Category: TV (Page 383 of 595)

Doc of the Day: “Little Rock Central: 50 Years Later”

It might’ve been fifty years since nine African-American teenagers broke the color barrier and, with the assistance of the National Guard, integrated the public schools in Little Rock, Arkansas, but racism still runs rampant in these United States…and I’m just as guilty as anyone. I’d like to tell you I’m not – in fact, I’d prefer to tell you I’m not – but here’s why I’d be lying if I claimed otherwise: while watching “Little Rock Central: 50 Years Later,” the HBO special which revisits Little Rock Central High School to see how much has changed (and how much has stayed the same) since 1957, there was a moment when several teenage African-American girls are dancing around the room to a song on the radio…and when I realized that the song was “Stacy’s Mom,” by Fountains of Wayne, my first thought was, “Wow, really?”

I’d love to tell you it was simply the exclamation of a power-pop fan being pleased to hear a song by one of his favorite artists in such context, but, no, that was secondary at best. The harsh truth of the matter is that I reacted that way because it just seemed incongruous to see African-American teenagers dancing to Fountains of Wayne…and, really, it shouldn’t be that way.

But it is. And while watching “Little Rock Central: 50 Years Later,” you’re constantly reminded how little has changed in the half-century since the groundbreaking occurrence at that high school.

You see how the whites and the black have, in all this time, done almost no integrating; sure, they’re sharing the same classrooms, but there’s still a major disconnect between the them. A picture is painted of how there are almost no African-Americans in the accelerated classes, and how the socio-economic climate in Little Rock is such that the two races tend rarely to interact outside of the schools, which leads to a lack of interaction within the schools as well. And the teachers, for all their attempts to get the students to do their best, are finding that quite a few of them simply don’t care, don’t want to listen, and don’t have much in the way of a positive parental influence to inspire them at home. One of the African-American students suggests that the education level for blacks was higher before desegregation because, back then, they had something to prove; now, they don’t, and as a result, they’re not trying as hard. You want to argue with him, but, frighteningly, you can see what he’s talking about, especially when you hear one of the seniors admit that his father hasn’t looked at his report card since 9th grade.

Filmmakers Brent and Craig Renaud, themselves Little Rock natives, do an admirable job at showing as many different sides of the situation as possible. We see the teachers trying their best to teach these students, and we do see them succeeding; we also see that, although they’re in the minority, there are indeed African-American students at Little Rock Central who are intellectual and thriving. But in the end, when we see Minnijean Brown, one of the original “Little Rock 9,” speaking before one of the classes at the school and pointing out that, 50 years later, the whites are still on one side of the class and the blacks are on the other, we realize how far we’ve yet to go.

Alas, there’s no trailer for this doc, so I instead present you with a segment from the documentary, “Eyes on the Prize,” which provides you with an idea as to what happened 50 years ago…and will remind you – as it reminded me – that 50 years seems like a lifetime ago.

The Office: “The Deposition”

Michael Scott is great under oath. Not great in the way that he answers questions correctly, but great as in hilarious. I loved all the little interjections he had:

“That’s what she said.”
“They hang off m’lady’s chest.”
“I will allow it.”
“I throw myself at the mercy of the deposition.”

I feel bad for Toby. He tried to open up at lunch but Michael responded by pushing his tray off the table. I still don’t know why Michael hates him so much, though it probably didn’t help that Toby asked for a copy of Michael’s journal. I hope that they do a flashback episode someday that explains the vast chasm between them. There is some good comic potential there.

Back at the office it was all about ping-pong. Kelly was this episode’s Most Valuable Character with all of her smack (not trash) talk and her version that Avril Lavigne song:

“Hey Hey I I don’t like your boyfriend / be-cause he he can’t play any ping-pong”

Of course, when she and Pam took over the table, they couldn’t even rally for serve.

All in all, it was a pretty good episode. The thought of Michael under oath still makes me laugh.

Was that Dwight and Moes playing table tennis at the end?

“All of my heroes are table tennis players.”

Kitchen Nightmares: Irish Tempers

Last night’s “Kitchen Nightmares” featured Gordon Ramsey visiting Finn McCool’s, an Irish Pub in Westhampton, Long Island. A place like this can thrive in the summertime when everyone goes to the Hamptons, but struggle in the winter when it’s just the locals. In addition, this place was not being run properly and, as with every restaurant on this show, was losing money fast.

