Archive for the 'What I’m Watching Department' Category


How I finished “How I Met Your Mother”

I have written before — and often — of my love for CBS’s How I Met Your Mother, which ended its nine-year run Monday night. It was a show of true heart, relateable joys and heartbreaks, and outrageously funny characters that have kept me entertained for nearly a decade. I didn’t want to fire off a knee-jerk reaction to the finale — as the internet has proven time and again, that way lies madness. I wanted a little time to ponder, to sort out my feelings, to understand them before I tried to explain them. Now that I’ve thought it through, I think I’m ready.

Be warned. Spoilers ahoy.

To say the ending left me feeling conflicted is an understatement. There were certainly fine moments, and the structure works. At the end, the show is finally given its true context. The framing sequence, when Ted Mosby circa 2030 is telling the children how he met their mother, is really Future Ted’s attempt to explain to his children why — six years after the death of his wife — he’s considering trying to start up a relationship with their “Aunt Robin.” It explains succinctly why the story started with his and Robin’s first meeting, why so much of the story has centered on her, why over the years Ted and Robin  would backslide to one another so often. It makes sense.

Despite making sense, though, something about the finale left me feeling… hollow. And I needed to decide what that was. It wasn’t just that Tracy, the mother, was dead. I didn’t want that, but I’ve also never thought it was fair to judge a story by what you want it to be rather than what it is. And it isn’t that the ending was, at best, bittersweet, because those are often the most emotionally rich and spiritually honest ways a story can end.

My problem, I think, stems from the fact that the final few minutes of the show thrust Ted and Robin back together again — this after years of Ted trying to get over her and finally succeeding just a few short episodes ago. In the penultimate episode, in fact, he underlined that moment, telling Robin that he was not in love with her anymore. To leap, then, from that point to Future Ted returning to Robin’s apartment with the blue French Horn from so long ago… it felt like all the character development had evaporated. I could deal with Robin and Barney’s divorce, sad as that was. I probably even could have dealt with the Mother dying, as such sadness is true to life, is what ultimately makes the moments of joy all the greater. In the last minutes, though, I felt like we bounced back to square one.

In a way, I think the writers trapped themselves. In any long-running story — especially on TV, where the writer’s goals can be derailed by actors leaving, dying, getting arrested… really any circumstances where real-world events can intrude on the storytelling — there has to be room for flexibility. We all know that Aaron Paul’s character was originally slated to die in the first season of Breaking Bad, but Vince Gilligan changed his mind, and thank goodness. Then we have LOST, which initially hung a lot of significance on a 10-year-old named Walt. The mysteries around that character had to be dropped, though, because while only a few months passed on the show, in real time several years passed. The actor aged and hit a growth spurt. Now I remain a defender of LOST, I liked the ending, but I can’t deny frustration at some of the questions that were never answered because nature necessitated putting him on a boat off the island.

HIMYM’s problem wasn’t as dramatic — there was never a question of removing an actor or one of them leaving the show. Instead, the characters moved in a direction I don’t think the creators anticipated by focusing so much of the show of Ted trying to get past Robin, to the point where many viewers (I’m raising my hand here) wanted to just get past that and get on with the story of the Mother.

But the die had already been cast. To avoid “The Walt Problem,” they filmed scenes of Ted’s kids reacting to the end of the story eight years ago, before they had visibly aged from the scenes they shot for the first few episodes. It was a good strategy, but it kind of locked them into the ending, in which the kids gave Ted their blessing to go after Aunt Robin. With no wiggle room, they took an ending that may have worked in season two, or three, or even five, and applied it to characters who — by season nine — had outgrown it. The ending planned no longer rang entirely true.

I don’t hate the ending. There was, in fact, some fine work in there. Lily and Marshall have always been the stable core of the group (save for a brief period in season two), and having them act as a sort of Greek chorus in this finale, shuffling them between Robin, Barney, Ted and Tracy, all rang true.

Neil Patrick Harris, to use a baseball analogy, gets the save here. One of the best aspects of the show for the past few years has been the slow growth and development of Barney Stinson from a one-note character to someone you truly wanted to root for. When he and Robin broke up and he reverted to form, it was heartbreaking. In his case, though, it was not a question of true backsliding, of him becoming the person he once was. Even sadder, he was trying to return to the person he used to be, and with each protest that his friends “let me be who I am,” it was increasingly clear he was no longer that person.

