Air Miami! Before Kevin brought this one up it had long ago been pushed to the sidelines in my brain. I love/hate it when we bring up stuff that directly puts us in a musical paradigm. I just feel as though music (if it’s worth a goddamn) isn’t the sole provenance of the young… There are 12 year olds out there wearing The Smiths and The Doors shirts; 12 year olds that still have crushes on Elvis Presley, John Lennon and Frank Sinatra. But there are bands that are so of their era that, while they were making great music, are so of their moment that they completely date anyone referencing them (Velocity Girl anyone?).
Air Miami is one of those. I had never listened to their fey/twee, simple yet gorgeous songs. They paved the way for the (in my opinion) much better fey/twee songwriting of Belle and Sebastian/The Cardigans/The Shins… but they, in an “only could have happened in the 1990s” way, combined a convergence of irony and syrupy that made complete sense at the time.
*Spoiler Warning: The following article spoils significant portions of Boardwalk Empire’s run and American history during the late … but mostly Boardwalk Empire.*
After 56 episodes of bootlegging, flapper girls and introspective torment, HBO’s Boardwalk Empire has finished its walk down the Jersey beaches. No longer will we get our weekly dose of Steve Buscemi’s annoyed frowns, Michael K. Williams’ grimace of rage or Michael Shannon’s intense stare that’ll make you crap your pants.
No, those days are now gone with the airing of the series finale “Eldorado.” But, what is the mark that Boardwalk Empire will leave on television? Admittingly, in terms of the popularity of HBO shows, it’s no Sopranos or Game of Thrones. Its best shot at fame at this point seems to be a The Wire style retroactive popularity that’ll be shared by a small group of fans and dusted off with a “Oh, I’ve wanted to see it” response from those outside of said group.
Yet, is that a bad thing? Boardwalk has had its fair share of praise and five seasons is a solid amount of time to tell this story of bootlegging alcohol in the 1920s and the history behind the corruption that came in its wake. In that fashion, the show had a sort of Batman-esque element of tension and fear throughout. It feeds on that principle element of huge change causing powerfully menacing people to come out of the woodwork. Sometimes this came in the form of fierce villains like the whirlwind brutality of a Gyp Rosetti, sometimes it’s the ice cold chilling menace of Dr. Narcisse, but at the same time more specific emotional heartbreak came in more personal and pensive forms, like Nucky Thompson’s inner turmoil about his past or Nelson Van Alden’s sudden shift in direction of his life that secretly burns him inside. At its heart, the prohibition element of Boardwalk was more about how it metaphorically matched the lives of its characters rather than seeing barrels and bath tubs filled with booze.
“I ain’t buildin no bookcase.”
At the time of its premiere back in 2010, Boardwalk Empire had much of its hype centered around the involvement of one of leading living cinematic master Martin Scorsese. Despite only directing the series’ seminal pilot, Scorsese’s influence can be felt throughout the series. Some of this may have to do with Scorsese’s documented heavy involvement as a sort of godfather for the show, but creator Terence Winter and his staff of writers still clearly carry the guidance of Scorsese’s touch and morph it into something all their own. You can tell right off the bat from the diverse and talented cast that has taken a trek onto the shore of Empire, from the consistently evolving performances of main cast members like Steve Buscemi, Shea Whigham & Michael K. Williams to the recurring yet always memorable appearances by Michael Pitt, Bobby Cannavale & Jeffrey Wright.
Scorsese’s filmography has consistently been focused on making characters with despicable attitudes so damn fascinating that you can’t help but feel invested in their trials and tribulations. Taxi Driver, Goodfellas, Wolf of Wall Street, Mean Streets, The King of Comedy, Raging Bull, the list goes on. He’s never been shy about showcasing the ugliness of society through his usual tricks like heavy period accuracy, extremely detailed costume & production design, a dense & diverse soundtrack and a more grounded yet usually intense character based focus on the setting, all of which Boardwalk firmly understood during its run. After all, dealing with the prohibition era means that you’re going to run into many less than savory types.
“Find a better place to live.”
