tobom.com BlogBlog posts from tobom.comuuid:9a2451db-436b-433e-8233-116354283f5a;id=42024-03-28T10:47:07Zhttp://tobom.com/Content/Images/favicon.pnghttp://tobom.com/blog/posts/perth---bon-iverPerth - Bon Iver2011-06-01T03:10:48Z2016-05-08T03:13:55ZThomas Bombachtbombach@tobom.com<p>The first album from <a href="http://www.allmusic.com/artist/bon-iver-p991558">Bon Iver</a> (Justin Vernon), For Emma, Forever Ago, was well-received, drawing comparisons to fellow indie singer-songwriters <a href="http://www.allmusic.com/artist/iron-wine-p534825">Iron & Wine</a> (Sam Beam) and <a href="http://www.allmusic.com/artist/little-wings-p430299">Little Wings</a> (Kyle Field) for his soft delivery and introspective lyrics. The oft-repeated story of the album's creation (Vernon supposedly secluded himself for three months in a Wisconsin cabin following a breakup with a girl and his band) has been slightly romanticized (according to a <a href="http://www.nytimes.com/2011/06/05/magazine/who-what-and-where-is-bon-iver.html?pagewanted=1&_r=3&ref=magazine">profile</a> in the New York Times, he spent a lot of the time drinking and watching DVDs). Nonetheless, his vague, impressionist lyrics resonated with a varied crowd, including Kanye West. West's prominent sample of Bon Iver's "Woods" for his song "Lost in the World" increased anticipation for Bon Iver's eponymous second album.</p>
<p>For me, the increased expectations for Bon Iver were largely met. Like many sophmore albums, Bon Iver takes more risks sonically, and this is most evident on "Perth," the album's opening track. Rather than the stripped-down bare guitar of many of the song from For Emma, "Perth" begins with an an electronic riff, which Vernon returns to a few times in the song. As the song builds, more layers are added as drums and horns eventually reach their climax, until the sonic breakdown towards the end. The final riff in the coda caps the song off nicely.</p>
<p>Like most Bon Iver songs, the lyrics are much more like a collection of impressions than an explicit story. Vernon's falsetto delivery is definitely sets the mood for the first half of the song, though the repeated lines "Still alive for you" are delivered more powerfully with multi-layered vocal tracks over a stronger beat. After the second repetition of the refrain, the vocals take a back seat to the instruments for the latter half of the song.</p>
<p>I enjoyed the switches between bare, intimate vocals and the overwhelming multi-layered instrumental sections. With Perth (and the new album as a whole), Bon Iver has successfully built upon his first album, evolving his sound and delivering more than For Emma, Forever Ago II. Bon Iver shows obvious electronic influences, which are surprisingly well-suited for his ethereal voice and lyrics.</p>
<p>See also on the album: "Wash." which features a violin and a repeated piano strain.</p>
http://tobom.com/blog/posts/smash---pilot-seriesSmash - "Pilot" [Series Premiere]2012-01-19T03:16:29Z2016-05-08T03:19:21ZThomas Bombachtbombach@tobom.com<p><em>[Because this is the first show of the series, my review will be lighter on recap and analysis than most posts. Instead, I will focus on finding the show's place in the television landscape and identifying the most promising and worrying aspects of the pilot for potential new viewers.]</em></p>
<p>In the last few years, the networks have debuted a number of music-themed television shows to varying levels of success. These include a casino musical (Viva Laughlin), glee club soap opera (Glee), and even an aneurysm-induced George Michael hallucination law drama (Eli Stone). Countless shows have done one-off musical episodes, which typically meet a warmer critical reception (the gold standard perhaps being Buffy the Vampire Slayer's "Once More, With Feeling"). During the 2007-2008 writer's strike, Joss Whedon created Dr. Horrible's Sing-Along Blog, a cult Internet-only musical miniseries starring Neil Patrick Harris, Felicia Day and Nathan Fillion.</p>
<p>Musical television can be divided into two eras: pre- and post- Glee. With a promising first season and encouraging popular and critical reception, Glee blazed the path for music-themed television (the teen-oriented High School Musical notwithstanding). The show's mix of soap opera drama and popular covers proved to be a hit with viewers. Furthermore, Fox's clever strategy of selling the songs via iTunes the day after an episode airs led to Billboard chart success. Any musical show that follows owes a debt of gratitude to Glee for bringing this a mainstream audience to this niche.</p>
<p>However, inconsistent character development and wildly varied pacing have lately driven the show's critical reception and ratings far below their peaks. This may have prompted Smash's stars (<a href="http://www.vh1.com/news/articles/1677352/katherine-mcphee-smash-glee-golden-globes.jhtml">Katharine McPhee</a> and <a href="http://insidetv.ew.com/2011/05/16/debra-messing-on-smash-similar-to-glee-because-there-is-singing-but-thats-it/">Debra Messing</a>) and <a href="http://www.hollywoodreporter.com/live-feed/tca-smash-glee-broadway-season-two-katharine-mcphee-279269">producers</a> to distance their work from Glee. The show's pilot episode confirms this distinctness, though it's unfair to characterize the show as "Glee for grownups." This does a disservice to Glee's audience as well as minimizes the new show's potential.</p>
<p>And Smash is certainly full of potential. The show's premise (a Broadway musical based on Marilyn Monroe) allows the composers Marc Shaiman and Scott Wittman to create professional-quality songs without violating the show's realism (contrastingly, a willing sense of disbelief for Glee's professional-quality productions is necessary to enjoy the show). Joshua Bergasse's choreography is similarly flawless - the numbers look to be just as grandiose as they would be on a real Broadway show.</p>
<p>The pilot presented a myriad of storylines to draw from throughout the season. Each of the main characters received a share of screen time to introduce their conflicts, though the transition between characters was handled naturally with a small shared scene. Katharine McPhee plays Karen, a "green" actress struggling to realize her dream in New York while her worried parents encourage her to give it up for a safe life in Iowa. Debra Messing's character Julia balances her family's needs in the slow adoption process as well as her responsibilities as half of the writing partnership that conceived of the Marilyn musical. Anjelica Huston portrays Eileen, a woman in the midst of a contentious divorce that threatens the financial health of the project. A number of smaller characters (such as the actress competing for the Marilyn lead and Debra Messing's writing partner) have their own problems on display as well. Having this many storylines to draw from will certainly provide a rich mine for drama throughout the season (much as ensemble shows such as Parenthood and Modern Family are able to do).</p>
<p>However, such choice can also be a source of problems for a show. Quite a few of the characters (the womanizing director, Karen's seemingly perfect boyfriend, and the rebellious teenagers) are stereotypes that couldn't be fleshed out in the pilot's limited time. Hopefully the show won't dedicate all of its time to the problems of its main protagonists but instead develop its other characters past stock characterizations. The show also risks falling into the trap of schmaltzy, unearned sentiment, as demonstrated by the assistant's speech about theater making him whole. The writers can avoid this pitfall by developing the character before trying to use him for emotional payoff.</p>
<p>This show is one of the midseason replacements that I am most excited for (along with Awake), so I definitely plan on continuing watching and reviewing. Future posts will contain much more analysis so be sure to watch the episode before reading!</p>
http://tobom.com/blog/posts/happy-endings---makiHappy Endings - "Makin' Changes!"2012-01-19T03:04:14Z2016-05-08T03:26:47ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "The Shrink, the Dare, Her Date and Her Brother" (2.10), "Meat the Parrots" (2.11) & "Makin' Changes!" (2.12).]</em></p>
<p>The precept that comedies need time to discover their niche is better exemplified by <em>Happy Endings</em> than almost any other show in recent memory (<em>Parks & Recreation</em> notwithstanding). Initially written off as a tired <em>Friends</em> rehash and lumped in with CBS's failed <em>Mad Love</em>, it developed into one of the punchiest comedies and the heir apparent to <em>How I Met Your Mother's</em> thirtysomethings-in-a-big-city niche. The show's subtle jokes (unacknowledged with pauses or a laugh track) help keep the audience focused on the humor, drawing focus away from many of emotional moments to pass by unnoticed.</p>
<p>In the last three episodes, many of these moments have come from Dave and Penny storylines. "The Shrink, the Dare, Her Date and Her Brother" and "Meat the Parrots" form a mini-arc that helps define the relationship between the two by examining first their dating lives, then their parents'. For most of "Shrink," the A-story explores the acceptability of dating a friend's before teasing a Dave/Penny romantic pairing. One of the key ways that the show's writers have built trust is their awareness of <em>Happy Endings</em>'s influences and their willingness to invert some of those shows' tropes -- such as <em>Friends</em>'s revolving door of romantic pairings and will they/won't they teases. The writers use the sitcom nature of their show (in which the status quo is usually maintained across episodes) to drop the romantic pairing while still developing their closeness into a sibling relationship in "Parrots".</p>