Then he held his daughter and professed his truest, most sincere love. In that moment the old Barney — the Season One Barney, the Barney he put back on life support when he and Robin called it quits — well and truly died. And as sad as his split with Robin was, I don’t think the new Barney, Daddy Barney… hell, the real Barney… ever could have existed without her. It was a phenomenal moment, and although we didn’t get to see much of Barney as a dad, I have no doubt that it was Legend — wait for it…

And finally, Cristin Milioti as Tracy, the Mother. She gets this season’s MVP award. To come into a show in its ninth and final season would be daunting under any circumstances. To do so in such a way that makes the viewers feel for her and care about her as deeply as the five characters the audience has known all this time… it’s heroic. She was simply magnificent. We accepted easily how quickly Ted fell in love with her, because we did too.

I believed Tracy as the love of Ted’s life. Which is initially why that ending felt like a gut punch. upon reflection, though, I think I also see a seed of redemption in it. I can use it for a little perspective. Ted, after all, was the one who turned down Robin when she tried to take him back at her wedding. Tracy wasn’t his second choice, like I felt at first. Even though he didn’t know her yet, he gave up Robin to look for her, and he was rewarded. And it’s not like he ran back to Robin as soon as his wife died — he took six years, a more than respectable amount of time, before he decided it may be worth pursuing. Even then, he put the wishes of his children — Tracy’s children — before his own. Through that prism, I can see it as Robin and Ted finding solace with each other after her unexpectedly lonely life and the loss of his true love.

It’s not what I expected. It’s not how I would have ended it. But it has some truth to it nonetheless.

So while I’m not fully satisfied, I’m not really upset either. I’m certainly not angry. How could I be? For nine years, I’ve been allowed to join in on the adventures of characters right in my own stage of life, allowing me to grow with them. As Ted’s friends married and had children, so did mine. The first time Ted ever heard Tracy’s voice, she was singing “La Vie En Rose,” and as Erin and I prepare for our own wedding, they’ve given us the song for our first dance.

So thank you, show creators Carter Bays and Craig Thomas, and thank your writers, for nine years of joy. Thank you to Pamela Fryman, who directed nearly every episode of the series (a Herculean feat in and of itself). And thank you to our six incomparable friends, and the countless supporting players, for the pop culture milestone you’ve created.

For robot wrestlers and the Kennedy package. For slap bets and for Swarley, duckie ties and dopplegangers. For never buckling to peer pressure and explaining about the pineapple. (Yes, I’ve heard the rumors of a DVD extra. Shut up.) For making interventions fun again. For extending the cultural significance of the hanging chad by a good 13 years.

For making me cry more than once and never making me ashamed of it.

For blue French Horns.

For yellow umbrellas.

I request the highest of fives.



Yeah. Totally worth the wait.


What I’m Watching in 2012

Just like yesterday’s post about books, I also keep a running list of the movies I watch each year. You know you do it to. Okay, some of you. Three of you? Harvey?

Anyway, for those who are interested, here’s the tally thus far. As with the books, if I happen to write a review of any of these films, I’ll throw up a link. And, should I happen to watch a movie as it’s being riffed by the likes of Mystery Science Theater 3000, Rifftrax, or Incognito Cinema Warriors XP, I’ll provide a separate “grade” for the riff.

