Film Review: The Other Guys

Director Adam McKay has made a career with Will Ferrell; the two have collaborated on Anchorman, Talladega Nights and Step Brothers. McKay has mined big laughs from odd environments such as Nascar and news casters. However, his foray into the world of action buddy-cop flicks comes out undercooked and uneven. Ferrell plays Allen Gamble, a helpless "desk cop." Allen is partnered with Terry Hoitz (Mark Wahlberg), who's itching to get some action in the field; these two "other guys" are the laughing stock of the NYPD. However, when Allen stumbles upon a scandal surrounding multibillionaire David Ershon (Steve Coogan), the two cops find their big break...

One of my biggest problems with The Other Guys is Ferrell's tired shtick. I used to love Ferrell, especially during his SNL glory days. However, now I find his humor predictable; he has moments of brilliance, especially during a highly improvised debate about a lion hunting tuna (I laughed so hard I cried), but I want to see Ferrell take his characters somewhere new. The shining stars of The Other Guys are Mark Wahlberg, parodying the straight cop he plays so often, and Michael Keaton, the police captain who doubles as a Bed Bath & Beyond manager. Wahlberg's strained cop relationship with Ferrell is spot-on; Keaton has the best running gag of the film. Samuel L. Jackson and Dwayne "The Rock" Johnson are also absurdly hilarious as hot-shot cops; they open the film with the movie's best action sequence.

The opening sequence is the best in the film because it is the most ridiculous. The Other Guys fails at pushing the comedic envelope - the action sequences are never over-the-top or outrageous enough, the jokes aren't consistently drop-dead hilarious, and the somewhat twisty corporate crime plot becomes confusing in its underdevelopment. McKay is juggling too much, and never fully succeeds on any plane; The Other Guys can't find its tone.

Also, McKay underuses some wonderful talent. Steve Coogan is barely given a laugh in the script; check out Hamlet 2 to see how brilliant Coogan can truly be. Also, Eva Mendes surprises as Allen's wife, exuding charm and great comedic timing with Ferrell; however, Mendes only gets one scene to really show her chops (she recently said in an interview that Anchorman is her Godfather, and that she worships McKay).

The Other Guys does have absolutely hilarious moments, great performances by actors who rarely dabble in comedy, and awesome New York City location shots. The comedic chemistry between Ferrell and Wahlberg shines; however, McKay's latest effort falls short, with a parody at its core that doesn't hit hard enough. Ultimately, I was left feeling nostalgic for the likes of Anchorman as the credits rolled (featuring odd statistics about real-life corporate scandals - wait, was this a comedy?). The Other Guys is a fun summer comedic romp, but McKay should be carving out new classics in the world of comedy, not bringing to mind old favorites. C+

Quote of the Day

You're really slacking on the Quote of the Days.

-Ross Ramone

Emmy Awards 2010

Whew. The 2010 Emmy Awards telecast was a testament to the show's declining viewership - the night was tiresome and underwhelming. The big winners were Mad Men and Modern Family; however, it took a hell of a long time to reach the big moment. Everything started out in spectacular fashion, with host Jimmy Fallon's hilarious 'Born to Run' performance, an elaborate Glee-inspired spoof aided by Lea Michele, Cory Monteith, Chris Colfer, Amber Riley, Tina Fey, Kate Gosselin (really), Jane Lynch, Jon Hamm, Betty White, Joel McHale, Nina Dobrev, and Jorge Garcia... After that perfect opening, with the bar set high, the night fell apart.

Fallon was missing the effervescent charm he displays to great effect on his show. A trio of parody songs, written to commemorate fallen shows Lost, Law & Order, and 24, crossed over from incredibly funny to incredibly weird - a theme of the night for Fallon's hosting duties. The telecast's funniest moment came from presenter Ricky Gervais, waxing hilariously about his hosting job at last year's Golden Globes, and at one point distributing beer to the crowd.

Many wonderful moments, and winners, did triumph - Top Chef finally trumped the previously undefeated (and seriously aging) champ The Amazing Race for Reality Competition; Jane Lynch's win for her already iconic role of Sue Sylvester on Glee was met with one of the night's most endearing (and scattered) speeches; and Modern Family was met with lots of love throughout the night as the comedy series of the year (full list of drama, comedy, and miniseries/movies winners at the end of this post).