<p>Viewing these episodes together helps to offset a tone that might otherwise seem uneven. Although <em>Happy Endings</em> rarely dispenses with its light and jokey attitude, the two episodes preceding "Makin' Changes!" built to more serious and meaningful moments at the end (especially "Parrots"). In contrast, each of the storylines in "Makin' Changes" is played off for silly laughs, even the A-story about Penny's dating life. However, focusing on Penny's dating woes provides continuity with the rest of the season and helps reestablish the show's status quo.</p>
<p>Having a continuing theme throughout each of these episodes' main storylines lets the show get away with sillier and unconnected B- and C- plots. The old-Brad/Jane dress-up let the show explore some of the backstory of its strongest pairing. It tied in with main plot by discussing the way significant others change each others, deviating from many Happy Endings episodes (which often only bring the different plots together at the bar at the end). The storyline ended sweetly with the couple realizing how much they changed each other. This sentiment felt more earned than the C-story involving Alex and Max staging an intervention for Dave's V-neck addiction. The climax was played off for laughs as a parody of over-the-top reality shows, but it caused some of the gags to become predictable, such as the unwitting intervention counselor and the (though the hidden backwards V was gold). The revelation that Dave used V-necks to escape bullying was a bit forced but suitable for the silliness that led up to it.</p>
<p>From a superficial standpoint, <em>Happy Endings</em> appears to be an updated <em>Friends</em>: a similar premise and use of character pairings in a single-camera format without an audience to fit current tastes. However, what keeps the show fresh is the subtle connecting threads between the episodes. These connections let the characters and relationships develop subtly, allaying fears that the show's later seasons will feature characters that haven't changed since the pilot. This sets it apart from its other great influence, <em>How I Met Your Mother</em>, whose protagonist Ted has reverted to the character from the first season.</p>
<p><strong>Grade (based on all three episodes):</strong> B+</p>
<h4>Quotes/Quips/Quibbles: (feedback requested - too glib?)</h4>
<ul>
<li>"Do you know what's under his hockey jersey?" "A Family Guy tattoo?"</li>
<li>Brad telling Jane to strap in (no, seriously) fell a bit flat for me.</li>
<li>Emergen-tee, on the other hand, just entered my functional vocabulary</li>
<li>Alex moment: "You understand what's happening here, right?" "Yes. Maybe. Let's say it at the same time."</li>
<li>Alex moment #2: "Oh my god. That's four Vs. That's almost five!"</li>
<li>"Uncle Rich!" "Wait, my Uncle Rich?"</li>
<li>Alex moment #3 (lots of great ones this episode): "What's a baker's dozen?" "Eleven" "Thirteen" "I think my baker's ripping me off."</li>
<li>Never was a big Jackass fan, but I enjoyed Brad's mousetraps/cupcakes challenge</li>
<li>"Aah. That's my good nipple"</li>
<li>Looking back, the "Penny changing the guy" plotline wasn't my favorite - seems a bit tired.</li>
<li>Though it was a bit predictable, I enjoyed the Brad & Jane clothes joke near the end.</li>
</ul>
http://tobom.com/blog/posts/archer---the-man-froArcher - "The Man From Jupiter"2012-01-23T05:07:49Z2016-05-08T03:36:27ZThomas Bombachtbombach@tobom.com<p><em>[Since the "Heart of Archness" arc served as the conclusion for season 2 of Archer, I will be reviewing "The Man From Jupiter" (3.04) as the season 3 premiere. I'll put this episode in the context of the whole show and discuss the upcoming season, saving the grade for next week's episode.]</em></p>
<p>From a certain perspective, discussions of the quality of a show is irrational - quality is a subjective measurement based on arbitrary attributes. However, finding a reviewer whose tastes agree with your own can be invaluable for filtering the deluge of media. A good reviewer also helps his audience find greater enjoyment in the shows that they already watch by calling attention to aspects that they might have missed so they might be noticed in the future. This perspective on criticism is often forgotten or ignored but is invaluable for my posts.</p>
<p>Archer doesn't challenge its audience in the way that dramas (and some comedies) do with character development and complex relationships. The focus on humor instead of dynamic and realistic characters seems to indicate "turn-your-brain-off" television (a subject I've discussed with <a href="http://itsprimetimesomewhere.wordpress.com/">Allen from It's Primetime Somewhere</a>) but Archer continually rewards its viewers for close attention and consistent viewership. The show's subtle references, running jokes ("runners") and quick pacing help set it apart from other comedies.</p>
<p>"The Man From Jupiter" epitomizes these qualities. Unlike other animated shows, <em>Archer</em> doesn't always reset at the end of each episode. This week, Ray contributed to the field mission from a wheelchair and behind sunglasses because of his injuries in "The Heart of Archness" miniseries. <em>Archer</em>'s inconsistency in this regard (Sterling has been shot multiple times with no lasting consequences) is a sign of the writers' expectations for the audience. The sight gag of Ray on the field mission is much more effective for viewers who watched "The Heart of Archness" and expected his injuries to disappear by the next episode. The quick pacing keeps the audience from lingering on this discrepancy with rapid fire jokes and the runners provide consistency to connect the episodes.</p>
<p>The show's frequent runners serve dual purposes. Beyond rewarding the consistent viewers who recognize the jokes, they also help provide persistent threads that can offset the changes that Archer is willing to let stick across episodes. Other animated comedies (such as <em>Family Guy</em> and <em>The Simpsons</em>) rely on their unvarying worlds to provide many of their jokes (e.g. Bart's chalkboard lines gags are only possible because he is always a child). By allowing changes, <em>Archer</em> risks losing many of the easy joke setups that the other shows enjoy. The writers' genius is in using their runners to replace these setups while using them sparingly enough to keep them from becoming tired (a problem <em>Family Guy</em> frequently encounters). This episode's callback to Sterling's trick voicemail was only used once previously and the way it built didn't drag on too long. It also set up some future callbacks: "Laugh it up" "I am" and "This conversation isn't over!"</p>
<p>The episode also made terrific use of guest star Burt Reynolds, who is a perfect fit for Archer's hyper-masculine and action-packed world. Part of the fun of Archer's character is the inconsistency of his effectiveness as a spy: his selfishness and affinity for distraction usually overshadow his skills. The fictional version of Reynolds is the type of agent that Sterling wants to be (and believes he is). By introducing him as a love interest for Malory, the writers were able to add another layer to Archer's Oedipal relationship with his mother.</p>
<p>This season of <em>Archer</em> looks to continue expanding the show's world by putting the existing characters in new situations and interacting with peripheral characters. As reported by the Huffington Post, the upcoming season will include:</p>
<ul>
<li>Bryan Cranston (Breaking Bad, Malcolm in the Middle) guest-starring in a space-themed episode</li>
<li>Jack McBrayer (30 Rock) as ISIS agent Ray Gillette's brother</li>
<li>Exploration of Pam's history as a drift racer in Japan</li>
<li>Archer getting lost in the South American jungle</li>
</ul>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>"It's pretty hard to stay anonymous when you're the world's greatest secret agent." "Well, calling yourself that can't help."</li>
<li>"What's awful, Mr. Reynolds, is I almost punched you!" "He, no you didn't."</li>
<li>"I even saw At Long Last Love. I thought you were great!" "Really?" "Well, I wanted to." "Me too..."</li>
<li>"You'll wake up in a mental ward with total amnesia under somebody else's name" "That's actually kinda scary" "Eh, wouldn't be the first time"</li>
<li>"Who calls it Tinseltown?" "Carol Channing?" "Or somebody who just thinks that's what movie stars call Hollywood" "Stockard Channing!"</li>
<li>Loved the slowest elevator/van joke</li>
<li>Ditto with the "Laugh it up" "I am" runner</li>
<li>"Ridiculous" "Preaching to the choir buddy"</li>
<li>Great to see Krieger's wife again</li>
<li>Hal Needum was one of the first references in Archer that I've recognized without resorting to Wikipedia</li>
<li>"Wait, was that the same footage?"</li>
<li>"Leave me for some hot little 20-year-old? Well I'll show him - I'll go find me a 10 year old!"</li>
<li>"Nobody wants your... your... mustache rides around here buster!"</li>
<li>If you feel compelled to explore Archer actors' work outside of the show, I highly recommend Aisha Tyler's podcast Girl on Guy (especially the Adam Reed episode - the closing anecdote is gold)</li>
</ul>
