Tag Archives: Fox

The Very Real Threat of Islamophobia

Today, I’d like to do something I’ve been wanting to for a while. We’re going to go through a list of recent quotes on Arabs and Islam and replace them with the words “Jew,” “Jews,” and “Jewish.”

Most quickly springing to mind is the latest line of tripe from Anne Coulter. While you are (unfortunately) probably already familiar with some of Coulter’s statements (see: “It would be a much better country if women did not vote. That is simply a fact.” or “[Canada] better hope the United States doesn’t roll over one night and crush them. They are lucky we allow them to exist on the same continent.”), you may not have heard Coulter’s recent assertion that the wife of one of the Boston Bombers should ““Be jailed for wearing a hijab” (right after saying “I don’t care if she knew about this [bombing]”- just so you know it’s about religion, not justice).

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There Are Not A Lot Of Synonyms For “Teleport”

If any of you saw X2 [known internationally as the more sensible X-Men 2] I’m sure you remember the following scene starring the very talented Alan Cumming as the mutant Nightcrawler:


The YouTube uploader’s choice of music aside, I think we can all agree that a) that was awesome, and that b) we all like watching people teleport. If we look back a little more recently to the 2006 fever dream that was X-Men: The Last Stand we see that the bamf-ing blue mutant was not actually present among the plethora of mutants presented. Continue reading

Shame Day: Glee

shame gleeTo begin with, I’m not a huge fan of Glee. I am a man who can say with confidence how much he loves musicals and acapella arrangements, but the show’s claim to be a melting pot of diversity [a place where Black people, Asians, homosexuals, and the disabled can belt it out to their hearts’ content] is not one I find myself agreeing with. But that’s the topic of another post.

Last week internet sweetheart Jonathan Coulton, known first and foremost for being the composer of “Still Alive”, the song that plays at the end of the game Portal, wrote a blog post in response to last Thursday’s episode of Glee. Specifically, the post was in response to their cover of “Baby Got Back” by Sir-Mix-A-Lot, which you can listen to here:


The issue being that Coulton released his own version of the song in 2006, which you can check out [and should, for comparison’s sake] here:


If you really want to scrutinize the two side by side, there’s a track on Soundcloud that simply places both tracks on top of one another [and an in-depth audio analysis, for those of you into that]. Coulton’s issue isn’t simply that Glee seems to have stolen his arrangement, but did so to the point where unique elements he added were copied as well. A duck quack is used to censor an expletive, and [this is practically impossible to ignore] the lyric “Mix-a-Lot’s in trouble” is replaced with “Johnny C’s in trouble” in both versions.

As he has kept the blog post constantly updated, four days ago he announced that having gotten in touch with the people at Glee, the following information was relayed to him:

They also got in touch with my peeps to basically say that they’re within their legal rights to do this, and that I should be happy for the exposure (even though they do not credit me, and have not even publicly acknowledged that it’s my version – so you know, it’s kind of SECRET exposure). While they appear not to be legally obligated to do any of these things, they did not apologize, offer to credit me, or offer to pay me, and indicated that this was their general policy in regards to covers of covers.

While Coulton is unsure of his exact copyright claim to the track, he had obtained a Harry Fox license to release it on an album alongside his own original music. His response is, refreshingly, a mature one in response to this whole ordeal.

He has re-released his track on iTunes under the new title “Baby Got Back (In the Style of Glee). “ Thanks to using the same license as before, Sir Mix-a-Lot will collect royalties, and all proceeds from the following month will go to charities The VH1 Save the Music Foundation and The It Gets Better Project.

This has, of course gotten its fair share of media attention. From a Facebook status by webcomic artist Rob DenBleyker to posts by Kotaku and The A.V. Club,  the internet appears to have rallied behind one of its own.

In his interview with Wired magazine Coulton shared a very simple solution for the show that spends millions per episode. He suggests that “they could offer to pay artists whose arrangements they use the same amount of money they would otherwise pay a musical arranger,” and that “if they opened with that, I’m sure a lot of artists would jump at the chance.”

Somehow, this isn’t the first time this has happened. Singer-songwriter Greg Laswell’s cover of a song made famous by Cyndi Lauper, “Girls Just Wanna Have Fun”, was also seemingly ripped off for an episode in November 2011. I’ve embedded the two songs for you to compare once again [and because I’ve gotta break up this wall of text somehow]:


Unfortunately, Laswell did not quite have the fan following that Jonathan Coulton does, and as a result this happened more or less without incident. The Hollywood Reporter did a short piece on it the month following, but from what I can tell it didn’t generate much controversy. Similarly, Petra Haden’s arrangement of “Don’t Stop Believin'” may have been appropriated without permission [i.e. stolen] by Glee as well.

It remains to be seen whether or not Coulton’s lawyers will be able to take legal recourse, but for the time being I’m happy that the show is finally being taken to task by those who believe that creativity should be rewarded and acknowledged, not plundered.

Fame Day: Court TV

I and TV often find ourselves at odds. More often than not, what you get on television is hours upon hours of sensationalist news, vile game shows, and talk shows that swing between glorified bum-fights and thinly veiled infomercials. Sure, every once in a while you can find quality along the lines of Arrested Development or Ugly Americans or Scrubs or whatever wildly popular and inventive new show that NBC will cancel because **** you, but for the most part there are plenty more weeds out there than roses.

However, one such exception to the norm is- believe it or not- Court TV.

That’s right, Court TV.  Judge Judy, Judge Mathis, Judge Milian, and so on.

