THE FALL SEASON IN (P)REVIEW: A SCHEDULE APPROPRIATE FOR UGLY MONDAYS

Last week was filled with milestones: my birthday (and Alfonso Ribeiro’s!), Jen Daily Refill’s birthday, Yom Kippur, the last day of summer, the first day of fall, the effin 49ers being shut-out for the first time in 27 years (at least I had plenty to drink). Arriving with the first day of fall also comes the first official week of the new TV season, and as usual, all the networks started rolling out their season and series premieres.

Well, not all the networks. Fox with its new (and not-quite-working) calendar-correct seasonal roll-out doesn’t start most of its series until November, after the baseball playoffs. And NBC started some shows a bit early in an attempt to capitalize on promotion during the Olympics. And the other networks are starting one show here, another one there, giving this one a special time slot tryout thereby postponing that one.

Regardless, a new TV season is always difficult to navigate, I know. And as I expressed last week, I’m becoming far less tolerant of many shows, new and old. Still, I have this sense of duty to myself and the two or three of you who visit me here once or twice a month to help you; to peek through those “most shocking twist ever” and “most watched network” and “the critics agree” and “best drama since Oedipus” promos to find what’s really good and worth wasting time over.

Every day this week, I’ll address that day’s new primetime schedule. I have watched every show that has already premiered on all the broadcast networks’ schedules at least once. In some cases, I’ll have to withhold judgment and get back to you after the show has aired and I’ve actually seen it. But for the time being, here’s Monday:

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WHO SAID FILMMAKING TAKES A LONG TIME

Hustle_1Oh yeah, there’s reason to stay home this Saturday night for sure. That’s the night that Hustle premieres. You know — Hustle. The original film on ESPN. Who says ESPN can’t get quality filmmakers. They’ve got Tom Sizemore starring as Pete Rose in a film directed by the (once) great Peter Bogdanovich. Sure, way back in April when the movie was announced I might have said how Bogdanovich signing up to direct an ESPN made-for-TV movie was a sad comment on this brilliant film historian’s and often great filmmaker’s career, but now that the film has been shot and edited in such luxurious fashion, I’m sure we will see a really great movie. I mean, I’m sure they labored over the script forever so that it wouldn’t feel contrived or anything. And then they started shooting in mid-May, which means it probably went into post by mid-to-late June. That’s pretty standard M.O.W. production time. So yeah, this should be just as good as any of those network movie-of-the-week’s that the big three … well, they kind of don’t make them anymore. But who cares, right?

If you just can’t bring yourself to stay home Saturday night to see Sizemore do something illegal (cause, you know, that’s a stretch right there), ESPN is airing it plenty of times over the next few days, so check those local listings!

And to all my co-members of the Tribe out there, have an easy fast!

OFTEN CALLED TEASERS, THEY MAY AS WELL JUST SAY “GOTCHA”

As we inch closer to that moment of the day when the sun disappears and millions of us New York Jews somehow manage to stop eating for a full 24-25 hours and become like PETA activists refusing to wear any piece of clothing that may have come from an animal, all in order to reflect and atone for our since of the past year, I’ve noticed a recent phenomenon happening with trailers and their films for which I would like someone – anyone – to atone. There are a whole bunch of movies opening this weekend. I’m anxious to see Shaun of the Dead, A Dirty Shame and The Motorcycle Diaries. I’m still confused by the fact that Forest Whitaker is the director of First Daughter, and I’m actually curious about The Last Shot. And Miramax is finally releasing the excellent Hong Kong actioner Infernal Affairs. However, the film with the widest release this weekend is The Forgotten, opening on over 3100 screens. The consensus from various blogs and critics seems to be that this movie pretty much blows.

That shouldn’t really surprise anyone, although I will admit that when I first saw the trailer a little over a month ago, I was totally jazzed. First of all, I’ll go see Julianne Moore in anything. She’s a brilliant actress and gorgeous too. Second, especially now that I’m a total convert to The Wire, I’m interested in seeing Dominic West in a more substantial role than I’ve seen in his several supporting appearances. The film also features Gary Sinese and Alfre Woodard, and quite simply, the trailer is awesome. It looks like a smart thriller with twists and turns and whodunwhats – just an all around good time? Is it a conspiracy film? Is there something supernatural going on? Who knows, but I want to see it, that’s for sure.