http://tobom.com/blog/posts/all-kinds-of-kinds-b"All Kinds of Kinds" by Miranda Lambert2012-01-23T12:37:54Z2016-05-08T04:54:15ZThomas Bombachtbombach@tobom.com<p>Miranda Lambert has perfected a contemporary-country sound whose sweetness often belies sassy and flip lyrics. Like the similar song "Only Prettier" from Lambert's previous record <em>Revolution</em>, "All Kinds of Kinds" demonstrates this subversion. With a title and chorus appearing to deliver a sappy, trite message of inclusion, the song seems to fit the bill of a cliche country song. However, it quickly takes an unconventional turn to make the real message more potent.</p>
<p>Much of the song's power comes from the way it builds in strangeness to set up the context for its real point. The first two verses describes a wedding of two circus performers in the big top tent, with all of the sideshow oddities (such as the dog-faced boy and tattooed lady) watching. The following story involves Thomas, a "congressman with closets full of skeletons / and dresses that he wore on Friday nights." Phyllis suppressed her appetite with drugs and "when the children were fiddlin', she'd slip 'em some Riddlin" while awaiting the arrival of "Thomasina". Lambert sings this anecdote just as sweetly as she states that "to keep the world spinning, it takes all kinds of kinds."</p>
<p>This incongruity prompts the listener to question the automatic assumption that such inclusion is admirable. Conditioned to be skeptical of clichéd sentiments (such as "it takes all kinds of kinds"), the listener starts to engage with the song with more consideration than before. This attitude is much more receptive to Lambert's message. By saving the song's true message for the latter half of the song, Lambert prevents it from being diluted by listeners' mistrust of cliches.</p>
<p>Lambert sings a much more personal anecdote about "tossing [a math] test into the trash" and hitchhiking out of her "bush league" small town before challenging people who question her worth to look in the mirror. Within the song, the people listening to Lambert at "children shows [and] smoky bars" are willing to "let ignorance linger" instead of realizing that she is as necessary to the world as they are. This serves as the core message of the song as Lambert urges those people to use more thought and empathy when judging others.</p>
<p><a href="http://open.spotify.com/track/15xELnJUifdMpkAcJC9T8g">Listen to "All Kinds of Kinds" on Spotify</a></p>
<p>or</p>
<p><a href="http://www.youtube.com/watch?v=MtDamABFYlI">Youtube</a></p>
http://tobom.com/blog/posts/parks-recreation---cParks & Recreation - "Campaign Ad"2012-01-23T23:20:17Z2016-05-08T04:18:50ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Citizen Knope" (4.10), "The Comeback Kid" (4.11) and "Campaign Ad" (4.12)]</em></p>
<p>The main conflict in "Campaign Ad" exemplifies <em>Parks & Recreation</em>'s views towards humor. Co-creator Michael Schur stated in an <a href="http://www.avclub.com/articles/michael-schur-walks-us-through-parks-and-recreatio,59372/">interview with the A.V. Club</a> that he dislikes the insult humor and meanness in comedies while recognizing that humor comes from conflicts and flaws. Ben and Leslie's contrasting approaches to the campaign embodies the different approaches that comedies use to find humor. The compromise in the episode's resolution is very fitting because it symbolizes the balance that the show attempts to strike.</p>
<p>Just as the ad used parts of both Ben and Leslie's ideas, so too does <em>Parks</em> use both positive and negative types of humor. The episode created some sweetly funny moments between April and Andy, whose naïveté about medicine and insurance is treated with more affection than malice. However, the cracks towards Jerry ("the biggest negative in the world") are unambiguously disparaging. Even in this case, the show undercuts the venom by establishing that Jerry is generally content with his position as the department's punching bag because he is so satisfied with the rest of his life.</p>
<p>Instead of deriving conflict from the characters' failings, Parks tends to find humor in the pairings and situations that it puts them in. The two character pairings in "Campaign Ad" have appeared before (most effectively in episode 3.10 - "Soulmates") and while the Chris/Ron story delivers fewer laughs this time around, April and Andy are put in a new situation with entertaining results. The show has found success by putting the entire group together ("Hunting Trip", "Camping"), and the last three episodes have featured most of the cast working together on Leslie's problems. This setup lets a few of the characters riff off of each other without committing to a pairing for a whole episode. I am curious to see if the coming episodes will follow this format, with stories featuring Chris and Ron set in the Parks department.</p>
<p>The previous three episodes seem to mark the beginning of an increased focus on Leslie's bid for city council. While there will undoubtedly still be stories set in the department, I wouldn't be surprised if the remainder of the season centers on the campaign. This episode also helped to reaffirm Leslie's morality, which the bribery scandal called into question (both for voters in the show and Parks' viewers). "Campaign Ad" broke with the the preceding episode by deriving much of the humor from the April/Andy B-story instead of Leslie's campaign. The show runs the danger of partitioning itself into "expository" and "humorous" parts, but the possibility of more ensemble scenes assuages that fear.</p>
<p><strong>Grade (based on all 3 episodes):</strong> B</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>"Hey Ann, are you still a nurse, or did they fire you 'cause you slept with all the doctors?"</li>
<li>Leslie puts Christmas, birthdays and the first day of school in the same category</li>
<li>"Now we're just wasting time Jerry."</li>
<li>"Ann, you're beautiful and you're organized."</li>
<li>"I got my ankles microwaved." "X-rayed."</li>
<li>"Some guy looked at my wiener. Touched it. That was weird." "That guy wasn't even a doctor."</li>
<li>Love seeing Ron's door remote again</li>
<li>"Dine and dash!"</li>
<li>"I'm not lonely - I have me. And 4000 Facebook friends. And a hot girlfriend."</li>
<li>"Do you think sewing kits are covered by insurance? Or groceries or like Xbox games? What is insurance?"</li>
</ul>
http://tobom.com/blog/posts/field-mouseField Mouse2012-01-28T04:20:16Z2016-05-08T04:25:38ZThomas Bombachtbombach@tobom.com<p>Field Mouse, a four-piece band from Brooklyn, channels dream pop acts Bat For Lashes and School of Seven Bells as it combines airy, ethereal female vocals with lush, electronic-influenced arrangements. Lead singer (and co-founder) Rachel Browne's voice creates quick and fleeting impressions of settings and situations. Along with co-founder and guitarist Andrew Futral, Browne writes lyrics that tend toward the abstract rather than the explicit. Bassist Allison Weiss and drummer Geoff Lewit round out the group.</p>
<p>The band's <a href="http://fieldmousemusic.com/">website</a> lists only three songs (<a href="http://fieldmouse.bandcamp.com/track/glass">"Glass"</a>, <a href="http://fieldmouse.bandcamp.com/track/you-guys-are-gonna-wake-up-my-mom">"You Guys Are Gonna Wake Up My Mom"</a>, and <a href="http://fieldmouse.bandcamp.com/track/helicopter-deerhunter-cover">a cover of Deerhunter's "Helicopter"</a>), but further investigation indicates that they also released an album in 2010 titled You Are Here. Most recently, the band filmed a music video for "Glass," consisting of a suitably dreamy slow-motion sequence of Browne. Their <a href="http://www.youtube.com/user/fieldmousemusic">YouTube channel</a> also features videos for "You Guys Are Gonna Wake Up My Mom" and "Dirt vs. Grass." A <a href="http://fieldmousemusic.com/post/15353408676">post</a> on the band's blog states that a 7" vinyl will be released in February.</p>
<p>While based on a limited discography, my impressions of Field Mouse are positive. Their production makes good use of feedback and static while retaining a smooth and expansive sound that complements the vocals well. The use of synthesizers evinces their electronic influences but stops short of overwhelming the tracks. Nebulous lyrics fit perfectly and help complete the band's atmospheric sound.</p>
<p class='video-container' style="text-align: center; width: 100%">
<iframe allowfullscreen="" frameborder="0" height="309" mozallowfullscreen="" src="http://player.vimeo.com/video/35748825" webkitallowfullscreen="" width="549"></iframe></p>
http://tobom.com/blog/posts/parks-recreation---bParks & Recreation - "Bowling for Votes"2012-01-30T21:27:16Z2016-05-08T04:31:51ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "The Comeback Kid" (4.11) and "Campaign Ad" (4.12) and "Bowling for Votes" (4.13)]</em></p>
<p>While likely not explicitly stated in the writer's room, the theme of the main storyline in "Bowling for Votes" could just as easily apply to a television show as it does to a political candidate. Leslie's struggle to deal with the fact that some people won't like you resonates with anyone who opens themselves or their work up for judgment. The show's difficulty in drawing large ratings might prompt the writers to wonder (as Leslie does) why they can't appeal to more people. However, Ben's observations seem to indicate they recognize that the show is best served by focusing on the people that will appreciate it.</p>
