on between her and Bethenny, but I felt her pain when she could no longer hold it together. From what we've seen on the show, she has become a sad, bitter, twisted version of her former self... but no one should have to deal with that much hate. It was, again, difficult to watch this woman scramble to reassemble the relationships she had.

I don't have answers to the questionings I'm positing here, or an answer for when I keep the show on when these horrible moments happen. I'm not sure solid answers exist. I did think it was interesting to see that in the reunion alone, the women expressed strong traits they have shown as vital parts of their personality throughout the show - Bethenny was brutally honest and, as always, downright hilarious (calling Kelly Humpty Dumpty = priceless); Sonja was trustworthy and ridiculously level-headed, proving again that it's always good to laugh at yourself, and that Bravo made one of the best moves in the show's run by getting this woman, so comfortable and confident in herself, on camera; LuAnn (you've seen the Money Can't Buy You Class video, right?!!) acted as a mediator, diplomatic while attempting to stay out of the heart of the drama (I was surprised to hear her incredibly moving and frank words about her divorce - this woman does have class); Ramona's lovable crazy, and in my eyes, the "Mom" of the group; and so on. It was almost as if reality television has the ability to strip people down to their very core, showing their true personality when throw into a situation.

A line does exist of what should be shown on television, of what is actual entertainment, and of what is healthy for the public to watch. Maybe the fact that I didn't change the channel during the reunion's rough moments speaks volumes. Maybe I'm being hypocritical! Maybe there's something we can't deny in watching these difficult moments of struggle, an aspect in all people that reality television has learned to deeply affect. Maybe we realize that the problems in our lives really aren't that awful when compared to the outrageous things these women go through, and put themselves through; the show acts as a reminder that no matter how much money you have or where you live, someone out there with the "perfect life" is dealing with something more outrageous than you can imagine. It's almost therapeutic.

There is a point when watching someone's pain becomes the directly opposite of entertainment. The New York reunion was more than just women hashing out personal problems that have plagued their friendships; they were exploring the definition of reality television, exploring the questions the show itself asks when delving into the lives of these elite New York women. Putting these women together in the same room for a few hours, simply to talk, is the making of a pressure cooker that yields very interesting results. Some may view the show, and especially the bloated reunion footage, as pure shlock. I believe the show has stumbled upon something very interesting, a dynamic that is suddenly exploring the boundaries of reality television itself. Satchels of gold, Bravo, for giving a rather sharp edge to a show that could be viewed simply as enjoyable trash.

Quote of the Day

Well, excuse me! I am trying to stay in character!
-Mr. Pricklepants, Toy Story 3

Film Review: Toy Story 3

Wow. Just got back for the midnight IMAX 3D screening of Toy Story 3, and words escape me (for once). Pixar has always brought the animated magic, but the studio known for its incredible mastery of the genre has clearly outdone itself here. While I was ridiculously excited for a new sequel in the brilliant Toy Story franchise (trilogy?), and had insanely high hopes for this movie, I was also a little wary - could Pixar still pull together the same mixture of humor, emotion, and strong storytelling about these characters so close to our hearts?

Fear not! Toy Story 3 exceeded all of my wildest hopes and dreams. Disney/Pixar understands exactly what the audience wants. Regardless of the film's (ingenious) plot, our core characters from the past two films are back; they're exactly the same old toys we fell in love with 15 years ago (OH. MY. GOD.). The film adds many new characters, but Pixar never takes the spotlight off of our favorites. Toy Story 3 doesn't push the new characters on us; instead, they are mixed seamlessly into the narrative without seeming overdone or annoying. The new characters work brilliantly, but never obstruct our emotional connection with the gang.

The film's opening sequence is a big set piece in Andy's imagination, and it instantly warms the audience back up to the Toy Story universe; it's a perfect prologue, packed with the laughs and smart imagery we're used to from the first two films. The movie really starts with Andy packing up for college (cue the waterworks!), and he obviously has no need for his old toys as he moves into a dorm room. Through a strenuous series of events (that could obviously only be pulled off in the film world), Andy's old toys end up donated to a local daycare. The crew meets a new gang of happy-go-lucky toys, and are more than excited to have a new group of kids to play with. I couldn't possibly ruin the twisty and shocking plot for you, but things develop quickly for Andy's toys at the daycare. The movie is filled with a mixture of winning moments: emotional throwback scenes in Andy's room, witty introductions for the new toys (Ken is the best addition - an absolutely hilarious character, gifted with some really wonderful moments in the script), scenes constructed like a prison break thriller, film noir, and flashy action adventure. The script is ingenious, and never goes for a cliched plot moment over something more imaginative and complex. You'll remember why you fell in love with these characters in the first place when it happens all over again... Watch out for the final 20 minutes. Be prepared to weep.