1. Tucker and Dale Versus Evil (2011), A
2. Little Shop of Horrors (1960), D; RiffTrax, B+
3. Eurotrip (2004), B-
4. Barely Legal (2011), D
5. TransFormers: Dark of the Moon (2011), B
6. Lady Frankenstein (1971), D; ICWXP, B+
7. Mission: Impossible – Ghost Protocol (2011), B+
8. Serenity (2005), A
9. Bloody Pit of Horror (1965), F; ICWXP, B
10. Werewolf in a Girl’s Dormitory (1961), F; ICWXP, B+
11. Cedar Rapids (2011), B
12. Pontypool (2009), B+
13. Atlas Shrugged Part I (2011), B
14. Ghosthouse (1988), F; RiffTrax,  B+
15. The Slime People (1963), D; MST3K, C+
16. The Crucible (1996), B+
17. Conan O’Brien Can’t Stop (2011), B+
18. Chronicle (2012), A-
19. Justice League: Doom (2012), A-
20. Timer (2009), B+
21. Tree of Life (2011), D
22. Another Earth (2011), B+
23. Rise of the Planet of the Apes (2011), A-
24. Phineas and Ferb: Across the Second Dimension (2011), A
25. Real Steel (2011), B
26. In Time (2011), C-
27. John Carter (2012), A-
28. My Week With Marilyn (2011), A-
29. The Adjustment Bureau (2011), B+
30. The Help (2011), A
31. Forrest Gump (1994), A
32. The Jetsons Meet the Flintstones (1987), B
33. The Flintstones (1994), C
34. The Hunger Games (2012), A-
35. Hereafter (2010), C+
36. The Task (2010), B
37. Cabin in the Woods (2012), A
38. The Adventures of Tintin (2011), B
39. Win Win (2011), B+
40. Millennium (1989), C
41. Immortals (2011), B
42. Iron Man (2008), A
43. Being Elmo (2011), A
44. Incredible Hulk (2008), B
45. Iron Man 2 (2010), B+
46. Apollo 18 (2011), C+
47. Reefer Madness (1936), D; RiffTrax, B+
48. Them Idiots Whirled Tour (2012), B
49. Thor (2011), B+
50. Captain America: The First Avenger (2011), A
51. The Avengers (2012), A+
52. The Muppets (2011), A
53. The Goonies (1985), A
54. Spaceballs (1987), B+
55. Airplane (1980), A
56. Men in Black 3 (2012), B+
57. The Descendants (2011), A
58. Insidious (2011), D-
59. Muppets From Space (1999), B
60. Pom Wonderful Presents the Greatest Movie Ever Sold (2011), A-
61. The Swing Parade of 1946 (1946), D; RiffTrax, B
62. Lucky (2011), B+
63. Exporting Raymond (2010), A
64. Alien (1979), A+
65. Aliens (1986), A
66. Prometheus (2012), B
67. I Want Candy (2007), B-
68. Sirens (1993), C
69. Superman Vs. the Elite (2012), A-
70. Drive (2011), C
71. The Wizard of Oz (1939), A
72. Blade Runner (1982), B+
73. Total Recall (1990), B+
74. Rock of Ages (2012), D
75. The People Vs. George Lucas (2010), A-
76. Abraham Lincoln, Vampire Hunter (2012), C-
77. Brave (2012), A
78. The Amazing Spider-Man (2012), A
79. Media Malpractice (2009)
80. Batman Begins (2005), A
81. The Dark Knight (2008), A+
82. The Dark Knight Rises (2012), A
83. Troll 2 (1990), F
84. Silent House (2012), B-
85. 50/50 (2011), A
86. Total Recall (2012), C+
87. The Darkest Hour (2011), C
88. Moneyball (2011), A-
89. The Expendables (2010), B
90. The Expendables 2 (2012), B+
91. Red Tails (2012), B
92. Walkabout (1971), C
93. Finding Nemo (2003), A
94. The Woman in Black (2012), C-
95. The Incredibles (2004), A
96. The Boys (2010), A
97. In the Realms of the Unreal: The Mystery of Henry Darger (2004), A-
98. In the Mouth of Madness (1994), B
99. Act of Valor (2012), B
100. Project X (2012), C+
101. Tales of Terror (1962), B
102. The Birds (1963), B+
103. Hellraiser (1987), B+
104. Child’s Play (1988), C+
105. Looper (2012), B
106. Cinderella (1950), A
107. The Ghost Breakers (1940), B+
108. Abbott and Costello Meet Frankenstein (1948), A+
109. Young Frankenstein (1974), A
110. Attack of the Killer Tomatoes (1978), C-
111. An American Werewolf in London (1981), B+
112. Ghostbusters (1984), A+
113. The Toxic Avenger (1984), C
114. Beetlejuice (1988), A-
115. Arachnophobia (1990), B-
116. Buffy the Vampire Slayer (1992), C+
117. Army of Darkness (1992), B+
118. Bride of Chucky (1998), C
119. Bubba Ho-Tep (2002), A-
120. Eight Legged Freaks (2002), B-
121. Behind the Mask: The Rise of Leslie Vernon (2006), A
122. Slither (2006), A-
123. The Evil Dead (1981), B-
124. Evil Dead II: Dead By Dawn (1987), A-
125. Trick ‘r Treat (2007), A
126. Zombieland (2009), A
127. 2016: Obamas America (2012), B
128. The Lorax (2012), B
129. The Pirates! Band of Misifts (2012), A-
130. The Room (2003), F
131. Skyfall (2012), A-
132. Star Wars Episode IV: A New Hope (1977), A
133. Home Alone (1990), B+
134. Finding Mrs. Claus (2012), C+
135. Disney’s A Christmas Carol (2009), B
136. The Hobbit: An Unexpected Journey (2012), B+
137. Santa Claus Conquers the Martians (1964), D; MST3K, B
139. Santa Claus (1959), F; MST3K, B+
140. Santa and the Ice Cream Bunny (1972), F-; RiffTrax, A
141. Magic Christmas Tree (1964), D-; RiffTrax, B+
142. Santa Claus: The Movie (1985), B
143. Arthur Christmas (2011), A-
144. A Christmas Story 2 (2012), C+
145. Trading Places (1983), B+
146. National Lampoon’s Christmas Vacation (1989), A
147. Nativity! (2009), B
148. A Christmas Story (1983), A
149. Love Actually (2003), A
150. Scrooged (1988), A
151. Die Hard 2 (1990), B
152. Django Unchained (2012), A-
153. Les Miserables (2012), A