And then, the one thing to temper all hopes pops up on the screen. I go from leaning forward on the edge of my seat to slumping back shaking my head. My mood descends from euphoria to depression. OK, maybe not that far – but at least I do find myself shaking my head saying, “No, no, no. Why? Why? Why?”

“A film by Joseph Ruben” the credit flashes just before the end of the trailer. And I start to cry.

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BREAKING UP IS HARD TO DO

If I’m anything, it’s loyal. To a fault, as some like to say. For example, I’m staring into the abyss of a football season where my beloved 49ers will likely lose well-over 10 games, but you’ll still find me every Sunday I can at a sports bar to catch the game. Stupidly enough, I show the same loyalty to many of “my” TV shows, and between “needing” to see and judge every new network program and pick-up my favorite returnees, my DiVo is already threatening to delete old programs.

But last night, while watching the premiere of ER, I realized that this loyalty is a one-way relationship. TV doesn’t care about me. If it did, it wouldn’t insult me with some of its horrible program. And the shows with which I’ve built a relationship for, in some cases, a decade, they don’t care about me either because if they did, they would go away quietly leaving me with my memories of really good television.

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THANKFULLY, THE NEWS DIDN’T BREAK UNTIL AFTER MY B-DAY

Rest in peace Russ Meyer. It’s not really easy to call his films “good,” but they certainly were important, and for influential young boys like me coming-of-age in the 80s, they were better than Porky’s. But I’m definitely not a Meyer expert. And The cinetrix, with the help of Roger Ebert (who has a WGA card solely due to writing the Meyer-directed Beyond the Valley of the Dolls), has written a better post than I can.

I will say that it’s very sad to see icons (and arguably underappreciated ones at that) from both the 70s film and music worlds pass within a week of each other. I was also quite saddened by the passing of Johnny Ramone. Johnny’s passing was timely for me because I had just seen End of the Century days before, so the band, and in some ways Johnny most of all, were forefront in my brain. I’ve been meaning to write about the film — which I absolutely loved — and … I’m still meaning to do so. Work has once again taken it upon its self to annoyingly actually expect me to … you know … work. But suffice it to say, the Metallica doc got all the press, but if you haven’t seen End of the Century, you absolutely should, even though it’s playing at the worst theater in NYC. Whether you’re a huge Ramones fan or you thought their music was catchy but don’t know much other than “I Wanna Be Sedated” or “Rock ‘N’ Roll High School,” this is a fascinating and fun exploration into a band of made-up brothers who really exhibited all the tendencies of a dysfunctional family, and that’s without even taking into account that they were probably the most important and influential rock band of the late 70s and early 80s.

YOU SAY IT’S YOUR BIRTHDAY; IT’S MY BIRTHDAY TOO, YEAH

Baby_aaron4While the lovely Jen Daily Refill celebrates her 20-something birthday, it so happens (as I mentioned last week, and don’t you worry, my Amazon wish list is still up) that today is my birthday too. I’m sure between tonight and Friday’s bash, she’ll be celebrating plenty for the both of us. I tend to find myself becoming more reflective on each birthday, especially as I get further and further into the 30s, with this being my last year still able to call them “early.”

Jen is just one of several cool people who share my birthday, actually. Bill Murray, Stephen King, Chuck Jones, Ethan Coen and Leonard Cohen were all born on September 21. Less cool (to me) but also sharing my birthday are Larry Hagman, Faith Hill, Cheryl Hines, Ricki Lake, Rob Morrow and Moonunit Zappa. I figure I have a damn good shot at being famous for something stupid one day because Darva Conger was also born on 9/21. Happy birthday to us all!