The pressure to deliver with this film was immense for the Pixar team. But Pixar shows that no matter the pressure, they'll bring the goods. It's a movie for everyone; I honestly cannot think of a single person who wouldn't enjoy this film. The appeal for this franchise stretches across many generations, hence why this series makes a killing at the box office. There are many jokes for children, but also some hilarious bits that will go way over the heads of younger kids in the audience. You certainly don't need to be familiar with the first two films to enjoy this entry, but the emotional relationship we have with these toys (Rex is still my favorite; I had a huge dinosaur obsession when I was a kid) is something this film is aware of, and Pixar knows how to pull our heartstrings. Studios don't craft animated films with so many layers like this anymore.

Pixar is known for meticulous attention to detail, both in animation and the art of producing a plot that is thrilling, smart, and shockingly original. The most consistent studio in Hollywood, Pixar knows how to mesh witty moments of humor with serious themes; here, they tackle the need to find meaning in life as you grow up, and how to cope with that moment of finally letting go of the things you loved. It's interesting how Pixar can combine cutting-edge CGI animation with a tale about toys that are almost dead in our world, replaced by electronics and fancy gadgets. Pixar creates universes that are fantastical, yet grounded in a shockingly honest emotional core; with our own loss of childhood, and the nostalgia of these type of seminal toys, Toy Story 3 strikes a deep chord beyond the movie's plot. I laughed, I cried, I felt like a child all over again.

Toy Story 3 could be the crowning achievement of Pixar. Certainly better than Toy Story 2, and it's hard to compare to the original Toy Story because that film was something so unbelievable fresh - before Pixar was a powerhouse, before everyone was using CGI for animated films. However, it may be just as good as the original, though it's resonance would be impossible without the first two films to build off of; I'm ranking it as a tied with Wall-E as Pixar's best work. This is the film everyone should see this summer. Hands down, no question. Be sure to see the film in 3D; Pixar uses the form in subtle, beautiful ways. It doesn't use 3D because it's the hot new (and often annoying) thing to see in theaters, but because it adds an edge to the story instead of throwing the trick in your face. Those big glasses will also help hid your tears. It hits the right emotions at the right moments, without being overly sentimental or blatantly pushing the audience's buttons.

Also, the short film before Toy Story 3 is Day & Night, and it is far and beyond their best short to date. Day & Night is worth the ticket price alone. I couldn't even begin to describe it, as words probably wouldn't do the highly inventive animation justice. Just be prepared from something that not only has an important message, but does so in a way that has never been seen before. I was pinned to my seat before the opening credits for Toy Story 3 even began. Pixar has raised the bar again, and they show their commitment to exploring new, exciting animation for the first few seconds.

The entire Toy Story 3 experience was something you don't find in movie theaters very often. After 150 reviews, Rotten Tomatoes has the film listed at 99% positive reviews. That's unreal, and an unbelievable feat in today's cinema. Sometimes, when leaving a movie theater, you're struck with an overwhelming emotion that almost impossible to describe. I felt it when I walked out of the midnight screening of Inglourious Basterds, and I felt it even stronger exiting Toy Story 3 (never thought I'd see those two movies in the same sentence). It's a masterpiece. I'm still in awe, and plan to gush about the film for a very long time. A

P.S. For a wonderful laugh, check out this ridiculous review for Toy Story 3 after seeing the movie (out of the 150 reviews collected on Rotten Tomatoes, only two are negative).

Quote of the Day

Is it weird that as I burn through all these episodes of Lost, I'm getting more and more infatuated with Jack? I've never felt this way about a MAN before... Kate and Jack just made out, I want to kill her.
-Kate Omstead, on Doctor Jack Shephard

TV on DVD

As promised in my summer guilty pleasures post, here's what to catch on DVD if you want some quality television with your summer. A lot of boxed sets are available to watch instantly on Netflix, if you have an account (if you don't, I'd advise getting one - it'll change your life a little, and it's relatively inexpensive). Otherwise, check video rental stores. Also, older seasons of DVD will often be ridiculously cheap at places such as Target or Best Buy...