Few people in Boardwalk‘s sprawling cast are inherently likable. Sure, we do see compassionate sides to these monsters, yet, at the same time, we never forget how horrible they can be. Every endearing or sympathetic detail we get about Nucky or Eli Thompson’s childhood is constantly in the shadow of their violent corrupt hold over Atlantic City. The moments of love between Gillian & her son Jimmy are turned completely on their head by the horrific reveal of their brief incestuous fling. Richard Harrow continued to be the quiet and caring victim of war, even after he showed his willingness to gun down a group of men in cold blood. Even Al Capone, with all his wonton destruction and smarmy behavior, gets moments of genuine connection with his deaf son. Many of these characters (with a few obvious exceptions) are all morally complex in a way that any number of modern shows would portray, but there’s the extra layer of tragedy that few of those shows really have; the oncoming tragedy of history.
Anyone going into Boardwalk Empire should hopefully be aware that the story of a man who made most of his money bootlegging won’t end too happily. Every member of Boardwalk‘s crew knew this and, rather than treat it as twist to be revealed, they made it a recurring theme throughout the series. Every character has some sort of misery looming over them throughout the series, whether it be the threats to Nucky’s titular domain in Atlantic City, Chalky White losing a grip on his home life as he ventures further into a life of crime, Gillian Darmody revealing to the world her horrible past sins that were all in service of hiding her true self, Nelson Van Alden being outed as the low scum he used to supposedly protect his country from or Eli constantly living in the shadow of his brother & the disappointment he feels for not being able to provide for his large family without him. There are many more, but the point still stands: the characters are always running from an oncoming storm.
“Hmm. The Tin Woodsman. That’s me. I think I need some oil.”
The finale itself left things on the exact note I thought it would end with: rather depressing, but in a very beautiful & melancholy way. The entire fifth and final season really has just been build up to the whimper of these peoples’ last stories. Even when we’ve seen people fight, it seems like avoiding the inevitable rather than an actual fighting chance. Much like Al Capone giving one last show for the press before facing his tax trial or Nucky attempting to right the wrongs of his past with Margaret, Eli & Gillian, it all feels like one last desperate attempt at avoiding their ultimate fates. Admittingly, this isn’t as satisfying as the more action and gangster crime heavy elements of Season 3 or 4, but there’s an artful quietness to the way the season slowly left things. Nucky, Chalky, Rothstein, Nelson and several others meet their fates this season in abruptly cold fashions, all being men of a time that’s long gone by, but that’s the point. They aren’t those gangsters from before. They’re broken and won’t be getting up unless it’s to die on their feet rather than in the shadowy corner they’ve made for themselves and there’s a strange beauty to that.
Ultimately though, Boardwalk Empire isn’t always a show that’s memorable for it’s individual episodes as much as its many individual moments. Chalky talking bookcases with the KKK member. Nelson’s bug eyed expression as he beat that salesman with an iron. Gyp Rosetti riding in on his horse in true Napoleonic fashion. Richard Harrow escaping the club in a hail of gunfire before dying with visions of his family. Billie Kent being engulfed in the flames of the explosion at Babette’s. Al Capone biding his deaf son a final farewell before his trial. All of these moments and more added to the powerful yet contemplative spirit of Empire. The recurring tagline for the final season was ‘No One Goes Quietly’ and while there was much sound and fury during some of those deaths, most of them did go quietly and without much fanfare. Most of the catharsis or irony in their deaths is only felt by the very dead man who’s walking in the last few moments of their life. So, despite how many times a character bit the dust, they all came to the same morbid, unglamorous and powerful realization; no one is free from the fate brought on by their environment and their own actions, especially if they allow it.
“All a dream to begin with. Ain’t nobody ever been free.”
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I truly had to fight apathy to watch this pay-per-view. Two feuds that the WWE seems to be forcing down our throats, Brie vs. Nikki Bella and John Cena vs. Randy Orton, seem to have gotten so much of a push lately that I’ve become numb to even watching the product. But I shouldn’t let that affect my interest in the product as a whole. This event in particular had quite a few strong matches on the card.