YawningOf course, the most important shared birthday is the one which is actually a shared birthdate. Someone born on not just September 21, but September 21, 1971. Discovering a birthdate-buddy is so damn exciting. You might remember mine as little Ricky’s friend Alfonso; or even as Will’s cousin Carlton; or on Broadway in The Tap Dance Kid and later as the kid dancer in one of Michael Jackson’s Pepsi commercials. That’s right folks, on the same day that little Aaron was yawning hello to the world from San Francisco, smack-dab in those halcyon days of Vietnam and the pre-Watergate Nixon Administration, Alfonso Ribeiro was kicking his way into existence as well. Pretty special, huh? Who knew that by the time we both turned 33, we probably have the same number of fans?

I’ve thought a lot about birthdays and “the perfect age.” I came to the well-considered, researched and scientific conclusion some time ago that 27 is the perfect age. (My girlfriend just showed me an email I sent her at the beginning of our relationship — when she was just 26 and I was 29 — in which I said, “I determined recently that 26 is THE perfect age.” But today I stand by 27.) That doesn’t mean that 27 was this fantastic year I want to relive. My 27 was relatively average; not too much happened that was all that exciting. But if I could choose one age to be forever and ever, I think it would be 27.

See, at 27, you’re old enough to know better. I know everybody who’s 22, 23, 24 thinks they know everything and believe they’re older and more mature than they are, but it’s not until about 26 or 27 that this even starts being true. Actually, the older one gets, the more one realizes the less one knows. I’m not trying to be condescending to those younger than me, but I’ve discovered that most people find they go through many of their biggest changes between about 22 and 27. In fact, an ex-girlfriend who was 22-23 when we dated (and I was 27-28), recently turned 28 and wrote to me in an email, “Weren’t you my age when we met? If yes, I have to say I totally understand the age difference. I have a good friend who is 23, and she is soooo 23. First job, living the NY life…. Meanwhile, I might as well wear dentures!”

There are also no more “exciting” age milestones, at least not like there used to be. People may not get upset or depressed about turning 30 or 40 or 50, but they rarely get excited about doing so. (Unless you’re my father who thought turning 60 was just the most fabulous thing ever.) Obviously, having a birthday and living another year in this world is better than the alternative, and celebrating is always fun, but as you get older, milestones arrive and are created more by choice and big events than simply by age. I remember being excited by 10 because it was double digits. I couldn’t wait for 13 because it was my Bar Mitzvah. 16 is usually exciting because you can drive (and I emphasize “you,” because I was made to wait an extra year). 18 allows you to vote and get into more places, like movies, music clubs and, of course, in the non-alcoholic world of San Francisco porn, nudie shows. 21 opens all the doors and lets you drink when you get in. In California, 25 was important because car insurance rates would go down, and I became legal to rent a car anywhere. But what comes after that? Anniversaries, children’s birthdays, professional successes — they’re not related to age.

Even more importantly, at 27 other people start taking you more seriously. Chances are, by 27, most people have lived away from home and/or been out of school for more than a few years. Or, if you’re still in school, you’re probably on your way to some professional degree. (Of course, there are plenty of exceptions, and I was one.) Maybe you’ve already achieved some big career successes, or at least you’re on your way. Maybe you’ve already been married a few years and have a kid and have bought your first house or apartment. Whatever your situation, people simply don’t look at you like a kid anymore. And if you have been able to surge to some level of professional success, everyone will likely say, Wow, look at how much he/she has accomplished, and he/she is just 27.

At the same time, you’ve got the best of both worlds because you’re still given the leeway of being just 27. Our society still allows you to be young and hip and not required of fulfilling all the standards of being an adult. If you haven’t found career success or a lasting relationship, or if you continue to just search for what’s right for you in this world, that’s OK. It’s not too late. You’re just 27.

27 is also the cusp between the mid- and late-20s. At 27, you’re peaking. You’re at the very top of the downward slope to 30. Why would anyone want to be 29, about to turn 30, when one could be 27? It’s basically the late-20s, but just barely, and still far enough away from 30 to not get upset by it.

27 also just feels different. My entire life, I’ve had essentially perfect eyesight. In fact, the last time I went to the eye doctor was when I was 27 or 28, and I still had absolutely perfect vision. You know what I’ve noticed since turning 30? 31? 32? I still see very well, but not as well. When I groggily come to in the morning and stare across the room at the cable box in order to see the time, these now-33 year-old eyes take several seconds to focus and figure out what those blurry shiny colors are.

