Seven Out Of Eight Ain't Bad!

Stopping just short of the finish line has always driven me crazy. Why start anything if the intention is not to finish?

Although, there are circumstances when certain conditions are out of your hands and a goal can't be completed - sometimes that 1,000 piece puzzle (that you spent DAYS completing) is missing a few pieces (curses!), or your legs cramp up before you can scale the top of that mountain (and you have to scoot back down the incline on your butt), or a certain movie leaves the multiplex before you can see all the Best Picture nominees.

Yeah, I get it Regal Cinemas, you had to give like a zillion screens to Gods Of Egypt 3D, but there are some people who still want to see The Big Short! (Those theaters would be better suited for an Oscar movie, since **COUGH** no one is seeing Gods anyway...)

With endless movies coming out every week, nothing is guaranteed to be out for months, so it's really a "snooze you loose" situation. I snoozed and thus continued my tradition of never seeing all of the Best Picture nominees before The Academy Awards. It's almost become a joke now, because every year since I could get into R rated movies on my own, I tend to either see almost none of the nominees or get ridiculously close to seeing them all.

It looks like I've come this close only one time before - in 2011 I saw nine out of ten best picture nominees. Wooo five years ago me, you deserve a pat on the back!

Even if The Academy Awards are always striving to give statues to the best of the best for any given year, it is more likely that all the nominees will not be loved by everyone. In other words, just the Best Picture category alone is bound to feature one real stinker; something that is a real bore to many people. These may be controversial choices, but don't even get me started on having to slog through watching previous nominees like, Inception, Lincoln, Babel, Sideways, Gangs Of New York, and Gosford Park, just to name a few.

That's why it is surprising that for the first year that I can remember, I found every Best Picture nominee that I saw very enjoyable in their own way! It's difficult even to rank them because I loved them all almost equally. Each one has different strengths, but they all feature amazing storytelling and are worthy of representing the year of film in 2015.

The Academy Awards are often viewed as frivolous, but what people forget is that acknowledging specific moments of our culture makes it so we take note of certain things in the time that we are living. It is important to use the arts as a way to keep track of how we were feeling, looking, and thinking. That's what makes the Academy Awards entirely fascinating to me - it's a very specific record of what people enjoyed, who we were as people, and also, partly, what issues we found to be important.

Looking back through Oscar winning movies through time you will notice that this has always been the case. Just as an example, during WWI and WWII, many of the winning movies were focused on the fears of war or people fighting in the war (All Quiet On The Western Front, Mrs. Miniver, The Best Years Of Our Lives). Much like those movies,  a win for Spotlight or The Big Short this year would secure acknowledging a story that mirrors timely issues and fears, and also what kinds of injustice people are angry about in today's world.

In the end, if we think of the Academy Award as historical record, which  movie should represent the year 2015 in history? Which is the one you'd be obnoxiously yelling about in the streets and telling everyone to jet out and see?

My answer to this question keeps shifting back and forth, because I am an indecisive person when there are too many great options. But, I am still forcing myself to make a final decision. Based on my love of journalism and heart for social justice, there is really no other choice I can pick for Best Picture:

• SPOTLIGHT

This movie features a remarkable cast who suffered through unglamorous 2001 hairstyles (the George Clooney Julius Caesar haircut on Mark Ruffalo was a highlight) and fashion (a sea of khakis) to tell, what should be, the unbelievable true story of Boston Globe journalists uncovering the details of child abuse in the Catholic church.

In a world where people would rather read Top 10 lists than long features, we've come to a time when this form of journalism depicted in Spotlight, where small groups of people dig into a stories for years, is sadly dying out. I'm hoping that what comes with the acclaim of this movie is more people realizing the importance of unbiased journalists out there working to uncover the secrets that we all need to know. This is a job that we all should fight to support, since biased propaganda is not positive for anyone.

Spotlight should be the movie to represent 2015, but the six other nominees that I saw also had important, emotional stories to tell. I've ranked the other nominees as follows (I'll have to wait and see where The Big Short falls in line):

Room
The Revenant
Brooklyn
Mad Max: Fury Road
The Martian
Bridge Of Spies

I've already said a lot about my appreciation for Room (see previous post). 

The Revenant is the most beautiful looking movie I've ever seen and shows all the guts and glory of Leo.

Brooklyn features a lovely,  emotional story (I cried through almost the whole thing, including a moment featuring the performance of a haunting traditional Irish ballad), that also shows us (through amazing costumes) how glamorous the 1950s could be (and how much I want to go to Ireland).

 Mad Max: Fury Road proved that even when you think you've seen it all, a guy playing a guitar is strapped to the front of a truck and a two hour car chase becomes the most visually stunning and imaginatively told movie this year - movie creativity is far from dead.  

The Martian reminded me why Matt Damon became a charismatic movie star, as he, delivering the lines from a wonderful script, had us all laughing and crying while trying to make it back to Earth.

Lastly, Bridge Of Spies was a movie that I had zero expectations for, so I ended up genuinely enjoying sitting through almost all 142 minutes of it - the surprisingly magnetic supporting performance by a guy I've never heard of, Mark Rylance, totally helped make up for the literal bridge...of...spies that actually pops up in the movie.

These nominees really do represent many of the great movies I saw in the last year. However, I did watch another one recently, that could have qualified, and should have featured a nominee in the Best Actress category.

The movie, Grandma, featuring a fiery and hilarious performance by Lily Tomlin, is one of those movies that is all talking and story, but it never hits a boring moment. That might have something to do with the short, yet perfect 79 minute running time. More movies should just be short and sweet. 

No moment is wasted as a grandma (played by Tomlin) drives off with her granddaughter on an odyssey type mission through L.A., visiting old friends and partners trying to drum up some needed cash for an important medical procedure.  It's a real gem. Tomlin earned a Golden Globe nomination for her role, but this is just another example of non-showy, more "comedy" leaning movies getting overlooked by The Academy. 

The Oscars  won't ever be able to cover it all, but hopefully, with the tweaks that are being made after the #OscarSoWhite controversy this year, a different range of films will be acknowledged. That way a wider voice will be represented as films captured in this type of historical record. 

To see if those changes have an impact, we will have to wait until next year, but until then we can focus on this year's nominees. Which movie will win Best Picture? Is Leo REALLY going to win? Will someone go streaking? All will be revealed tomorrow at 8:30 p.m. Eastern/5:30 p.m Pacific on ABC. Or tune in all day (like I will, duh) for that red carpet coverage. Here's hoping some ladies really go for some wacky ensembles. The only guarantee is that Cate Blanchett will slay.

Better get those ballots filled out soon! I've sure got some guessing to do, since I just calculated an even more staggering statistic. There are 57 films nominated for at least one award -  I've seen 15. And I thought I saw a lot of movies! Sheesh. Well, I have way more watching to do - how about you?

Until next time.

Why It Would Be Refreshing For Room To Win Best Picture

Trapped between four walls with never an opportunity to breath fresh air sounds like the worst possible form of existence. Knowing that must have been what caused people to invent prison and specifically solitary confinement. The worst form of punishment is forced on those who have broken the rules - living, without a life. 

You lose freedom. You lose choice. You lose everything except for whatever has been left behind in the walls that make up the enclosure.

But this isn't just for prisoners. Some people may even choose to live this way intentionally, which, as their choice, all the power to them. However, this can happen to people who are innocent of their crimes or have just been forced into this confinement.

Through the Best Picture nominated film, Room, the story of two people sentenced to this type of life is told. It's an intense situation for a woman, only referred to as Ma (played by Brie Larson), but the beauty of her creativity comes to life once she must invent a sense of an entire world for her son Jack all between the walls in a single room.