However, the Academy made a number of strange choices. For Supporting Actress (Drama), The Good Wife's Archie Panjabi won over Mad Men's Christina Hendricks; I've heard nothing about Panjabi, and Hendricks was robbed for her breathtaking and transformative work. Julianna Margulies seemed to be a lock with her television return as Actress (Drama) in The Good Wife, only to be beat out by The Closer's Krya Sedgwick; Sedgwick is part of a dying cable series that long past its prime buzz. I was rooting for an upset by January Jones (Mad Men) or the under-appreciated Connie Britton (Friday Night Lights), but never suspected a win by Sedgwick...

The most upsetting award was for Actor (Drama), where Bryan Cranston from Breaking Bad won for the third year in a row. Cranston is undoubtedly talented, but he stole Matthew Fox's trophy. No question. Fox, on the final season of Lost, was more than just a sentimental choice; he excelled in the sixth season, performing on a beautiful level that had never been seen from him. I hate when the Academy rewards the same actor over and over again for the same role; this was Fox's first nomination for Lost, and final chance to win. It's beyond disappointing that his astounding look was overlooked.

The Academy completely disregarded the power of Lost; the show's final season did not win a single award during the Emmy telecast. While the sixth season was certainly not the show's strongest full season, it was a beautiful example of what television, as an artform, can accomplish. For example, I thought Jack Bender's directorial work on the series finale was a no-brainer; he lost to Dexter's Steve Shill. I am enraged that Lost was completely snubbed, without a moment to demonstrated how Lost made a vast and lasting impact on modern television... However, for the big award of Series (Drama), at least Lost was beat by the ever-brilliant Mad Men; Matthew Weiner may be the most annoying man working in television, but the man was at his creative best (so far) during the season three.

The 2010 Emmys robbed Lost, demonstrating the Academy's odd unpredictability and perplexing choices; it's a sad omen that one of the crowning achievement of modern television was not given its moment to shine on television's biggest night. The Emmys always seem to be struggling to correct the mistakes made the previous year. While the emotional impact of a Lost win was sorely absent, the cast of HBO's Temple Grandin biopic did imbue the night with much-needed raw emotion and passion; Temple Grandin was undoubtedly the biggest star of the evening. With the real Temple Grandin in the audience (she was brought on stage for the presentation of Outstanding Movie), the cast and crew were obviously overcome from their experience with this incredible and inspiring woman. Too bad the Emmys couldn't come anywhere close to incredible, or inspiring.

2010 EMMY AWARDS
Drama
Series: 'Mad Men'
Actor: Bryan Cranston, 'Breaking Bad'
Actress: Kyra Sedgwick, 'The Closer'
Supporting Actor: Aaron Paul, 'Breaking Bad'
Supporting Actress: Achie Panjabi, 'The Good Wife'
Direction: Steve Shill, 'Dexter' (The Getaway)
Writing: Matthew Weiner & Erin Levy, 'Mad Men' (Shut the Door, Have a Seat)

Comedy
Series: 'Modern Family'
Actor: Jim Parsons, 'The Big Bang Theory'
Actress: Edie Falco, 'Nurse Jackie'
Supporting Actor: Eric Stonestreet, 'Modern Family'
Supporting Actress: Jane Lynch, 'Glee'
Direction: Ryan Murphy, 'Glee' (Pilot)
Writing: Steven Levitan & Christopher Lloyd, 'Modern Family' (Pilot)

Movie/Miniseries
Movie: 'Temple Grandin'
Miniseries: 'The Pacific'
Actor, Movie: Al Pacino, 'You Don't Know Jack'
Actress, Movie: Claire Danes, 'Temple Grandin'
Supporting Actor, Movie: David Strathairn, 'Temply Grandin'
Supporting Actress, Movie: Julia Ormond, 'Temply Grandin'
Direction, Movie: Mick Jackson, 'Temple Gradin'
Writing, Movie: Adam Mazer, 'You Don't Know Jack'

For the full list of 2010's winners, click here.