I had one friend who kept celebrating her 24th birthday. I’ve known plenty who seem to want to stay 29. On this September 21, though, I’ll be content just to celebrate turning 27 … again … for the sixth time. And with that, call it a day.

THE LION ONCE SWALLOWED UA, BUT IT’S PEDIGREE NEVER WENT AWAY

Last week, I gave special attention to Sony’s purchase of MGM and how I hoped they wouldn’t retire the iconic Lion banner which represents remembrances of Hollywood past. While concentrating on the history and importance of MGM, I didn’t mean to neglect its subsidiary studio which, by all accounts, seems destined to disappear, United Artists.

In one of the best “Critic’s Notebooks” I’ve read in a long time in the New York Times (therefore obviously not written by A.O. Scott), Dave Kehr examines the history and potential future of the formerly great UA. Sadly, this story was on the Saturday “The Arts” page and not the Sunday “Arts & Leisure” section, so maybe you missed it. Kehr actually lays out a reasonable suggestion to Sony regarding how to keep all the studio labels alive and give them individual purposes and identities. Kehr writes:

United Artists could once again become … a haven for American auteurs like Wes Anderson, Paul Thomas Anderson, Quentin Tarantino and Alexander Payne, filmmakers who work on a larger canvas than the average indie production but who don’t easily fit into a mainstream studio’s release slate of comic book movies and science fiction fantasies. They are the Wilders, Hustons and Frankenheimers of today, and hey deserve a home as cozy and congenial as the one United Artists provided for their predecessors.

I really couldn’t have said it better myself. Now if only someone at Sony is reading ….

THE EMMYS: FOR ONE NIGHT, CYNICISM LOSES OUT … MOSTLY

Back in July when the Emmy nominations were announced, I was annoyed, as usual, with the TV Academy’s refusal to actually honor the best in TV, instead throwing nominations at shows like Will & Grace (which simply isn’t funny at all anymore) or The West Wing (which had a subpar season) as well as perfectly talented individuals who gained recognition more for their names than for truly being the best TV has to offer. At the time, I wrote this post lamenting the omissions of American Dreams, Gilmore Girls, Carnivale and, especially, Deadwood as well as its ridiculously neglected star Ian McShane. And then there was the travesty called The Reagans which, on a weird wave of sentiment – or specifically lack-of? – managed to get noticed even though it was an utter piece of shit.

Tim Goodman of the San Francisco Chronicle wrote a column on Friday focusing on who the nominees and the winners of the acting categories should be, and I have to admit, I probably agree with him on all counts. He’s a bit The Wire-happy — emphasized by his rave review of Season 3 which started last night on HBO – especially in the Supporting Actor category, but his premise that the show is one of the best true ensemble casts since Homicide: Life on the Street is as true as it is for just about every other HBO series.

But I digress, because I’m here to celebrate the Emmys for once, not rip them apart. Sure Kelsey Grammer’s win was meh, and Sarah Jessica Parker’s expected, but what the hell? She hadn’t won one yet. As she said, it’s nice “punctuation” to the series. My biggest disappointments were definitely Allison Janney, who I love but like the rest of her show this season, her win wasn’t really justified, and her calling Mariska Hargitay (and the other nominees) up to the stage was just silly, and seemed kind of embarrassing for Hargitay who actually went. And I know that tons of people seemed to love James Spader on The Practice this last year, and his character is the main justification for its coming spin-off, , but with Kiefer Sutherland and James Gandolfini, not to mention Anthony Lapaglia in the mix, I just can’t buy it. And again, Ian McShane was royally robbed.

Two wins by The Daily Show thrilled me, though, even though I wished Chappelle’s Show could have received more recognition too. Angels in America received just what it deserved — i.e., everything — but I was especially overjoyed by wins by the brilliant Jeffrey Wright and Mary Louise Parker. Sure Meryl Streep and Al Pacino were the big names and given the most speech-time (especially Pacino; what the hell was that? Hey let him go on forever.), but Wright and Parker gave the most complex and moving performances in the entire miniseries, not to mention anywhere on television all year.