LOST - If you missed this glorious show the first time around, check it out now. Season Six, the final season, will be released August 24th, so you'll be able to zoom through the first five season before running out of material. This show is the definition of brilliant, one of the greatest shows television has ever seen. Unless you've been living under a rock for the past six years, you've heard of this show. Certainly not for the faint of heart or mind, but Lost is worth the investment. Sure, the series is maddeningly frustrating at times, but that's part of the fun; you have so let yourself go, and enjoy the ride of the dense mythology. The series finale seems to have polarized the fan base, but it stands as one of my favorite two hours of television. Head to the Island, fall in love with the misfit group of castaways. You won't regret it.

THE WIRE - This epic vision of every facet of Baltimore's drug scene is a show that sadly went under-watched and under-appreciated when it's five seasons aired on HBO (hey Emmy voters, awful job here). However, The Wire constructs it's vast web of characters with masterful flow, portraying a world that almost feels like documentary. You'll think you have the good guys and bad guys straightened out... until something changes the entire game. The Wire isn't afraid of brutal storytelling, killing its characters, or throwing its audience through the emotional ringer. This is powerful, mature television.

MAD MEN - As stated in my summer television post, Mad Men returns at the end of July with Season Four; The first three season are on DVD now. Mad Men builds New York in the 1960s with beautiful precision, creating characters who are morally gray in their actions - Don Draper is the epitome of an antihero. Thank God this show is filled with such an incredible ensemble of actors, carrying of their difficult material like pros, subtly developing their character with each episode. The infamous Matthew Weiner is the creator and executive producer (he was heavily involved with the final two season of The Sopranos), and the man knows how to construct a story - it might take a while before anything huge happens, but he develops his show with an irresistible slow burn.

BATTLESTAR GALACTICA - No, I am not talking about the short-lived series from the '80s, but Sci-Fi's (Syfy's?) stunning (yes, stunning) reboot. Many people are turned off simply by the idea of science fiction television. While the series looks a lot like Star Trek in the beginning, and the miniseries that begins the series seems a bit turgid, BSG takes science fiction as a genre and reboots everything you know. This is a show about relationships, hope, redemption, and political struggle... disguised as intelligent science fiction. While I think the finale season drops the ball on a few promising moments, the entire show achieves something that I have never seen with a sci-fi television series, and stands as a crowning achievement for all of television, regardless of the genre. If anything, watch for Katee Stackhoff (given a lame role in 24 two seasons ago) and Mary McDonnell; these woman bring it. Mary McDonnell was robbed of an Emmy (and she wasn't even nominated!) for the finale season. And apart from the acting, there are badass CGI space fighting sequences thrown in for good measure.

BUFFY: THE VAMPIRE SLAYER - Yes, I am pulling out all the stops with underrated television! When I tell people I am a huge Buffy fan, people often scoff. However, especially with the recent vamp craze, Buffy deserves a revisit. This is a brilliant twist on the teen soap, and Sarah Michelle Gellar is believable and wonderful as the young girl forced to defend the world from the forces of evil. Joss Whedon is a master at his craft; his most famous television endeavor is filled with such wit and spunk, it's impossible not to fall madly in love with this show and these characters. Season One is not as focused as the rest of the series (each episode basically stands alone, and many are throwaways). However, the end of Season One into the start of Season Two, the show is unstoppable. This is the one show that people judge before they've seen a single episode, and it can be incredibly frustrating. Open up - episodes like Becoming, Hush, The Body, Restless, and Once More, with Feeling push television to explore something new and exciting, especially in the early 2000s. This show was ahead of its time.

VERONICA MARS - My good friends are probably sick of me trying to push this show on them. Oh well. Regardless, there's only two seasons to watch! It's quick! Technically, a third season aired on the CW's inaugural year, but I pretend that season never existed; CW heads forced series creator Rob Thomas (nope, not that Rob Thomas) to change the construct of the show to attract new viewers. It didn't work. Vom. Season Three is still good television, but Season One of VM is about as close as I've seen to a perfect season of television. Kristen Bell plays Veronica Mars, a teenager in California who's dad who is a private investigator; obviously, over time, Veronica has come up with a few tricks of her own. Each episode deals with an individual mystery Veronica is called upon to solve, while each episode brings about new clues in the hunt to find who murdered her best friend. Veronica is also dealing with a few personal mysteries she needs to clear up, but I'll leave those as a surprise for the pilot to explain... I'm passionate about this show because its first two seasons (Season Two's overarching mystery deals with a bus full of students that crashes off a cliff into the ocean) are unreal, visceral television. It's like Nancy Drew for grown-ups. Don't knock it.