Quote of the Day

Gullberg had no doubt that Zalachenko was a sick fuck.
-Stieg Larsson's The Girl Who Kicked the Hornets' Nest

Film Review: Eat Pray Love

Elizabeth Gilbert's inspiration memoir, Eat Pray Love: One Woman's Search for Everything Across Italy, India, and Indonesia, was undoubtedly headed for the silver screen when the book became a cultural phenomenon for women. However, this seemingly powerful story of a woman's journey to find herself (I haven't read the entire memoir, and therefore can't fully judge the adaptation choices) was transformed into a sloppy and tired piece of quasi-chick-flick schlock.

Successful writer Elizabeth Gilbert (Julia Roberts), after a sudden divorce from her husband (Billy Crudup) and short fling with an actor (James Franco), decides to leave New York and take a yearlong exploration of the world, to find herself. She travels to Italy (Eat), lives at an ashram in India (Pray); and ends up in Bali, Indonesia, where she hopes to find balance in her life under a spiritual Shaman (and, big surprise, finds Love).

Without Julia Roberts, Eat Pray Love would be almost unwatchable. Roberts imbues the part with her usual spark, giving Gilbert an irresistible charm, and hitting every level of emotion this woman experiences. While most of the other A-list actors are given very little to work with, Richard Jenkins also stands above as a fellow devotee at the ashram, called Richard from Texas. Jenkins is the other shining moment of the film, rising above the his character's forced emotions and odd spiritual epitaphs to show something natural and inspired; together, him and Roberts give the movie some of the raw emotional connection I was hoping to see more of.

There are some beautiful moments buried in this film: "food porn" (pasta! pizza! asparagus!) in Italy, a Thanksgiving feast with Gilbert's Italian "family," Gilbert's impact on a local healer, and the romance between Gilbert and Felipe (Javier Bardem), to name a few. However, the movie as a whole doesn't work, and Ryan Murphy's (creator of Glee) direction is uninspired. The film is far too long; Gilbert's memoir is incredibly episodic, but the adaptation's attempt to build a through-line struggles. The cinematography is messy - the camera will forget to move, before careening over the action like a drunk bird; some of the lighting choices give the film a cheap, soft-porn glow. Also, each location doesn't celebrate the power of these countries. There are some beautiful landscape shots, but often the personality seems forced (aided by jarring musical choices), or sucked dry.

Beyond the technical problems, there are serious underdevelopment issues. The script doesn't build a strong reason for Gilbert's breakdown; instead, it just seems like she whines a lot. Gilbert seems to envision this long journey on a whim, overnight. The movie also fails to mention Gilbert's big book deal, which financed her romp across the world; this is one of the bigger issues I have with the idea behind the Eat Pray Love book, and therefore view some aspects of Gilbert's trek as a sham.

Gilbert's journey has inspired millions; if nothing else, this film gave me the desire to finally pick up Gilbert's memoir, and she how she describes her life-changing experience. Eat Pray Love did give me the desire to travel the world, to find a new center for myself. I just wish this film that given me more of that experience, and given me something more inspiring to cling to when the light went up. D

Quote of the Day

Have you ever seen the Bad Romance video?

-Mama Smith

Film Review: The Kids Are All Right

Very few films accurately capture complex relationships in an unflinchingly real light; Rachel Getting Married is one recent example that succeeds. The Kids Are All Right (a huge hit at Sundance) achieves something brilliant in it's depiction of a real family, grappling with change, and drifting apart. Nic (Annette Bening) and Jules (Julianne Moore), a married lesbian couple, have a wonderful family - their 18 year old daughter Joni (Mia Wasikowska) is spending her last summer at home before college, and 15 year old Laser (Josh Hutcherson) is just living his summer as a normal teenage boy. However, when Joni and Laser decide contact Paul (Mark Ruffalo), the sperm donor their mothers chose, their wonderful family starts to unravel, fueled by uptight edge, infidelity, teen angst, severe insecurity, red wine, and organic vegetables.

Director Lisa Cholodenko, who co-wrote the script with Stuart Blumberg, has crafted a beautiful indie film. The entire cast is perfect, allowed to really dig into the complexities of their individual characters. Annette Bening, as the driven and controlling Nic, is the definition of Oscar worthy; every single expression is filled with incredible subtext. There is so much going on inside Nic, and Bening truly shines. Julianne Moore's free-spirited Jules and Mark Ruffalo's easy-going Paul also deserve serious recognition, showing just how talented (and often underrated; Moore is one of my all-time favorites) these two are. Wasikowska, who received acclaim for her titular role in Tim Burton's Alice in Wonderland, and Hutcherson are delightfully believable teenagers: frustrated, naive, always learning. Working from a brilliant script (another Oscar nomination, please), these actors fully embody difficult, charming, and extremely flawed people.