<p>In Leslie's case, the focus group member's rejection particularly stings because of how closely she ties her campaign to her identity. This is a continuation of last week's disagreement between Ben and Leslie over the campaign ad, where Leslie equated running a negative ad with becoming negative and cynical as a person. Ben's advice last week was to "toughen up," and this week's was similar as he cautioned that Leslie won't be able to win over everyone. Ben's character is a good example of the perspective Leslie needs, as he was able to separate himself from his job as Chris's bad cop. The show continues to feature this theme of experience vs. earnest to good results, but using it too often could pigeonhole Leslie as naive and Ben as the wet blanket in future episodes.</p>
<p>The secondary storylines this week were new and mostly self-contained, rather than carrying over plots from the previous episode (as is typical for Parks). The donation drive included Chris and answered last week's concerns over how the show would keep him involved while the group worked on the campaign (<a href="http://tobom.com/posts/archive/parks-recreation---c">which I talked about last week</a>). I was surprised that Chris wouldn't consider working on Leslie's campaign (even as a private citizen) a conflict of interest, though the show does need to be able to have him interact with everyone while focusing on the campaign. I though the breakup between Millie and Chris could have been tied to the main story better since he is seemingly perfect and no reason was presented for her to end their relationship. If the show indicated that Millie had no reason beyond a gut feeling, it would have fit well with Leslie's lesson that some people simply won't like you (though we may see her rationale next week).</p>
<p>The episode also had fun inverting some of the characters. Ron and Tom's different bowling strategies created the opportunity to poke fun at Ron's masculinity, which the show always does terrifically (as in episode 3.14 - "Pawnee Rangers"). Seeing April soften towards Chris upon learning of his impending breakup set up a well-earned sentimental moment as she gives him the tickets (with the invitation to see a movie with her and Andy). The show prepared the moment well by using the entire episode to show April's progression from disgust towards Chris's chipperness to sympathy for him, keeping it from being forced.</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>"I can't tell you how many times a fun tug-of-war with a dog over a chew toy turned contentious. One of us always ends up mad"</li>
<li>The "Bowling Comment" binder</li>
<li>Loved the "Ask Ron" runner: "Nah, I don't think I believe you, is there anyone I can ask?"</li>
<li>Ron's favorite restaurant is at the bowling alley - it only serves hot dogs and hamburgers</li>
<li>"No, I don't think we can accept donations over $50"</li>
<li>Ron not knowing Ann's name</li>
<li>"Millie's gonna break up with Chris" "Shut up" "Oh my god, that's gonna be super weird when they move in together"</li>
<li>"20 dollars? Thank you! You know, we're really looking for donations in the 10,000 dollar range."</li>
<li>"Chris, you might wanna take a jacket with you, it's about to get cold out there" "Thanks Donna, but Millicent's company will keep me warm" "Take the jacket."</li>
<li>"Are you sure that you don't need more whipped cream? Not today. I don't deserve it... But this is ridiculous, I do need more whipped cream."</li>
<li>Loved the closing sequence of Ron bowling a 300</li>
</ul>
http://tobom.com/blog/posts/time-spent-in-los-an"Time Spent in Los Angeles" by Dawes2012-01-31T02:02:10Z2016-05-08T05:14:46ZThomas Bombachtbombach@tobom.com<p>"Time Spent in Los Angeles" is a perfect example of the paradox that the more specific a description is, the more universal its appeal. Though the majority of Dawes's listeners haven't lived in Los Angeles (or probably even visited the city), the bittersweet and yearning sentiment still affects them. The references to a particular city and emotions tied to it make the song much more potent than a vague location.</p>
<p>The song describes the singer's conflicting emotions for his hometown. In the chorus, he sings about a "special kind of sadness" and "tragic set of charms" that "only comes from time spent in Los Angeles." This presents a picture of the city as a difficult place to live, with its influence on its inhabitants clear from both their unique melancholia and their allure. The singer says that these traits make him want to "wrap [his addressee] in his arms," recognizing both the appeal of this kindred spirit and his desire to comfort her.</p>
<p>In the first verse, the singer describes how traveling has become his lifestyle and that he is always rushing. However, he reflects that this may have led him to find his addressee and helped him realize what he wants. The second verse describes how he's been avoiding his past in L.A. when people ask him, because of how much a person's hometown "says about a man." Finally, in the third verse, he tells how he used to believe that "someone would love [him] / for the places [he had] been," but now realizes that he's been missing something while living away from home.</p>
<p>The sound complements the lyrics well. The electric guitar opens the song off before fading for the first verse. Along with a a cymbal beat behind the lyrics, it crashes back to the forefront before the catchy and singable chorus takes over. By the time the singer gets to the reflective third verse, an organ fades in to punctuate the homesick lyrics.</p>
http://tobom.com/blog/posts/parks-recreation---operation-annParks & Recreation - "Operation Ann"2012-02-02T02:02:30Z2016-05-08T04:45:44ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Campaign Ad" (4.12),"Bowling for Votes" (4.13) and "Operation Ann" (4.14)]</em></p>
<p>A difficult task in writing a television show is balancing changing characters with continuing to feature characters and relationships that work well (and fans enjoy). Neglecting either side is disastrous for a show, as it can stagnate without growth or it can seem inconsistent and alienate the audience. A show like Parks that relies on strong characterization and relationships is especially sensitive to these issues so any changes in the show's dynamics is best analyzed after gaining the perspective of a few episodes.</p>
<p>"Operation Ann" continues the shift from Ann to Ben as Leslie's main confidant and her most important relationship. This was symbolized by Ann's handoff of the campaign manager position to Ben, who was more suited to the role. In some ways, Ben is a more suitable confidant for Leslie, given their similar passions for nerdy pursuits (and love of murals), but the show loses the strong female friendship that it was lauded for. However, it does provide a nice (and realistic) reversal of fortunes from earlier seasons when Ann would easily find dates or enter relationships while helping Leslie create an internet dating profile (3.10 - "Soulmates"). While there is no danger of Ann and Leslie's friendship ending, this split focus doesn't help the sense that Ann has become less relevant over the last two seasons.</p>
<p>This episode's hinting of a possible future relationship between Tom and Ann seems to be a way of alleviating this problem. A multi-episode dating arc would allow the show to use her for more than jokes in the B- or C-stories (as in last episode when Ron input her name as "Girl" in bowling). This arc would also help the show find a way to move Tom forward, since the Entertainment720 plot seemed like a detour (as his return to the parks department was inevitable). Creating a believable human side for womanizing character takes time to establish, and the show has plot lines with Tom's ex-wife and Lucy to use as momentum (this is a problem that How I Met Your Mother deals with to a greater degree with Barney). Tom's future with Lucy is uncertain at this point (after being hinted with their kiss at the end of 4.6 - "End of the World"), which seems to be a likely source of conflict if he and Ann begin dating.</p>
<p>The show has also used the last couple episodes to create possible conflict for April. Last week's sweet moment where she gave Chris the movie tickets combined with her maturity in helping Ann seem to indicate that she's grown from the show's season (in which she was still a high school student, to be fair). However, this episode seemed to draw a big contrast between her and Andy, whose lovable antics during the scavenger hunt could have been drawn from season 2. In his <a href="http://www.hitfix.com/blogs/whats-alan-watching/posts/parks-and-recreation-operation-ann-riddle-me-this-ron-swanson">review</a>, Sepinwall wondered how worried he should be for their future, though a breakup arc would seem very out of place with the show's overall tone. I envision that the show will use this development to advance both characters past stories about their lack of knowledge about health insurance but could involve April dragging Andy into adulthood.</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>Lots of callbacks this week - Galentine's Day, Oren, The Bulge, the bloody murals in the parks dept., Li'l Sebastian, Ron's birthday</li>
<li>"Dear Congress, it's Leslie again"</li>
<li>Donna having a man waiting out in the car - don't worry</li>
<li>I didn't get the same sense as Sepinwall that April was lamenting Andy's decision to buy cookie cutters - calling him amazing seemed genuine</li>
<li>"You beautiful spinster. I will find you love"</li>
<li>Joe Biden on Leslie's prospective sweethearts for Ann</li>
<li>Jerry's Craigslist ad for "man seeking man for night of casual fun"</li>
<li>Great seeing Adam Scott's Party Down costar Martin Starr</li>
