MagneticMediaFed

If you head over to Nick.com you can check out a few full-length episodes (about 12 minutes each) of their new Saturday morning cartoon* The Mighty B!. The reason I took note of the series, about an overachieving Honeybee scout attempting to earn every last Bee Badge, is because of the voice talent involved. Amy Poehler voices Bessie, our fearless heroine, and I believe also writes for the series. In “Sweet Sixteenth,” the episode I checked out, Andy Richter was the voice of her brother and the roller-coaster operator was voiced by Brian Posehn. Now, if countless horrid Dreamworks CGI features have taught us anything it is that an all-start cast does not make good animation. However, The Mighty B! succeeds, in my opinion, because the voice talent, specifically Ms. Poehler’s, is so expressive. The character is essentially her Kaitlin role from SNL (”RICK! RICK! RICK!”), already one dimension shy of cartoon.

I have very little else on which to judge the show as my diet of kiddie-cartoons has seriously ebbed since turning *eh-hem* twenty-seven. Though comparing it to the last adult-icon-meets-kids-show I watched, Class of 3000, I’d have to say it surpasses the latter in terms of laughs but falls considerably short when it comes to creativity (both in the subject matter and in the animation style). In storied history of Warner Brothers, Tex Avery and even Goofy there isn’t a whole lot of ground being broken here — perhaps Andre 3000 set the bar a tad high with the lofty goal of having an original song in each episode. As a comic distraction for the kids (or those of us who sometimes still feel like kids) we could probably do a lot worse.

*Apparently there are still Saturday morning cartoons. Who knew?

So funny.

Look, I have nothing profound to say about Thursday’s episode of The Office aside from the fact that I think it is safe to say at this point that Mindy Kaling writes the best laugh-out-loud (that’s LOL for the kids) episodes of their whole staff. Here are things that I loved from “Night Out”:

• Ryan on drugs with his “half-beard”
• Jim screwing things up
• Pam throwing a football in Meridith’s face
• Dwight’s ability to attract hot women and then reject them
• Michael’s explanation of what to do if a friend tells you he has a drug problem, and then saying “I’ve been watching The Wire. I don’t understand a word of it!”
• The poor security guard
• AND PERHAPS the single funniest thing I have seen in 2008: Toby saying that he is going to move to Costa Rica and that he is now going to leave and jump the fence, followed by him running out the door and jumping the fence. This made me laugh so hard I had to pause the video — God, I hope he doesn’t really leave the show.
• And the little guy… I’m sorry, I feel bad… but seriously, goofiest looking guy ever? Perhaps.
• This isn’t a funny thing per se, but since I’m from Omaha I enjoyed that the club in New York was playing “Worked Up So Sexual” by The Faint.

What did I forget?

Last week I said that Stephanie was pick to win this season’s Top Chef, a decision that I’m OK with even though I now realize it should probably be Spike, and not because he seems to have the best assortment of hats. Plus, when you see your pick sitting there on the chopping block you can’t help but feel a little squeamish.

But that is not what I wanted to say this week. No, I wanted to take this particular post to say — for the record — that I HATE Lisa. I hate her stupid eyebrow ring. I hate her Complainy McComplainerson disposition. I hate how dismissive she was of Polish Sausage. I’m sorry, but this is the way I feel.

It should also be noted that I no longer hate Richard because despite his obvious superiority to everyone else in the competition and his desire to often remind us of all of this you have to kind of like a guy who is willing to do a bad Seinfeld impression. Right? Well, maybe. Still, he isn’t as bad as Lisa. She has GOT to go.

Last, I want to let it be known that this week’s episode might be in my top five. It seemed to have everything: twists, turns, deadpan line readings by the Kiwi, more than one team that excelled and teams on the bottom that were equally at fault but for completely different reasons. All that was missing was a Tony Bourdain guest-spot and some general inter-group screaming.

Updated after the jump…

Since Reaper premiered on The CW last fall it’s been on of those series with enough kinetic energy to really become something memorable, but simply without the tools needed to really pull it off. At first it was too formulaic, trying to be an ultra-rigid monster-of-the-week series when its target audience (young people) has begun to demand at least some serialization (something even CSI has acknowledged). By the time the strike rolled around Reaper had found itself in my not-so-important pile, where episodes would sit around on my hard drive or DVR for weeks before I’d get around to watching them.