If these six don't suit your needs, check out: Friday Night Lights, Dexter, Arrested Development, The Sopranos, Alias, Breaking Bad (which I need to catch up with myself...), and The OC. Sound off in the comments about series you love - maybe you can introduce me to something new too!

Quote of the Day

Ke-ching-a!

-Ross Ramone, pronouncing "recording artist" Ke$ha

Guilty Pleasures

Everyone knows that summer is a time when quality television (for the most part) disappears, and good ol' trash comes out to play; good television takes a nap after all of the May Sweeps crazy, and bad television comes out to throw a party. The main thing about enjoying summer television is indulging in the guilty pleasure. Especially after the brilliant emotional roller coaster Lost (sobbing, RIP) put us on this year, it's nice to enjoy some mindless frolicking on the boob tube.

Here are the summer shows I have come to love and laugh at. I do draw the line at certainly summer madness (no matter how many times you show the promo, ABC, I will not be watching The Gates), but in order of increasing ridiculousness:

Not A Guilt Pleasure in any Way, Shape, or Form: MAD MEN

(Season Four Premiere - Sunday, July 25th at 10:00pm on AMC)
Now that Lost has finished its run is spectacular fashion, Mad Men is the greatest show currently on television. If you haven't seen it, but have heard all of the big buzz (it's the only show to ever win the Golden Globe for Best Drama three years in a row), PLEASE check out the DVDs; Season Three was released last month. The Season Three finale was a game-changer for Don Draper, his family, and the fellow Mad Men in his office (men who worked on Madison Avenue at advertising firms in the 1960s). The show could go anywhere from here, and continues to be a dangerous smart hour of television. Beyond just the character drama, the attention to period detail in ever aspect of the show is unreal. Mad Men deserves your attention.

All Pleasure: TRUE BLOOD

(Sundays at 9:00pm on HBO)
I don't think I need to say much about my favorite vamps (check out yesterday's recap post for the Season Three premiere). The nine months of waiting were nearly unbearable, so sit back and enjoy the ride.

"Quality" Reality Shows: TOP CHEF: DC & SO YOU THINK YOU CAN DANCE

(Top Chef premieres Wednesday, June 16th at 9:00pm on Bravo; SYTYCD airs Wednesdays and Thursdays on Fox)

I call these shows "quality" reality shows, and put them in the same category, because they seem to be two reality shows that are more concerned with the quality of the contestant's work (food and dance, duh), and not about casting outrageous characters for a show or to make "good television" (lookin' at you, American Idol). The air times for SYTYCD are still all over the place, as the season has just found its Top 10 (er, 11) new dancers. Top Chef delivers great drama, and a whole bunch of delicious-looking food; SYTYCD brings some incredible dancing and a whole lot of emotion.

Guilty. Pleasure.: THE BACHELORETTE

(Mondays at 8:00pm on ABC)
Yep. It's a blast. Just go with it. Remember to laugh. Not gonna lie about it, it's straight-up addictive television. Plus, this year's Bachelorette Ali is gorgeous, hilarious, and utterly charming.

Impossible Not to Love: REAL HOUSEWIVES OF NY

(repeats on Bravo all summer)
These ladies are ridiculous, catty, and mentally unstable... as well as hilarious, loving, and sometimes beautifully genuine. This crew is the most entertaining and "real" of Bravo's Housewives franchise, and it's the only version that's worth watching (we'll see how DC looks with its premiere in August... but stay far, far away from the Jersey ladies). The show has become so popular that the guiltiest of guilty pleasures can actually mentioned in public! Crazy. Enjoy. And remember, money can't buy you class.

