TV Shows -> DVD: The State Within

25 Mar

the_state_within_dvd__large_jpg2Every so often, I come across an actor that I think is way too talented for the work I’ve found them in.  Jason Isaacs was someone I first saw in Armageddon way back when.  He played the NASA scientist who figures out how to stop the asteroid and has one of the best lines in the whole movie: “I know the presidents’chief scientific advisor, we were at MIT together. And, in a situation like this, you-you really don’t wanna take the advice from a man who got a C minus in astrophysics. The presidents’advisors are… wrong. I’m right.”  The man just oozed smarmy badass-ness.  Slowly, I waited for him to pop up in better more meaty parts, but alas he wound up as villains in Harry Potter and The Patriot, never really getting a chance to show off how an intelligent, yet realistic, protagonist could be played well.  You can imagine how happy I was to discover the BBC miniseries, The State Within.

The series follows Sir Mark Brydon, British Ambassador to the United States, during his last week in the position.  As he is wrapping up the final duties of the office, a terrorist attack on a British airline on US soil sends the country into a panic.  Brydon and British Counsellor External Affairs, Nicholas Brokelhurst, both begin to investigate the true purpose behind the attack and its connection to the Secretary of Defense Lynne Warner and her ties to former Haliburton-esque company, Armitage.

If you’re a fan of 24, then you’re already well-aware of construction of the plot of this series: a terrorist attack (or threat of terrorist attack) sets into motion a series of events involving multiple characters and conspiracies in the highest corridors of power with one man leading the charge to save the day.  Now here’s the rub: The State Within takes this tired formula that could have been used for any countlessly pointless seasons of 24 and not only compresses it to 6 episodes (thus saving on needless plot threads), but also makes every character believable and interesting.  I recommend this series to anyone that wants a little intelligence with their political action thrillers and some surprising twists on classic characters.  Now if only we could have something like this produced in the US…

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Purchased on Wednesday: Platinum Grit vol. 1, Hack/Slash vol. 5, Samurai: Legend

24 Mar

platinum-grit-vol-1jpg2Platinum Grit. vol. 1: This is volume one of the online comic strip, Platinum Grit (http://www.platinumgrit.com/) following the misadventures of the well-meaning, but hapless Jeremy and his friend, secret love, and constant antagonist, Nils.  In this first collection, Jeremy has inherited a Scottish castle from his not-quite-dead-yet aunt and must vanquish his Highlander-esque cousin Dougal to keep it.  Also, aliens show up.  Oh, and Jeremy must alter his destiny by partying with the 12 signs of the Zodiac.  It’s as crazy as it sounds, though is also equally charming.  Artist and co-writer, Trudy Cooper, renders the characters with a manic Disney-like style that makes both Nils and Jeremy come to life in simple black and white layouts.  I personally can’t wait for volume two.

hackslash_11bjpgHack/Slash vol. 5: If you’re not reading this comic, have never read this comic, or have never heard of this comic, then I feel extremely sorry for you.  It’s a classic high concept style pitch that seems to just keep getting better and better with each issue:  Cassie Hack is the daughter of the infamous slasher, the Lunch Lady and after the trauma of killing the undead creature that was once her mother, she sets off to hunt down and kill all slashers that roam the night.  Aiding Cassie on this quest is her loyal partner, Vlad.  Vlad is both fearsome and loveable depending on the situation and never leaves Cassie’s side.  Slashers, in case you don’t know, are basically the bad guys in horror films such as Freddy Kruger, Jason Voorhies, Michael Myers and Chucky the doll (who actually crosses pathes with Cassie and Vlad in volume 2).  This particular volume has a sordid publishing history.  Due to copyright issues (it features the classic horror character, the Re-Animator), the book had to be self-published and self-distributed by the comic company and thus the production quality of the book suffers.  The content, however, is still a cut above most of the horror movies being released currently.