Owner Buddy had his two sons, Brian (chef) and Jason (bartender) doing the bulk of the work. Jason’s wife, Janet, was also employed there as a server.

When Ramsey arrived, a middle aged waitress named Carol announced that she had the hots for him. This is another pattern with this show. In fact, as you’ll see, the whole show format is one big pattern.

Ramsey sits down for lunch to sample the menu, and orders spring rolls, salmon, and shepherd’s pie.
He barely touches the spring rolls, the salmon is drenched in balsamic vinegar sauce, and the shepherd’s pie is so greasy it literally makes Gordon run for the bathroom and puke. Or maybe that was the producers getting cute.

Still, Ramsey knew the food quality was a big problem. He also visits a local firehouse to see what the locals think of Finn McCool’s. They all say the food is too greasy, and Ramsey is not surprised. But he invites them back to try out his new menu. Then, Ramsey goes back and inpsects the kitchen, to find out that Brian is not keeping it very clean. Some of the food is rotting, the raw food is kept with the cooked food….ugh, it’s making me sick just thinking about it. To make matters worse, Ramsey witnesses sous chef Francis picking a chicken wing up off the floor and putting it back in the deep fryer. Yuck!

Ramsey then attempts to work with Brian and show him that you don’t have to make shepherd’s pie so greasy and offers other tips. Brian wants none of it, and storms out. Buddy says he would fire Brian if he weren’t his son. So with Brian gone, Buddy attempts to be the head chef, something he’s obviously not good at. He and Ramsey realize that Brian really is up against a lot, and when Brian returns four days later they tell him that. So Ramsey’s design team makes the place look more appealing, and he also has changed the menu to reflect the same items but fresher and with no fried food at all.

The re-launch is a crazy busy night, and everyone is having a hard time keeping up with the orders, especially Brian. But Ramsey keeps them going and holds it all together. Customers are waiting, some for more than an hour, and some even leave. But one that stays is food critic Sabrina Mashburn. Luckily, she announces that the food has been “worth the wait.” Everyone seems to love the new menu.

Ramsey takes them all outside after the dinner service and commends them for working together as a family and as a team. They show that two months later, the restaurant is going strong and the place is finally making money, and everyone has a renewed passion. Another feel good ending.

I like this show, but I’m getting just a bit tired of the patterns: older server having the hots for Gordon, at least one hot head storming out after feeling threatened by Ramsey, a disgusting kitchen, miraculous turnaround, and happy ending. But I guess that’s what this is about, and you can’t argue with the fact that Ramsey really does know what he’s doing.

Anyway, as always, they claim that next week is the best episode yet, so we’ll see. And I’ll see you all then….

Doc of the Day: “Hollywood Goes Gaming”

I’ve never been a real hardcore video game addict…well, not for any extended period of time, anyway. I had my fair share of obsessions once in awhile – first the arcade, then my trusty Intellivision, followed by brief stints with Nintendo and Xbox – but none of those lasted more than a few months before they were set aside. Kids today, though, they’re downright obsessed with the gaming, so when I first heard about the Starz documentary, “Hollywood Goes Gaming,” I thought, “Oh, man, this is totally not gonna hold my interest.”

I couldn’t have been more wrong. It was way better than I ever expected, offering a nicely done retrospective of the history of video games becoming movies and vice versa. For instance, Stephen Linsberg, writer / director of “Tron,” bemoans the fact that his film didn’t even receive an Academy Award for Best Special Effects, then admits that, at the time, the industry felt that he’d “cheated” by using computers for his effects. It’s amusing that the doc launches from its discussion of “Tron” and how Mattel licensed the film for a video game, then fast-forwards to the present and observes how it’s a given that a film will have a video-game tie-in nowadays, using “Surf’s Up” as an example. Why’s that amusing? Both films start Jeff Bridges!