Pure, Utter Trash: TRUE BEAUTY

(Tuesdays at 10:00pm on ABC)
Absolutely heinous television. Cheap production, weird set-up, impossible not to watch after The Bachelorette (because what's better than numbing your bran cells for three hours straight?!!). The concept revolves around a group of alleged beauties, living together in Vegas, and competing to be the "Face of Vegas" (basically a glorified beauty contest). However, secret cameras catch moments that reveal their "inner beauty" as well; the winner has a combination of inner and outer beauty. Whew. It's shlock, but I laugh almost the entire hour. Oh boy.

Either this evening or tomorrow afternoon, I'll be posting television shows now available on DVD that can provide smart, thought-provoking television through the doldrums of summer; if you're not into the mindless guilty pleasures, it will give you something completely guilt-free to indulge in.

Quote of the Day

Every day, I'll be throwing down a quote - could be something from a class I'm taking, a hilarious line from one of my lovely friends, or maybe even copied from my horoscope. Some days I might even post multiple quotes, or hold up and do a Quotes of the Week post on Sunday. Who knows!

Madness need not be regarded as an illness. Why shouldn't it be seen as a sudden - more or less sudden - change of character?
-Ludwig Wittgenstein

Recap: True Blood Season 3 Premiere

SPOILERS AHEAD. YOU'VE BEEN WARNED.

True Blood is back! After nine moths of brutal waiting after Season Two's jarring cliffhanger (who kidnapped Bill?!!), HBO's perfect storm of a guilty pleasure returned with a bang. The show felt like it was 20 minutes long; it perfectly tied up the lingering moments from Season 2, while beginning some juicy plot threads for Season 3. However, not everything worked.

We started right where we left off - Sookie, wearing that lavender dress, attempting to make sense of Bill's kidnapping. Girl really loves to shriek, doesn't she? I'm happy to see that Alan Ball can shift between his multiple arcs pretty well, while still keeping Sookie's story line front and center. Maybe praise should also go to Anna Paquin for keeping her kooky character grounded in her kooky supernatural Louisiana. She gives the show a feeling of blunt authenticity that keeps the show from spiraling out of control into pure camp.

One of my favorite subplots from last night's premiere was Jessica dealing with a man she killed. Without Maker Bill around to teach her the ways of the vampires, she's like a teenage girl who fucked up while the parents were out for dinner. Deborah Ann Woll captured a teenage girl attempting to cover up her mistake perfectly - desperately trying to feed her prey some of her blood, awkwardly prancing around whenever Sookie was in the house, hiding how much of an emotional mess she was. I'll be waiting for her reunion with Hoyt, because there relationship was beyond adorable towards the end of last season. I do wonder where she got a Blackberry app about crazy gang branding symbols though...

Bill has kidnapped by werewolves! Or a four-man team named "The Fuck Crew," as they affectionately desire to be called. These men were the perfect amount of creep to initiate the viewer to werewolves on True Blood; these are not the pretty vampires we're used to, but rough and gruff men from the woods. Bill eventually escaped from their clutches, making his way though the wilderness, and stopping for a little granny snack to regain his strength. The episode ended with Bill's fangs bared, surrounded by a pack of werewolves. Uh-oh.

Pam has been upgraded to a regular this season, and I'm so happy she's in it to win it. I find her endlessly hilarious, and one of the shows most underused gems. Sookie's line "I'm in no mood for lesbian weirdness tonight, Pam!" was one of my favorite of the episode, and Pam quietly berating Lafayette was one of her best moments yet. I can't wait for Kristin Bauer's character to continually develop over the season, hopefully moving to a more interesting task than simply pushing V and our resident vamp bouncer.

Jason Stackhouse continues to be one of the show's most deceptively deep characters, and Ryan Kwanten carries it off incredibly well. His interaction with Hoyt and the two NYU graduates in Merlotte's was hilarious, and his inability to have sex because of his emotional trauma was a nice addition to a character who is known for his sexual exploits. However, where will True Blood find it's gratuitous nudity without Jason? Sure, there was certainly some from Jason in the premiere, but if he can't get it up for a while... Regardless, Jason seeing Egg's bullet hole on the girls he brings home is a nice addition to Jason's complicated world. Conscious off, dick on!