While the film's central family is fleshed out perfectly, the secondary characters surrounding Joni and Laser are unfortunately undeveloped and rather one-note; they aren't particularly interesting or unique, and come across as somewhat cliched teenage archetypes. It's disappointing, especially when interacting with fully-realized characters. Also, a few of the film's sex scenes are overly gratuitous, in that they seem unnecessary. These moments aren't detrimental for the film, but sometimes seem to have been transplanted from a weaker overall film.

Cholodenko (who has a son with her life partner) has imbued her script with many touching and hilarious moments, situations so relatable they often felt ripped from my own experiences (two that stand out - a Scrabble game between Jules and Joni, and Nic's comments while moving Joni in at school). This is enhanced by an endearing family that just happens to have two moms. While a lesbian relationship is central to the film's story, it is never the film's issue; this is a movie about parenting, two parents who just happen to both be women. Nic and Jules have the same problems as any heterosexual maried couple, the same love and intimacy; it is utterly refreshing to see such a family portrait. Cholodenko has worked magic, turning what could have been an specific indie feature on gay relationships into a thriving commercial piece about bigger family values.

The Kids Are All Right is a big early Oscar contender - sharp, witty, emotionally devastating, utterly realistic. Cholodenko has given us a movie filled with sloppy people attempting to deal and their sloppy problems and mistakes, one day at a time; Moore's stunning speech towards the end of the film, a moment filled with heartbreaking restraint, is a wonderful and touching testament to this sentiment. The Kids Are All Right might be a small indie film, but it's also a big, warm, irresistible meditation on marriage and family. It's an example of simple storytelling in an overblown industry. Cholodenko isn't trying to make a tidy movie, but an authentic one. You won't want to let go of this beautiful family, problems and all. A-

Beach Reads 2010

Every August, my family heads out to Bethany Beach, DE for some serious rest and relaxation; I usually attempt to tackle two novels during our week of vacation. This summer, that plan worked beautiful - I rediscovered an old favorite, and finally found time to read a book that had been sitting on my shelf for a very long time. I'm sharing these novels (both published nearly a decade ago) because they are two of the most stunning novels I've discovered in a very long time, devoid of marring movie adaptations or lackluster sequels. The literary power of both Michael Chabon and Ann Patchett is truly remarkable.

Michael Chabon won his Pulitzer Prize with the sprawling American novel The Amazing Adventures of Kavalier & Clay, published in 2000. When Josef Kavalier arrives in New York City in 1939, Sammy Klayman's entire life is turned upside down; the two Jewish cousins bond over their interests in drawing and the masterful escape art of Houdini. Kavalier had just made his own escape from Prague, WWII closing in, leaving behind his family to find success in America. Klayman, renaming himself Clay, assembles a band of teenagers to put together a new comic book series, centered around masked hero The Escapist; comic books were just beginning to boom, found in the recent creation of Superman. However, things don't come easily for the cousins, as the world begins to slowly fall apart around them. Chabon wrote an epic piece of literature, mixing elements of American history, Jewish mythology, comic book dazzle, and the powerful grip of family. Chabon has a gift at developing characters, using meandering subplots to flesh out the semi-fictitious world he has created. The reason Kavalier & Clay succeeds is because Chabon slowly transforms his novel from a witty, whip-smart adventure tale to a moving meditation on self-discover and everlasting relationships.

Ann Patchett's Bel Canto is loosely based on real events - The Lima Crisis from 1996. Set in an unnamed country in South American, the novel begins at the birthday party for Katsumi Hosokawa, a Japanese chairman from a giant electronics company; this South American government hopes Hosokawa will open a plant in their country. Hosokawa was lured to this strange celebration by the promised performance Roxane Cross, the world's most famous opera singer. However, the party goes horribly awry when terrorists invade the vice president's elaborate home, taking the entire party hostage. As the hostage situation stretches on, odd relationships form, and love is found in the most interesting places. Patchett writes in beautiful prose; the novel is filled with endless arresting quotes, and Patchett unfolds the novel's events at a pitch-perfect pace. Bel Canto shines because it is a beautiful testament to the prevailing power of love, and music. It is rare to find a literary plot so inseparable from an understanding of music, as the novel is rife with references to many famous operas. The novel truly dazzles in its finale, which is all at once heartbreaking, startling, gorgeous, and truly operatic.