–Updated January 5, 2013.


What I’m Watching: Tucker and Dale Vs. Evil

So I kicked off my month of filling in the 2011 movies I missed with a film I heard a lot of good things about, Tucker and Dale Vs. Evil. There are few things as purely enjoyable as a solid horror/comedy (see my love of Ghostbusters and Shaun of the Dead) and few things as disappointing as those movies that don’t do it well (pick whichever Scary Movie you want as your example). But this movie starred Alan Tudyk (Firefly) and Tyler Labine (Reaper), two wonderfully entertaining performers who can do both comedy and action really well, so surely this little film would be worth it, right?

Oh, so, so right.

Tucker and Dale Vs. Evil, written and directed by first-time feature filmmaker Eli Craig, is a brilliant send-up of horror movies that uses the conventions of the genre the way the greatest horror movies always do, with a dash of social commentary. In the film a group of college students on a mountain camping trip run into a pair of hillbillies, Tucker (Tudyk) and Dale (Labine). Although Tucker and Dale are kind-hearted, harmless good ol’ boys, the college kids are creeped out by them and retreat to the woods, where Chad (Jesse Moss) regales them with the tale of a massacre that happened in those woods 20 years ago. Tucker and Dale head out fishing and startle the swimming college kids, accidentally causing Allison (Katrina Bowden) to slip and knock herself out. The boys save her, but her friends flee in terror, thinking they’re kidnappers. The college crew plans a rescue attempt, but one misunderstanding after another causes the blood to flow.

This movie is just fantastic. It works as a comedy, to begin with, with loveable protagonists, clever dialogue and whip-smart situational comedy. There’s a lot of physical comedy as well, although that trends more towards the gory, for those of you who are sensitive about that sort of thing. But it’s perfectly legitimate in the context of the film. (There’s a reason that horror movie aficionados use the term “gag” to refer the a clever death set piece, after all.) The performances are really good as well — Tudyk and Labine are both proven actors, and their skills take characters that could have been dull and lifeless in lesser hands and make them into protagonists you root for with every fiber of your being. Katrina Bowden’s Allison goes on an interesting journey in the course of the film as well. Her fear about the guys goes away quickly, but we get to watch as she grows to understand and like them as well. The transformation is really believable in her hands, and helps give an additional level of heart to movie that could have been purely slapstick. Mild spoilers follow, so if you haven’t seen the movie yet, you may want to stop here.

As I said, though, there’s a degree of social commentary present here that makes it different from soulless horror/humor mashups. At first, you think you’re going to see a parody of the “cabin in the woods” brand of horror. Instead, though, you get a complete reversal of that trope, with Tucker and Dale becoming the heroes against an onslaught of (admittedly inept) psycho killers who are trying to destroy them for no reason. The college kids attack time and again, getting into situations way over their heads and paying dearly as a result.

The result is what gives us the two layers of comedy here. The teenagers react the way you expect teenagers in horror movies to react: blind terror, followed by the resolve to “get those bastards” for what they’ve done to them. In horror movies, there are usually a couple of survivors after such an onslaught, but in real like that’s a good way to get yourself killed.