Speaking of Eggs, Tara is a mess. Hopefully "mess" will be upgraded to "bat shit crazy" in the coming weeks, and I am always down for Tara's Mom to be involved in her daughter's scarred life (Adina Porter is astounding as a mother struggling to save her daughter while copping with her many demons), but she felt underdeveloped in tonight's episode. We've seen blank stares and copious pill-popping to deal with the death of a loved one; I want something more from Tara. Will she grapple with the fact that she was being used by a mythological beast? Maryann's mind control over her was a dangerous thing, and Tara's love for Eggs may have been completely based in the serious evil that overcame Bon Temps last season. Her character has a lot of promise dealing with the downfall from last season, hopefully True Blood is up to the challenge.

Eric gave Jason a run for his money in the whole nudity category, along with his new "dancer." However, Eric dealing with the V craze in Louisiana seemed awkwardly structured; hopefully he'll be spending more time with Sookie in the hunt for Bill, because I'm not a fan of his dry sheriff duties right now. Eric is one of my favorite characters on the show, and I hope this drama with the Queen forcing the sale of V is resolved soon. Not my favorite subplot, and I think Eric deserves better.

Sam continues to be my least favorite character on the show. His "homoerotic" (awkward?) moment with Bill just seemed odd and ill-conceived (yes, I know Bill gave a lot of his blood to Sam, but still...), even if Stephen Moyer was giving the moment his all. Sam is off in search of his birth parents. Cool. His brother lied to him. Awesome. Hopefully Sam's journey for self-discovery in Arkansas gives him a solid story that connects with me. Because umm I'm ready to see his character killed off. Sorry puppy.

Lafayette has his standard sass back (sorely missing from last season), and hopefully he'll be used more this season. Arlene's pregnancy announcement in seemed rushed; I wish the producer's had given that revelation more time to breathe, as Arlene wasn't given nearly enough screen time to go along with the moment. We'll see how her relationship with Terry develops, because I wasn't feeling their moments last night.

Overall, a wonderful start to a promising season. I was giddy the entire hour, and could barely believe it had flown by so fast when the credits rolled. Most of the subplots are working for me; a few are not. Regardless, I trust Alan Ball - the man juggles his deep cast of characters with such ease it's remarkable. I do wish the season's Big Bad was more clearly defined; is it the werewolves? Or is there a stronger darkness on the way? This show has truly hit its stride, finding the right tone and completely grasping what it's audience wants - blood, sex, and high drama. We want it fast, rough, and usually pretty sloppy. This show is a blast. Here's to the start of a very promising new season.

NEXT WEEK ON TRUE BLOOD

Reactions: 2010 Tony Awards

The Tony Awards! Broadway! Glitz! Glamour! Green Day?

One of this season's biggest flaws was more than evident during last night's telecast - Broadway's obsession with an attempt to draw in a new audience, instead of catering to the theatre patrons who keeps the lights on in theatres. Many shows have been casting Hollywood stars to get butts in seats; if that's what it takes to fill a theatre these days, whatever. However, it should not be a trend that continues to grow over the next few years. Hollywood stars should be cast when they're perfect for the role, not so much because it works for the show on a financial aspect. I'm not dissecting every moment from the biggest night for New York entertainment, but here are some highlights from the evening (for all of the night's winners, check out my previous post):

Memphis wins Best Musical Oh, Memphis. I had so much fun at your show! You had a gospel number AND double dutch choreography within five minutes of each other! You had that perfectly cheesy sing-a-long curtain call moment! I will admit, I throughly enjoyed myself at Memphis. However, I want Broadway to move me more than this show did. Memphis belongs to the same family as Hairspray, and I don't have a huge desire to return to the show any time soon. I am hankering for a return to Fela!, which will hopefully be able to sustain its run with a box office boost from the few Tonys it did win. Regardless, Memphis is feel-good, fluffy, commercial theatre that tourists will flock too; Broadway was lacking a huge hit this season, and Memphis has the potential for a very long run. Monetgo Glover is by far the best thing about the show (thought she sounded rough during the Memphis number...), but I have a strange, strong hatred for Chad Kimball. At the end of the day, the show has been worked on for nearly nine years now, and the cast was beyond ecstatic for their win after years of hard work. I just wish voters had taken a chance with Fela! instead...

Green Day? That opening medley? Green Day did not belong in the opening number of the Tonys. The fact that the opening medley of songs were basically "Tunes You Didn't know were on Broadway!" was annoying. Randos won't be watching the Tonys no matter what; people who care about the industry are.