Quote of the Day

I just want you to be quiet.

-Mama Smith

Quote of the Day

In the immemorial style of young men under pressure, they decided to lie down for a while and waste time.

-Michael Chabon's The Amazing Adventures of Kavalier & Clay

Trailer Alert: Black Swan

After his passion project The Fountain turned out to be confusing metaphysical slop, Darren Aronofsky (Requiem for a Dream) returned with the tight and affecting The Wrestler in 2008, known more as a comeback piece for Mickey Rourke than for its searing portrayal of a lost man. Aronofsky is back with Black Swan, a psychological thriller set in the world of New York's ballet. The script has been buzzed about for a while, and Natalie Portman (who trained for months before the film to learn proper ballet technique) already has whisperings of a possible Oscar nomination. The trailer is stunning, and the film looks like the kind of twisted erotic thriller Hollywood forgot how to make after Basic Instinct. Aronofsky has tackled a vast number of genres; we'll see if he can pull off this high-concept adult thriller without delving into laughable plot turns. The trailer is filled with arresting visuals, and glimpses of Aronofsky's raw directorial style; it also looks like Mila Kunis (an early casting decision I was incredibly worried about) might just hold her own in one of her first big dramatic roles. Black Swan's release date is December 1st, 2010.

Quote of the Day

You tryna say I got a small vocabulary?!!

-Kiah Victoria

Quote of the Day

The difference between being a diva and being difficult is that I’m right 100% of the time.

-Rachel Berry's fictional Twitter account (@RachelBerryGLEE)

Quote of the Day

Baller-status.
-Kate Omstead

Stage Review: Our Town

On its 602 performance at the Off-Broadway Barrow Street Theatre, I finally was in the audience of David Cromer's ingenious production of Our Town, Thornton Wilder's Pulitzer Prize-winning play from 1938. There are only a few times I've been speechless after a show (August: Osage County, Next to Normal, the final moments of the Hair revival, and Next Fall come to mind); Our Town was the first time I have left a performance speechless and gasped aloud. Cromer has not only revitalized a classic piece of American theatre, but also put together one of the best shows currently running in New York, Theatre District or not.

Our Town tells the story of average people living in an average small farming town at the turn of the twentieth century; told over three acts, the play begins in 1901, and ends in 1913. The play is constructed as a beautiful and touching allegory about anyone's journey through life. Before you see this production, you must read the play (thank you, Ross Ramone, for pushing me to do this beforehand); I'm ashamed to say I read Our Town for the first time this summer. Not only is it a remarkable work that has held up incredibly well since its first publication in 1938, but the impact of Cromer's interpretation is even more incredible if you're familiar with the material. Cromer is a master with the play's language - he mines every laugh, tear, emotion, overlapping dialogue, and perfectly-timed silence to great effect.

Our Town's most noteworthy aspect is its meta-theatrical devices. The play has almost no scenery; the scene is set by the Stage Manager (currently Michael McKean), a "character" who breaks the fourth wall and guides the audience through Grover's Corners. Cromer further destroys the divide between audience and stage - there are even fewer props than the original play calls for, the house lights never go down, and the separation of performance space from the audience is almost entirely eliminated. The actors walk amongst the audience - I was seated directly at the Gibbs's imaginary backdoor; throughout Out Town, the audience is constantly reminded that they are watching a performance. The frame of the production is placed in modern day, with modern actors doing little to transport their physical presence to the play's time period. The actors wear modern clothes, with subtle nods to more formal costumes and their characters. When the Stage Manager walks in, it could be any audience member entering. These actors bring a believable allure to the show's everyday actions.

Cromer's most remarkable decision comes late, when he deviates drastically from Wilder's stage directions, which heightens the play's themes and final message. I wouldn't dare spoil Cromer's "twist," but this moment is what made me gasp... It was one of the most stunning moments I have ever seen on stage. The final act of Our Town is a heartbreakingly emotional coda about how one lives their life every day; it's the perfect finale to a near-perfect play. Many productions of Our Town are weakened by folky schmatz; Cromer strips away all needless sentimentality, revealing the raw and lasting emotion at the play's core. This Our Town demands to be seen. A+

Quote of the Day

Here's another piece of advice - only date people who have read a different set of books than you have read, it will save you lots of time in the library.

