Starbase Indy Clip Show: Memories of 2010 and 2011, Plans for 2012

Starbase Indy convention, Indianapolis, Thanksgiving weekendOn and off over the past two decades, Starbase Indy has served proudly and admirably as one of the longest-lived geek-culture gatherings in Indianapolis. Originally a purebred Star Trek convention by design and preference, its scope has broadened over time as organizers and attendees proved amenable to the presence of more than one fictional universe in their midst. Granted, it’s no coincidence that the festivities have grown more inclusive as Paramount Pictures withdrew Trek from prime-time television and lamented the decreasing aesthetic returns from the latter-day movies. The JJ Abrams reformatting certainly didn’t hurt the cause, but SBI today is a smaller, tighter gathering than its earliest incarnations — now run locally and purely For-Fans-By-Fans, not by out-of-town sideshow promoters who fancy themselves the next Gareb Shamus.

My wife and I have attended more than a few SBIs. We took a break for several years during a long, unpretty transitional period, but made our tentative return in 2010 when a few encouraging signs enticed us back. We enjoyed ourselves so much that year, we were happy to attend in 2011 as well. This selection of highlights from our last two SBI experiences is by no means the complete collection of every photo we took, nor does it represent all the SBIs we’ve ever attended. Our souvenirs date back far enough that many were created using the ancient medium that primitive man once called “35mm film”.

2010 Highlights:

Special guests included Ethan Phillips, best known to Trek fans as Neelix from Star Trek: Voyager, also known to even older TV viewers who can remember as far back as Benson.

Ethan Phillips, Starbase Indy 2010, Indianapolis

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“Argo”: Heroics More Harrowing Than Hilarious

Ben Affleck, "Argo"I can’t remember which reviewer or random Internet commenter gave me the impression that director/actor Ben Affleck’s new film Argo was surprisingly funny, or words to that effect. If I could recall their identity, I’d express mild annoyance in their general direction. My general opinion is in lockstep with the theater-going majority who’ve given it a collective thumbs-up and touted it as a likely nominee at next year’s Academy Awards in some fashion, but for some reason I walked into it expecting something more along the lines of satirical movies-about-movies such as Wag the Dog, Living in Oblivion, or even The Naked Gun 33â…“: The Final Insult. My expectations were a little off-base.

Certainly the film takes its potshots at Hollywood. Affleck is our hero Tony Mendez, a CIA agent assigned to the task of exfiltrating six stranded Americans from Iran during its prime hostage-taking years. His plan: enter the country posing as a filmmaker, build cover identities for the sextet as part of his film crew, and hustle them out of the country via commercial airline. Phase One of his plan enlists John Goodman as an Oscar-winning makeup artist, who in turn recruits Alan Arkin as a longtime director. The three of them create a fake production company, purchase a space-opera script in turnaround for chump change, hire a storyboard artist, and spend CIA dollars on a lavish pre-production advertising campaign and press-party announcing their fake intent to pretend to rip off Star Wars. Goodman and Arkin have all the best scenes as old friends who know the eccentricities of their surroundings all too well as they push their faux-flick Argo upon an audience that will never see a frame of it.

The moviemaking scenes comprise a minority portion of the running time. They’re prefaced with a jolting reenactment of the day the American embassy fell, and surrounded by a subdued political thriller whose searing images of religious conflict aren’t too far removed from the present-day future thirty years hence. The era and situation are rife with all manner of tension and discomfort. The claustrophobia and paranoid isolation of the refugees, forced to hide out for months at the Canadian ambassador’s place. The monotonous grind of the child laborers tasked to reconstruct mountains of shredded American documents. The Ayatollah Khomeini’s loyal followers, furious in their yearning to hold the Shah accountable for acts against Iran in general and Allah in particular. The tumult of an Iranian bazaar, no good place for Westerners. Even Mendez has personal struggles off the job, as he does his best to be a generous non-custodial father when time allows between covert ops.

All of this dovetails serendipitously in the final sequences involving airport security issues, cumbersome red tape, split-second timing, Bryan Cranston shouting at people, Kyle Chandler clogging up the works through force of smugness, and those seemingly futile Argo storyboards, unwittingly chronicling a sci-fi allegory of the Iranian revolution that connects with a command audience at just the right dangerous crossroads.

I’ll be curious to see what sort of attention it garners during this winter’s awards nomination processes. I just wish I hadn’t entered into it with the unjustified mindset that the humor at Hollywood’s expense would be a more pervasive presence, like a Kevin Smith film with a larger budget. In retrospect I’m pleased it wasn’t, and richer for the experience.