This year is jam packed with emotional Best Picture nominees. And it's a tough choice, but if forced to choose, Room is the most heartbreaking, inspiring, and moving story out of the Best Picture race. It's effortlessly directed by Lenny Abrahamson, the dialogue perfectly captures all the humor and anger of the characters (by Emma Donoghue, which she adapted from her bestselling novel), and it also features two outstanding performances from the lead actors.


Larson is wonderfully supported by the actor playing her young son, Jacob Tremblay. If there was a Best Duo award at the Oscars (for on and off screen badassery), they would take that award without question. Neither performance works without the other. Much of the movie is from Tremblay's point of view, a boy who was born within "room", and has never seen the outside world . [It's completely mind boggling!] He is the narrator, which is a beautiful touch, since his innocent voice is all the audience needs to hear in order to understand Ma and Jack's vulnerability. His voice leads the audience through both his joy and terror about the life they are facing.

As a whole package, this is the kind of movie that hits you right in your emotional core. After leaving the theater you want to both hug every single person you've ever cared about and also head out on an extensive road trip, because having freedom is the best and the world is such a big unknown place that needs to be seen.

In a form of pure "snub rage", Tremblay was sadly left off the Best Supporting Actor (or Best Actor, really) list this year at the Oscars. But the movie rightfully earned four nominations total, including a Best Actress nomination for Larson.

If Room (and no, not The Room, which I overheard people calling it at the theater) walked away with the Best Picture and Best Actress award this year it would join the ranks of only 11 other movies in history. What might that list be, you ask?

As someone who watched (all but one) of the Best Picture winners from throughout history there is a trend I quickly noticed. [I reviewed them all! Check out the Best Picture Challenge label!] It is rare for a movie to win both Best Picture and Best Actress. Like I mentioned above, it has only happened 11 times out of 87 years. Here are the movies that have that accomplishment:

Million Dollar Baby
Shakespeare In Love
The Silence Of The Lambs
Driving Miss Daisy
Terms Of Endearment
Annie Hall
One Flew Over The Cuckoos Nest
Mrs. Miniver
Gone With The Wind
The Great Ziegfeld
It Happened One Night

(All must see movies - by the by.)

In comparison, 26 Best Picture winners have also featured the Best Actor winner: 

The Artist
The King's Speech
Gladiator
American Beauty
Forrest Gump
The Silence Of The Lambs
Rain Man
Gandi
Kramer vs Kramer
One Flew Over The Cuckoos Nest
The Godfather
The French Connection
Patton
In The Heat Of The Night
A Man For All Seasons
My Fair Lady
Ben Hur
The Bridge on The River Kwai
Marty
On The Waterfront
All The King's Men
Hamlet
The Best Years Of Our Lives
The Lost Weekend
Going My Way
It Happened One Night


These stats give off the impression that movies which feature impressive female performances are not deemed as an overall amazing movie going experience. For example, this year, Carol, was excluded from the Best Picture category, even though the two leads are up for Best Supporting Actress and Best Actress (Rooney Mara and Cate Blanchett).

When looking back on history, there were many opportunities for the Academy to award the Best Picture prize to the movie that also featured the Best Actress winner. When comparing the winners with the movies that could have won, it is easy to see that movies with more male dominated casts often rule the category.

First of all, A Streetcar Named Desire (with Best Actress winner Vivien Leigh) is a better film, top to bottom, than An American In Paris (the Best Picture winner from that year). As well as, Who's Afraid Of Virgina Woolf (Best Actress winner Elizabeth Taylor) over the bore that is A Man For All Seasons, Funny Girl (with Best Actress winner Barbara Streisand) over Oliver,  and Moonstruck (with Best Actress winner Cher) would be a more memorable Best Picture winner over the long dredge that is The Last Emperor. I would also choose Fargo (with Best Actress winner Frances McDormand) over The English Patient any day.

Sometimes though, amazing movies with almost completely female casts are pitted against each other. In 2003, The Hours (which includes Best Actress winner Nicole Kidman) lost to Chicago. This is an interesting comparison, since these were two hugely nominated movies and were also dominated by women - this does not happen often in one year.

It seems like the only reason this disparity continues is because there are not enough movies being made that focus on women. I've written about this before, but in 2013, it was reported that only 15% of movie protagonists were women.

This year is at least better than last year, where not a single Best Picture nominee featured a woman in a leading role. (Still crazy, I know).

It turns out that five of the nominees this year include a terrific lead or supporting performance by women - Mad Max: Fury Road has Charlize Theron (my pick for the other big Oscar Snub this year), Spotlight has Rachel McAdams (who is nominated for Best Supporting Actress), The Martian has both Jessica Chastain and Kate Mara, Brooklyn has Saoirse Ronan (Best Actress nominee), and Room, of course, has Larson.

As much as I loved the other movies mentioned above, I'm rooting for Brooklyn, and even more so Room, to win Best Picture. Since Larson is a shoo-in for the Best Actress win, a little bit of hope for the double win is in my mind just so more movies featuring Best Actress winners can be added to the list, but in the end, it's just because Room deserves it. 

Until next time.

Home Is Home

Home. It can be the dwelling where we lay our head down at the end of the day, but home also has to do with identity.

Home can be the houses we grew up in, the place where our families/friends are located, the cities where we were born, and the countries we find listed on our passports. This idea of home can create a sense of history and center us to a concrete destination in this wild and large world.

No matter how old we get, these various forms of home are ever changing, and yet, can still be places or feelings that are never lost, even if it is a location that we will never see again.

Through it all, the word home is made up of whatever you decide it to mean.

The Best Picture nominated film, Brooklyn, finds a young woman searching out exactly what home means to her.

Is it a place or a feeling? Or both?

Eilis (pronounced AY-lish), with the help of her sister pushing her, decides to leave her home of Ireland in order to pursue an adventurous life in a new place, Brooklyn.

It is 1951 and she boards a boat to cross the Atlantic, leaving behind her older sister and widowed mother, who will now only have each other.

How bold this must have been to venture to an unknown place. Especially in an era where air travel wasn't accessible to all and knowing, deep down inside, that you may never come back. Or if you do, it will be years before enough money can be saved to make a return trip on a rocky boat.

With only letters from her family to comfort her while navigating the world of living in a boarding house and starting a new job, Eilis battles with homesickness and wonders if this new country will ever feel like home.

Father Flood (played by the always lovely Jim Broadbent), a priest in Brooklyn who sponsored Eilis's trip to America, tries to comfort her through this adjustment. He tells her that, "Homesickness is like most sicknesses - it'll make you feel wretched, and it'll move on to somebody else."


How then do you make a new place feel like home? Once Eilis changes her attitude, she begins to embrace the growing opportunities that are everywhere. It also might help a little that she meets the sweetest fella that has been seen on the big screen in decades. These two meet at 1951's answer to bar hopping and online dating - local area dances. These innocent gatherings featuring guys and gals sipping soda with paper straws might look boring and tame at first, but upon further reflection these forced mixers look rather refreshing in comparison to how we all mingle in today's world. Let's have a nice chat and a dance!

Of course, just when everything seems to be going right in the world, and the hope of being settled in a new home is looking bright, reality comes to sweep dreams away. Eilis is faced with the choice of sticking with the home she has always known or reaching for the metaphorical home of her future.

She professes that, "you'll catch yourself thinking about something or someone who has no connection with the past. Someone who's only yours.And you'll realize that this is where your life is."

Best Actress nominee Saoirse Ronan, who is Irish just like her character Eilis, also has a name that constantly needs pronunciation explanations here in the states (it's Sur-Sha by the by). And even though Ronan is a modern Irish girl and many of us watching this movie are only tied to immigration through the stories from our ancestors (I too had Irish relatives come through Ellis Island), this story of breaking out on one's own is purely timeless. Traveling might be easier now, so there is more of a chance to reconnect with loved ones that you leave behind, but moving from childhood to adulthood and breaking out on your own is always going to be one of life's biggest transitions.