samurai001_mediumjpgSamurai: Legend:  Marvel Comics has partnered with European publisher Soleil to present a diverse line-up of imported and translated titles for American audience to enjoy.  Samurai: Legend is one of those titles.  I’m a true sucker for this genre of comics and besides having a complete set of Usagi Yojimbo, Dark Horse’s Samurai: Heaven and Earth vol. 1 and 2, and Sam Noir: Samurai Detective from Image, I can still never get enough of samurai-themed comics.  Samurai: Legend is possessed of breath-taking layouts and line work while the compelling story of Takeo the newly anointed samurai and his journey of discovery.  The book is well worth the price in hardcover format and I look forward to more collections involving this character.

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Coming Attractions: (500) Days of Summer

20 Mar

I’m a huge fan of the romantic dramedy.  Romantic comedies are all well and good, but the thing is that actual romance includes pain and confusion and a lot less slapstick than your average Sandra Bullock movie.  The following is a teaser for the upcoming film, (500) Days of Summer starring Joseph Gordon-Levitt and Zooey Deschanel in what a great many of film enthusiasts are dubbing, “the next favorite hipster romance movie.”  Personally, I don’t think that label fits.  The tagline says it best:  This is not a love story.  It’s a story about love.  There’s also a full length trailer available that I’ll be posting later.

Synopsis: Boy meets girl. Boy falls in love. Girl doesn’t. This post modern love story is never what we expect it to be — It’s thorny yet exhilarating, funny and sad, a twisted journey of highs and lows that doesn’t quite go where we think it will. When Tom, a hapless greeting card copywriter and hopeless romantic, is blindsided after his girlfriend summer dumps him, he shifts back and forth through various periods of their 500 days “together” to try to figure out where things went wrong. His reflections ultimately lead him to finally rediscover his true passions in life.

Release Date: July 17th, 2009

{The song in the teaser is “Sweet Disposition” by the Temper Trap}

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Second Time’s the Charm

19 Mar

blade_ii_ver1So I have this small observation about genre pictures: Sometimes, on rare occasions, the sequel is better than the original. My DVD collection is rife with holes due to my insistence that I won’t buy the first film of a series just for completeness sake. Blade? Sucked. Blade 2? Sheer brilliance. The Mummy? Meh. The Mummy Returns? Dude… Pygmy mummies! See, when genre pictures (horror, sci-fi, comic book movies, etc) get made for the first time, they don’t get a lot of liberty with the overall vision and budget. It’s a gamble for a studio to fund just any movie, especially one with a niche audience. This is how the Fantastic Four movie can be so, so bad and Fantastic Four: Rise of the Silver Surfer can be… well, still bad, but not AS bad. In fact, if FF:RSS had come out first, I might not have liked it just that smidge-above-crap that I do. If you ask me, it’s not JUST a matter of bigger budgets and more freedoms. Yeah, that’s most likely the case with something like The Mummy where Steven Sommers is given more funding for his massive special effects spectacles or even Spider-Man 2 where Sam Raimi gets to really cut loose and even make a couple of winks to his old Evil Dead style of directing (see the Doc Ock attack in the operating room scene). Other times, though, it’s just a matter of someone else taking overaliens-movie-poster for the second go-around that might actually have been better suited for the franchise in the first place. Transporter 2 is not all that great of a film, but is light years more entertaining than its predecessor. That is in no small part to Louis Letterier getting to make the film HE wanted to and not pick up the pieces of Corey Yuen’s mess. Steve Norrington is hand’s down just a shitty director and shows it in the first Blade movie (if you think it’s a fluke, go rent League of Extraordinary Gentlemen for double feature of crap). It was international sensation Guillermo Del Toro stepping up to the plate that really showed just how cool a Blade movie can be (Zombie Vampires!). Hands down, though, the movie that will always show that the sequel can trounce the original in terms of awesome will be be forever known as Aliens. What Ridley Scott started with the classic sci-fi horror film, Alien, James Cameron shot out of the park with his taking the franchise up to 11 and injecting Space Marines, Power Loaders, Alien Queens, and annoying child hostages. All in all, the original movie sometimes just serves as the tryout film. What can this property do in a mainstream marketplace? It’s a success? Great! Let’s make another and throw a couple more million at it! When that happens, we the audience can sometimes get a taste of a really great time. Of course, we can also get Batman Returns, Chronicles of Riddick, and Rambo: First Blood part 2.