Two final notes, in keeping with past movie entries:

1. I caught no veterans from The Wire among the cast, but Buffy/Angel fans should refrain from blinking or else miss a literal three-second cameo from Tom Lenk (Andrew!) as one of several suckered entertainment reporters.

2. The end credits have no scene at the very, very end, but I recommend sticking around through the extras in the first half. Cast photos are juxtaposed with copies of their real-life counterparts’ real-life fake IDs. Several key scenes are juxtaposed with the period-specific photos that inspired them. And the entire movie is capped with a brand new soundbite from a certain erstwhile Commander-in-Chief about this previously undisclosed moment in his administration’s beleaguered history.

MCC Q&A #1: Burning Questions from the Fleeting Studio Audience

search resultsStrictly speaking, this morning’s impulse sharing of the freshly minted Iron Man 3 trailer fulfilled my self-contractual post-a-day quota, though it was shamefully light on word count. I normally don’t post before work because I’m not a morning person (vociferously anti-morning, really), but I was excited and wanted to pass along the neat thing, even if I didn’t have time to add 500 words’ worth of elaboration to accompany it while scarfing my bagel.

It was also my hope that my hasty entry would save at least a few of my readers the effort of searching for the trailer on their own. Time is precious, especially when you have entries of your own to compose, an income to go earn, or Angry Birds to hunt down to extinction. If you’re among those who located this blog through the magic of Internet searching — whether yesterday, last month, or three years after this was posted — I thank you sincerely for sticking around for more than one minute.

Part of this evening was spent on light reading and general site tinkering, perusing some of the dashboard sections that provide interesting data on what search terms attracted readership and casual passersby to this humble site. Many are TV or movie fans seeking general info about their favorite creations, but it’s intriguing how many people are driven here in search of specific answers to their burning questions. Because I hate to leave those folks hanging and feel guilty about this morning’s slapdash entry, please enjoy this impromptu Q&A comprised entirely of queries from random Internet surfers who are probably all long gone by now. If they should return, I’ll leave a light on for them right here.

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“Iron Man 3” First Trailer: Destruction, Desolation, Mandarin

The first trailer for Iron Man 3 is here at last. Writer/director Shane Black (Kiss Kiss Bang Bang, among several other sharp action-film scripts) takes Tony Stark and friends into their explosion-filled darkest hour, while Sir Ben Kingsley and Guy Pearce show up in clips full of foreboding menace.

Cheers!

“Revolution” 10/22/2012 Imaginary Episode 5½: Charlie vs. the Presidential Debate

President Bass, David Lyons, "Revolution"

If only the blackout hadn’t canceled all Presidential debates, “Bass” Monroe could be rocking the podium.

Careful students of their cable TV channel guides, as well as viewers who paid attention to last week’s ending promo, already know that NBC’s Revolution is on vacation this week, preempted by the third 2012 Presidential debate, which is bound to generate higher ratings and almost as much Internet nitpicking. I have no idea why I should allow this skip-week to stop my weekly recap fun. With days to while away until next week brings us episode six (entitled “Sex and Drugs” according to NBC.com), the following is my idea for what this week’s episode might look like if it existed. Please enjoy fake episode 5½, entitled “The Body”.

Scene 1: Open on a knock-down drag-out melee between Our Heroes and a horde of sword-wielding hobos inside a spacious, empty indoor set. Miles takes them down three at a time. A heavily bandaged Nora is reduced to slaying only one at a time. Charlie is struggling with one grimy, 350-pound lout who refuses to let go of her crossbow and is shouting ugly sexist epithets. Aaron is hiding outside behind a bush, watching everyone’s backpacks. Charlie slips and falls backward. Her aggressor raises her crossbow above her head, poised to strike. Five-second “REVOLUTION” title card rolls.

Scene 2: “TWO HOURS EARLIER…” says the caption. In the hour that’s passed since last week’s train job failed, Our Heroes have only walked as far as Dayton, Ohio, some 110 miles east of Noblesville. Nora’s massive stab wound is clearly slowing down their progress. Miles decides they can’t go on like this and she needs a stab-wound specialist. He knows a former friend in Grand Rapids who might be able to help. Charlie is torn between continuing their trek to rescue her brother Danny in Philadelphia, or losing yet another female cast member. Grand Rapids it is, over 300 miles northwest of Dayton.

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“Community” Fans Deprived of Season Premiere Search Skies, Streets, Hearts for the Elusive REAL October 19th

Community, NBCNBC told us all summer long that our great and powerful TV series Community would return to us for its fourth season on October 19, 2012. They worked out their fall schedule. They announced it to the press. They promised.

