My local PBS affiliate aired a special on The Electric Company (I think it’s was from the single-disc “Best of” DVD”) which got me wondering about the show’s influence on me. Taking another look at the flashy graphics as well as the pun and wordplay based humor, I wondered if that led to my love of puns and video effects (hell-ooo Xanadu) later in life.

I’ve got the opening music stuck in my head today. Looking at the visual effects, I wonder if The Electric Company set things up for the MTV generation, especially since the educational focus seemed to inspire some rather inspired levels of absurdity.

One thing I found interesting in the special was the talk of how they were aiming the show at kids older than Sesame Street viewers, because those two shows were a double feature for me as a kid and my mom would work me through an Electric Company activity book before I started kindergarten. (Perhaps that’s why I hated Barney and the talk of how a show aimed at a pre-Sesame Street audience was needed annoyed me so much, it displayed a different attitude from what I grew up with, an attitude that said “If they don’t get it now they’ll get it later.” while Barney seems to talk down to its audience.)

In one sketch they aired, Rita Moreno wishes upon a star and asks for a million dollars. The voice of Morgan Freeman replies “No way.” My first thought was that, apparently, Freeman’s been getting cast as a voice from above for longer than we think.

I remember one day in kindergarten when we saw one of the older classes getting into the bus. “They’re going on a field trip to see the electric company,” our teacher explained. I asked if they could go see The Electric Company if we could take a field trip to Sesame Street (after all it was established that some of The Electric Company’s characters were a short walk from Sesame Street).

Here’s another YouTube clip, from a song that’s stuck in my memory longer than any Schoolhouse Rock offering:

Supplemental tags: The Electric Company, Childrens’ Television Workshop

• Johanna is seeking someone who can find a copy of the latest Q magazine with the Pete Townsend cover.

• Nat Gertler can’t get away from suggestions that they watch Lara Croft: Tomb Raider: The Cradle of Life.

• Sasha Cohen is looking at making a Bruno film, staring his gay Austrian fashionista character who thought the gay capitol of the USA was Alabama. (via Shakespeare’s Sister)

• What you need to know if you want to get the boys to smooch in Bully.

• The Nobody’s Watching guys get ready to watch Lost. Cute in many moments, annoying in a few others.

Supplemental tags: Nobody’s Watching, Bully

Apparently, NBC and The CW are refusing to promote the upcoming Dixie Chicks’ documentary, Shut Up and Sing so take a look at the 30 second trailer:

Y’know, there’s something about this trailer that makes me want to get out and go to a theatre for the first time in ages. Maybe its just The Dixie Chicks, who’s music I’ve always kinda sorta love (oh, “Sin Wagon”)… or maybe its a hope of seeing a bit of Mister Natalie Maines.

Glenn Greenwald compares this to the time when TV networks deemed ads for the United Church of Christ promoting the church’s policy of inclusiveness as “too controversial”, noting how the TV networks have only shown consideration for what one segment of their audience might find too controversial. (And hello, CW network, have you watched your programming lately? I don’t think the audience who watches Supernatural and Veronica Mars is going to be offended by this movie in 2006.)

UPDATE: The Washington Post’s Lisa de Moraes wonders if this controversy is a bit of steath marketing, noting that there wasn’t an attempt to buy ad time on either network aside from submitting it to the standards and practices department while a CW Network spokesperson denies that the network every said it “did not have appropriate programming in which to schedule this spot”.

Supplemental tags: Shut Up and Sing, The Dixie Chicks

In reviewing Rock Star’s controversial new video game, Bully, The San Francisco Chronicle’s Peter Harlaub voices his disappointment in the inaccuracy of the game’s critics:

Misinformation such as the Bully scandal just hurts parents’ chances of communicating with their children about video games. Every time kids see adults going berserk about a game that turns out to be relatively benign, there’s little choice but to assume they’re not ready for an honest conversation. Bully critics are using the same arguments we heard during censorship battles that focused on comic books in the 1950s, rock music in the 1960s and Dungeons & Dragons in the 1980s. (Remember when that was corrupting our children?) Except this time, we have cable television talk shows and the Internet to spread misinformation and stir outrage.

I never paid a lot of attention to the Bully controversy, so until I read Harlaub’s review I had a completely wrong understanding of the game. (Thankfully, unlike some, I realized that, with so little knowledge, I shouldn’t talk about it.) That got me thinking of another controversial game that I held a wrong understanding, Night Trap.

See, Night Trap was a horror-themed full motion video game where a vampire lures young, pretty college students to her abode for a slumber party, where her family plans to ambush and feed on the co-eds. You watch over the intended victims through security cameras and set off traps when the vampires get within range, saving the co-eds who mostly remain oblivious to the danger… if you play the game well.

Whenever the news would cover the then-current controversy over violence in video games, the program would show grisly footage from Night Trap that made it look like it was a game where you played a serial killer hunting down pretty young students, when, in actuality, that footage played if you failed at the game.

The media missed the game’s real problem — it was boring and had little replay value. (A similar follow-up game Double Switch at least had Deborah Harry chewing scenery.)