However, once the show returned in Mid-March it seemed to have found a solution in the form of Ken Marino and Michael Ian Black as two gay, demons living next to Sam and his friends in a lush high-rise apartment. This week’s episode initially seemed to raise the stakes by having the two of them recruit Sam in an effort to overthrow Satan himself. I loved the long-term possibilities of this. I could their plan being carried out over entire seasons. So needless to say I was disappointed when the whole thing appeared to have burnt itself up over the course of one single episode. More after the jump…

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Diabolical!

I can’t think of a character on a major network television series initially established as being so sweet but ultimately being so evil. I’ve seen the opposite. HRG on Heroes comes to mind. But Jenny Humphrey’s free-fall from poor teenage decision-maker to ruthless seaword feels unprecedented, and puts a mainstream, mostly teenage audience in the position of not having black and white lines drawn for whom we should be rooting. While watching this week’s episode I think I switched allegiances three or four times before ultimately just siding with mutual-assured destruction — ethically dubious, perhaps, but way more fun.

I should also note that seeing this show, the first time since leaving New York, I was reminded of words I used to live by: Not going to Butter is way better than going to Butter.

Amen!

I suppose this is a post reminding everyone that Gossip Girl returns to The CW tonight for a string of new post-strike episodes beginning at the startlingly early time-slot of 8PM. Tonight we’ll presumably see: Dan and S get into some sort of fight that will be resolved in about 45 minutes; Jenny continue to fall down the social rabbit hole; Chuck do something manipulative; Nate act boring; Rufus act a little mid-life-crisis-y. I also predict someone will get a critical piece of information via text-message.

But that’s a lie, the real reason for this post is just so we can all gawk at the above advertisement one more time. I know we’re in a recession, but whoever designed that ad needs a serious bonus. The not-quite-as-cool video ads after the jump…

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So, I’m not entirely sure if I’m supposed to be posting this or not, but it was sent to me by CBS yesterday as promotion for Monday’s episode of How I Met Your Mother, so I guess this is me “promoting.”

Enjoy Sandcastles, a new song from 80s Canadian Pop-Legend Robin Sparkles. A clip from the video is available on her MySpace page.

Check out the show Monday for, presumably, more.

See, this is what I’m talking about! Tonight’s 30 Rock was hilarious, as it always is, and even featured the real-life mayor of the great city of New York Michael R. Bloomberg but seriously, what the hell was Tim Conway doing there? His story had absolutely nothing to do with anything! Why even have it? Blarg, indeed!

Alright, enough with the dancing about. Let’s draw some lines in the sand. But before we do that an quick observation: Ryan is one cheesy mother-scratcher, and I’m thrilled (though shocked) that he got the boot this week (especially given the massive fumbles by both our Hobbit-looking Australian friend and Nikki. Luckily, none of those three are my dog, to borrow a phrase from the once rotund Randy Jackson.

The way I see it, the best chefs are Spike, Richard, Andrew, Stephanie and Dale, with Andrew being far and away the most fun to watch on screen because you always get the feeling he’s one forgotten Ritalin away from the nut house (or at the very least detention somewhere). My favorite Andrewism is when one of the judges criticizes his food and he immediately gets this look of complete puzzlement and then cocks his head slightly to the right while tapping his lips with his index finger as if to say, “Ah, what you are proposing I was not aware of, though I could see how something like that could certainly be the case.” I love it. That being said, Andrew is not getting the full-fledged MMF-endorsement. No, that distinction goes to another. Find out who after the break…

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Let’s kick this up a notch…

My love for FX’s The Riches is, this season, perfectly in line with my fear for The Riches. Maybe it’s some sort of law that people outside of show business do not know about, but why must sequels always play that coy game of oneupmanship with its audience. BIGGER explosions! MORE twists! FRILLIER dresses! What no one ever remembers is that most of us who enjoy watching certain characters over and over is that we thought the original frilliness was just fine. More after the jump…

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I’ve been over The Daily Show for some time now, though given my current state of nothing-to-do-ness I’ve been watching just about every night if for no other reason than for there to be another voice in the apartment (and thus keeping me from going completely insane). At this stage of the game, the show is what it is — perhaps too big to be as subversive as it once was, maybe a tad cocky to boot. Regardless of its macro-affect there is one reason above all overs to tune into The Daily Show: John Oliver. That Brit makes me laugh. Perhaps this is because of everyone on the show (Hodgman excluded), Oliver tends to be the silliest. Check out the video above for proof. The second part available after the jump…

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Um. That was excruciating. I almost had to turn it off. But does that make it good? Thoughts? I’m kind of at a loss.