Katie Finneran had the speech of the night The featured actress from Promises, Promises steals that gorilla of a revival with only 15 minutes on stage, and her speech was probably the best of the night. Don't believe me? Check it out. Runner-up status to Eddie Redmayne, and Red is now at the top of my to-see list after there incredible five Tony wins.

Get it ScarJo! LOVE YOU CZJ! Huh, Denzel? While Hollywood vets were on hand to win a handful of awards, it's funny how the Broadway actors delivered the most stunning speeches! However, Scarlett Johansson, making her Broadway debut, was humble, beautiful, and so gracious accepting her speech. Obviously surprised and overcome with emotion, she gave an honest speech and perfect tribute to the community. I feel madly in love with Catherine Zeta-Jones all over again; her scramble to stage was one of the greatest moments of the telecast, as well as her loving acceptance and hilarious quips. People seem to be knocking her performance during the telecast - sure, those head swings were a little ridiculous (she was giving her voice momentum to finish the note...?), but she was obviously vocally tired. I do go HEAD-OVER-HEELS for the little nose wipe she does with the back of her wrist at the end of the number. She deserved that Tony, and I was so happy to see her on that stage, livin' in the moment... These two ladies exemplify Hollywood stars starring on Broadway the right way. Denzel exemplified why the trend is detrimental to theatre. He gave me the feeling that he won simply because he's Denzel Washington; I certainly do not think he gave the best performance of the year, playing his role in a way that didn't wholly agree with me. Was he good? Sure. Was he Tony worthy? Not at all. His acceptance speech seemed lazy, uninterested, and... douchey. It's the American Theatre Wing, Denzel. Figure it out.

I cried with Viola Davis. That's all.

Sean Hayes was a great host, I'm shocked While I was initially incredibly skeptical when his name was announced for hosting duties (and over his nomination for Promises, Promises), Sean delivered the hosting goods with some wonderful jokes, good ol' charm, and seemed to keep the crowd at Radio City wildly entertained. I still don't think he was the best choice for the show, but he did surprise me. If only Kristin Chenoweth had shared hosting duties with him all night...

Who the hell is Levi Kreis? But, like... really?!!

Biggest Voting Womp Memphis did not deserve Best Book. That Tony should have gone to Everyday Rapture or Fela! . Yes, this award actually made me angrier than the Best Musical announcement. I completely understand Memphis winning Best Musical; I get the reasoning. Not so much here.

Biggest Voting Hooray This moment almost goes to Catherine Zeta-Jones, but she had plenty momentum into Tony night - I'm sending this HOORAY to Bill T. Jones winning for Fela!'s choreography! Completely and utterly deserved. I was under the assumption that Twyla Tharp had it locked up for Come Fly Away (NOT. A. MUSICAL.), but was so incredibly happy that the mastermind behind Fela! got his moment in front of that crowd. Bravo.

Lea Michele and Matt Morrison = Best Performance There seemed to be a lot of hate brewing about the Glee performances included in the telecast, but Glee's two biggest stars showed why they were invited on stage. While most of the numbers from nominated shows flopped (and were plagued by serious audio issues, yoikes), Matt and Lea brought it up a notch. Now, a bone to pick - everyone needs to stop telling Lea Michele to "relax." Maybe the bitchy theatre community could relax a little? So what if she was actively campaigning for the Funny Girl revival? The girl is finally having her moment, and she is rightfully soaking it up. She sounded wonderful, and would be a wonderful choice for that role. Have I ranted enough? Watch the performance (wait for the awkward wave to Jay-Z) and decide for yourself!

Best Presenters Raquel Welch for bringing the serious crazy, Bebe Newirth and Nathan Lane for being able to make fun of themselves in hilarious fashion

In all, the show was wonky, wacky, and a hot mess. It perfectly reflected the wonky, wacky, hot mess season Broadway had in 2009-2010. So here's to next season! Clean slate! Be sure to catch up on the big winners over the summer (Memphis, La Cage aux Folles, Red) and my favorites from that season that are still running (Fela!, Next Fall), and prepare for some magic (fingers crossed!) to stomp the boards in the fall.

A final note to the Broadway community slash Tony planners slash American Theatre Wing - VIEWERSHIP WAS DOWN 8% FROM LAST YEAR. The whole "Look! HOLLYWOOD!" thing didn't really seem to work. Sorry, but please get back to the basics. It's what we come for. It's what we love. It's a night for Broadway.