Finding that sense of  home will take time and adjustment, but knowing that this struggle happens to everyone is just another way that human existence can be constantly tied together. Home is home, wherever that might be.

Seek out Brooklyn, hopefully playing in a theater near you, especially before The Academy Awards on February 28th.

Brooklyn is nominated for three awards - Best Picture, Best Actress, and Best Adapted Screenplay for the wonderful writer Nick Hornby. Divine 1950s costuming, sumptuous cinematography, superb acting, and heartbreaking story telling, make Brooklyn, top to bottom, well deserving of becoming the Best Picture of 2016. This sweet and moving story will not be soon forgotten. 

Awards season - it's the best time of the year!

Until next time.

New Year A Comin'

Just when you think that 2015 has no more surprises, the ground starts to shake.

I live in earthquake country, but often forget about it, since the last earth shattering event I experienced was in 2001. Way back to when I was trying to complete a math assignment in a classroom on the third floor of my ancient middle school.

Now, 14-years later, I couldn't first blame all the shaking on the boy next to me who always annoyingly propped his feet up on our table, constantly causing my perfect penmanship to get all squiggly.

Back then I couldn't finish my algebra assignment because of an earthquake and Tuesday night my Christmas tree loudly thumped several times in my living room due to the same reason.

It was a 4.9 magnitude, relatively small, but strong enough for my brother from across town to text, "it was like a strong giant running into the apartment several times. crazy."

Let's just say I've been acting a little paranoid since the 20-second (or so) event. Even today I slightly panicked after seeing dark "smoke" coming out of the peak of Mt. Baker.

Nah.

Turns out it was just a perfectly placed dark cloud, made more apparent due to the rest of the sky being clear and crystal blue.

I've taken a few breaths, achieved some calm with the phrase, "don't be scared, be prepared", and settled in to wrapping up a few more favorite things before fulling embracing 2016.

This past year I got obsessed with a small number of albums, and so I didn't think that I branched out too much. But thanks to some handy calculations done by Spotify, I found out that I apparently still listened to 251 different artists this year. (Anyone can see their year in music here.)

That's just through Spotify though, which probably only accounts for about half of my music listening, since I still roll old school and buy physical copies of CD's, plus, stream quite a bit through Pandora

Even if I did listen to a bunch of different artists, there is definitely overlap when it comes to what I listened to the most:

This was definitely the year that I went from being a casual Brandi Carlile listener to embracing her full on. She's a native to my neck of the woods in the PNW and has performed in my hometown a ton over the last ten years, so I have been listening to her music for a long time, but I still never considered her one of my favorite singers. Now, I definitely do. I quickly became obsessed with her 2015 album, The Firewatcher's Daughter, which also led me to go back and listen to some of her superb albums from the past (Bear Creek).


Some of my other favorite albums of the year were: Marina and the Diamonds, Froot , Sufjan Stevens, Carrie & Lowell (both of which were previously discussed here), Kacey Musgraves, Pageant Material (previously written about here), Leon Bridges, Coming Home (covered here), and Ryan Adams, 1989 (written about here).

This year was also the year I welcomed the Scottish electro-pop band Chvrches into my life with full force. There isn't any album this year more worthy of blaring in head phones and chair dancing your night away than Every Eye Open. 



Apparently I've really been digging this whole electronica/pop vibe, especially when it's done by cool chicks. Really, being a Robyn fan, it shouldn't be a surprise. Sometimes you just want to have fun, and Grimes has been running with that over the last five years. She created yet another fantastical album this year. Art Angels didn't make my top list on Spotify, but that doesn't count since I sill listened to it religiously.



Another favorite was an album that didn't come out in 2015 - Sia's, 10,000 Forms Of Fear. I listened to the hits from this album in 2014, but 2015 was the year that the CD didn't come out of my car for months. The strong songwriting on powerful topics like fear, addiction, and heartbreak was wonderfully spun into an entire album of power anthems. That girl can sing and perform the heck out of anything.

One new single that did come out this year was, "Alive". Sure it's a great pop song with more anthem like qualities, but what really takes this song to another level is the moment near the end of the song, when Sia reaches that note where her voice cracks. It's completely visceral and a explosion of sound - it gives me chills every time. She's not holding anything back and, judging by her popularity, we never want her to stop.



I love tracking all my stuff, so I also keep tabs on what I'm listening to through Last.fm. It's always fun to look at the end of a week, month, or year to see what songs/artists you were most addicted to.

Some of the songs from that list are pulled from my favorite albums of the year, but the rest are outliers. Paul Simon must be due to this great movie and the song by Sara Watkins was featured in the final episode of Parenthood. Sometimes watching something ends up inspiring lots of listening.

One of the other songs from my most listened to list was simply a gorgeous cover of a classic John Denver tune. Take it away Brandi Carlile and Emmylou Harris!




This past year was another fruitful one for the lives of music fans. One of my goals for 2016 is to commit even more of my time to discovering more great albums.

Today we all say goodbye to 2015 and here's hoping the new year brings wonderfully exciting things to us all. After spending four days this week crazily power-housing through Making A Murderer, I can't stop thinking about injustices and abuses of power, so for 2016 I couldn't wish more than for everyone out there to think about the little things we could all do to positively impact everyone around us and beyond.

Blah, blah, blah - I know, I realize I'm up on a soap box, but I really can't help it!

It all starts somewhere and I know that, besides obsessing over pop culture, movies, TV, music, and everything else in the world of the arts, I'm going to push myself to become more involved in issues found in the real world around me.

There's always something to get done, or something to enjoy, and here's to a big, shiny new year of finding out what that is going to be. Hopefully that doesn't include any more ground shaking. **Knock On Wood** - because I'm a paranoid SOB.

Until next time.

I Wish Our Brains Were That Bright And Shiny

There are always going to be the people who shy away from anything made by companies like Disney citing complaints like, "hmmmph, those are just kiddie movies."

To me this is simply the most baffling of all excuses.

Sure, some people don't like anything where people break out into song (which applies to a lot of animated features) and others just don't get the charm of watching every little thing in life get anthropomorphized (something that just happens to be my favorite thing btw - give me a dancing hedge with googly eyes any day of the week). In that case, these types of movies just aren't for them and that's fine.

But sighing in complaint just based on the supposed age range for a movie is nonsensical. Especially after watching one such 'kids" flick last night and discovering that it is not only one of the most complex movies I've seen probably ever, but it is also an entirely imaginative story, guaranteed to blow the minds of people 10 to 100-years-old.

All of the emotions in my mind know one thing to be true - Inside Out is a creative masterpiece and the people at Pixar are geniuses and are creating movies beyond anyone's wildest dreams.


Fans of their films know I'm just preaching to the choir here and I also know that this is the same studio that released Cars 2, so we know that no one is perfect.

However, the thought and care that went into every single detail in this movie speaks so truly to the types of stories Pixar is trying to tell. This one is a fantastical tale all set inside the body of a regular 11-year-old girl, Riley.

They came up with a brilliant way to express how our emotions and thought processes work, all while making me wish my brain was actually crammed with the brightly colored orbs of my memories, just like Riley's.  They imagined our dreams are created by a little movie studio in our head, that our deepest darkest fears are locked away in a dungeon, and that all of our personality traits create different lands to visit on a literal "Train Of Thought". 