-Tony Kushner

Quote of the Day

Skinny Bitch, British Bitch, Black Bitch, Eyebrows Bitch, and Fingerprint Bitch.
-Ross Ramone, giving nicknames to the Real Housewives of DC

Concert Review: Arcade Fire

Canadian indie rock superstars Arcade Fire took Madison Square Garden by storm last night, playing the iconic arena for the first time (their show on August 5th will broadcast live on YouTube at 10:00pm, directed by Terry Gilliam; a national tour should be announced soon). And they played. Arcade Fire arrived ready to rock. With the band's third album The Suburbs released on August 3rd, Arcade Fire had 16 breathtaking new tracks to bolster their set. While Arcade Fire's previous two albums (Funeral and Neon Bible) dealt with heady themes throughout, The Suburbs might be the band's first true concept album - each song encompasses a specific mood, culminating in a fully-realized arch. The new album also fits the band's atmospheric sound, morphing with each album while still grandiose and moody in tone.

Before the main event, Spoon, critical darlings for their minimalist and unpredictable rock sound, opened the show. Unfortunately, Spoon was plagued by jarring technical difficulties and an indifferent crowd. Regardless, their sound did not seem weak or lost in the din of The Garden, a true feat for a small band - "I Turn My Camera On" was a set highlight, and the one-two finale punch of "Got Nuffin" and "Black Like Me" delivered.

Before Arcade Fire came on stage, their setup made an impression. The backdrop depicted a highway overpass, photographed in similar style to The Suburbs album art, while a video screen styled like an exit sign stood in front; projections and video ran over both, creating an impressive visual motif. The stage, littered with every musical instrument imaginable for the band's nine members, came alive as soon as Win Butler & Co. arrived, opening with one of the strongest tracks from the new album, "Ready to Start." While The Suburbs is a stunning album, none of the tracks feature the bombastic stadium anthems found on the previous two albums; this album is quieter, more contemplative. "Sprawl II (Mountains Beyond Mountains)" is the closest thing to a Suburbs anthem, and certainly received the most enthusiastic response of the new material (also spurred on by Régine Chassagne's spirited ribbon dance).

While the new songs didn't hit as hard as old favorites, it was invigorating to hear the band play brand-new material. I would have chosen a few different tracks from The Suburbs (i.e. replacing "Rococo" with "Modern Man" or "Suburban War"), but that's merely nitpicking the near-perfect performance. The set was a wonderful mix from all three albums. Win Butler's voice was even better live - raw and deeply emotional, stretching from his passionate warble to empowering scream. Régine Chassagne's (also married to Butler) Björk-like voice was ethereal and haunting; both Win and Régine showed remarkable vocal range, and their harmonies were glorious.

Arcade Fire reached sheer brilliance on their biggest songs, cuts with a sweeping scope meant to fill giant venues; songs from Funeral (the band's best album) were the most invigorating of the night. "Neighborhood #3 (Power Out)," one of the band's hardest songs, reached a cacophony before seamlessly morphing into the opening chords of "Rebellion (Lies);" the crowd went absolutely nuts. Coming early in the set, "No Cars Go" was emotional and overwhelming, one of the night's best moments; at one point, Win handed the mic to a fan in the front pit, playing the guitar while leaning over the crowd as he sang. "Neighborhood #1 (Tunnels)," one of my favorites, was perfectly energetic and zealous as the last song before the encore.

Hearing 19,000 fans chanting to Arcade Fire is truly a moving experience. Nothing compared to the show closer "Wake Up," arguably the band's most famous song (recently used in the trailers for Where The Wild Things Are). The song's chorus is a wordless chant; hearing all of Madison Square Garden scream that melody together with hands in the air gave me goosebumps and brought tears to my eyes; it currently stands as the greatest live performance I've experienced. My favorite band certainly did not disappoint. Arcade Fire turned The Garden into a church, and I experienced a truly religious experience. A few decades ago, Arcade Fire wouldn't have been "indie" rock at all, but rather pure, unabashed rock 'n' roll. They certainly put on a true rock concert, a tight group of insanely talented and beautiful musicians. Arcade Fire has just begun taking over the world. We may still be stuck in suburban angst, but there's no need to worry - our musical savior has arrived.