Really?

30 Rock might be the smartest and funniest comedy currently on television. It’s certainly in the top three. That being said, can we really heap upon it praise after praise when it consistently delivers the most uninspired B-stories this side of Full House. For as sharp as this show’s writing can be, I simply don’t understand why every episode tends to have a secondary arc (usually involving Pete) rife with cliché. I mean, really? Pete get’s his hand stuck in a vending machine?

This has made me realize that 30 Rock is perhaps too tight for its own good. Take away these completely idiotic and disjointed B-stories and do you know what you’re left with? A fifteen minute show. They might as well cut it down and just put it on after Aqua Teen on Adult Swim (making it without a doubt the most expensive 15 minutes on television).

Though perhaps the lameness of these stories is the joke. Maybe they’re a parody of the type of sitcom fare that usually gets an audience to respond. That has to be the case, right? A show this funny wouldn’t produce material so tepid otherwise, right?

BLEEP

As you may or may not know, I love Top Chef. This is of little surprise. Somewhat ironically, Top Chef itself has become a show of little surprise. Like all reality fare, you can set your watch to Top Chef. Milling about. Guest judge. Quickfire. Elimination. Faux-drama. Serving. Actual drama. Judges table. Winners. Losers. That’s the show every week and I love it.

This week something different happened, and I’m curious if anyone else thought it was odd. In every season there is that point where the contestants start getting familiar with one another then start screaming at one another. Usually this happens during the meat of the episode — maybe while buying supplies at the grocer or something. This week the episode was ostensibly over. The winner was announced and the loser was told by the Preposterously Hotâ„¢ Padma Lakshmi to pack their knives and go. Credits should have rolled, but they didn’t and there was still two minutes left in the broadcast.

Cue: screaming. Spike yells at Antonia. Dale yells at Lisa. Jennifer yells at someone (honestly the whole thing was cut together so haphazard it was hard to tell where the bleeping was supposed to be directed). There was no music and it wasn’t part of the “coming up” — don’t get me wrong, I loved it. It was just oddly placed.

Look, I have no idea if Pitchfork Media is still the indie-rock behemoth it once was. Maybe it’s bigger. Either way it is an unmistakable brand and is one of the few sites formed in the 90s that hasn’t either dissolved or been purchased by some major media conglomerate, so love it or hate it, accolades should be given. Monday, the site launched a spin-off called Pitchfork.tv with the stated goal of creating the first television channel to exclusively showcase independent music. On face value it seems like yet another web-video portal of the YouTube age — something akin to Funny Or Die. To my great pleasure, it isn’t anything like that, and in fact works so well because it just may be the first website that actually reproduces a reasonable facsimile of what watching television is actually like.

There is no user-submitter material here, and thank god. If I’m tired of anything in the web-video revolution it’s trolling through piles and piles of crap looking for the one or two gems. Web-video needs programmers, and this site is meticulously programmed. It’s broken down into sections labeled, Featured, Shows, Pitchfork Live, One Week Only and Music Video, each category with a small collections of video clips to be played one after another or on demand (one especially cool feature is that if a video ends the next one in sequence is cued up immediately and played).

As for what those videos are, there is a pretty even collection of repurposed material and exclusive content — right now the feature-length documentary LoudQUIETLoud: A Film About the Pixies is being show in the “One Week Only” category in its entirety.

The big question is where advertisements eventually fit into the equation. Right now there isn’t a single sponsored frame on the site (it’s like in high school when a new FM station used to launch and would be wall-to-wall music for the first week), but one has to imagine this will change — probably sooner than later. I’m guessing it will be a mix of banner ads and video spots though the site is so expertly crafted, I’m hoping they’ve found a way to make their business model just as seamless.

Being an independently-operated shop probably makes all of this a lot easier on their part in terms of rights acquisition and reason enough to suspect it may be some time before more “web TV channels” start popping up, but it is an optimistic sign of things to come.