It’s sounding like Bully is not the game it was hyped to be and Harlaub’s reveiw certainly makes me want to pick up a copy, especially since the game has the flexibility to make your character a boy who likes boys. However, I’m currently playing X-Men: Legends, though so it’ll be a while until I get there since I have a few more games in the queue like X-Men: Legends 2(I sure hope Scarlet Witch is more fun to play than Emma Frost in the first game), Kingdom Hearts 2 (I hear Stitch is in it!) and Okami (is that the most spectacular looking game ever?).

Supplemental tags: Bully

The October issue of Shojo Beat introduced a new series to the magazine, Kanoko Sakuraoji’s Backstage Prince, a promising series about the relationship between two socially-awkward teens – Ryusei, a handsome and famous kabuki actor and Akari a high school student who knows little about kabuki.

One thing that stands out about Backstage Prince to me is that it’s purely a romance story. It’s not a romantic comedy, it has no elements of historical fiction, fantasy, sci-fi or gothic horror and all other relationships (like the protagonists’ friendships outside of their romance) are clearly given a back seat role. That makes Backstage Prince feel unique from every other manga series to appear in the magazine.

Both Ryusei and Akari have trouble dealing with other people. Ryusei’s only close relationship is with his cat, Mr. Ken, he may be a very talented kabuki performer but he hates the personal dynamics that go on backstage. Akari is similarly aloof, her friends don’t understand why she isn’t boy-crazy like the rest of them (she doesn’t see the point of ogling pretty boys, since she believes that a handsome boyfriend could not stay faithful to her). Since Ryusei’s fame and talent makes him a public figure, the pair keep their relationship a secret. Not realizing that the two were in a relationship, people that work with Ryusei openly treat Akari with disdain, seeing her either as a lowly assistant or as a nobody fangirl who somehow got onto the set.

What makes Backstage Prince compelling is that it succeeds as a character-focused romance. This is the story of two youths who’ve had trouble connecting with other people throughout their lives and have suddenly met someone who is able to understand them in a way no one understood them before. Backstage Prince is about two very guarded people learning to try to trust someone else after finally finding someone deserving of their trust. It’s a story about how people change when they find someone special and try to make room in their heart for someone else. Telling such a character based story is a daunting challenge, but so far Backstage Prince has made these two characters very compelling. This has quickly become my second-favorite title in Shojo Beat, second only to Nana.

Supplemental tags: Backstage Prince,

• Oh joy, please tell me that go-go checks have truly returned.

• Great, more glorification of cultural supremists (first link via Laura Gjovaag) Could use sound effects tho.

• Ouzo is now a region-specific product, much like Champagne and Bourbon.

• Shakespeare’s Sister takes a look at another racist ad being run against Harold Ford. Her conclusion reminds me of a time someone posted a lengthy essay on a message board about how the “mistaken perception” connecting Republicans and racism was based on people misunderstanding voting patterns in the South and…zzzzz. My initial response to the essay was that I associated Republicans with racism because Jesse Helms was a Republican when I was in high school and they haven’t countered that image.

• I’m not sure if video games could get much gayer than Dance Dance Revolution: Strawberry Shortcake without throwing in rainbow flags and same-sex smooching. I so wish I had space for my DDR dance pad.

• Regarding Hilary Duff appearing in ads for the latest The Sims 2 expansion, Joystiq’s Jason Ransom-Wiley asks an interesting question, “isn’t this the first time a publisher has pulled in a female celebrity to market its game to other females?”

Supplemental tags: Dance Dance Revolution: Strawberry Shortcake, The Sims 2

So. The spouse turned on a Dirty Harry movie the other night and I couldn’t watch it for more than twenty minutes — I just found it so dull.

Part of the problem was that the character had such influence on future action heroes that the original inspiration now feels like an overplayed cliche. I wasn’t old enough to watch the early Dirty Harry movies when they became part of the zeitgeist, so putting the character into that context was entirely an intellectual exercise, not an emotional or nostalgic one.

However, a bigger issue for me was that, after watching Life on Mars I had a hard time taking seriously a maverick cop who doesn’t play by the rules, knows he’s right without seeing any evidence and feels fine beating the information out of a suspect. That character is now firmly set in my mind as an antagonistic sidekick, he’s not a leading character any more than Baldrick or Cogsworth.

That got me thinking about the David E. Kelley-led Americanization of Life on Mars. I’ve seen many people worry about the adaptation, but I don’t think the picture is so bleak. Kelly brings to mind over-the-top plotlines and offbeat characters but I also think of him as one of the few writers who’s written stories about prosecutors and defense attorneys that refused to put black or white hats one “side” or the other. The protagonists on The Practice didn’t have any problem playing dirty and breaking the law to get their client off, but the prosecutors who opposed them could be just as unethical. What I found interesting about The Practice was how Kelly would depict some prosecutors as lazy, seeking the easiest conclusion, dismissing evidence that counters their initial instinct or as seeking a media spotlight over justice. On Life on Mars, the conflict between Sam Tyler and Gene Hunt focused on three of those four failings, so I’m hoping Kelly will “get” that part of Life on Mars — the way our view of the importance of evidence in criminal investigations has changed from Dirty Harry to CSI.