Arcade Fire's Madison Square Garden Set List, 8/4/10
Ready to Start, Neighborhood #2 (Laika), No Cars Go, Haiti, Half Light II (No Celebration), Rococo, The Suburbs, Crown of Love, Intervention, We Used to Wait, Neighborhood #3 (Power Out), Rebellion (Lies), Month of May, Neighborhood #1 (Tunnels); [encore] Keep the Car Running, Sprawl II (Mountains Beyond Mountains), Wake Up

Quote of the Day

I think people want to make me look like a slutty Italian girl - which I am - but I wasn't doing that at the game. Why would I rub my tits in front of the Yankees? I'm not interested in dating any ballplayers.
-Lady Gaga, to Vanity Fair

The Power of Buffy

Buffy the Vampire Slayer is one of the television's crowning achievements. Nope, not a joke. Over the past few months, I decided to revisit Buffy and the Scooby Gang - the vampire craze is peaking, so why not go back to one of my first trysts with vampire obsession? I've watched the show's entire seven season run on DVD, and relived every high and low Buffy has to offer. Joss Whedon (also the mastermind behind Angel, Firefly, Dollhouse) first wrote the script for the 1992 movie Buffy the Vampire Slayer, but was unhappy with the finished result. There's no need to rehash the show's premise, as Buffy has become a certifiable pop legend. Whedon's inspiration for the project was to turn a staple of the horror genre on its head - what if the helpless blonde bimbo wasn't helpless, but rather a young girl chosen by an age-old calling to fight demons?

Beyond a play with the horror genre, and introducing a bold, brash female heroine to television, Whedon pushed the boundaries of television, taking the teen soap and completely breaking the mold for the genre. The first season was thrown into WB's schedule as a weak mid-season replacement, debuting in the winter of 1997. The show was a mild cult hit, which then exploded when the show hit its groove in the second season. What sets Buffy apart are the layers Whedon has piled on, the dense issues he tackles with surprising grace and moving emotion. Buffy is filled with horror, romance, hilarious pop culture references, snappy dialogue, friendship, and family. Buffy dealt with obsessive love, heartbreak, death, addiction, trust, morality, depression; Buffy also dealt with one of network television's first lesbian relationships; most series in the late '90s would use a lesbian encounter as a cheap ratings ploy. Buffy established a beautiful, complicated, and realistic relationship between two women. Whedon has crafted many brilliant allegorical episodes, dealing with much more than simply killing the Demon of the Week.

Buffy was never given the praise it deserved during its run, and was snubbed at the Emmys for years (there's an interesting story behind the Emmy ballot of the musical episode from season six, Once More, With Feeling. Sarah Michelle Gellar's wonderful work was severely overlooked, and Whedon's unique vision was never justly rewarded. Buffy is scoffed at regularly; people judge the show having not seen a single episode. However, Entertainment Weekly recently named Buffy Summers as the #3 fictional pop icon (behind Homer Simpson and Harry Potter). Sure, Buffy can be fluff, but it's always reveling in its giddy fun when doing so. When Buffy & Co. get serious, the results make for shocking and invigorating television.

However, no matter how long I rant, you'll need to see Buffy for yourself to understand the magic behind series. I've ranked my ten favorite episodes from the show, along with a brief synopsis, focusing on why each episode belongs on the list. All of Buffy the Vampire Slayer is on Netflix Instant Watch; stop wasting your time on summer reality trash, give Buffy a chance.

10. Helpless (season 3, episode 12) - "Helpless" is nothing special in format, especially compared to episodes featured later on this list, but it is one of the series most thrilling and frightening episodes. The entire episode puts a twist on being locked in a haunted house - Buffy must complete a rigorous trial to prove her stance as The Slayer, the one girl in the world chosen to fight evil, gifted with special power. It's a fast and furious episode, utterly thrilling, and contains major plot developments in its final moments.

9. The Wish (season 3, episode 9) - This episode not only introduced my very character from the show (vengeance demon Anya), but also created a dark, twisted, and hilarious alternate universe where Buffy Summers never came to Sunnydale. The repercussions of "The Wish" brilliantly tie directly into the events of "Doppelgangland," an episode later in the third season.