CESARO vs. DOLPH ZIGGLER (Best two out of three falls for the Intercontinental Championship): The first match on the card not only made me glad I didn’t skip it, but was probably one of the ten best pay-per-view matches of the year. Cesaro unleashed some devastating offense, including the best reversal out of a submission I’ve seen in ages (that top rope suplex was a thing of beauty). However, Ziggler’s speed, resilience and resourcefulness allowed him to walk away with the clean sweep (something we rarely see in WWE Best 2 Out Of 3 Falls Matches). Ziggler can only keep putting on the best match of the night for so long before the WWE is going to have to reconsider that glass ceiling they’ve placed over Ziggler’s head and bump him up to main event status. WINNER: DOLPH ZIGGLER
BRIE BELLA vs. NIKKI BELLA (Loser must serve as personal assistant to the winner for 30 days): This feud has been getting so much attention that it’s really been hurting the Divas division, that seems to be trying to focus more on the actual wrestlers and wrestling in general. But I have to admit, these two put their all into this match and the intensity they brought revealed better ring psychology then either have shown during their entire WWE tenure. In the end, it was obvious who would win, as WWE predictably never allows the babyface to win in these scenarios. WINNER: NIKKI BELLA
THE USOS vs. GOLDUST & STARDUST (Tag Team Championship): I really like the fairly new Stardust gimmick and have always been a fan of Goldust. But their championship reign is not being helped by the fact they’re fighting the Usos so often that it appears there are no other teams in the tag team division. The match here was solid, though nothing we’ve not seen from these athletes before. Perhaps if the tag division was as deep as it was in 2011-2012, or if there were singles matches to build up to the pay-per-view title match, this wouldn’t feel like the five hundredth time this match has occurred. WINNER: GOLDUST & STARDUST
JOHN CENA vs. RANDY ORTON (Hell in A Cell Number One Contender’s Match): This was quite an important match, as the winner would go on to face the WWE World Heavyweight Champion, Brock Lesnar, at a future date. I will say, my calling of this match has nothing to do with a dislike for these wrestlers. It has to do with the fact that this match really didn’t need to take place in the cell. The cell didn’t come into play much, feeling more like a standard street fight that we’ve seen on a random Raw episode. That’s not to say there weren’t some amazing moments. Randy Orton hitting one of the best RKOs out of nowhere that I’ve seen in a long time (which might make its way to the internet as part of the collection of RKO vines that are the hot thing right now) left the audience cheering, despite Orton being a heel. The match was far above average, just not worthy of Hell in a Cell. WINNER: JOHN CENA
THE MIZ vs. SHEAMUS (United States Championship): The best part about this Miz/Sheamus feud has been the fact that Miz’ ‘stunt double’, Damien Mizdow, has been getting a louder pop from the crowd than either of the competitors actually feuding. Miz’ matches have been better lately, but he still doesn’t seem to be competing at the level he was 3-4 years ago. Sheamus is doing what he can with this feud, as it doesn’t play to his strengths. But both men had a solid, if not amazing bout. Damien Sandow remains the punching bag of WWE creative, but he proves with each week of being given lemons by the writers, that he can make the best lemonade possible. WINNER: SHEAMUS
BIG SHOW vs. RUSEV: As remarkable an athlete as Rusev is, the gimmick is limited. And with his undefeated streak being such an important factor, I’d use him in a limited capacity, so as to not play out the gimmick. But here we go again, Big Show vs. Rusev for the third time. I like both athletes, and Show seems to be selling this feud on the mic better than any of Rusev’s prior opponents. Rusev had to put on his mat technician hat, because brute strength wasn’t going to win against the seven foot tall Big Show. Show has always been good at selling against smaller technical opponents and, despite Rusev being the obvious victor, Show made him look like a million bucks. Bonus points for WWE for not doing the obvious tonight and have Mark Henry go heel and turn on his friend, Big Show. WINNER: RUSEV
PAIGE vs. AJ LEE (Divas Championship): These women’s ring skills, ring psychology and mic skills are up there with some of the best in the WWE right now, male or female. Though this match has been done several times over the past few months, I could literally watch it twice as many times and still be entertained. They find a way to make each of their matches feel fresh and innovative. AJ could teach the rest of the WWE roster how to do a top rope Tornado DDT, because that was bar none, the best I’ve seen since Christian or Rob Van Dam were on the active roster. Though I’m not a fan of Alicia Fox being thrown into this feud as Paige’s new “Bestie”, she is not hampering the feud at all and has provided an interesting way for Paige to further be incensed by AJ. WINNER: AJ LEE
DEAN AMBROSE vs. SETH ROLLINS (Hell In A Cell Main Event): I think a tear came to my eye when I found out that this match, not the Cena/Orton match, was booked as the main event. It shows faith from WWE upper management in these two stars to deliver. And boy, did they ever deliver. The ‘lunatic fringe’ wasted no time in taking things to the next level, as Ambrose started the match by climbing to the top of the Cell. Rollins used his Authority henchmen, Joey Mercury and Jamie Noble, to pursue. The four men dished out intense punishment and both Rollins and Ambrose wound up falling through two tables, from halfway up the cage. This was all before the match even officially starting. The high impact moves, the weapons, the creative use of the cell, even the ring psychology all coalesced to a match that could easily have been one of the ten best Hell in a Cell matches of all time…Could have, if not for the interference in the end by a returned Bray Wyatt. I wouldn’t have minded the run in on a regular televised show, but in the final match of a pay-per-view, that is a no-no. WINNER: SETH ROLLINS
What were your thoughts on Hell in a Cell 2014?