Every moment of Inside Out is bursting with more imagination than "Imagination Land", the theme park constantly buzzing with activity in Riley's head. And the cleverness in the story isn't just about all the fun, like the character Joy (voiced by Amy Poehler) would have liked. This movie is about how each and every emotion is important, even Sadness (voiced wonderfully in scene stealing fashion by Phyllis Smith), because being down in the dumps is almost critical to feeling emotions and bouncing back in life. Really, it is all almost too much to take in at once and will literally take your breath away (that might just be all the sobbing though too...).

This is high praise, but after seeing this movie I'm convinced every single person at Pixar is an emotional wizard who should be living in a think tank working on fixing all the world's problems.

Bing bong alone could solve world peace.


Until next time. 

Another Farewell

It has been almost three weeks since the finale of Mad Men. Say it ain't so! Everyone out there has probably already heard their fill about Coca-Cola, "hippie" retreats, and the grand spark of a sweet relationship, but not me, I've just been sitting back ruminating on it all. And when I say "sitting back" I hope everyone is imagining me in a rocking chair, puffing away at a pipe, and rockin' back and forth with an enigmatic look on my face.  I come up with my best ideas in that exact kind of environment.

Dramatic recaps posted the second after an episode airs can be fun and necessary these days, especially if you want to get your word in before one of the other talking heads says exactly what you were going to write.Yet, much of the time it all feels too fast.

The internet seemed over Mad Men within a couple hours after the finale aired. With so much information flowing through every second, it quickly felt like there was instantly some sort of pressure to just be done with it. To keep up with our quick pace about everything, meant that by Monday morning, after tuning into the finale and reading a couple bits of commentary, we should all have already found a new show to obsess over.

Why? That's not how I ever want to roll people.

As a general rule, I like to tightly grasp hold of things I love for as long as possible (aka, Walt & Jesse, Tami & Coach, The Braverman's, Kenneth Ellen Parcell, Pawnee), squeezing absolutely as much enjoyment out of them before making a natural decision to move on and say goodbye (for now).

While I still haven't entirely let go yet, over the last week being Mad Men less has had me diving into the bevy of new television that's out there. Just a quick judgement: I'm finding that there is no other show that is giving off the exact same "classy adult drama vibe" that Mad Men projected week after week for years. With that in mind, there is an awful lot to be said over what the television landscape looks like without this show being on the air.

Just the loss of the overall design of the show and elaborately accurate costumes from the era has now made TV less fashionable. And no, sorry, as hard as they have tried/continue to try, The Playboy Club, Pam Am, or The Astronaut Wives Club, will never be considered valid substitutes. 

Mad Man had such a detailed vision and it will be difficult to match. The costumes and setting even set trends off around the country where everyone was scrambling to get that "Mad Men" look.

And "the look" was only a small segment of what made this show stand out. It is by no means a simple show, but it is simple in concept. Mad Men is a drama about people. Who am I kidding, almost all TV shows are about people, but there isn't a lot of shows that look at people the way Mad Men did. The advertising world of the 1960s, while perfect for causing equal parts tension and fun, was merely the backdrop to analyze the deep roots of human life.

Sevens seasons were spent looking into how people feel and act in their darkest and highest moments (literally and figuratively). That combination of emotions made for a show full of tears, laughs, and, at times, bonkers surrealism. People fixate on all the drama and fantastical moments, which are super terrific and everything, but Mad Men is also a lot funnier than anyone ever gives it credit for.Without including such great sense of humor, and characters with true wit, this show would not be as well rounded and I wouldn't care for it as much as I do.

Tune in for a brooding Don Draper giving a life changing pitch that will make you want to buy a new Chevy and leave with a hysterical Roger Sterling quip. Not just those two either - the show is filled with well developed characters.Mad Men, for me, became most addicting just because you became invested in wondering how each of the character's story would turn out.

And even though anyone who is anyone places Don Draper among the trend of "anti-hero" leading men, there is still something entirely unique about his personality and voyage that makes him separate from just another Tony Soprano or Walter White. [Those two are also greatly different from one another, but I digress.] We can't forget about everyone else either - from Joan, to Peggy, to Harry Crane, the characters on Mad Men can't be compared to any other.

Creating a batch of distinct people had a lot to do with the way Mad Men chose to focus attention on ideas that are not always written about for TV. Bringing up fresh ideas, would need some new characters to support it. Women's role in the workplace, big dreams, class issues, stereotypes, and being an overall judgmental society are just a few of the backbone themes ever present through all of the stories.  We all hope these issues are getting better in the world we live in now, and it has (for the most part), but telling the story from the 1960s point of view, also highlights how much these issues are still holding people back, even today.  

And that's where it comes down to - the story. Over the years and through much of my writing here, I've come to the realization that much of what makes me love a movie, a TV show, or a song, is about the story it is telling. I'm definitely beating a dead horse, since I've expelled this nonsense endlessly before and I'm also far from the first person to ever feel that way.  

Mad Men was, and will continue to be (as I and others re-watch it/discover it), about story. It is a rare show that was written in a way that felt totally complete. There was never a sense that a scene could have been written better or that something was missing. Every moment felt full, because of the high standard for quality that was demonstrated consistently by those folks making everything tick behind the scenes.

The audience never had to expel thoughts like, "Hey! I could write this better, you schmucks!". There was trust that what was unfolding before our eyes was the highest peak of greatness. As if no one was actually writing the situations the characters were finding themselves in, but that it was just happening as it should be, like fate. Even in some fantastical moments, this show was never contrived. It all felt entirely natural.

Sure, all hardcore fans have had frustrations in the way Matthew Weiner chose to leave some stories ambiguous. Like, where the hell did Ginsberg go? But that can be explained away with just, maybe no one knows? That's killer for anyone who had a favorite character just peace out, which was really only a few here and there, but people in real life can do the same thing. We all have had those people who come and go in life, sometimes with no explanation - it just happens.

Let's not forget that things have been worse for other TV shows that have ended. We all remember (I just read about it) the endless frustration over The Soprano's cutting to black and the big reveal about Lost. If a TV series ends and there are only miniscule frustrations, that is a real triumph. So, congrats to Mad Men.

Now, I know this show also isn't for everybody, so some of you out there have more complaints than I do. But every time I try to look at this with a critical eye and sit wondering how someone could not be obsessed with this show, I always have just ended up at a loss.

Overall, Mad Men ended like the whole series always was - unpredictable. While I would have preferred Don not be separated from the rest of the cast so much in the final episodes, it had to be done. The show was all about his journey. Don was never going to entirely figure his life out while drinking with Roger Sterling. Before he hit the road, he did have some great final moments with the rest of the cast, so we just have to let it be. Plus, his last conversation with Peggy, mid mental breakdown over the phone, was worthwhile indeed.

Even before the very end of the episode, was a moment I thought would never actually happen, and was also brought on by a phone call.. Peggy fans around the globe, including myself giddily smiling on my couch, couldn't help but rejoice that her final moments on screen were not about work, but instead removed the question mark that was surrounding her life outside the job.

We all were rooting for Peggy's work success, because she is a bad ass, but that could lead to forgetting that she also was looking for a loving relationship. Then Peggy and Stan got on the phone, typical for them, but this time their conversation was less about work and more of a tip of the hat to all those romance movies from the 60s and 70s. Stan declared his love (finally!) and Peggy sealed it in her typical fashion: "I mean I must be. Because you’re always right. I can’t believe this. I think I’m in love with you too. I really do."  Peggy and Stan got their happy ending, which made me more excited than any romantic comedy I've ever seen. Swoon.

Don in a way, had his happy ending too. At first it seemed like his trip to California wasn't going to teach him anything. He wound up at a hippie feeling retreat. Once I realized that most of the episode was going to take place there, I honestly couldn't believe what was happening. Once again, Mad Men took everyone down an unexpected path. Could Don honestly be happy at a place like that? While seemingly crazy at first, it turned out to do the trick.