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Why I like Bad Movies: Punisher War Zone

18 Mar

punisherwarzoneposter-62908I’ve seen a lot of movies.  I mean, a ton.  I worked 5 years in a Hollywood Video and before that I survived middle school and high school on a steady diet of 5 rentals a week.  I had friends, I swear.  I just really dig films.  As I get older, I find myself really digging some bad ones, but honestly… They’re really great.

See, expectations are the enemy of everything.  Books, music, sex, parties, politicians, you name it.  Barack Obama could be the greatest president we ever have, but the expectations for his administration are staggering.  You throw that attitude at something overly hyped like The Dark Knight or Titanic or Forrest Gump and you’ll see some pretty unsatisfied viewers.  They’ll most likely say the following, “It was good.  I mean, I can see why so many people liked it… I just expected more.”  Some variation of that phrase usually will be the review.  You can only imagine what might happen with a movie that isn’t a blockbuster or critically acclaimed or even quality in the slightest.  These are the movies that make up a good third of my DVD collection.  These films are Why I Like Bad Movies.

Today I bought Punisher War Zone.  This movie is terrible, don’t get me wrong.  The acting is wooden and accents are hidden poorly and attempted worse (British actors do Brooklyn and American’s attempt Irish, all in the same scene), the action is gory as all hell (one scene involve the Punisher dispatching a villain like he’s a Pez dispenser) and the plot is non-existent (I honestly forgot there was one towards the end).  Yet, I saw this movie three times in the theater.  Why?  Because it’s just so much fun.  The trick with a character like the Punisher, a product of a bygone vigilante-obsessed era known as, “the 80′s,” is that you have to play it full tilt.  You can’t hold back one inch or you’ll lose what makes that character still resonate:  Revenge Fantasy.  See, John McClane in Die Hard probably kills more people than the Punisher but does it in a wife-beater instead of a costume.  While the vigilante has been done over and over again as so many different characters, exploring the idea of the audience being able to exact their frustrations on the cannon fodder of criminals will never go out of style.  Punisher War Zone even kicks it up a notch to Rambo levels of gore allowing for so many, “They did NOT just do that,” moments that any true Bad Movie Action Fan will crack at least one smile.

No this film is not for everyone.  Hell, it’s probably only for ten people.  Suffice it to say, Punisher War Zone is Why I Like Bad Movies.

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Blind Buys and Recommendations: Mister Blank by Chris Hicks

18 Mar

misterblankexhaustivecollection1I really enjoy two things about movies and comics and the like: The blind buy and the easily recommended.  The blind buy is usually fulfilling for the purposes of being in a shop and finding a book or DVD that just leaps out at you and says, “Trust me. You’ll like it.”  To then turn around and pass that book or DVD on to someone else and actually be the ones to speak the words is also extremely enjoyable.  Many a time, I’ve had a pretty good streak of luck with being able to not only judge a book by its cover, but also keep the trust of a friend by adding my name to the recommendations strewn over said cover.

When I was in New York City for the first time back in 2000, I stumbled upon Jim Haney’s Comic Universe over by, of all places, the Empire State Building. The friends I was on vacation with had actually found the shop a few days prior and been hiding its location from me so that I wouldn’t end up spending 5 hrs and $200 inside it.  They failed.  At the tail end of my cathartic shopping spree, I caught the simple cover of a rather large omnibus for a series called, “Mister Blank.”  I stopped dead in my tracks.  There wasn’t much the outside and I had never heard of the author, Chris Hicks.  Something about the art style, though, spoke to my sensibilities.  Cartoony yet expressive with layout that was extremely thoughtful and experimental.  It was obvious Hicks had some formal training and being that he was also the writer of “Mister Blank” he could make every character moment work twice as well.