<li>"You didn't tell me that your friend was so beautiful. Not as beautiful as my sister, but you know the law"</li>
<li>Ron is awesome: "I got lucky. And I love riddles!"</li>
<li>No explanation given for Chris's improved mood at the end of the dance. The misdirection with his look towards Ann made it seem as though there was more to it than just the pep talk, but the viewers were left hanging.</li>
</ul>
http://tobom.com/blog/posts/parks-recreation---dave-returnsParks & Recreation - "Dave Returns"2012-02-18T01:34:53Z2016-05-08T05:19:02ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Bowling for Votes" (4.13),"Operation Ann" (4.14) and "Dave Returns" (4.15)]</em></p>
<p>With Louis C.K. returning to Parks this week as Leslie's former beau Dave, we were guaranteed some awkward moments. While I'm not sure this episode went in the right direction with his character, he created an opportunity to show Leslie dealing with a tough situation without turning into the hysterical caricature we've seen in the past. The B-plot brought the return of Duke Silver and continued the show's streak of poking fun (successfully and hilariously) at Ron's tough image, while the C-plot advanced the Tom & Ann dating storyline.</p>
<p>While the <a href="http://tvbythenumbers.zap2it.com/2012/02/17/tv-ratings-thursday-the-office-30-rock-greys-anatomy-hit-lows-as-american-idol-leads-fox-win-on-another-night-of-declines/120414/">ratings may not have borne it out</a>, Louis C.K. was the big draw this week. He played Dave, whose relationship with Leslie in season 2 ended amicably when he moved to San Diego. I remember Dave being a good presence the first time around, helping to tone down some of the cartoonish behavior that made Leslie unlikable in the early parts of the series (and drew negative comparisons to the worst parts of The Office's Michael Scott - see episodes 2.04 "Practice Date" and 2.07 - "Greg Pikitis").</p>
<p>"Dave Returns" turned this dynamic on its head as Dave was unreasonable and unrealistic as his efforts to win back Leslie culminated in handcuffing Ben to a urinal. This could be the writer's intention with the character, as his inability to move on from the past contrasted strongly with where Leslie is at with Ben. I would buy the idea that Leslie has grown over the seasons (and with Ben's influence) more if not for a number of episodes this season that seemed to regress to the old Leslie (see 4.08 - "Smallest Park" and 4.06 - "End of the World"). The show needs to more consistently avoid letting Leslie slip into the extra unrealistic character to be able to make a point about Leslie's growth.</p>
<p>However, the occasional Leslie regression is much improved from the show's first season (when Leslie's interactions with Mark Brendanawicz were nigh unwatchable). My quibbles only exist because the following seasons have raised the bar for her character. I think her relationship with Ben has been one source of this progress (which I think has surprised a number of reviewers who were initially wary). The last few episodes have shown the two of them disagreeing on a number of issues, but often doing so without making either of them seem unreasonable.</p>
<p>I was glad to see them deal with an issue that didn't come from the campaign this week, even if the conflict wasn't particularly original for a comedy (an old flame meeting the current sweetheart). Dealing with a typical couple problem like this helps flesh out Ben and Leslie's relationship and make it more believable. I also wouldn't mind seeing how the two of them deal with this kind of issue with their roles reversed, since Chris is the only person we've met from Ben's past.</p>
<p>For me, Ann and Tom are much less believable as a couple. The idea of the two of them going out on a date worked for me in "Operation Ann" as it seemed to build up the idea of her dating woes throughout the episode, and it makes sense that she'd be willing to give him a chance from that mindset. However, she's never had much patience for Tom's silliness (which was reinforced in "Bowling for Votes"), which makes it seem like an unexpected reversal when he wears her down. I'm glad the show isn't moving too quickly (a kiss between the two of them this episode would have been too much), but I'll need more convincing over the remainder of the season.</p>
<p>Andy's desire to come through for Leslie with the campaign song fits well with his character's past with Leslie. With April's development over the last few episodes, Andy seemed to be lagging behind in growing up. I think his feelings of responsibility that surface when Leslie depends on him could provide a similar opportunity for the character if the writers return to it often enough.</p>
<p>I enjoyed the gags involving Ron's secret identity as Duke Silver, whom we haven't seen in a while. The last few episodes have done a great job of tweaking his character and showing small chinks in his manly facade. This is only possible because the character is so well-defined, which makes these deviations entertaining instead of inconsistent.</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>Tom's nicknames for Ann: Cookie-toosh, Winnie-the-Boo, Lady Presh-Presh, Ann-berry Sauce, Annie-Get-Your-Boo, Tommy's Girl, Annie-bananie</li>
<li>I found it odd that the writers decided to make Ann's confession to Leslie about her date take place off-screen. Leslie's knowledge would have made for a funny scene (if a little trite)</li>
<li>Ben's not afraid of cops, as he's never broken the law - because he's deathly afraid of cops</li>
<li>"There's a flesh-eating virus going around. Yeah, it's called music. And there's only one way to get a vaccine and that's to... play it"</li>
<li>"It's kind of like We Are the World, except I actually think it could have a real impact on society"</li>
<li>"I've heard of him. I heard he makes mature women swoon when he plays"</li>
<li>I like seeing when Chris isn't perfect - like his rendition of "Take Me Out to the Ballgame."</li>
<li>His reaction to finding out that Tom and Ann are dating was also good - I look forward to his recent disappointments coming to a head soon</li>
<li>"I still have feelings for Leslie... in a womanly fashion"</li>
<li>"Are you okay?" "Yeah. Have to pee really bad, ironically"</li>
</ul>
http://tobom.com/blog/posts/smash---the-callbackSmash - "The Callback"2012-02-15T05:20:33Z2016-05-08T05:28:05ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Pilot" (1.01) and "The Callback" (1.02)]</em></p>
<p>In a way, Smash is a balancing act, even if the different sides only battle inside the writers' minds. Because it shares some superficial similarities with other shows, it must deal with both the benefits and drawbacks from being compared to those shows. Its setting in an unfamiliar territory for most of its audience (Broadway) makes it necessary to be wary of alienating situations while still avoiding reliance on cliches. Broadway's natural tendancy towards melodrama must be tempered with realistic situations that don't feel too artificial. As the show matures, we will see if it can find a sustainable equilibrium for these forces.</p>
<p>"The Callback" continues to invite the comparisons to other shows that cropped up after last week's episode. In <a href="http://tobom.com/posts/archive/smash---pilot-series">my review</a>, I mentioned how the show has acknowledged Glee's role in opening the door for musical shows while also distancing themselves to a certain degree. This episode also underscores Smash's direct debt to American Idol, both in Katharine McPhee's pedigree and as Ivy sang the Carrie Underwood song "Crazy Dreams" in the closing minutes. The differences in genre between the two shows precludes direct comparisons, but Smash still has to be careful. Including songs reminiscent of Idol is used well to emphasize certain scenes (such as Ivy's impromptu performance at the end of the episode and Karen's performance of "Beautiful" last week), but can also distract the viewer who can't help but be reminded of the other show. Audience appeal is certainly a factor in these choices, but Smash will have to trust its audience to enjoy the original songs that make the show stand out.</p>
<p>Trust in the audience is especially important for the show's plot in order to create believable characters. In <a href="http://www.avclub.com/articles/the-callback,69229/">his review for A.V. Club</a>, Noel Murray mentions that the episode tells the audience how to view the characters & developments (as many dramas have done over the years). This is especially dangerous for a show like Smash which deals with a naturally melodramatic subjects (Broadway) and plotlines (the baby adoption). Glee is a cautionary tale as it stretches and distorts some characters to act as cartoony villains (Sue Sylvester) or Mary Sues (Kurt). Smash can avoid this by creating more ambiguous situations, showing some of the other perspectives on the conflicts we've seen (such as Eileen's dispute with her husband). The shows most overt attempts to guide the audience's views are especially harmful as they challenge the viewers' suspension of disbelief: the excessive praise for Julia's letter to the biological mother just drew attention to its sub-par quality. Moments like these made me focus on what the show was trying to accomplish instead of staying with the story.</p>