Most interestingly, Don, the guy who always had the biggest, grandest monologues, was brought to silence at the retreat. We never actually got to see Don have a big revelation about his deep sadness and regret (even though he does a little of that over the phone to Peggy). Instead, someone else at the retreat, who had a very similar story to tell, had the final dramatic monologue in the show. Again, all I can say is, wow. Giving up an entire scene in a show's finale to a character that had never been seen before, seems crazy, but it totally worked.

After the other man told his story, Don walked forward to embrace him and they collectively weeped. That guy just said everything he was feeling. Don breaking down was a total release of his emotions. He was always grand at spinning a story in a pitch meeting, but talking about himself always made him a bit more reserved. So this way of expressing his emotions felt entirely perfect. He could let it out without saying a word.

That expression must have been enough for him, since in the final scene Don seemed more at peace. That could have just been the scenic location speaking and all that white clothing, but from my perspective, I think Don was ready to move on and face the world anew.

Maybe Don did create one of the most memorable TV commercials in history or maybe he left the advertising world and stayed with a California state of mind. That's for the viewer to decide.

Wait - no!

He definitely went back to McCann Erickson! He's just too good at those pitches and ideas! This time though, he had hopefully released some of the past so he could get back to his current life, family, and friends.

Mad Men taught me many things, but most importantly, to always stick with what you're good at, even if it takes stealing someone else's identity.

Ha! Okay, but in all seriousness people - my big take-away from the show is that a different name will get you a fresh start, and you can eventually come to terms with the past, but what's innately you inside will not change. Own it.

With that, we say farewell to another good one. Mad Men - may you rest forever in the hallowed halls of the treasured TV archive. Keep Friday Night Lights, The Wire, 30 Rock, Parks & Recreation, Six Feet Under, Pushing Daisies, Breaking Bad, and all the rest company. We'll see you next time on one of the hundred instant streaming services.


Until next time.

Silents In A Talky World

[Setting the mood - Old-timey theater ads played before the show.]

The first silent movie I laid eyes on taught me that once technology had evolved to allow for spoken dialogue in films, all those silent movie actors became obsolete. Oh, and the only thing to soothe the actors after being kicked out of their career was their best friend - adorable dogs that did tricks.

This all sounds like a plausible plot for a flick right out of the 20s, but au contraire, it was actually 2011's The Artist! I know, I know,  I didn't see a silent movie until four years ago. Bring on the chastising, because I deserve to be ridiculed.

Nowadays, the original silent movies are historical landmarks that can still move an audience to tears. They are rolled out in some old theaters across the country just for special events, like a concert or play. And people are going! Well, I can only judge based on a sold out showing of a silent movie I was able to attend just recently.

I've been trying to catch up on these oldies over the last couple years and continued with that effort over the weekend at a classy affair that pulled off, what I imagined was, quite the authentic experience.

Over the last couple months my hometown has been hosting a silent movie series at our local historic theater. Every showing comes with a professional organist who plays the original scores live as accompaniment to the flicks. It is just like the old days and as the movies were intended to be seen. The organist, Dennis James, brings these productions to places all over the world. Based on a quick perusal of his website, it seems like he is the preeminent guy that is keeping the true art of silent movies alive. Three cheers for him!

The second I saw that the Buster Keaton classic The General was playing, I jumped at the chance to finally be able to see it. The event even came just in time for me to treat my Grandma to the movie as a birthday present. Not only is it regarded as one of the best silent movies of all time, it is also on many highfalutin lists as one of the best movies ever made. It is one of two silent movies included in the top 20 of AFI's "100 Greatest Movies Of All Time" list.

All this buzz speaks for itself - I was all in. 

Within the first couple minutes of the movie, it is clear why people still adore Buster Keaton. He is a master actor who is able to convey a deep story through very little means. Keaton infamously will never be seen smiling in the majority of his films, remaining "stone faced", but he was still able to express emotion in different ways.

Mostly this is done through his extraordinary talent for physical comedy and his gutsy stunts. The fact that he is running on top/sitting on the front of moving trains for the majority of the film is enough, let alone that he is being funny while also being bold. This guy really did it all, including being credited as director and writer for this movie. That really puts in perspective actors of today who get full of themselves just for reciting lines that they didn't even write.

[The organ - aka the star of the show. ]

I always find it hard to imagine that a silent movie can possibly be laugh out loud funny. The pressure to find this flick uproarious was increased when the organist spoke before the movie began. He kept on cracking himself up while just explaining that The General was a hoot.

But they're not even telling jokes! You just have to watch - it  has a lot to do with timing. Marvelous sequences with misfired canons, train chases, and misunderstandings produces comedy from the ridiculous situations these characters are finding themselves in.

Keaton really was the beginning of slapstick. When he first walked on to the screen, my first thought was of Gilligan. You know, the guy who was marooned on an island with a bunch of folks, including Lovey and Mr. Howell. The two actors resemble each other in looks and it is now obvious to me that much of Gilligan's bits/Bob Denver's acting was inspired by Keaton.

Besides all the comedy, the logistics of making this movie is really what is still astounding. There are many moments that seem, even by today's standards of using CGI, very difficult to achieve. One outstanding scene in particular, finds Keaton riding on the front of the train attempting to clear a bunch of large wooden posts off of the track.

The train continues to progress forward and he has one post in his hand. As the train approaches another beam on the track, Keaton throws his piece of wood and "bam!", it hits the other beam in the exact spot that makes it flip over and off the tracks. How many takes do you think that took? Accomplishing that single moment is quite an incredible feat, considering all the moving parts and danger involved.

Big stunts combined with the overall large scope of the movie led to The General becoming one of the most expensive silent movies ever made. With a whopping $750,000 budget  in 1926, it's no surprise it got that distinction. One of the scenes that increased the cost of filming was the single most expensive shot done in the silent movie era. During a part of the movie, an actual train begins crossing a bridge that collapses, causing the train to crash into the river below. That stunt was worth every penny.

Even if you haven't seen The General, it is a guarantee that many of the scenes would be recognizable to everyone. They have become so infamous that they are burned into our subconscious and are often replicated in other movies. Anyone recognize this guy sitting on the front of a train? Or how about a guy sitting on the train wheel rods? As the train starts to move forward, he goes up and down and up again, never cracking a smirk.

What remains after almost 90 years is a movie that feels completely authentic. It still leaves an audience gasping and laughing with delight. I have not watched a movie with such a fired up crowd since seeing Bridesmaids in the theater. And this is coming from a wild bunch of five hundred people that were 75% of age for a senior discount.

Sitting in a vintage crushed velvet seat, looking up at a gorgeous chandelier as the lights dimmed, the reels started to turn, and an organist began tinkering away on the keys, was an experience that all very much felt like venturing back in time. All that was missing was people donning a bunch of large gorgeous hats.

Today we are spoiled with the modern movie experience - the comfort of high backed chairs, stadium seating allowing for a non-obscured view of the screen, and professional sound. I could give that all up, because nothing else compares to watching a movie in the glamor of a historic theater. Our ancestors really knew how to go out to the movies and have an entirely classy night.

Even though "the talkies" did change the world of movies, those silent treasures have not become totally irrelevant like old Hollywood had predicted. Advancements are made, and things change, but we can still take some time to enjoy and honor our past.



Until next time!

Parting With Pawnee

Early yesterday morning on the way to work, I had the car radio turned down low. I was very drowsy, but my brain instantly perked up when I started to quietly hear a familiar sound of a drum beating, then strings, and on top of that, some sort of woodwind instrument. After turning up the volume, my happy instincts were correct - the music playing was the perky theme that welcomed viewers to the world of Pawnee, Indiana for the last six years.