The story of “Mister Blank” follows everyday joe, Sam Smith, as he gets swept from his boring uneventful life into a thousand year old battle of wills against the daughter of creation and her immortal sons who have been secretly conquering the world for generations.  While this all may sound “epic” and “intense,” it’s not all played that way.  Sam’s every man status is played to the hilt.  He’s completely unprepared for robotic assassins, shape-shifting clones, and psychic mimes.  In the end, all Smith wants is to ask out Julie from his office and rescue his loyal dog, What.  When it counts, though, Sam steps up and stares down Russian gods of the wind and leads the charge against the potential end of the world.

Amazing and fresh illustration that holds up years after publication, fun and familiar character driven humor and action, and an epic saga collected for reading in one sitting in one tight omnibus.  “Mister Blank” is one of my all-time favorites and I highly recommend it.  Trust me, you’ll like it.

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Watchmen Watching with Newbies

17 Mar


We should clarify something very quickly: Of course I enjoyed Watchmen. It was a film based (as faithfully as possible) on one of my all-time favorite comics. The cast was spot on, the FX were great, and the alternate ending even worked despite itself. If you want to read reviews about why it was good, there’re plenty online. If you want a voice of descent, then there are plenty of those as well. What I want to focus on is the reaction of the layman to this movie. Hearing why I loved it or where I thought it needed work doesn’t do much for anyone who would be reading this.

The layman, though. That’s something I’d like to write about.

The friends I enticed to see Watchmen were not comic book fans. They’d read a few (some at my insistence or ones I’d given as gifts) and had been intrigued by the trailers, but neither of them (one a man and one a woman) had that a connection to the material as translation from another work (otherwise known as “arrogant pessimistic nerd syndrome”).

These two “newbies” had positive reactions to the film but for different reasons and being someone who loves to be the “pusher” of all things nerdy and film-related, it was a treat to enjoy the picture with both of them separately.

The man (we’ll call him “Two”) was someone of similar taste in violent and intense films as me. We both liked b-movies and he leaned more towards horror than my interests, but we found common ground in films like Rambo, Death Sentence, and Sin City. He’s also an artist who admires color and mood and he’s into uniquely dark anti-heroes and their brutality. Suffice it to say, he ate up every minute of bone-crunching fight scenes, one-liners uttered in gravely voices, and disturbing scenes of dark behavior. We both sat in focused attention to every frame only breaking eye contact with the film to lean over and exchange the following joke, “I thought I’d seen violent, then I saw Watchmen…”

The woman (we’ll call her, “September”) was someone with an aversion to the things that Two enjoyed. Violence made her uncomfortable and the dark and twisted lives of characters were not enough of a reason for her to show interest in a particular story. The artistic sensibilities, however, were something that Two and her shared and the idea of a different world similar to our own with conflicts of the human condition seemed to appeal to the same degree to September that blood-and-battery appealed to Two. She commented on the colors and the palette used to bring certain scenes to life as well as how the tragedy of certain characters made her really root for them at certain points.

Both September and Two liked the film, no question. Both went on to recommend it to other newbies and both felt comfortable discussing its merits and its flaws. No matter how poorly the film has fared lately, it DID reach an audience. It did have an effect as a movie on newbies and could pique enough interest for a pop culture pusher like myself to now be able to go, “well if you liked Watchmen, then you’ll really like THIS.” That’s what really makes all the difference, right?

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Elizabethtown: Images and words CAN matter more

16 Oct


Two things to remember when watching movies: 1) NEVER go in with preconceived notions and 2) Once in awhile be ready for heart to beat out your mind on enjoying a piece of cinema.