The second layer is all about perception and preconceived notions. Tucker and Dale try to get Allison back to her friends the moment they pull her out of the water, but they instead run away. After that, each mishap, each event that leads to one of their deaths, could easily be avoided if any one of them stopped and realized that the only danger is in their own minds. Tucker and Dale are gentle, harmless men (until the awesome climax, but even then, neither of them even approaches the level of violence displayed by the kids who fear them). Our heroes prove themselves better than their tormentors time and again, wanting only to protect Allison and reunite her with her friends, while her friends allow their own prejudices to turn them into the least-effective group of killers in movie history.

Movies that purport to take on racism, sexism, or other -isms are common, and often heavy-handed. Tucker and Dale Vs. Evil is a rare knock against elitism, and an even rarer film that gets the point across without preaching or making you constantly aware of the message, instead just telling you a hell of a story and letting the point occur to you in its own time. It’s a great movie, and I wouldn’t be surprised at all if, once all is said and done, it’s earned a spot on my “favorites of the year” list.


Choosing the year’s best movies…

Exactly one year ago today, I sat down in an effort to compile my personal list of the best movies of 2010, only to discover, to my horror, that I hadn’t seen nearly enough 2010 releases to come up with any kind of comprehensive list. Undaunted, I decided to spent the next month gorging myself on on 2010 movies via Netflix and borrowing DVDs from people. Ultimately, I managed to create such a list, although it wasn’t posted until February 1 of this year.

I’ve come to realize that, while there’s a natural urge to categorize things at the end of the year, I don’t get out to the movies nearly often enough. I used to — back in the day my pal Jason and I could knock out two or three movies in a weekend, but that was before I had a blog. These days, not so much. I’ve seen a total of 36 films with a 2011 release date, 10 of which would typically be disqualified from a list like this because they were either made for television or direct-to-DVD (although I would put things like All Star Superman and Phineas and Ferb: Across the Second Dimension right up there with the most entertaining films of the year, head-to-head with any movie that got to theaters).

If I had the sort of life that allowed me to take in most movies as they were released, it would be more logical of me to try to compile a list like this, but sadly, I’m not a professional reviewer, although I’ve often wished I was. In this day and age I see movies in the theater, typically, when it’s something I have a burning desire to see that won’t wait for DVD or on those rare occasions when I’m hanging out with friends and we need something to do, something that has happened less and less often thanks to the work and family obligations that seem to hold us all back these days.

So, like last year, I’m going to frontload my NetFlix queue with 2011 releases (now that so many of them are available), then come back in a month or so to let you know what I decided were my favorites of the year. In the meantime, here are the movies I’ve already seen, ranked by how much I enjoyed them. The first few shouldn’t surprise anybody…


  1. The Muppets
  2. Super 8
  3. Harry Potter and the Deathly Hallows Part 2
  4. Captain America: The First Avenger
  5. All-Star Superman (Direct-to-DVD)
  6. Phineas and Ferb: Across the 2nd Dimension (TV Movie)
  7. X-Men: First Class
  8. Attack the Block
  9. Thor
  10. Batman: Year One (Direct-to-DVD)
  11. Source Code
  12. The Captains
  13. Green Lantern
  14. Cars 2
  15. Scream 4
  16. Still Screaming (Direct-to-DVD Documentary)
  17. Good Luck Charlie: It’s Christmas (TV Movie)
  18. The Hangover Part II
  19. Limitless
  20. Green Lantern: Emerald Knights (Direct-to-DVD)
  21. Scream: The Inside Story (Direct-to-DVD Documentary)
  22. Happiness is a Warm Blanket, Charlie Brown (Direct-to-DVD)
  23. Contagion
  24. Battle: Los Angeles
  25. Tower Heist
  26. Paul
  27. Cowboys and Aliens
  28. Miller’s Tale (TV Documentary)
  29. Pirates of the Caribbean: On Stranger Ties
  30. Quarantine 2: Terminal
  31. Sucker Punch
  32. Unknown
  33. A Fairly Odd Movie: Grow Up, Timmy Turner (TV Movie)
  34. Red Riding Hood
  35. Your Highness
  36. The Green Hornet



What I’m Watching: Joyeux Noel (Merry Christmas)

Although I do believe in Christmas miracles, I think most of them are in a small scale, or particularly personal — they’re not the sort of miracles that tend to be remembered beyond those who experience them. But there are exceptions, and perhaps one of the most famous of the last century was the 1914 Christmas Ceasefire, when troops engaged in combat during World War I put aside their weapons for a day and sang songs, exchanged gifts, and even played soccer with one another.