The station had used the music as an introduction to their own story about the Parks and Recreation finale, but I wasn't paying attention to what those jockeys had to say. Hearing that music (playing on the radio of all places, instead of the familiar flickering tube) triggered a reaction in my brain. The thoughts I should have had the night the episode aired, but didn't, because NBC placed it in a 10 PM time slot (whaaa?) and I had to race right to sleep the instant the credits rolled, instead of sitting and digesting the finale to one of the funniest and most genuine shows to hit the airwaves. Some of us have to wake up early, what can I say.

It may have taken until the following morning to finally have a moment, but after hearing that little familiar ditty, it all really sunk in - Parks and Recreation is over. Gone are the days of getting excited to tune in to a new episode just anticipating the fun antics that the writers have cooked up for those kooky, lovely characters we have grown to love.

It is rather terrific that on a show with an extensive main cast, plus all of the can't believe they got them guest stars and other randomly delightful oddities floating around (Pawnee was full of 'em), that every different character had numerous admirable traits/repetitive bits that made them hilarious and integral to the show.

There was Ben bringing endless joy to the people at an accounting firm that, no matter what, thought he was the shit, confusion over Jerry/Terry/Larry/Barry/Garry (and he just went with the flow), Burt Macklin, Janet Snakehole, Tommy Fresh with his DJ Roomba and glamping,  Jean Ralphio's masterful singing, Donna's Treat-Yo-Self,  Ron's (out of character) pure love of Li'l Sebastain, and finally, Leslie's perfect gift giving and wise words that filled endless binders with kindness/plans/and a tad bit of crazed enthusiasm, but she always had her priorities straight.

That's just a small glimpse at all of the hilarious idiosyncrasies that made the world of Pawnee unique and endlessly fun. Even when the final season jumped forward a few years to 2017 and all the characters lives were jumbled around, the writers did an excellent job of making sure everyone still had their same spirit. The time change only advanced their lives - just like in the real world, where we get older and want different things.

[Scene from season three's, "The Fight" - a hall of fame level episode for all of television.]

Progressing the show into the future was probably the smartest idea anyone could have dreamed up. We always knew that these people were going to move on to bigger things that meant spending some time outside of their treasured little city, Pawnee. The time shift allowed us all to actually see it happen instead of just imagine what could have been or hope would show up as storylines in the eventual reunion movie 20 years from now.

Had it aired for 10 seasons, we might have been able to see that progression a little slower or even been given more details (like, for example, what exactly does Andy do in D.C.?). Really though, we've all seen the slow demise of shows that go on for endless seasons. I just freaked out after noticing that Grey's Anatomy is on season 11! It's not worth it.

A little mystery also never hurt anybody. The final episode included a few enigma's, one which eluded to a character having a job far in the future that required The Secret Service, if you catch my drift. It could have just been really well dressed limo drivers though.

Even with a few well placed puzzles that left fans filled with questions, it is very apparent that the writers worked extra hard to give every character their moment to shine in the final episodes. [It's a shame that this week also meant a sad goodbye for one such talented writer.]  Parks and Recreation will fall into the same category of numerous shows that have ended in the last couple years which have proven that it is much better to give it all you got for a shorter amount of time, even if it means leaving fans upset and wanting more.

Knowing the show was going to end only seemed to really make it shine. The time shift even gave the story a fresh start to jump off from. The funny thing is, Parks didn't even need a gimmick or reinvention, because it was still good, but it just was a really genius idea to move it all along.

Imagined life in 2017 may have been filled with 3D projecting phones and Grizzle sponsored drones dropping off packages at our doorsteps (those technological predictions alone is an example of what makes this show eternally enjoyable), but the last minutes of the finale entirely wrapped up the overall feeling that we should all take away from the show. Not even an advancing world of technology could change Leslie Knope. 

The patron saint of ladies with ambition, Ms. Knope is simply the ultimate ambassador for respect, love, and hope. She made it seem possible to just be happy helping people fix something as simple as a swing or turning a giant pit into a park. With her leading the charge, it also let us all imagine that the government could include people who actually want to get things done in a positive way. That our country could be run with honest ideals and be successful. Putting characters like Leslie - smart, independent, forward thinking women - on television empowers us all to feel like we can do better.

Now, I know there are real life Leslie Knope's already out there - I applaud you. For those still looking to be inspired to do more, even though the show is over, there is still a lot of good that can come just by channeling Leslie Knope in your every day life, and I hope people continue to do so. Be prepared - there are a lot of waffles involved.

Not to end on such a serious note, since this is also the show that brought you a children's television host named "Johnny Karate" and phrases like, "chicky-chicky-parm-parm."

All that heart exuded by Ms. Knope and many of the other characters as well, just makes the show that much more memorable. We've got a classic on our hands.



Until next time.

SNL Does 40

Last night was the epic television event that honored the history of a pop culture staple - Saturday Night Live. It's important like no other show, because it means something different to every generation. It reinvents itself regularly. And that's what makes it legendary.

As an avid fan since childhood, I was stoked to see all those old pals showing up in the comedy spotlight once again. Trudging around their old stomping grounds and such.  My one complaint - not nearly enough Cheri Oteri.

Like many others, though, I knew I would be pulled away for an hour to catch The Walking Dead.

It's as if NBC knew and decided to punish those that tuned away for an hour and plugged in The Weekend Update segment to air during the 9:00 to 10:00 time slot. There were many fantastic sketches before and after I cut away (Bill Murray singing a love theme from Jaws!), but all the people I REALLY wanted to see popped up in the below clip.

If it's even possible, I present all of my favorite people in a five minute segment: We've got Tina, Amy, Jane Curtin, Edward Norton and Bill Hader as two Stefon's, Emma Stone, Melissa McCarthy, and a land shark.

All I got to say is T.G.F.I  - Thank God For Internet, because at least I could find this clip a terrible, harrowing, agonizing, unmanageable, excruciating... few hours later. 

At first I felt like 40 was an odd year to have a celebration. That's the year when most people have birthday shindigs where everyone eats cake off of "Over The Hill" plates. But when I think of it that way, it's rather a fitting year.

Continually people say SNL is done or has reached its own "Over The Hill" moment. Every reincarnation over the 40 years has faced that criticism, some years more than others, yet that is what makes the show worthwhile. Not every sketch is a hit, but you tune in every week never knowing what kind of comedy is going to show up on the screen. Good or bad, it's always fun.

It could take a week to list all the cast members that were there last night and talk about how many classic sketches made a return (Celebrity Jeopardy!), but the celebration didn't forget to leave out the many hilarious cast members who have sadly passed on  - Gilda Radner, John Belushi, Chris Farley, and Jan Hooks just to name a few. Though not dead, I was also very touched by Mr. and Mrs. Alec Baldwin doing a little tribute to Tracy Morgan. That ball of light was definitely missed on the stage. Even though he is still alive, unlike Jon Lovitz.

Did anyone else watch all three and a half hours? It was like a test run for next week's Oscars.

I was enthusiastically in for the night, minus the hour I spent with Rick and his gang. I tuned in even though I'm having a little tiff with that show right now after last week's episode. I digress.

After finding out I missed that great Weekend Update bit and only caught a couple moments of Maya Rudolph playing Beyonce and sashaying around the stage with Martin Short, I should have let those frustrating guys in the zombie apocalypse wait until the next day and enjoyed a whole night of comedy instead.  Lesson learned.

Until next time. 

Bye Bye Bravermans

Just like much of the current television viewing populace, I very much enjoy a TV drama filled with crazy apocalypse situations or terrible villains that need to be caught. There are after-all an endless array of these playing on TV everyday. But after the cloud of dust stirred up during a New Mexico drug bust clears and all the blood from an intense murder spree is mopped up, there is something to be said about any pure of heart and good-natured series that emerges from all that wreckage.