Cameron Crowe is an amazing writer/director. For a generation, this films have touched on the feelings of hopeless romantics everywhere. His characters are charming, his dialogue winning, and his soundtracks are co-stars in the movie in which they inhabit. From “Say Anything” to “Singles,” “Jerry Maguire” to “Vanilla Sky” and now “Almost Famous” to “Elizabethtown.” Crowe’s films are a clearly stenciled path of an alternate reality where great music always plays at just the right moment and characters realize the potential in which they are always slightly missing achieving actually resides in their soul, yearning to be found.


“Elizabethtown” follows Drew Baylor played with quiet uneasiness by Orlando Bloom, as he is fired from his job, dumped by his girlfriend, and positioned for public failure akin to the creators of New Coke. As he prepares to commit suicide, his sister calls to inform him that his father has passed away. Thus Drew begins his trip to Elizabethtown, Kentucky to represent his west coast family for a southern memorial service rife with conflict. During the red-eye flight, Drew encounters Claire, an overly friendly stewardess who is eager to help him get through his troubling next few days. The two enter a quirky romance that hangs in the wings as Drew tries to understand who his father was and who he is going to become, all the while trying to navigate every family reunion landmine imaginable.

First, the gripes. Every critic that seems to think that they matter have attacked this film’s lack of realism and it’s cluttered nature of scene construction. The romance has been criticized as unbelievable and over the top while the ending seems to not fit with the rest of the film. Second, the middle of the film has been criticized for dragging down the rest of the movie and might even contribute to gripe number one. To this, I have only to say, “Shut up and watch, you heartless blowhard.”

This movie is not meant to be a linear story, but rather a film where an out of left field girl helps a depressed and confused boy deal with the greatest loss he can comprehend during his height of utmost failure. That’s the whole movie right there. Drew is a cipher for every twenty-something male lost at sea and misguided by the thought that being a success defines who you are. Claire is a fantasy woman, but she is meant to also be the light the end of a tunnel of self-discovery. When you’re ready to face what you’ve failed at, when you’re ready to actually love life despite the pitfalls, you’ll find a girl like Claire waiting for you. Losing your father can be very hard on a son. I dread the day when I might have to put my own to rest. There is no preparation for that and no amount of cynicism can curb the fact that it’s obvious Crowe is still trying to find the words to describe his loss. What he has attempted to do here is create a landscape for his own feelings to come out and talk about what he’s feeling. If you can empathisize with them and join in, maybe find a foothold with which to relate, then this film will make you feel full of life. If not, just try to enjoy an amazing soundtrack and some great scenes of the countryside that makes up this land of ours.

Favorite scenes?

The whole phone conversation between Drew and Claire that leads up to their watching the sunrise is one of the most modern romantic fantasies ever put to film.

Drew’s entire walk of shame and subsequent breakdown are very scarily sympathetic.

The end roadtrip is so well done, it tugs on every heart string until you’ve run the same gauntlets as Drew has.

“Elizabethtown” is not for everyone. I can think of at least three people off hand I would never recommend this movie to. It is still a great piece of film-making and should be seen by anyone who is ready to shut off their critical thinking and embrace what it feels like to go through every emotion of failure, loss, and discovery that we’re capable of.

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Serenity: You can’t take the sky from me…

16 Oct


So I haven’t made many updates due to a little distraction. Actually, not too little. We’re talking about a big damn movie that should never have gotten made, but bucking the law of averages, there it was; larger than life and twice as amazing. I am, of course, talking about “Serenity,” the Firefly movie.