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Trapped with Family! Bike Terrors! Eating Animals to Extinction! Get your biscuit tickled with Public Axis and guest Brandi Dunagan! LOAD HAVE MERCY!
Recorded at the Public Axis F-Stop on October 23rd, 2014.
00:00 Welcome to the F-Stop! This week, we welcome moderately funny & majorly disturbed blogger Brandi Dunagan. She’s also moderately thug much like a particular web sensation we thoroughly discuss who apparently “doesn’t give a fuck”.
22:37 Yeah, Imma Look Into Dat! Topic #1: Share your worst moment in which you felt trapped or crammed up with your family? (Inspired by horror-comedy film, Housebound.)
48:51 Dad’s Corner(ed)! Topic #2: Share and describe your worst bike riding experience!
1:21:39 Hey, That’s Not Funny! Topic #3: What species of animal would you eat if you knew you could rid the world of it? (Inspired by this article on people eating terrifying fish out of extinction.)
1:48:12 What Did We Come to Know? Public Axis is an educational program and at the end, we always ask our guests and listeners, “What did you come to know?” Enlighten yourself.
Let your friends know about Public Axis on Facebook and Twitter and keep those Facebook comments coming at our Happy Campers group!
When thinking of recent movies like Gone Girl, Fury and John Wick, the last thing anyone tends to remember is that these critically acclaimed movies are scrutinized and analyzed by the Motion Picture Association of America (MPAA). The MPAA is hardly an organization that has garnered love and respect among filmmakers, actors or critics.
Funny enough, according to a new study recently published by the University of Pennsylvania’s Annenberg Public Policy Center (AAPC), the MPAA and its efforts to place ratings on all films seems to be even more irrelevant than many had originally thought.
According to the center’s research, parents have become more desensitized to violent and sexual acts in films. Not only that, but many parents who work for the MPAA are considered to be just as desensitized to similar situations depicted in movies. To put it bluntly, anyone who is physically capable of watching a movie is just as qualified to rate a film as anyone currently working for the MPAA. Tough profession, right?
The researchers had 1,000 parents with children of various ages to complete an online survey. The survey consisted of film scenes ranging from PG-13 to R. The scenes that were shown were initially targeted at children and young adults. According to the report, when parents first viewed a scene that included graphic sex, they were more inclined to say that the scene in question was not appropriate for children less than 17.2 years of age. However, after watching several more scenes filled with sex and violence, parents became more lenient and considered the material to be just inappropriate for children under the age of 17.
As the study went on, parents watched even more scenes from movies filled with all sorts of naughtiness. The final results were startling, and revealed that parents would allow children of 14 years of age to watch scenes with graphic sex, and children of 13.9 years of age to watch violent scenes. Taking what they learned from their study, researchers began to question whether those working for the MPAA were just as desensitized as the parents who took the online survey.
In case that wasn’t enough, a 2013 study from the APPC showed that violence in PG-13 movies has tripled since 1985. In addition to those results, researchers found that violence, sexual acts and consumption of alcohol was found in just as many PG-13 movies as R-rated films.