Joyeux Noel (Merry Christmas) is a 2005 French film that dramatizes that day in beautiful fashion. Set against the backdrop of the ceasefire, this movie explores that Christmas through the eyes of a Scottish priest (Gary Lewis), a French lieutenant (Guillaume Canet) and a pair of German opera singers (Benno Furmann and Diane Krueger). On Christmas Eve, a German tenor sneaks his lover into the trenches to sing to his troops. As the music carries across enemy lines, the Scottish and the French join in, and something amazing happens.

The film works on many, many levels. First and foremost, it is a touching Christmas story, a nice statement on the power of the holiday to bring about peace even to the bitterest of enemies. The movie is a touching monument to a bright spot in the midst of one of the most violent times in human history. It also works simply as a war movie. Although there’s very little action or violence, writer/director Christian Carion puts forth a remarkable vision of life in the trenches during World War I. You feel the pain, the fear, and perhaps more than anything else, the sheer exhaustion and weariness that permeated the men on the front lines. What’s more, it also sheds a different light on history — we’ve all heard about the ceasefire and extolled the story as an example of Christmas spirit striking when it was needed the most. But the film also shows the consequences of that day for the men involved. How easy could it be to go back to shooting at somebody once you’ve shared a drink with him, seen a picture of his wife, or even argued with him about the name of the cat that’s been spending time in both camps? What’s more, what happens when word reaches the high command about how you spent Christmas fraternizing with the enemy?

In addition to a strong story, the film is simply very well made. The battlefield is a bleak, cold-looking place, the costumes are magnificent, and the performances are fine. The one fault, I think, comes in the scenes with the opera singers. I’m not sure about Krueger, but Furmann didn’t do his own singing for this movie, and the shift from the actor’s natural voice to the dubbed singing voice is highly noticeable and does, unfortunately, take you briefly out of the movie. Try closing your eyes at that point, it helps quite a bit.

The characters in the film all speak their native languages, so a lot of the movie is in French or German and subtitled, which doesn’t bother me in the slightest, but if you’re not a fan of subtitled movies that is something to keep in consideration. If you can get past that, though, seek this out and watch it this year. It’s a Christmas movie you haven’t seen before, and its one that I really think everyone should see, particularly in this day and age.


What I’m Watching: Community-Regional Holiday Music

As much as I love the regular episodes of Community, the Christmas episodes are really something special. Season one was a nice parody of overreaction to the holidays by both the extreme secularists and the extremely ecumenical. Season two was a stop-motion extravaganza that, at its heart, was about the loneliness of the holidays. And this year, we got Regional Holiday Music, a full-blown Christmas musical episode, a joyful romp diminished only by the knowledge that this is the last episode of the show for the foreseeable future.

In “Regional Holiday Music,” Jeff gets his hated nemesis — the Glee Club — busted for singing copyrighted music in preparation for its Christmas pageant. The Glee director asks Jeff’s study group to step in and take over, as they did once before (it’s very much not what you think). Although the rest of the group blows it off, Abed sees an opportunity to keep his surrogate family together over the holidays and begins a quest to win them over one at a time. In doing so, though, he begins to change his friends into something they’re not… mindless Christmas zombies.

Again, the inherent genius of this show shines through. How many other television shows would make their Christmas show half a parody of Glee, half a parody of Invasion of the Body Snatchers, while still making room to write, record and choreograph musical numbers for almost the entire cast, geared specifically to each character? It was a magnificent episode and a great Christmas special, and it was just what this show needed as it goes “into hiatus.”

Ah, “hiatus.” How TV fans hate that word, because far too many times in the past that’s been Network Code for “Cancelled.” Community, at least, still has a full-season order from NBC, which means we should still get the rest of this season even if the episodes are burned off at odd times during the summer. (Which, by the way, would be a disaster, as one of the show’s many gimmicks is the “realtime” nature — each episode takes place in the week that it originally airs.)