One aspect of the original Life on Mars that has bothered me was the gender roles. The show has faced some criticism (rightfully, I believe) that women on the show tend to have limited roles as nurturers, love interests or victims. Still, I debated if that was apt for a show that was a reflection on how women were depicted in 70’s police dramas. I was never sure if that aspect indicated something wrong with the show or something that was meant to bother me with that “see what progress we’ve made” perspective. Kelley doesn’t have a good record on feminist issues, but he addresses them better than most TV writers (sadly) so I’m interested in seeing how Kelley handles this aspect of Life on Mars.

Then again, the dangers in adapting Life on Mars are pretty worrisome. The 1970’s elements could easily turn into lame parody and, since if the show is successful, Kelley’s team will have to create more than the sixteen episodes that will tell the full story of Manchester detective Sam Tyler. The mystery in the original is nicely paced because they don’t have to drag it out for very long, but the American version will run through that clock more quickly. Hopefully, Kelley will downplay the mythology.

Still, despite those hurdles, I think Kelley’s adaptation could be solid.

Supplemental tags: David E. Kelley, Life On Mars

Okay, I’m having one of those “blog blah” days. Where nothing’s making me want to say anything much, but I thought throw out a thought… 30 Rock does include quite a bit of product placement but considering the subject matter I find myself wondering if that’s a deliberate parody, much like the product placement in the Josie and the Pussycats movie. Yeah, it’s still product placement, but I’m finding it far less disruptive, unlike the instances of product placement in The Office or on reality programs.

I’m left wondering, though, if I and the spouse are the only ones who are finding this show very funny? It’s no Arrested Development or Scrubs but it generates more laughs than Everybody Hates Chris or How I Met Your Mother in my household. I have a feeling 30 Rock will really blossom into a great show.

Additional question… does that scene of Joy spray-painting “Juicy” in stenciled letters on her sweat pants in the season premiere of My Name is Earl count as product placement? ’cause I just found it hilarious, though I see how it pushed forward the brand identity of Juicy Coiture.

Also, I read today that the presumed-cancelled Twenty Good Years hasn’t stopped filming episodes. Huh? I realize the networks have been wary to officially cancel shows (have we had our first canceled show of the new season, yet? it seems like everything is on hiatus, but not cancelled) but this goes beyond that.

I dunno, maybe NBC wants a full 13-episodes to put on Twenty Good Years DVD sets. Who will buy that DVD, though?

Supplemental tags: TAG, Twenty Good Years

I think Glenn Greenwald’s analysis of the New Jersey Supreme Court’s decision on spousal rights has the key talking point:

The decision today is entirely consistent with the democratic will of New Jersey residents. The New Jersey legislature already enacted a domestic partnership bill two years ago which recognizes, and grants a whole array of marital rights to, same-sex couples. But the way the laws were written, some rights were still assigned only to “married” couples. The court decision today simply requires that those same-sex partnerships have all of the rights which are given to married couples. But New Jersey voters, through their representatives, already approved of recognition of same-sex relationships two years ago.

Uhm, wow. After November sweeps, NBC will replace the Thursday night airing of Deal or No Deal with Scrubs and 30 Rock. Interestingly, this will pit Scrubs against Grey’s Anatomy in TV’s most competitive time slot (and put 30 Rock in Studio 60’s original time slot).

This is an interesting move, since NBC is putting some of its strongest shows against the powerhouse lineups on CBS and ABC.

I suspect some Scrubs fan will worry that this an attempt to finish off the critically-beloved but ratings-challenged show (which is expected to lose star Zach Braff this year), but I think this could provide an opportunity for Scrubs, actually, since it’ll have The Office a show that draws a similarly-minded audience, as a lead-in. Erratic scheduling has been a problem for Scrubs in the past and, for once, Scrubs will air at a time when their audience is already tuned in.

If there’s any NBC comedy I’m worry about, it’s My Name is Earl which has been losing viewers.

I suspect NBC Entertainment President is going after Fox for third place. Thursday nights are an expensive night for advertising, with the movie studios trying to make that last pitch to moviegoers before they pick a movie to see on Friday and a show can make money with a smaller audience. Fox did okay when it moved the once-hot The O.C. to Thursday nights in its second season, but it shed viewers in the third season and the shows Fox’s other Thursday-night offerings (North Shore, Reunion, Til Death and Happy Hour) have all fizzled. There’s an opening to be a modest success on Thursday nights and if it means diluting the Deal or No Deal brand a little less, that’s a better long-term investment for NBC.

Then again, I’m happy since I used to delay my viewings of 30 Rock to Thursdays… except that now I have to wait until 8:15 to start my marathon of happy-laughter-delivering shows. Already having 30 Rock recorded from the previous night, I used to be able to start a little earlier.

Supplemental tags: 30 Rock