So, what should be done about the MPAA and the way they rate movies? It’s so easy to find articles online talking about how a complete reinvention of the rating system is needed. Whether it’s changing the content that is allowed to be included under a specific rating, or borrowing the rating system from the equally flawed Electronic Software Rating Board (ESRB), there seems to be no discernible answer. In all honesty, there really isn’t one. As the study pointed out, people who are exposed to graphic content over time become desensitized to it. Whether it’s parents, critics or employees of the MPAA, it’s just going to happen. If anything, this study, and many of the ones before it, proves the uselessness of the MPAA. For now, use your noggin to determine whether a film is appropriate for your children. Well, unless you’re desensitized to graphic sex and violence, which is most likely the case if this study is to be believed.
This study, entitled “Parental Desensitization to Violence and Sex in Movies,” will eventually be published in the November issue of Pediatrics, but for those interested in seeing the results now, the study can be found here. Also, the clips used in the study are available to be seen as well. Please watch with caution. Scenes from Taken 2, Live Free or Die Hard and Terminator Salvation may cause intense exasperation and nausea. Viewer discretion is advised.
What do you think reader? Does this study further prove the MPAA is obsolete? Do you disagree? Let us know in the comments below!
Remakes and adaptations are an important tool in the entertainment world. Not only do they expose new cultures and audiences to new ideas and stories enriching global culture, but the industry likes them because they are less risky as they already proved successful in another country or format.
Give the right creative minds a chance to put their own fresh spin on a property and magic can happen. Writer/producer Norman Lear was able to take the British sitcom, Till Death Us Do Part and reworked it into the American classic All in the Family which led to the spin-offs Archie Bunker’s Place, Maude, and The Jeffersons. The semi-autobiographical novel, MASH: A Novel About Three Army Doctors by Richard Hooker (Dr. H. Richard Hornberger) gave birth to Robert Altman’s Oscar winning film and to one of the most influential and popular TV series of all time. Looking towards more modern times we have shows such as Justified,House of Cards and even things as big as the Marvel Cinematic Universe all owe their existence to previous works.
My point is that remakes and adaptations can sometimes lead to some of the best art the entertainment world has to offer…
Aaaaaand then there is the rest of the time.
Broadchurch, created by writer Chris Chibnall, was a series that took the UK by storm. More than just a simple murder mystery, it sought to peel back the layers of quaint tourist trap town and show what really goes on. Who are these people who make this place their home? What secrets do they bury to keep up the illusion of purity and innocence?
When it hit stateside on BBC America, Broadchurch again drew critical praise and viewers, so it was no surprise that it was soon announced that an adaptation of the show for American audiences entitled Gracepoint would be hitting Fox this fall.
The digital age in which we live has made the flow of media properties from around the globe easier and easier to access. This means that finding the source material for any remake or adaptation is only a few simple clicks away. The result of this an ever increasing need for the new version of something to strike out and seek its own identity due to the fact that the audience for your project may just decide to skip your version and enjoy the older version instead. This is Gracepoint’s biggest sin, the stunning lack of its own identity.
Broadchurch was shot in the UK and they worked hard to make the town feel like a real place. Gracepoint, on the other hand, is an American production shot in Canada trying to make you believe it is the US while also trying to copy a fake British town. Is it any wonder then that Gracepoint feels inauthentic from shot one? There are so many states offering huge incentives to film and TV productions that could’ve been used instead. Not only would have brought in some true American flavor to the show, but a more drastic change in location could have affected the story and given Gracepoint some character of its own.
The first two episodes of Gracepoint were shot by the same director as those of Broadchurch, James Strong. This wouldn’t be an issue if it wasn’t for the fact that he copied himself for large sections of the first episodes shot by shot. This led to a product that seemed more interested in matching shots then anything else. I wasn’t expecting Strong to reinvent the wheel, but the new episodes should bring something new to the table, and they simply don’t.
If Gracepoint has one saving… um, grace, it is the fantastic caliber of actors they have managed to assemble. Anna Gunn is every bit as great as you’d expect. I feel she has been able to find her own version of Ellie Miller without subverting or compromising the integrity of the character. Micheal Peña hasn’t really had a chance to shine, but delivers the rock solid performance you’ve come to expect from him. Nick Nolte may turn out to really impress audiences, should the Jack character follow the path of his Broadchurch counterpart, but his presence has been a waste so far. The worst one off is David Tennant. Don’t get me wrong, Tennant is acting his ass off and delivering a great performance. However, due to network constraints for language and the writing’s inability to branch out, his Detective Emmett Carver feels like a tempered down version of his work in the original series as DCI Alec Hardy. I love Tennant and consider him to be one of the most talented actors working today, they just need to give the man more to work with.