First, some backstory: When I served my purgatory that was Best Buy, I met a man named Lawrence, a self-professed “Whedonite.” What the hell’s a “Whedonite”? They’re someone who loves writer/director/television-show-creator Joss Whedon of Buffy the Vampire Slayer and Angel. Now, Lawrence was also preaching about some new show that had just been released on DVD called “Firefly” and how it was sad that it’d gotten pulled from the air. I looked at the box and read the back, but saw nothing that really struck me as truly amazing or ground-breaking. At this point, I wasn’t even a fan of the man. Lawrence made me a deal, though. Since he was waiting on a paycheck and couldn’t by the set, he told me to buy it. If I didn’t like it, he’d buy it back at the standard retail price and I’d make about fifteen dollars on the whole deal. “What if I want to keep it?” I asked. He smiled, “Then I win.” Suffice it to say, I still own a rather worn and loved “Firefly” DVD set that has since been loaned out multiple times over the last two years. During those two years, I was a cult leader akin to Charles Manson, enlisting disciple after disciple in the religion of “Firefly” until every one of my close friends all owned copies of the series and we all waited patiently for the rumor to come true: There was going to be a “Firefly” movie.

Whedon put a part of himself into creating this show and when it was canceled, he was beyond scarred. The thing is, it’s hard to keep a good idea or a good idea man down and through a little bit of fan support in pushing the DVD numbers through the roof and a rival studio of the company that produced the series looking for a new property, Whedon got his greenlight. This became “Serenity.”


“Serenity” follows the cast of “Firefly,” Captain Malcolm Reynolds, his first mate Zoe, their pilot Wash, engineer Kaylee, and mercenary muscle Jayne as they protect a young doctor, Simon, and his psychic, River. Set in the far future, where civilization has grown so advanced that the lower-castes actually resemble the old west, the crew of the transport, Serenity, scour the system for jobs, legal or otherwise. When they offer to protect the young Simon and River from the allied government who are chasing them for unknown reasons, they bring on a world of hurt for very little profit, but a cause worth fighting for.

The message of “Serenity” is not one of action and adventure. It’s one of belief and what you’re willing to do fight for what you believe in. The Alliance has sent an Operative to kill River and whoever stands in his way. This Operative believes in the dream of a perfect world promised by the Alliance. Throughout the film, every character is forced to face their own beliefs, most of all the Captain. Malcolm lost his faith in God during a vicious war that his side ultimately lost. Since then, he’s been a hard man of very confused principles, silently searching for something, anything, to believe in and fight for. To him, without him actually knowing it, defending River from the hands of the Alliance IS that belief that he’s been missing. The moment in the film when he’s forced to face it… “I am to misbehave.” There are moments in movies where someone can feel the room actually shake with the realization that a character is actually going to do whatever it takes to fight for what they think is right. That scene is one of them.

Now, I’m a fan of the show. That is beyond obvious. I loved “Firefly” and was so passionate that I enthralled others to be just as in love as I was. The thing is that I actually brought other people to this movie, non-fans, who had never seen the show nor were total sci-fi fans. Indie movie lovers, action movie junkies, and people just out to see something different. They all loved it. Once again, my DVD box set is making its rounds with a whole new group of people.

“Serenity” is a film built on winning dialogue, fun characters, great action, and a pre-battle speech that we can sum up the movie in one monologue: “Y’all got on this boat for different reasons, but y’all comin’to the same place. So now I’m asking more of you than I have before. Maybe everything. Sure as I know anything, I know this: In a year or maybe ten, perhaps even on this very ground, they’ll swing back to the belief that they can make people better; and I don’t hold to that. I aim to misbehave.”

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TV Guide Be Damned

23 Sep


Every season there’s a show that hits it big. Said show proceeds to spawn clones of the hit formula and then subsequently creates a sub genre of television based around said formula. The most current example of this is the new “we’ve-run-out-of-original-ideas” concept of the “Procedural” spawned by the success of CBS’s “C.S.I.” program and its cardboard cut-out spin-offs.

The point is, that there is a constant argument regarding nothing being good on television anymore. I agree with that statement wholeheartedly, but also mention that everything is open to debate about the quality of entertainment versus one’s tastes and guilty pleasures {see previous post re: the “O.C.”}.

Consistently, though, there have been voices on television that seem to capture an audience and create a following akin to cult-like status. These creators don’t get copy-cat programs because rarely do the shows they voice become break-out hits which can be copied and recast to have similar successes. The three voices that I single out as a trinity of modern television are Joss Whedon, Aaron Sorkin, and Bill Lawrence.