Would you believe there was once a licensing battle for a “Kramer vs. Kramer” video game? True. Everybody wanted a piece of the video game action, but the most enjoyable discussion here comes via archival interview footage with Spielberg about the legendarily bad “E.T.” video game for Atari, then cuts to current interview with a fellow who used to work for Atari, who says that Spielberg saw the test version of the game and said, “Gee, couldn’t you do something more like ‘Pac-Man’?” “And I thought, well, gee, couldn’t you do something more like ‘The Day the Earth Stood Still’”? All snark aside, the game was such a colossal failure that Atari ended up with so many leftover copies that they buried a ton of them in a Mexican landfill. (I always thought that was an apocryphal story, but if so, Atari’s amused enough by it to claim it’s true.)

There’s also a nice bit about “Dragon’s Lair,” including an interview with creator Don Bluth (alas, the follow-up game, “Space Ace,” gets no love), along with an almost apologetic sequence about the “Super Mario Brothers.” From there, it’s onto the triple threat of the “Double Dragon,” “Street Fighter,” and “Mortal Kombat” flicks.

Inevitably, there’s conversation with Uwe Boll and Paul WS Anderson, with the latter proving the most entertaining. (I had no idea that, in answer to his critics, he offered to meet them in a boxing ring and fight them!) Clive Barker chimes in on his experiences in the industry, including his work on his own game, “Jericho,” and, of course, Shia LaBeouf gets interviewed because he’s the Michael Caine of his era, showing up in just about everything, though he looks like he was caught in the middle of a press tour, however, rather than having sat down for his interview like everyone else.

Kudos to Starz for these documentaries of theirs. They’re really doing a nice job of providing historical context rather than just having a bunch of talking heads blather on; in this case, we’re treated to interviews with the founders of Atari and Electronic Arts, the guys who were on the front lines of all these goings-on. Makes for a lot more interesting perspective than, say, a movie critic talking about how bad “Double Dragon” was.

Journeyman 1.8: “Winterland”

It was odd enough for “Journeyman” to cast John Schneider as the host of a ‘70s swingers key party…but to cast him in the part for only one scene? (Granted, I believe it was his voice that showed up later on the phone, but still…) What’s the deal with Bo Duke anyway? He’s going to be showing up on “Nip/Tuck” this season as a rather affluent porno empire owner as well. Isn’t this the guy who used to be squeaky clean and promoted family values and the like? Has Pa Kent finally realized that working in Rome requires doing as the Romans do? (Perhaps Kevin McKidd gave him some tips about working in “Rome”?) Not that I’m complaining. Schneider’s paid his dues — I say let him swing and peddle smut. You’ll get no complaints from me.

But Schneider the swinger wasn’t the real bomb dropped this week: Livia is from 1948! Her entire relationship with Dan was a fluke. I didn’t see that one coming, did you? Just when I thought I was starting to figure them out… And the mysterious Dr. Langley showed up again, and again he said nothing, but seemed to know everything. Actually he did indicate that the government had a very keen interest in his work, and that Dan needed to be careful in that regard. (He certainly wasn’t surprised by Dan disappearance.) But Dan’s getting it from all sides at this point, isn’t he? It’s starting to seem like Dan’s only comfort zone is when he’s traveling. Back home the FBI’s breathing down his neck about the Dylan McLeen stash — which he got rid of at least some of in this episode. Actually, that wasn’t entirely clear: did he give all the money to the girl, or just some of it? If not, then where’s the rest? And then there was a matter of a certain $20 bill from the present that looked counterfeit in the past that’s haunting him as well. And how exactly did Jack end up with that in the last scene? I expect to a big turnaround where Jack’s concerned here shortly. He was more for his bro than ever before this week.

After the intensity of last week, this was clearly a transitional/setup episode, designed to spin the action around in another direction for the last third of the known season. There’s been so much talk of new series getting the axe because of the writer’s strike and it wouldn’t surprise me if “Journeyman” ended up being a casualty. On the other hand, the optimist in me is thinking that there’s a lot of paranoia going on, and the networks would be silly to just cancel all the new shows at this point. It’s only been a week since this thing started and it’s already ballooning up into the end of TV as we know it! NBC needs to start rerunning “Journeyman” over from the beginning after this run completes. Or have a marathon. Or something. Many people simply didn’t get into this show and this point would likely be confused if they tried. But if the nets don’t have any other product, it’s something they should consider. I know there’s a bigger audience out there for this show than the ratings system is showing and I’m surprised by how frequently I discover people watching it that I never would have guessed would be into such a show.

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