Without any complicated frills, there is a show that simply focuses on a family. It documents the ups and downs in life that we all have or could eventually experience. It never got as much attention or viewers as its graphic television cousins, which is very sad to admit, especially for something so completely original. Surprisingly, it really is unlike anything else playing on our screens. To top it all off, there's bad news y'all - it just aired its final episode last Thursday.

There is great news for fans and future fans who are destined to discover its magicalness on Netflix (where all past seasons are currently streaming) - the show went out in classy perfection.

What will the the realm of TV look like without a show like Parenthood?  First and foremost, TV land will be missing a true beating heart.

The show really is an emotional cornerstone in today's pop culture. Over the last couple years, Parenthood has become known as the show that will make you "ugly cry" at least once (but more likely a couple times) during every episode. I can attest to its power to make any level headed person a sobbing wreck in no time flat. My tough exteriored bro even broke down during the closing minutes of the finale.

Some may think, "Cry my eyes out? What is this schmaltz!?" Such cold hearted folk! We can all use a little outlet for a cry now and then.  

Parenthood is able to tap into viewers tear ducts so well simply in the way the show mastered the art of writing about and capturing life in an entirely natural way. It was so well done that viewers were given no choice but to highly connect to the stories and characters.

The on point writing, a large, wonderful cast, and the beyond perfect use of songs to play over many of the scenes, also work into gaining that extra personal feel.

Just a quick note about the music - in the finale alone, try to not be utterly SLAYED in the way "Always You" by Ingrid Michelson and the cover of the show's theme song, "Forever Young", sung by Rhiannon Giddens and Iron &Wine, contribute to several moments. I can't even talk about it - I'll just keep getting chills.


Much of the credit for all this heartfelt fan attachment is owed to the creator/writer/director/producer, Jason Katims, who orchestrated it all.

We have all been gifted countless tremendous fictional worlds because of Katims - who also created/wrote the top-notch series, Friday Night Lights. Not to mention, he penned several episodes of the classic My So Called Life, including, in my opinion, an episode that is one of the all time best and most heartbreaking episodes of television ("So-Called Angels"). The man's a genius and really knows how to reach in deep to pull true emotions out of viewers - I think almost anyone on Earth would agree.

In the case of Parenthood alone, Katims will be known for creating a show with a legacy of a family focused television drama that succeeded without all that cheese and over the top nonsense.

There are many moments throughout the series that can sum up the pure, wonderful feeling this show exhibits throughout every minute of the series. There is one scene in particular though that could represent the overall spirit that the show will be remembered for.

One of the main storylines running throughout the series is that one of the kids, Max, has Asperger's syndrome. In one episode, he is the brunt of an unspeakably cruel prank on a school trip and his parents have to come pick him up. In the back seat of the car, Max erupts with pained frustration over why no one likes him.

As he is talking, we look on at his parents (played beautifully by Peter Krause and Monica Potter) faces in the front seat - just one look at those two and you can easily see how completely devastated they are for their son. His mom eventually crawls into the back seat and hugs him, as she is at a loss for what else could possibly help.

It is such a simple and effective scene, powerfully making us all, if you have children or not, understand a parent's fear that their kids won't be treated well in the world. Oh, geez, I got all teary-eyed just remembering that moment. But that's what this show does best - make us feel something.

Even though it may seem like it with how I have described the show so far, the Bravermans aren't always dealing with a crisis. Just like life, there is always opportunity to laugh it off. The terrific writing and the entire marvelous cast, that is completely jam packed with actors who can go from wacky to dramatic yelling in no time flat,  work together to create just as many smile worthy, laugh out loud moments that fall in between all that crying. These small funny moments are almost what I am going to miss more than all the sentimentality.

Many of the lighter scenes, like all those times they have a family dinner, will instantly make you feel like you are watching your aunts and uncles hanging out together goofing off. It's all slightly dorky and you're mostly embarrassed for them, but you also can't help but join in or watch from a far admiring that these are the really fun parts of being a family.

Also, if you haven't seen this show yet, just wait to be introduced to "The Fever". I'll leave you all in suspense.

Six seasons have flown by, and although it is sad to think it has ended, it's hard to argue if a show can be wrapped up as wonderfully as Parenthood did.

To me, while great, the last episode felt a tad rushed, and now especially after seeing that scenes were cut, I wish it could have at least had an extra half hour tacked on. Come on NBC, finales are always longer than a typical episode! I'm just sour with them all over the place - due to how they are also quickly "forcing" out Parks and Recreation, aka, their only other quality show. Sorry Blacklist fans.

There aren't any dragons or goofy scientists or Olivia Pope or whatever kind of person is on NCIS, but Parenthood didn't ever need any gimmicks. Story, natural acting by a group of wonderful performers, and more story - for me that is what always makes something worthwhile. What a delight. Such powerful simplicity will be missed.

Oh, did I mention, this show will make you completely love Dax Shephard. Now that is saying something.


So long Bravermans - until next time. 



P.S. - Seriously fans, band together to get Parenthood much needed accolades in its final year. The petition to get this dang show an Emmy nomination of any sort starts here.

I know in the long scheme of world importance that awards don't mean anything really, but the attention would be a nice send off for such a talented group of folks. If Coach Taylor can win in his final season, Parenthood could too.

Keep The Fever alive and tell your friends. 

Twenty Fourteen: The People

[Non-celebrity favorite person: this man dressed to the nines in Bavarian garb. Snapped while attempting to be sly in Leavenworth, Wash. December, 2014.]

Just like Santa Claus coming down the chimney, Top 10 (fill in the blank) lists come around annually and signal the end of the year.

Even though they are fun to read, ranking the "best" movies, music, ponytails, apps, or whatever people feel like comparing, it always feels disingenuous. Especially now, the end of the year is no longer sacred since BuzzFeed makes "Top 37" lists on a daily basis.

It's all just opinion anyway, so I'd much rather throw away the element of ranking and just say, "Hey! This is a whole bunch of great crap from the year!"

So, that's what unfolds below. First up: People - those folks who really killed it this year with the funny or drama or tunes.

I'll try to stay on topic, but boy, I just came back from Into The Woods and have all the music stuck in my head. So, instead of "Here we go!", I'll say,  "Into the wood!" (Cue the puff of magic smoke.)

Jenny Slate

She was robbed! The Hollywood Foreign Press Association (aka the people who run The Golden Globes) were no where close in selecting the best performances of the year if Jenny Slate was not listed.  

Obvious Child is the perfect movie to highlight Slate's varying talents. She is able to bring her wacky sensibility (as seen as Mona Lisa on Parks and Recreation) to an extremely endearing, honest, and very funny story. The film has gotten a lot of attention for abortion being a key plot point. It's handled very realistically and these are the emotional moments where Slate is also really able to shine. This girl can act!

Please seek out Obvious Child. Within the very first minute I was wiping tears out of my eyes from laughter. Out of all the movies I've seen throughout the year, this is the one I haven't been able to get out of my head. I just want to give it a big hug.

Billy Eichner

Glenn Close or Meryl Streep? Would you have sex with Paul Rudd? What's going to happen to Cobie Smulders!? Bill Eichner is asking all of the best questions and doing it funnier than anyone else. Not to mention he is sacrificing his health with all that yelling. He's doing that for you!

When it comes to the year of breakout stars, this one makes me the happiest. He is a comedy treasure that deserves accolades. It used to be my dream to go to NYC and find myself on Cash Cab. That's so 2008. Now what I wouldn't give for Mr. Eichner to run up to me on a random New York street and yell in my face. Preferably about Queen Meryl.