The reason, of course, for the hiatus is that the show isn’t pulling in the ratings it deserves. It’s never been a blockbuster, and now in its third season it has reached the point of a TV show’s natural lifespan where the stories and jokes can be more character-specific, trusting that the audience (and writers) know the characters well enough to make the sort of self-referential jokes the fans love, but that the casual viewer may not understand. The Orphan Gospel Choir that was used to seduce Shirley into the Glee club, for example is something that would largely have been lost if you don’t know what kind of woman Shirley is. And the way Britta kinda sorta saves the day at the end is funny regardless, but a hell of a lot funnier if you know what it means to “Britta” something.

So if you’ve never watched Community –– and I know there are a lot of you, else the show wouldn’t be in trouble — you owe it to yourself to give it a try from the beginning. You’ve got time now, so do it however you can. NetFlix (discs only — this really should be streaming). Hulu (the entire series is there, and in HD via Hulu+.) Hell, come to my house and I’ll loan you the DVDs for the first two seasons.

And if you’re already watching, good. Keep it up. And tell your friends. Be vocal (but polite) to NBC. And do whatever it takes to get more students to Greendale Community College.

Six seasons and a movie, peeps. Six seasons and a movie.


What I’m Watching: The Flintstone Christmas Collection

I love the Warner Bros Archive Collection. I’ve you aren’t familiar with this vendor, it’s where Warner Bros sells DVDs of movies and TV shows they know have an audience, but probably not a big enough audience to mass-produce and sell in stores. With DVD-on-demand technology being what it is today, they can burn and package DVDs to order at a much smaller financial risk and sell them exclusively online, on theor own site and on Amazon. I’ve found some old favorites on this site — things like the Rankin and Bass Life and Adventures of Santa Claus, the Chuck Jones version of The Phantom Tollbooth, and the so-bad-you-must-watch-it Legend of the Superheroes special which featured Adam West and Burt Ward reprising their roles from Batman alongside a host of DC superheroes.

But today, I want to talk about The Flintstone Christmas Collection. Now don’t mistake this for The Flintstones Christmas Carol — also a fine cartoon, but it’s been readily available on DVD for years. (By the way, Warner Brothers, can we please agree on pluralization? Why is it sometimes “Flintstone” and sometimes “Flintstones?” Let’s pick one.) This Archive DVD contains two other Flintstones Christmas specials, beginning with 1977’s A Flintstone Christmas. In this special, Fred is summoned to play Santa Claus both by Wilma and by his boss, Mr. Slate. He runs into trouble, however, when the real Santa Claus takes a tumble, gets hurt, and Fred and Barney have to step up and take his place. I really like this cartoon, but I’m almost positive it’s a 60-minute remake of an old episode of the original TV series. I got the complete series on DVD last Christmas (thanks, Mom and Dad), so I suppose I could check, but I’ve got a week of school left before the semester ends and these kids are starting to whine about wanting to “know what they made on the last three tests” or something.

The second special, A Flintstone Family Christmas, is from 1993, and is perhaps the last thing made in the chronology of the original series. This actually follows up two made-for-TV movies from the early 90s in which an adult Pebbles and Bamm Bamm got married and had twins. In the new special, their family (who lives in Hollyrock) is coming home for the holidays, and new grandpas Fred and Barney couldn’t be happier. But things go awry when Wilma convinces them to take in a street kid named Stony who seems to be a bit of a troublemaker. If only he had a father figure in his life to set him straight.

If you know where this is going, it’s because you saw the same thing playing out in the now-infamous Leonardo DiCaprio arc on Growing Pains. And like The Cosby Show‘s Raven-Simone before him and the Simpsons‘ Poochie after him, Stony seems to be a rather blatant attempt to inject a new character in the franchise. Which is odd, as there was no Flintstones TV show on the air at that point. I dunno, maybe they hoped that this special would jump start things and get them back on the air. It didn’t, though, and to the best of my knowledge they stopped going forward in the Flintstones’ personal timeline after this and returned to Pebbles and Bamm Bamm’s years in diapers the very next Christmas, for 1994’s Flintstones Christmas Carol.

The second special is kind of trite, but it’s okay. The first one is classic. And if you’re looking for old Christmas cartoons and movies, hunt around the Archive collection. There’s a lot there to choose from, including a lot of things you’ve probably forgotten.

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