8. Becoming, Part II (season 2, episode 22) - The season two finale is capped by Buffy having to make one of the hardest decisions of her life - should she kill the one man she loves? The payoff for one of the show's best and most consistent seasons ("Innocence" and "Passion" are classic moments of Buffy lore) is huge. Beyond the emotional question at stake throughout the finale, there's also a pretty awesome sword fight.

7. Chosen (season 7, episode 22) - "Chosen" is the series finale of Buffy, and finishes the series in beautiful fashion after a rocky (but ridiculously enjoyable) final season, topped off by one of the greatest fight sequences in the show's history. "Chosen" also has a wonderful central message, an underlying theme for the entire series. I still wish the series finale was a two-hour conclusion; also, this finale would be much higher on this list if "The Gift" didn't exist (more on that later).

6. Conversations with Dead People (season 7, episode 7) - The strongest episode from the show's final season, "Conversations with Dead People" showed four major characters having... conversations with dead people. This episode featured frightening images, the true reveal of the season's Big Bad, and the strong writing Buffy excels at (each of the four head writers wrote for a different character). The episode is an interesting commentary on death, and each of the interweaving segments has pitch-perfect tone.

5. Hush (season 4, episode 10) - As I said early, Whedon often took wild chances with a small show in WB. In the episode's 44 minutes, only 17 contain dialogue; a group of demons called The Gentlemen arrive in Sunnydale that cause everyone to lose their ability to speak. This is the only Buffy episode to be nominated for its writing, and is also one of the most classically scary episodes of the series. The show's fourth season is undoubtedly its worst, but "Hush" rises above.

4. Once More, with Feeling (season 6, episode 7) - The famous musical episode! Long before Glee, Whedon featured a musical episode - Whedon spent four years writing the music and lyrics from the episode, each of the actor's sing their own parts, and the episode features the most expensive production quality in the series. It's a beautiful, bold, and fascinating episode. Also, characters randomly breaking out in song and dance are explained by the presence of a demon (duh), and regularly poked fun at. The singing isn't the greatest, but it adds an air of authenticity to the plot. Plus, the episode deals isn't fluff - it deals with some big issues, and features major plot revelations through song that color the rest of the sixth season.

3. Restless (season 4, episode 22) - Whedon finished his worst season (seriously, season four is pretty bad, for a vast number of reasons) with one of his best season finales. With the Big Bad already defeated, Whedon crafted a gorgeous and bizarre avant garde episode, where each character deals with their biggest fears through their dreams. "Restless" plays with the show's major themes through interesting visual motifs, and uses odd language that points to the show's future. It's one of the show's most mature outings, and it still baffles me that this was aired on network television in 2000. Plus, any Buffy fan can surely tell you about The Cheese Man...

2. The Body (season 5, episode 16)- "The Body" is the most mature outing for Buffy, and also one of the greatest hours of television I have ever watched. The only reason "The Body" is not #1 on this list is because the episode is so emotionally devastating, it's also one of the most difficult hours of television I've ever watched. Sarah Michelle Gellar should have her Emmy nomination for this episode alone. The entire episode features no music (a staple for Buffy), which only adds to the haunting element. I can't even describe the heartbreak featured in each passing minute of this episode (I dare not ruin what happens), or the brilliant writing featured throughout. Prepare to sob, and marvel at the power of raw emotional television.

1. The Gift (season 5, episode 22) - Oh, "The Gift." How I adore you. Buffy was originally supposed to end its run after season five, but was picked up by UPN for its final two seasons. Therefore, "The Gift" was written as the series finale, and actually works much better than "Chosen." It also helps that season five is far and above my favorite. The Big Bad is glorious, the twists in the finale are brilliant, and the choices each character must make are uplifting and heart-wrenching. "The Gift" is another episode where tears fall; the viewer's emotional commitment to these characters, by the end of season 5, is overwhelming. "The Gift" is truly one of television's perfect season finales. These ten episodes demonstrate the show's crowning achievements, but Whedon and his wonderful cast truly outdo themselves here.

Quote of the Day

That guy over there? The one that's awkwardly an ogre? Yeah, I work with him!
-Caitlin Rogers