Amy Poehler

She wrote a brilliant book [Side Note: I may have already gushed about Yes Please last month], continued to star in one of the best shows on television, produced/directed/cameo-ed on a different hysterical show (Broad City), made commercials cool, and helped maintain her Smart Girls brand. Is there anything else that needs to be said about this lovely person?

I can't go on without noting that "Amy Poehler's Smart Girls" retweeted a pic of me as a kid a couple months ago. I'm not embarrassed to admit that I was stoked. It was probably just some intern clicking buttons, but either way, it was my claim to fame for about thirty minutes this year.

Lisa Kudrow

Lisa Kudrow resurfaced this year, reminding the world why she had been a television star in the first place.

Over the summer I finally watched the first season of The Comeback, which originally aired in 2005, and have thoroughly been enjoying the second season that is currently airing after a nine year hiatus. Recently, during the press tour for the release of the show, she even stopped by to record a delightful podcast at Nerdist central.

Hold on to this memory - we can't let Kudrow fall by the wayside this time! Valerie Cherish could be her role of a lifetime, but she is too talented to not be given the chance to star in more movies and television shows.

Smelly Mellie

Hands down there wasn't more fun to be had this year than watching Bellamy Young on Scandal rolling around the White House as if she was The Dude, donning many a robe, sweats, and uggs, with a tumbler of booze in her hand.

Everyone wants to be Olivia Pope, that's already been decided. Over the course of the current season though, the first lady became the most enjoyable character and the one worth cheering for. Ms. Pope can continue to dance to dance that launched a zillion gifs, but I'll be rooting for Melly to end up on top. 

Frances McDormand

Thanks to her work with the Coen Brothers, McDormand has been a "can't touch this" movie actress for exactly thirty years. Now she's showing the TV how it's done.

Anyone who loves fascinating stories that are about people living their lives, with all the comedy and drama that unfolds amongst families, seek out the miniseries Olive Kitteridge.  McDormand, plus the entire cast, direction, and cinematography, have produced a piece of entertainment so gorgeously observed, it will definitely be remembered far into the future.

Chris Pratt

After this year, Chris Pratt has come a long way from the adorable, goofy sidekick/sibling we have loved for many years. On Everwood he was the comedic relief and Parks and Recreation would be seriously lacking without Andy Dwyer/Burt Macklin.

With such winning performances as these, he didn't really need anything else. If you would have told me this time last year that Pratt would become a beefed up superhero in a hit movie, I would have been surprised, but not at all bewildered. It's all very exciting.

Guardian's Of The Galaxy was one of the best going out to the movie theater experiences of the year and that has a lot to do with Pratt's ability to bring his comedic sensibility to the lead role. It would have been a good movie without him, but he specifically made crowds go wild with cheering and laughter. Sitting in those seats in the theater was non-stop entertaining.

This all doesn't even include that Pratt is a serious Seahawks fan - endless points get added to his already illustrious year.

Lee Pace

In an interesting coincidence it turned out that two of my favorite actors rocketed to the big league while being part of the same movie.

From the Pie Maker, to Marmaduke, to a scary ass villain in the biggest movie of the year - Lee Pace has rather quickly made the jump to very different roles. I'd never thought I'd be happy to see him cover up that mug of his with a bunch of blue/tar like makeup, but if it means that he is getting more attention, than I'm all for it.

He honestly scared the crap out of moviegoers over the summer in Guardian's Of The Galaxy. I heard he's also in those Hobbit movies - I guess I need to actually watch those sometime.

His year didn't only unfold on the big screen, Pace also lead the cast of the under appreciated AMC show, Halt and Catch Fire. Thankfully it got picked up for season two, because even though the series started off slow, half way through it was producing some really great stories. With the way the first season ended, it's definitely set up to go even more interesting places.

Kacey Musgraves

With her pop/country take on things, even including a slight twang to boot, Kacey Musgraves perfectly won over the hearts of many people who consider themselves to be "on the brink" country fans. Her album came out in 2013, but I didn't take notice until she took home a couple Grammy's in January of this year.

She was writing songs with lots of banjo and guitar, fitting the bill for that country/blue grass sound, but what made her refreshing was the focus of her lyrics are more progressive than some of her other CMA winners. Fans quickly cheered her on and made the clever "Follow Your Arrow" an anthem of our modern age.

It's a great song and her entire album is truly enjoyable from beginning to end. It's lighter tone was a great palette cleanser in between all the other lovely depressing music I was playing. I also just really like her voice. Anyone who thinks that they can't like country-ish music, take it from this convert, sometimes it only take one person to change your mind.

Mark Duplass

After watching many movies starring a certain actor this year and for a couple years before this one, I had an epiphany about a week ago - I have a crush on Mark Duplass.

I feel like people have probably already been talking about this for ages and I'm just catching up. I mean this guy has been an indie darling, cranking out movies (writing, directing, starring in) for nearly 10 years, but this attraction was only cemented last weekend when I rented the semi-train wreck/enjoyable enough Melissa McCarthy vehicle, Tammy.

Duplass shows up about an hour in as McCarthy's love interest. The scenes they share together are very endearing, and to me, reveal that somewhere in that mess of a movie was something worthwhile. Me thinks the producers wanted more wacky McCarthy instead. That's unfortunate since more of the Duplass storyline could have turned that movie around.

In an entirely different kind of movie this year, Duplass showed off what he can do in a starring role. He paired up with Elisabeth Moss in the fascinating Twilight Zone feeling romantic drama, The One I Love. Check it out now - that one is streaming on Netflix.

He's got a nice smile, plus makes some bold movie choices. I look forward to seeing where Duplass ends up in 2015.

Jenny Lewis

This year, no other CD of mine was played more on repeat than The Voyager.

There's a consistent sense of beachy fun somewhere in Jenny Lewis' music, she knows how to write a catchy melody better than most huge pop stars, and through the years she is always doing whatever she wants.  Plus, she really wins points is her songwriting.

A lot of the time lyrics can be breezed over in order to just dance to the beat or hum along to the melody. Even so, I always know that extra attention must be given to Lewis' words. She will say something, and it is going to be something I want to hear.

Allison Tolman

I knew I was going to like Fargo, but I didn't guess how well done it was going to be.

The writing was dark and lead to crafty plot-lines, plus all the cast, from Billy Bob Thornton to Martin Freeman and Colin Hanks, were very fun to watch. However, Allison Tolman was the one that made this show awesome. Her character was stuck in a sea of destructive, conniving men who didn't respect her, and she pushed it all aside with such ease.

Out of all the characters on TV this year, Tolman played the one most worthy of cheering for and stressing over. More than anything, we wanted her to solve the mysteries and prove her worth as the best cop in all of small town Minnesota.

Lykke Li

Reviewing my most listened to records/songs of the year made me realize that there were some definite patterns. First of all, it was a very girl centric year music wise and secondly, I didn't listen to as many different albums as usual. Because of this, I don't even have a clue about most of the album listed on all those "Top Albums of 2014" lists.

My year was all about chicks singing their heart out and I clung to their albums, listening to them on repeat for months. As if that wasn't already obvious with talking about Lewis and Musgraves above, but I also couldn't get enough of Patsy Cline, Sia, Agnes Obel, First Aid Kit, Patty Griffin, Taylor Swift, Ellie Goulding, Robyn, Tennis, Lana Del Ray, Daughter and another gal with one of the best records of 2014  - Lykke Li.   

I Never Learn continued to creep its way back into my life's musical rotation for most of the late summer, fall and winter. Lykke Li's gorgeous song arrangements and general musicality makes this one hard to beat on the terms of the most beautiful and haunting albums of the year. There is sadness and hope in her songs and boy, I can't stop listening.






Well that's the specific entertainers that made 2014 what is was in my eyes. What people stood out in your life?


I'll be back in a few with some fun milestone moments of the past year. 


Until next time.