But none of that is as wondrous and fantastic as the news hinted at early in the evening and confirmed right before the end. When Arrested Development managed to beat out favorites Sex and the City and Curb Your Enthusiasm in the directing and writing categories, I thought, How nice that Emmy is throwing this heavily adored but still barely-watched show a little love. Still, I never thought the show would take home Best Comedy Series, and when it did, I have to admit I let out a little yelp of glee.

Was Arrested Development the best comedy series of last year? I’ve teetered on that very question all year. Along with Curb Your Enthusiasm, it was definitely far and away better than any other comedy on the air. But I would argue that while Curb started and ended brilliantly and every episode had moments, Arrested Development achieved a higher degree of perfection on all levels – especially writing and acting – while being as innovative as the Larry David series when it comes to recreating the half-hour comedy format.

Arrested Development‘s win is important for another reason, though. It’s not often that people applaud network executives, and it’s probably even more infrequent to read about me doing so here. But Fox head Gail Berman deserves major props for giving Arrested Development time to grow, find its audience and succeed. It’s move to 8:30 PM on Sundays this season just help it enormously. It was originally paired with Malcolm in the Middle, but The Simpsons is actually a much more natural lead-in in terms of sense-of-humor and target audience. Additionally, it won’t have to worry about losing audience to the various HBO series which dominate the demographic during the 9 PM hour. The publicity that comes along with an Emmy win and Fox’s ability to tout that should convince a few people to give the show a shot.

As for the Emmy Broadcast itself … I thought it was perfectly pleasantly average. It wasn’t awful or the most boring show in the history of television. It also wasn’t great by any means. I liked the little opening with The Bachelor‘s Chris Harrison doing a narrative voiceover treating the show like just another reality program. And the later bit where they brought out two “real” people to announce the Best Reality-Competition Series was kind of cute. (Thankfully, The Amazing Race deservedly received its just rewards for the second year running.) Host Garry Shandling was uneven, often seeming very uncomfortable onstage. I know that’s part of his schtick, but this just felt like he didn’t really want to be there. Many of the sketches were mildly amusing, but as usual, the montages celebrating television were pretty boring and the one about departing series really could have just been the four shows that ended this year. For that matter, could someone please tell me how Just Shoot Me got into that mix? I don’t remember it getting any big send-off, nor did it deserve one. It’s reputation sure got a boost based on the surrounding company in this montage of great shows no longer with us. And also, did I miss it, or was John Ritter missing from the “In Memoriam” montage? Was he in last year’s? I can’t remember. I guess maybe since I believe he died shortly before last year’s ceremony. But it seems odd that he wouldn’t be in this year’s even though they gave him a nomination.

Sure I have complaints, but overall, Emmy did good. Arrested Development, The Daily Show, Angels in America, The Amazing Race wins are better than just non-complaints, and The Sopranos finally receiving recognition with its first series win … maybe the Academy is getting a bit smarter. When the awards are worthy, I almost don’t care if the show is a bit dull. Almost.

HAPPY NEW YEAR! AREN’T YOU FEELING EXTRA-GIVING RIGHT NOW, ESPECIALLY WITH BIRTHDAYS ON THE HORIZON?

On this Erev Rosh Hashanah, I couldn’t think of a better way for my more-and-more secular Jewish self to recall that Jesus was 33 when he went up on the cross. What does one thing have to do with another? Well, it just so happens that my birthday is next Tuesday (9/21) and I will be 33. That should be some milestone, right? Especially since he was Jewish too. And I feel perfectly comfortable having this conversation because in just 10 days I can atone for it on Yom Kippur – after my birthday, thankfully.

Really, those of you who don’t know me, you can skip this, unless you’re feeling ultra-generous. But right now? Here’s a shameless plug for presents. That’s right: I’ve been short-shrifted on gifts for many a year, so now that I know my family and friends visit this blog religiously in order to keep-up with my life and opinions, I’m sure they’ll all say, “Hey, look … time to buy Aaron a gift. But I never know what to give him.”