2010 Tony Winners

Regardless of how I feel, here are the winners from tonight's Tony telecast (in the order they were awarded):

Orchestration: Daryl Waters & David Bryan, Memphis
Original Score: David Bryan, Joe DiPietro, & David Bryan, Memphis
Book (Musical): Joe DiPietro, Memphis
Costume Design (Play): Catherine Zuber, The Royal Family
Costume Design (Musical): Marina Draghici, Fela!
Lighting Design (Play): Neil Austin, Red
Lighting Design (Musical): Kevin Adams, American Idiot
Scenic Design (Play): Christopher Oram, Red
Scenic Design (Musical): Christine Jones, American Idiot
Sound Design (Play): Adam Cork, Red
Sound Design (Musical): Robert Kaplowitz, Fela!

Featured Actress (Play): Scarlett Johansson, A View from the Bridge
Featured Actor (Play): Eddie Redmayne, Red
Direction (Play): Michael Grandage, Red
Direction (Musical): Terry Johnson, La Cage aux Folles
Featured Actress (Musical): Katie Finneran, Promises, Promises
Featured Actor (Musical): Levi Kreis, Million Dollar Quartet
Lead Actress (Play): Viola Davis, Fences
Lead Actor (Play): Denzel Washington, Fences
Choreography: Bill T. Jones, Fela!
Revival (Play): Fences
Play: John Logan, Red
Revival (Musical): La Cage aux Folles
Lead Actress (Musical): Catherine Zeta-Jones, A Little Night Music
Lead Actor (Musical): Douglas Hodge, La Cage aux Folles
Musical: Memphis

And there you have it! This (rather womp-tastic) season for the Great White Way is over - catch up on the big shows you haven't seen, and get ready for some magic to stomp the boards in 2010-2011. I'll be posting my thoughts on the show tomorrow afternoon, as well as a spoiler-light reaction to the True Blood premiere.

Tonys & True Blood

Welcome to my blog! This is weird. Is this weird? This whole thing slash idea is still a baby, so hold on while I sort the whole damn thing out. Should be interesting...

While I procrastinate on something resembling work for my summer classes (feminine poetry theory, here I come!), I just want to get something out here; the blog looked weird without a post. My passions include any aspect of the entertainment industry (what this blog will hopefully focus on), and tonight is a night of epic proportions - the Tonys Awards (CBS at 8:00pm), followed by the season premiere of True Blood (HBO at 9:00pm, repeat at 11:00pm).

If you're not into the whole Broadway scene, this could be a year to check the awards show out and see what all the hoopla is - this season on Broadway was filled with Hollywood stars, most of whom will be in attendance tonight, if not presenting (and hey, maybe they'll leave with a statue in hand as well). Plus, Lea Michele and Matthew Morrison are performing to draw in the hot young Glee crowd, the cast of American Idiot are sure to throw down a Green Day song like you've never seen before, and a medley of Broadway tunes that crossed over to mainstream hits is planned to start off the show. It's one of my favorite award shows (nothing touches the film industry or the Oscars, sorry), mainly because Radio City is such a beautiful venue; the amount of talent packed into that room, congratulating one another, is astounding.

However, this has been one of the weakest season on Broadway in recent memory; there should have been more shows that hit it off, that connected with a critics and a wide audience. I will definitely be rooting for Fela!, which brought something electric and original to a Broadway. Telling the story of Nigerian Afrobeat pioneer Fela Kuti, the show uses the construct that the audience is in attendance of one of his infamous Shrine concerts in the 1970s. Everyone in the show pours every ounce of their soul out on that stage, and Sahr Ngaujah as Fela unleashes something so primal that it is impossible not to be stunned by his presence. The show brings it like no other this season, and was one of the greatest experiences I have had in a theatre. The show should be a lock for many categories this evening... if it wasn't for Memphis, a feel-good fluffy period musical about race relations. We'll see what the voters are loving tonight - there are very few categories with clear favorites, so tonight could be a wonderful celebration, full of surprises.


The cast of Fela! twerkin' it out

Check back tomorrow for my thoughts on the telecast, who deserved their trophy, and who was robbed. Also, prepare for a juicy True Blood recap - it may not be the smartest show on television, but it is one of the few guilty pleasures that almost succeeds at just making it all pleasure.