If you think I’m being too rough on the series that is only because I care. I wanted to fall in love with this story all over again but poor decision after poor decision has hurt Gracepoint considerably. Episode four was the best in the series so far because it was the first episode that was allowed to go its own way. The deviations allowed allowed for more play for the actors and injected some real life into the show. That said, you shouldn’t be 40% through your murder mystery before you have an episode that sticks. Gracepoint has six more episodes and perhaps in that time it can rally and deliver the goods, but I’m not holding my breath. Still, if you haven’t seen Broadchurch and are looking for a slow burn “whodunit,” Gracepoint just may be the thing for you.
See if you can wrap your mind around this: Bill Murray playing an acerbic, self-absorbed, but ultimately lovable jerk. I know, way outside the boundaries of imagination right?
In St. Vincent, Murray plays a crotchety old drunk who befriends an adorable child. You can probably guess what happens from there. Sure, the conceit may be familiar, but Bill Murray elevates the material with one of his best performances to date.
Saint Christopher, Saint Michael, and…Brian have their own midnight mass as they pseudo-pontificate over the finer points of first time director Theodore Melfi’s dramedy.
When a washed-up former Hollywood star of three popular superhero films (Birdman, natch), decides to reboot his career by producing, directing, writing and starring in a Broadway adaptation of a Raymond Carver story, the stress starts to become overwhelming, leading to hallucinations (or are they?) of telekinetic abilities and of his own voice as Birdman calling him a failure. And who did director Alejandro González Iñárritu (21 Grams, Babel) brilliantly cast in this role? Why, Michael Keaton, of course.
The casting seems appropriate on many levels, as Birdman is a meta-film about stardom, franchise dominance, and egos in the star system if there ever was one. Ed Norton plays the public perception of himself: an arrogant, pretentious, yet undeniably talented actor in the play. Emma Stone is essentially playing Lindsay Lohan here (whose career she ostensibly replaced after Lohan’s crash and burn) as the daughter of Keaton’s character who’s gone through a long haul of drug rehab and no one really trusts anymore. Add to that cast Zach Galifianakis as Keaton’s harried stage manager and Naomi Watts as an actress about at the end of her rope with her co-stars and you have something approaching brilliance….all in one long simulated take.
Or at least, some of us thought so (clearly me). Listen to the Chris, Brian, JC and Michael have a surprisingly reasoned discussion on the vagaries of cinematic perception on Birdman.
We’re throwing everything at you this week, sports nerds, including the kitchen sink and a gaggle of Iron Man suits. What am I babbling about? I rarely know! But trust me, this episode has something for everyone. Yes Ultron, even you.
Click, download, and share! No strings attached!
Show Breakdown…
The Headline Zone (2:57)
We tackle the headlines of the week in a manner that would hopefully make Rod Serling proud. We filter these headlines through a dimension of sight and sound, and possible copyright infringement, in our Scores and Stories segment.
Ultron Trailer Reaction & Predictions (32:20)
We can’t help but talk about that fan-damn-tastic Age of Ultron trailer. Not only do we chat about the music used in the trailer, but we then also try and prognosticate what may happen in the film based on the few short snippets the teaser availed. Will we be right? Only time will tell!
…but no, probably not.
2014-2015 NBA Preview (61:03)
Who’s looking better? Who’s looking worse? Who had the best post-season in terms of transactions and player retention? What in the blue hell does this have to do with Zach Braff?
Awards and Fantasy Segment (85:52)
Hear us give out our awards! Thrill as the various league standings are announced! Chuckle with schadenfreude as Brian recalls the story of his epic fantasy collapse last week!
Follow Us on Twitter, to not do so would be meaner than playing keep away with Peyton Manning’s record-breaking touchdown ball.
Remember when you thought Battleship was the silliest board game to adapt into a movie? Well now Universal has gone and made a horror film about the Ouija. Only problem is, there have already been several movies centered around the basic conceit of a spirit board. But hey, at least this one has…direct product placement?
Chris, Brian, J.C., Elliott, and the new guy Michael gather in the basement of Highly Suspect manner and ask the restless dead to guide them through this review.
Download and listen, before your mouse does it for you.