<p>I think Smash tries to dictate its audience's emotions because it's aware of the dangers inherent in basing the show on a conceit that won't naturally appeal to a large audience. This also causes the writers to rely on cliches that they probably know aren't good for the show. I would guess that the writers know that most people can't identify with theater or some of the problems that main characters are going through, so they inserted overused plots, like Karen's failure to make her boyfriend's important dinner. Unfortunately, while there is a valid and necessary point to be made about the demands that Broadway takes on its performers, the show does it in a way that reminds viewers of all the other times they've seen this conflict. Instead, it needs to own the fact that its best plots will alienate a set of their audience and not toss in recognizable and tired stories to try to keep them interested (though that might be impossible with the way NBC seems to be treating the show as its big ratings hope).</p>
<p>The episode did continue to do some of the things that showed potential in the pilot. Again, I enjoyed the shot of Karen imagining herself singing in the club while she was actually waitressing. The original songs and choreography continue to impress, with this week's song "The 20th Century Fox Mambo." The drama about who would get the part created believable tension for the characters and I was glad to see that the resolution wasn't excessively drawn out. Smash has enough good aspects that I think it can become a must-watch show if it decides to embrace the idea that it will won't appeal to some of its viewers.</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>The writing and acting for Julia's son was terrible. Not even slightly believable, incredibly distracting and easily my least favorite part of the episode</li>
<li>Runner-up: the adoption lady putting her hands to her heart to indicate how touched she was, in case we didn't believe that letter was the most perfect thing ever written</li>
<li>Like some other reviewers, I can't see Karen as a close competitor to Ivy for the part. The show tries to push perfection as Ivy's flaw, but I don't find it believable. Seeing McPhee in the blonde wig just reinforces this</li>
<li>A somewhat better job than last week portraying Derek (the director/choreographer) as more than just a womanizer, but it seemed like quid pro quo when Ivy got the part after sleeping with him</li>
<li>I really liked the moment when Julia gave Karen some words of encouragement before her audition - very human moment</li>
<li>In contrast to most of the episode, the show did let the audience make up its mind about Karen's audition (doing "The 20th Century Fox Mambo"). It seemed a little forced and I felt that it probably wouldn't have been better than Ivy's (which wasn't shown)</li>
</ul>
http://tobom.com/blog/posts/i-belong-in-your-arms-by-chairlift"I Belong in Your Arms" by Chairlift2012-02-13T21:56:55Z2016-05-08T05:37:00ZThomas Bombachtbombach@tobom.com<p style="text-align: center;">
<iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F34316074&show_artwork=true" width="100%"></iframe></p>
<p>As far as origin stories go, Chairlift's is pretty unique: the band came together in 2005 to create live music for haunted houses. In 2006, the band outgrew their original aspirations and moved to New York. After the departure of founding member Aaron Pfenning, remaining members Caroline Polachek and Patrick Wimberly released the band's second album Something in 2012.</p>
<p>On paper, "I Belong in Your Arms" seems like a strange song for a band with such a distinctive backstory. Borrowing heavily from '80s synthpop and featuring soaring female vocals, the song is heavily reminiscent of similar bands Class Actress and Hospitality. The lyrics' message isn't particularly new as Polachek sings that "the world goes on without us... when I'm melting into you / I belong in your arms." However, the song proves that execution is everything as it stands up to the similar artists' best.</p>
<p>The song opens to a quiet synth backing that is quickly joined by a steady beat. The synths, combined with Polachek's singing during the hook create an anticipation for the chorus that suitably soars. The lyrics combine a concrete and clear message in the refrain with vague impressions and flashes of quick images during the chorus. Polachek does an admirable job of keeping up with the shifts during the song as the staccato verses build up to the extended chorus.</p>
http://tobom.com/blog/posts/the-thoughts-that-give-me-the-creeps-by-hellogoodbye"The Thoughts That Give Me the Creeps" by Hellogoodbye2012-02-08T18:46:29Z2016-05-08T05:48:34ZThomas Bombachtbombach@tobom.com<p>A hit single can be both a blessing and a curse for a new band. While the attention it brings can help launch the group into popularity, it can also raise expectations and affect the band's musical identity. <strong>Hellogoodbye</strong> rose to prominence on the shoulders of "Here (In Your Arms)," a synthpop song filled with vocoder effects and endearingly mushy lyrics. The accompanying video is fittingly sappy, featuring lead singer Forrest Kline winning the affections of a girl at summer camp. The band seemed poised for a successful emo-pop career as they released their first album <em>Zombies! Aliens! Vampires!</em>.</p>
<p>However, during the four years leading up to their next release (<em>Would It Kill You?</em>), the band saw significant changes including a contentious switch to a new label and an almost completely new lineup (only Kline remained). This led to a dramatic shift as they eliminated the synthesizers and vocal effects and settled on a power-pop sound. Ultimately, the decision to change directions was well-founded as the band comes across as more mature and confident, developing the goofy schmaltz into warm sentimentality.</p>
<p>This new perspective comes across in "The Thoughts That Give Me the Creeps," from <em>Would It Kill You?</em>, which features bare vocals backed by a stripped down ukulele, tambourine and <a href="http://en.wikipedia.org/wiki/Celesta">celesta</a>. Both the ukulele and bouncy delivery keep the maudlin and yearning lyrics from dominating the track. This combination makes the emotions that the song evokes both hypothetical and still mournful. The song perfectly illustrates the feeling of <a href="http://en.wikipedia.org/wiki/Saudade">saudade</a>, a Portuguese word without a direct English translation that describes a strong feeling of longing and nostalgia for someone or something that is absent. More complex than simply missing someone, the emotion can also apply to feelings of loss towards the future or past for someone who is currently present. "The Thoughts That Give Me the Creeps" portrays this feeling superbly and indicates the band's growth both sonically and in songwriting.</p>
http://tobom.com/blog/posts/happy-endings---the-st-valentines-day-maxssacreHappy Endings - "The St. Valentine's Day Maxssacre"2012-02-10T02:55:49Z2016-05-08T05:53:48ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Meat the Parrots" (2.11), "Makin' Changes!" (2.12) & "The St. Valentine's Day Maxssacre" (2.13).]</em></p>
<p>After a 3-week break, <em>Happy Endings</em> returns and makes use of the small hiatus to mark a new direction. Following a small arc of main plots loosely focused on Dave and Penny, "The St. Valentine's Day Maxssacre" centers around Valentine's Day as each person's plans eventually fall through. The group eventually comes together in Max's limo to see him possibly (re)start a new relationship.</p>
<p>The stories involving the other characters were less consequential which serves as a nice break from Dave and Penny's stories. Dave and Penny both deal with the breakup window (the period in which you can't end a relationship based on certain holidays), but from opposite perspectives. One danger that the show faces is that it can stagnate due to its format (an ensemble cast in a sitcom). Having a new girlfriend and boyfriend each week for Dave and Penny limits some of the stories for those characters as the significant other can only be used as a one-dimensional prop. Instead the show has to find new dynamics by pairing the characters in new ways. This is the problem that <em>Modern Family</em> faces as the show sometimes hits the same notes that it did in earlier seasons, even if it hits those notes very well. Since <em>Happy Endings</em> is still only in its second season, this issue is not yet worrying.</p>
<p>The conclusion of Max's plot could indicate that the writers are looking to address this. Grant, an old flame, appears halfway through the episode to give Max more to do than just drive the gang around and the two seem to rekindle their relationship. Though Grant won't join the group on a permanent basis (guest star James Wolk is only scheduled for three episodes), he will definitely bring out a new aspect of Max that has only been seen in a few times (see episode 1.09 - "You've Got Male"). I think Happy Endings is best served by having these multi-episode relationships for the characters, since it keeps the group's interactions fresh without the risk of upsetting the gang's dynamics in the long-term.</p>
<p>The C-plot in the episode demonstrates one of the key dynamics of the show in Brad and Jane, who work well regardless of how the show uses them. This episode has them go extra silly this episode, first with Brad's dance at the dentist's office, and then as he's trying to keep the date going while doped up on "goofy juice." The only issue I had with this storyline is that it didn't have enough time to see how silly Damon Wayans Jr. could get. That was a problem for the Alex storyline as well - it seemed to be aborted midway through as the group began converging in Max's limo. This can be an issue for shows with ensemble casts (it occasionally crops up in <em>Modern Family</em> and <em>Parenthood</em>) as the writers try to fit too many plots into one episode. The show has made amazing strides with Alex, developing her into a character who can carry her own story and her charming naivete would have been hilarious to see in jail.</p>