Now, we’ll start with the lesser known of these this trifecta: Bill Lawrence of “Scrubs.” He represents the sitcom aspect the trinity. For those who’ve never seen the show, “Scrubs” follows three medical interns as they face the challenges and trials that await them as full-fledged doctors. The show is told from the perspective of the main character, J.D., who provides a voice-over and sets the tone for many of the comedic and dramatic scenes of the show. Throughout the show, J.D.’s daydreams about the situation are intercut with the scenes. There’s no laugh track and no live audience. There are no cardboard sets and 3/4 open stage shots. The whole show is filmed in a decommissioned hospital and filmed with the one camera method allowing for maximum mobility of point-of-view. Lawrence infuses his characters with equal parts physical comedy and warmth of character. Each episode can be about something tragic or hilarious, and be tempered with enough levity or drama to make it resonate for the simple twenty minutes of programming that it delivers to its audience.


While Lawrence has cornered the market for a unique voice in sitcoms, Aaron Sorkin has brought a new voice to the drama. While one of his most well known works has been the highly successful political series, the “West Wing,” his previous work on the dramedy, “Sports Night” set a tone for what he and his team of writers and directors can bring to a show. Many would characterize “Sports Night” as a sitcom, but the fact is, its lack of laughtrack, studio audience and situational comedy in general, move it into the same realm as the “West Wing”: a dramatic show with a great sense of humor. This seems to be Sorkin’s gift and is definitely carried over from his playwriting career. The back-and-forth banter, harsh emotional struggles, and ability to walk the tightrope between heart-wrenching monologue and ear-piercing melodrama are all skills learned on the stage and Sorkin manages to carry them with a professional demeanor and stride. While he may have broken new ground with the West Wing’s immaculate writing, he has since dropped out of the spotlight after being fired from the show he helped create. Without a doubt, whatever his next project, whenever it will be, Sorkin will continue to a talented and ground-breaking voice in television.


Finally, and I say finally because getting to this point takes a great deal of steeling myself for inevitable backlash, we have Joss Whedon. While widely known as the man who gave Sarah Michelle Gellar a career, Joss Whedon has been a writer in the television and media scene for the majority of his adult life. From staff-writing gigs on Roseanne to script-doctoring such movies as Speed and X-Men, Whedon’s trademark quips and dialogue can be found peppered throughout the industry. When the WB wanted something different for their fledgling network, Joss dug up his original ideas for what became the “Buffy the Vampire Slayer” feature film (don’t be weirded out if you don’t remember it. It starred Luke Perry) and spun a franchise that included merchandise, a spin-off show (“Angel” starring Buffy’s vampire ex-boyfriend) and even comics. A tour-de-force in sci-fi, Whedon even tried to create an unrelated show for Fox, the cult-favorite “Firefly” and its feature film “Serenity,” but his fame will always lie with the little girl with a destiny. In essence, besides Whedon’s brand for catchy banter and wisecracks (and even in some cases, musical numbers), all of his shows are about heroes and what it truly takes to be one in whatever fictional landscape he constructs. The most intriguing part of said landscape has always been his thinly-veiled metaphors for what they represent. In “Buffy,” we learned that high school can be Hell, literally. “Angel” showed us how our finding the path to being an adult and our place in this world can be torture. “Firefly” was his crowning opus that illustrated that just surviving every day in this world takes grit and heart. The following are lines from each of Whedon’s three series that can illustrate how just a few sentences are able to show the emotive core of what makes good television: “Buffy” – “The hardest thing in this world is to live in it.” “Angel” – “Heroes don’t accept the world the way it is. They fight it. “Firefly” – “We have done the impossible and that makes us mighty.”

Three voices of television that have, whether subtly or drastically, changed the standards of what makes good, well done entertainment. Thee voices whose names will always be synonymous with quality and inspiration. Three voices that a little glowing box will always need, despite what TV Guide may tell you.

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