Ha, I say. Shame on you. You know that movies, music and books are all I spend my money on. So just head over to this little Amazon Wish List and you’ll find plenty of DVDs, CDs and books which you can purchase for little ol’ me. Feel free to use their search mechanism to see what I’ve listed as “Must Have,” “Love to Have,” etc., although I haven’t had a chance to go through everything, but you know … I’m always grateful for free stuff, so go crazy with any of it.

And remember, what else are birthdays for if not for sending presents to those you love.

And for those of you who don’t know me and stubbornly continued reading: what else are birthdays for if not for sending presents to those you don’t know.

Yeah, it’s all a little self-serving, but then again, this is a fucking blog, and what else are blogs for … feh. You get the idea.

THE WORST (WELL, MAYBE SECOND-WORST) REALITY SHOW EVER: IT’S JUST PLAIN STUPID

Mark Cuban seems to pride himself on being a “risk-taker,” and the majority of his risks have paid-off. He made his fortune by starting and then selling broadcast.com to Yahoo! He throws money at the Dallas Mavericks, and year-to-year they’ve become a better team. Along with partner Todd Wagner, he has sunk a ton of money into the hi-def satellite and cable channel HDNet as well as the formation of 2929 Entertainment, financing indie distributor Magnolia Pictures and great art-hours chain Landmark Theaters, as in the Landmark Sunshine Cinema to all you New Yorkers. He’s also backing the new venture HDNet Films which is mandated to make several HD indie films per year and currently has (I believe) three films in some stage of production. Hopefully, each of these endeavors will be successful.

The Benefactor on the other hand, won’t be.

With the possible exception of Fox’s awful attempt to capitalize on Paradise Hotel with the painful Forever Eden, I can’t think of a more unwatchable reality show. The Benefactor wants to be The Apprentice, except these contestants basically just have to not piss-off Cuban. I watched the first episode, and although I sat through the whole thing, about half-way through, I deleted episode 2 from my DiVo. I knew there was no way I could subject myself to another hour of this drivel.

First of all, Cuban is no Trump. He may be as talented a business man and have similar size cajones when it comes to taking chances, but whatever camera-charisma Trump has, even with his terrible cue card readings, Cuban is missing it. In fact, he comes across overly-smarmy. Maybe it’s because he’s always grinning, and part of the show had this weird voyeuristic element with him watching the contestants from a back room that was just creepy, and not in an entertaining way.

Second, and more importantly, there’s nothing to this show. Basically, Cuban will give $1 Million to whomever he likes best. And believe me, you will never forget that because every third thing said by anyone – Cuban and contestants – is that someone has the chance, or has lost it, to win $1-Million. Seriously, imagine Dr. Evil sticking his pinky to the corner of his mouth, but instead of the line being for comic relief, it’s treated as the most serious, awe-inspiring line ever. In fact, while Trump has, “You’re fired,” Cuban is stuck with the incredibly bland, “You’ve last your chance at one million dollars.”

Also, this is literally a show about absolutely nothing. It’s trying to be tricky by doing the unexpected – getting rid of three people in the first episode, for example. Cuban lets loose the first contestant, minutes after introducing himself to his sad sixteen, simply based on what he saw in the back room. This one guy (can’t remember his name) had innocently said something about how he thinks the show will be “stupid,” but not in a regular reality-show way because it will be a cooler kind of “stupid.” It was a completely innocuous comment, mostly talking about how all reality shows are some sort of prefabricated and silly reality with absurd little tasks. Well, Cuban comes out and says to him, “You can’t call my show ‘stupid’ man. You’ve gotta go.”

Hey, you know what’s stupid? Not being able to decide on the last of your three departing contestants (because your whole process has no point) so you make them play Jenga, and the winner stays. That was beyond “stupid.” Aside from being the worst ever product-placement in anything ever, it was plain boring, and no amount of editing or music or Cuban doing Macauley Culkin Home Alone impressions would add to the non-tension of this several minute who-gives-a-crap sequence.

This entire show is stupid, from the pretentious and annoying opening credits to the non-confessional confessionals. If I cared more (or hadn’t deleted the episode as quickly as possible after I finished it), I could write why in more detail. But I’ve already devoted more web-space to The Benefactor than it deserves. Hopefully, ABC will see the error in its ways very soon and show benevolence to its audience by canceling this piece of crap.