<h4>Quotes/Quips/Quibbles:</h4>
<ul>
<li>The way the last few episodes have gone, I was expecting the writers to bring Dave and Penny together when their situations paralleled</li>
<li>Both Dave and Penny's endings were very predictable, but I found it more distracting in Dave's case</li>
<li>"[Your skin] is very soft" "It's like butter. And I know because I'm comparing them right now" "Weird, I had this exact same dream last night. Only it wasn't butter."</li>
<li>"And if the sex is crazy on a regular day, imagine what the VD sex will be like!"</li>
<li>I love the idea of Dave helping Max try out his different limousine packages</li>
<li>"That place is harder to get into than 'Obvious Joke Here,' the new alt comedy club downtown"</li>
<li>On Brad's list of surprises: Put on some D'Angelo then whip out his P'Angelo</li>
<li>"JFK once called her a real Chicago slut" "Why are you always so proud of that?" "It's Camelot bro"</li>
<li>"We were going to give you your dream gift" "A sit-down with Guy Fieri?"</li>
<li>"And then he said that he hates when I say amahzing. But I've barely said that at all this season!" "You mean winter?" "Yeah, it's more of a summer word"</li>
<li>"It's like I'm a gay salmon swimming upstream in a river of bears"
"I know this has been something you've wanted for a long time. I mean your first email address was threesomechaser@pulaskihillsmiddleschool.org"</li>
<li>Nice to see some meta-humor about the influence of Friends</li>
<li>"X.O.? Faith restored!"</li>
</ul>
http://tobom.com/blog/posts/54th-grammys-liveblog54th Grammys2012-02-11T16:58:58Z2016-05-08T05:58:23ZThomas Bombachtbombach@tobom.com<p>Allen (of <a href="http://itsprimetimesomewhere.wordpress.com/">It's Primetime Somewhere</a>) and I will be conducting a liveblog of the 54th Grammys. It will mainly consist of us trying to entertain ourselves with (debatably) clever pop-culture references, praise or criticism of each award winner and possibly (semi-related) music recommendations. There might even be griping about how Arcade Fire sold out last year by winning a Grammy. Check back at <strong>7:45pm EST</strong> on <strong>Feb. 12</strong> when this post will become a thriving forum for witty repartee.</p>
<p style="text-align: center;">
<iframe allowtransparency="true" frameborder="0" height="550px" scrolling="no" src="http://www.coveritlive.com/index2.php/option=com_altcaster/task=viewaltcast/altcast_code=0d34384a87/height=550/width=525" width="525px">&amp;amp;amp;amp;amp;amp;lt;a data-cke-saved-href=&amp;amp;amp;amp;amp;amp;quot;http://www.coveritlive.com/mobile.php/option=com_mobile/task=viewaltcast/altcast_code=0d34384a87&amp;amp;amp;amp;amp;amp;quot; href=&amp;amp;amp;amp;amp;amp;quot;http://www.coveritlive.com/mobile.php/option=com_mobile/task=viewaltcast/altcast_code=0d34384a87&amp;amp;amp;amp;amp;amp;quot; &amp;amp;amp;amp;amp;amp;gt;54th Grammys Liveblog&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;</iframe></p>
http://tobom.com/blog/posts/happy-endings---everybody-loves-grantHappy Endings - "Everybody Loves Grant"2012-02-15T23:29:37Z2016-05-08T06:05:43ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Makin' Changes!" (2.12), "The St. Valentine's Day Maxssacre" (2.13) & "Everybody Loves Grant" (2.14).]</em></p>
<p>While <em>Happy Endings</em> has always been a show about the entire group, there are certain characters whose relationships receive more attention. Brad and Jane are a reliable source, but the show most often turns to Penny or Dave for stories about dating life. The arc continued in "Everybody Loves Grant" is a welcome focus on Max and hopefully portends a better balance as the series continues (hopefully this will also include more relationships for Alex).</p>
<p>The new dynamic of Grant (coupled with the show's customary joke-a-minute style) helped to mitigate the fact that the plots were once again pretty generic. This episode put the cast together for most of the episode (like last week) with each subset of the group focusing on a different aspect of Max and Grant's relationship. Brad, Jane, and Penny competed for Grant's affection as the perfect couple to double date with. This has been covered in other shows (like the <em>How I Met Your Mother</em> episode <a href="http://en.wikipedia.org/wiki/The_Sexless_Innkeeper">"The Sexless Inkeeper"</a>) and didn't really add anything to the conceit. Dave worried about whether he lost the role of cool guy to the new person in the group, while Alex tried to stop Max from preemptively break up with Grant. These are sitcom mainstays, but the jokes help keep this from becoming an episode-sinking problem. This is similar to Cougar Town (which I've just started watching and will include in the regular review lineup once I become more familiar with it), which also improves on its 40-somethings hangout plots with jokes and sentiment.</p>
<p>The inclusion of Grant in the group in the past couple episodes helps the show create humor when its characters don't really change much. As Dave (the cool guy) said this week, Max is the lazy one, Jane is the type A one, Penny is the single girl, Brad is the married one and Alex is the one with the store. These general descriptions haven't really changed since the show defined the characters in the first season. This works well for comedy as it allows the audience to easily recognize the humor of the situation that the characters are in. However, it's unsustainable in the long-term unless the show can commit fully (such as in animated shows, whose characters never change). I would expect the end of this season to set up to events that will shake up the dynamic that this season has built.</p>
<p>Grant has served this role well as he brings out different sides of the group that we haven't seen before. Last week was the first glimpse of Max in a real relationship, which was expanded on this week as we saw him nervous and over-analytical. We also saw the effect Grant had on the rest of the group as they either tried to impress him or compete for the spot as the cool guy. I think the perfect length for this sort of guest-star relationship arc is four or five episodes - not long enough to define the season for one of the main characters, but long enough to be a real character instead of part of an episode's setting.</p>
<p>I think the reason that the Grant arc feels big for this show is that it's a relatively insulated show set in a small world. Unlike Parks & Recreation, which has a myriad of Pawnee residents and locales to draw from, How I Met Your Mother, which has its extensive mythology and history of extended guest arcs, Happy Endings pretty much only has its main characters to draw from (plus Megan Mullally). The show will have to develop other aspects to sustain itself in its third season and beyond.</p>
<h4>Quotes/Questions/Quibbles:</h4>
<ul>
<li>Usually the timeline for sitcoms is ambiguous on a weekly basis, interestingly this episode explicitly stated that 2 weeks have passed</li>
<li>I didn't like the "preemptive breakup" idea, even knowing that the writers wouldn't carry it out. The trope wasn't subverted enough to justify including it. Same as what happened with Dave last week</li>
<li>Alex moment of the week: "Can’t help it, I love the sound of bones crunching. I feel like a god, I can destroy life."</li>
<li>"No, the Ericksons always want to talk about their kids" "Yeah, we get it, you made a mistake and called it Todd"</li>
<li>"What kind of vibe are we giving out that makes every couple want to sweeten our sheets?"</li>
<li>Easter Egg: Max wore a shirt saying "3rd Annual Spring Smackdown," which refers to next episode - the friends wait for Jane & Brad's annual Spring Smackdown to see when winter will end</li>
<li>"I mean I see those colors in my head and they don't make sense, but then I see them on him and it's like nothing else does"</li>
<li>"Every group needs a Dave" "Yeah, like in Dave Matthews Band, Carter Beauford is the Dave!" - personally, I think Stefan Lessard is the Dave.</li>
<li>Another great explanation from Dave: "Well, you know how heat lowers and the whole heat inversion thing"</li>
<li>"I think I would know if I was being redemptive - we're not in Europe"</li>
<li>"Thank you, you're smarter than you are tall! Good day, tiny madam!"</li>
<li>Penny thought her teacher boyfriend was a pharmacist</li>
<li>"I wish I could just chillax like Dave. Which reminds me, Dave, what is it going to take to win you over? You're impenetrable!"</li>
</ul>
http://tobom.com/blog/posts/community---digital-exploration-of-interior-designCommunity - "Digital Exploration of Interior Design"2012-03-30T00:20:29Z2016-05-08T06:12:08ZThomas Bombachtbombach@tobom.com<p><em>[Review based on "Urban Matrimony and the Sandwich Arts" (3.11), "Contemporary Impressionists" (3.12) and "Digital Exploration of Interior Design" (3.13). Also, I'm trying a new format for this review where I separate my commentary by storyline]</em></p>
<p>This week's <em>Community</em> didn't break new ground with its character pairings, but did manage to involve every character (in contrast to "Contemporary Impressionists," which left Shirley, Annie and Pierce on the sidelines for a lot of the episode). Everyone got a bit of character development this week, while managing to deliver the weirdness that many of hardcore fans expect.</p>