Now you might be trying to wrap your heads around why on earth these shows are any good, but that’s probably because of the general skepticism you have about daytime TV (and not without just cause). Think about it. Really think about it. What do we see on this show? Glamorization? Perhaps, but for all the strange cases that show up, the majority of them seem nevertheless perfectly plausible. And that brings us to the second point: sympathy. Who among us can say we haven’t had a situation, or haven’t known someone who had a situation, which would constitute a conflict without going so far as to be criminal? Who hasn’t had some petty yet long-running dispute with a neighbor? Who hasn’t had some tiff about splitting up a dead relative’s possessions? Again, Court TV has it all, and what’s more, shows the real-life consequences of all this (usual) pettiness and greed. We actually get to see some positive arbitration, and get educated on not only our explicit laws, but our social contract, our culture, and our state as human beings in general. However hyped up it might be played, the “hollywoodization” of the shows still can’t rob them of their core essence, which is genuinely interesting and relatable conflicts and the ways we resolve ’em.

I’m not saying you don’t have better things you could be doing with your time, but if you’re gonna be watching TV, there’s plenty worse to watch than this.

And just one last note. I understand that “Court TV” also used to be the title of the TV channel now called “TruTV”. Obviously what I’m talking about and that are two unrelated things. Just a heads up.

Girl Don’t Need A Man To Get Into Hilariously Comedic Situations

This past Monday a new show called The New Normal premiered on NBC. I wasn’t able to catch the pilot, though I did make sure to watch a preview to see what it was all about. You can watch the whole thing if you want, but what I want you to see is right near the beginning:

So at around 22 seconds into the trailer we’re shown that Goldie’s good-for-nothing husband has cheated on her, which becomes the catalyst to her drive across America to begin life anew with eight-year-old daughter.

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Girls: 2 Broke and One New [Pt. 1] – Cast

This academic year has been the beginning of many new shows for me, with 2 Broke Girls and New Girl topping the list. I say “topping” of course to mean the most recent televisual acquisitions, as opposed to the highest quality among programs that I watch.

To be honest, this post has been a long time in coming due to the fact that a) I can’t resist the fact that the shows have such similar titles, and b) I’ve been comparing them ever since they both premiered last fall. With that in mind, I will be writing a total of three posts, Tuesday to Thursday, with each concentrating on a particular aspect of the two shows.

So, without further ado:

CAST

2 Broke Girls stars Kat Dennings and Beth Behr as Max and Caroline respectively, the former a jaded city girl and the latter a penniless heiress. The two work at a diner, accompanied by owner Han Lee, fry cook Oleg, and cashier Earl. Recently Sophie, the Polish owner of a house cleaning business, has become a recurring cast member.

In spite of the seemingly large main cast, the focus is primarily on the titular characters [if anyone jokes in the comments about a particular character I suppose I could’ve chosen my wording better]. The show mainly revolves around Max and Caroline, regulating everyone else to the sidelines at best.

New Girl stars, of course, the ever-cheery Zooey Deschanel as the titular [there’s that word again] character Jess. Alongside her are her roommates Nick, Schmidt, and Winston. Joining them is her model friend of indeterminate ethnicity Cece. I’m not counting Lizzy Caplan because, well, she’s going to leave the show eventually [a thought which makes me cry].

From left to right: Cece, Winston, Nick, Jess, and Schmidt.

It would be near impossible for the show to solely follow the Jess’ zany antics, and thankfully, it doesn’t try to. Her three roommates have more than once carried their own B and C plots, with Nick even competing for the central storyline in the episode “Jess & Julia.”

At first glance the two casts may appear shockingly similar: two females, three males, a single black man in both groups. As mentioned earlier, however, the difference begins in who the camera focuses on. 2 Broke Girls is very much a show about two girls in New York trying to make a living, and their exploits specifically. New Girl is about four [sorry, Cece, but you’re not always around] people and their lives, regardless of whether or not they’re with each other. A subplot in the latter could be all about Schmidt and his attempts to sleep with his boss, but there are no opportunities in the former for an episode that switches back and forth between Max and Caroline trying to make money and Earl, sitting behind his desk at the diner.

The reasons for this could vary pretty greatly. 2 Broke Girls has a traditional three-camera setup, and as a result is filmed on sets resembling a diner, apartment, et cetera. This gives New Girl an upper hand in featuring its various characters being in different locales given its single camera format. The real reason, however, is the amount of characterization given to each cast member. We know that Max is street smart and snarky and kind of bitter, Caroline is naive yet strong and persistent. The characters on the edges, though, are a lot more two-dimensional. Early is a father figure of sorts. Oleg is a womanizer. Han is . . . Asian. I would go into what the characters of New Girl are all about, but I don’t have room. It’s not to say that they’re immensely deep, multi-faceted character, but compared to much of the cast of 2 Broke Girls, yes. Basically, yes.

Not to deride the acting talents of Kat Dennings or Beth Behrs. The two have great comedic chemistry and, when given the right lines, are very funny. And that’s not to say that Jonathan Kite as Oleg and Garret Morris as Earl don’t have their moments; there have been episodes where I regard the Ukrainian fry cook with something akin to warmth. The fact is that these are talented actors who have been relegated to supporting roles, taking up ten to fifteen percent of screentime per episode.

These three posts weren’t meant to be a competition, but New Girl definitely wins in terms of cast. This also isn’t meant to go into how funny the characters or writing are [that’s for tomorrow], but simply an observation of how a full cast can be well utilized. Come back tomorrow afternoon for Part 2!