<h4>Troy and Abed go to war over their pillow and blanket forts</h4>
<p><em>Community</em> often seems like a few different shows competing for airtime: a high-concept, slightly insular and inaccessible show and a more conventional, character-developing show. A sizable (and vocal) segment of fans base their enjoyment on which of the two shows they classify a given episode. Along with next week's episode, this week seems to try to combine both fan service and character development, showing the development of Troy and Abed's relationship within the context of the blanket and pillow forts.</p>
<p>I've really enjoyed Troy's struggle to mature over the last three episodes as he realizes that his friendship with Abed can't last forever. In "Urban Matrimony and the Sandwich Arts," he helps Abed denormalfy but realizes the limits of their carefree fun in "Contemporary Impressionists" when he has to consider the real consequences of Abed's celebrity reenactment addiction. This all seems to be leading up to a crucial moment for Troy where he'll have to face his future after Greendale and the fact that his future will be most secure doing air conditioning repair, something he is good at but doesn't enjoy. For him, college has been a sort of reprieve before adulthood and responsibilities dictate his life.</p>
<p>This sentiment fits in with most of the other characters: Greendale is an oasis from the rest of the world for them. Outside of school, Shirley is responsible for her children and marriage. Pierce has been continually enrolling in Greendale for years and now has to deal with losing his business. Annie has already shown that she couldn't handle life outside Greendale (dropping out of school for addiction to Adderall), and is the most involved in school activities. Britta's often extreme views aren't really sustainable in the real world (since she dropped out of high school to impress Radiohead). Jeff and Abed (the only sane ones according to Britta's psych test) are the least connected to Greendale: Jeff is just using it as a means to return to the real world and Abed is capable of creating his own reality when he can't deal with problems ("Abed's Uncontrollable Christmas" - #2.11).</p>
<h4>Annie pushes Jeff to apologize to Kim</h4>
<p>I don't think the show has had a clear vision of how to treat Annie and Jeff - at times they are a will-they-won't-they coupling, while other times it shies away from pairing them. The show has played this off as Jeff equivocating and being unsure of what he wants; most often this point of view comes from Annie's perspective ("Horror Fiction in Seven Spooky Stories" - #3.5 and her comments in this week's episode). I would be more amenable to this line of reasoning if this point were made more consistently and often. The ensemble cast and willingness to devote entire episodes to a concept hurts Community in this regard, since a single character's development over the entire season can feel disjointed and inconsistent.</p>
<h4>Pierce and Shirley use Britta to take down Subway (and the sub restaurant)</h4>
<p>Along with the two preceding episodes, "Digital Exploration" really demonstrates how the writers and improved and changed Britta as a character. The three episodes have each presented a storyline involving Britta, with three different facets. "Urban Matrimony" showed her over the top third-wave feminist side, and "Contemporary Impressionists" incorporated her newfound "talent" for psychology. "Digital Exploration" was more reminiscent of the first season (in which her character's problems were based on the guys she dated - like Vaughn), but had fun with having her struggle with her values before rationalizing her feelings using 1984.</p>
<p>This episode also continued the rehabilitation of Pierce from last season, seeming to have reset the character to the offensive, but ultimately harmless version from the first season instead of the supervillian of last season. This storyline reminded me of "Environmental Science" (#1.10), in which Pierce and Shirley worked together on a business speech. I was a little more put off by Pierce last season than most fans so I welcome this return but I'm still having trouble reconciling the two wildly different versions.</p>
<h4>Quotes/Quips/Quibbles</h4>
<ul>
<li>Subway is really willing to advertise on struggling fan-favorite shows, right? First Chuck, then such a prominent spot poking fun at itself in Community</li>
<li>Britta hadn't noticed Subway in her Pre-menopausal-post-feminist experiential marketing (Pre-en-post-fem ex mark) class because he was waitlisted</li>
<li>Enjoyed seeing Travis Schuldt, Keith Dudemeister from Scrubs</li>
<li>Annie's only allowed one stuffed animal in her sleep study class, but using Ruthie's pouch to sneak in Nathan</li>
<li>Dean Pelton just happened to be Googling record lengths of stuff</li>
<li>John Goodman was again great as Vice Dean Laybourne. He's going through some stuff, causing him to grow a beard, ponytail and makes him really insecure when he crawls.</li>
<li>Britta and Subway think that everyone should be forced to read 1984</li>
<li>"Pop pop Captain"</li>
<li>"That got unhealthy real quick... You know, I was raised in the Bay Area, but I'm a father now"</li>
<li>Loved the subtle joke about the Subway exec being unable to stand up for a while</li>
</ul>
http://tobom.com/blog/posts/64th-emmy-awards-liveblog64th Emmy Awards Liveblog2012-04-23T14:13:02Z2016-05-15T07:11:16ZThomas Bombachtbombach@tobom.com<p>I'll be hosting a liveblog of the 64th Emmy Awards with <a href="http://itsprimetimesomewhere.wordpress.com/">Allen of It's Primetime Somewhere</a>. Like our liveblog of the <a href="http://tobom.com/posts/archive/54th-grammys-liveblog">54th Grammys</a>, we'll provide the witty commentary, eerily accurate predictions and stinging sartorial criticism. In return, you keep this from being a sad, self-indulgent discussion between two tv-obsessed pop culture junkies. Check back at <strong>7:30pm EDT (4:30 PDT) on Sept. 23</strong> when our coverage starts!</p>
<p>(See the bottom of this post for my picks for winners in the major categories)</p>
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<p><strong>Predictions are in bold</strong>, while the deserving party has an asterisk (*).</p>
<p><strong>Outstanding Supporting Actor in a Comedy Series:</strong><br />
Ty Burrell, <em>Modern Family</em><br />
Jesse Tyler Ferguson, <em>Modern Family</em><br />
Max Greenfield, <em>New Girl</em><br />
*Bill Hader, <em>Saturday Night Live*</em><br />
<strong>Ed O’Neill, <em>Modern Family</em></strong><br />
Eric Stonestreet, <em>Modern Family</em></p>
<p><strong>Outstanding Supporting Actress in a Comedy Series:</strong><br />
Mayim Bialik, <em>The Big Bang Theory</em><br />
Julie Bowen, <em>Modern Family</em><br />
Kathryn Joosten, <em>Desperate Housewives</em><br />
*Sofia Vergara, <em>Modern Family*</em><br />
Merritt Wever, <em>Nurse Jackie</em><br />
<strong>Kristen Wiig, <em>Saturday Night Live</em></strong></p>
<p><strong>Outstanding Lead Actress in a Comedy Series:</strong><br />
Zooey Deschanel, <em>New Girl</em><br />
<strong>Lena Dunham, <em>Girls</em></strong><br />
Edie Falco, <em>Nurse Jackie</em><br />
Tina Fey, <em>30 Rock</em><br />
Julia Louis-Dreyfus, <em>Veep</em><br />
Melissa McCarthy, <em>Mike & Molly</em><br />
*Amy Poehler, <em>Parks & Recreation*</em></p>
<p><strong>Outstanding Lead Actor in a Comedy Series:</strong><br />
Alec Baldwin, <em>30 Rock</em><br />
Don Cheadle, <em>House Of Lies</em><br />
*Louis CK, <em>Louie*</em><br />
Jon Cryer, <em>Two And A Half Men</em><br />
Larry David, <em>Curb Your Enthusiasm</em><br />
<strong>Jim Parsons, <em>The Big Bang Theory</em></strong></p>
<p><strong>Outstanding Supporting Actor in a Drama Series:</strong><br />
Jim Carter, <em>Downton Abbey</em><br />
Brendan Coyle, <em>Downton Abbey</em><br />
<strong>Peter Dinklage, <em>Game Of Thrones</em></strong><br />
Giancarlo Esposito, <em>Breaking Bad</em><br />
Jared Harris, <em>Mad Men</em><br />
*Aaron Paul, <em>Breaking Bad*</em></p>
<p><strong>Outstanding Supporting Actress in a Drama Series:</strong><br />
Christine Baranski, <em>The Good Wife</em><br />
Joanne Froggatt, <em>Downton Abbey</em><br />
Anna Gunn, <em>Breaking Bad</em><br />
*Christina Hendricks, <em>Mad Men*</em><br />
Archie Panjabi, <em>The Good Wife</em><br />
<strong>Maggie Smith, <em>Downton Abbey</em></strong></p>
<p><strong>Outstanding Lead Actress in a Drama Series:</strong><br />
Kathy Bates, <em>Harry’s Law</em><br />
Glenn Close, <em>Damages</em><br />
*Claire Danes, <em>Homeland*</em><br />
Michelle Dockery, <em>Downton Abbey</em><br />
<strong>Julianna Margulies, <em>The Good Wife</em></strong><br />
Elisabeth Moss, <em>Mad Men</em></p>
<p><strong>Outstanding Lead Actor in a Drama Series:</strong><br />
Hugh Bonneville, <em>Downton Abbey</em><br />
Steve Buscemi, <em>Boardwalk Empire</em><br />
<strong>*Bryan Cranston, <em>Breaking Bad*</em></strong><br />
Michael C. Hall, <em>Dexter</em><br />
Jon Hamm, <em>Mad Men</em><br />
Damien Lewis, <em>Homeland</em></p>
<p><strong>Outstanding Comedy Series:</strong><br />
<em>The Big Bang Theory</em><br />
<em>Curb Your Enthusiasm</em><br />
*<em>Girls</em>*<br />
<em><strong>Modern Family</strong></em><br />
<em>30 Rock</em><br />
<em>Veep</em> </p>
<p><strong>Outstanding Drama Series:</strong><br />
<em>Boardwalk Empire</em><br />
<em>Breaking Bad</em><br />
<em>Downton Abbey</em><br />
<em>Game Of Thrones</em><br />
<em>Homeland</em><br />
<em><strong>*Mad Men*</strong></em></p>