Mere days before the 19th arrived, NBC broke its promise and informed a despairing geek nation that the return of Community was placed on indefinite hold because the network was perfectly happy with their schedule as-is and didn’t feel the need to satisfy any more viewers. Having won three straight weeks of competition against the other networks, NBC was feeling pretty sure of themselves and decided to coast on this temporary victory, especially since commitment to fans is obviously for chumps.

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My Plan to Save the GOP with Time Travel and Rom, Spaceknight

Depending on which polling organization you follow because of how reassuring their results are to you, the American minority that remains “undecided” in the 2012 Presidential election may presently represent as much as ten percent of the voting public. I’ve not seen any recent polls that project a double-digit breakaway lead for either of the Big Two candidates, so it’s conceivable that the contemplative 10% could make or break a political career. For the sake of unfair generalization, I’m assuming that 10% won’t eventually flock to Libertarian candidate Gary Johnson, or to any of the ignominious candidates from the Green, Constitution, or Justice parties. I’d never even heard of Virgil Goode, Jill Stein, or Rocky Anderson before tonight, until some online friends inspired some light reading on my end. Lord knows how many other serious candidates with more than ten supporters are out there.

The undecided have much to ponder this year. In one corner, they have the incumbent President Obama, among whose qualities is the fact that he’s not Mitt Romney. In the other corner, they have the non-incumbent Mitt Romney, whose most attractive feature seems to be that he’s not Barack Obama. For contrarians, there’s always an affable Libertarian candidate at ringside. Some people favor incumbents because they’re a safe, known quantity. Some people vote against incumbents on the principle that anything resembling lack of change is bad. If you intend to vote against someone rather than for someone, you’ll have three or more options: Not-Obama, Not-Romney, Door #3 Who’s Neither, and Messrs. and Mrs. Probably-Not-Appearing-on-Your-State’s-Ballot.

If you’re a fan of Not-Obama in general and Team Republican in particular, I believe I have an idea for you. It involves one of my childhood heroes coming to your rescue.

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MCC Request Line #3: “Grifter”

Welcome to our recurring feature in which I take on reading, viewing, or reviewing suggestions from MCC readers and sharing my results in the interest of entertainment science. Today’s suggestion was offered a few months ago by wwayne, who left me an English comment that seemed like quite a departure from his own moribund Italian blog. Nevertheless, a suggestion is a suggestion. This one’s for you, wwayne, wherever you are.

Grifter, Midnighter, DC Comics New 52Today’s subject: Grifter, one of the initial titles from DC Comics’ “New 52” relaunch of September 2011. For review purposes I picked up the most recent issue, #13, which was new in stores last Wednesday.

What I knew beforehand: Grifter was created in 1991 by superstar writer/artist Jim Lee as a cast member of the creator-owned super-hero series WildC.A.T.s: Covert Action Teams, about a team of heroes from space who travel to Earth to hunt their nefarious arch-nemeses, the Daemonites. I was indifferent to the Image Comics series except for a handful of issues written by James Robinson (Starman) and a memorable run written by the legendary Alan Moore before comics publishers and Hollywood turned him bitter and X-rated. Grifter was present in those days but not a focal point. Lee later sold his babies to DC Comics and is now one of the company’s reigning vice presidents. His creations were later integrated into the DC Universe in altered forms.

As far as I could remember, Grifter’s super-power was being a guy with guns. One sentence in one panel of this issue hints at telekinesis, but I don’t remember that from my prior WildC.A.T.s reading experience. Perhaps it was always there but never mattered.

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“Revolution” 10/15/2012 (spoilers): Charlie vs. Choo-Choo and the Philly Flash

Giancarlo Esposito IS Tom Neville IN NBC's "Revolution"Barely recovered from last week’s Shocking Character Death, the heroes of the Revolution are allowed to dawdle in mourning for all of half an hour before action hero Miles Matheson decides that grief is over and it’s time for everyone to move on. As soon as they cross the next set of bushes without benefit of jump-cut or montage, presto! They’re in Noblesville. Keeping in mind that Indiana Beach is 85 miles northwest of Noblesville, I infer from this instant arrival that our intrepid remainders — Miles, Charlie, Aaron, and “willing” “prisoner” “Nate” — graciously carried their fallen comrade’s body all eighty-five of those miles before deciding that the time and place were right for a proper funeral service, right next door to our villains’ current location. If you ask me, the Indiana Beach area is much prettier and farther away from evil. On the other hand, Noblesville has a large concert venue, the Deer Creek Verizon Wireless Klipsch now presumably sponsorless Music Center. Maybe music fans of the future would love a final resting place near that.

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MCC Request Line #2: “Dredd”

Welcome to the sophomore installment of our recurring feature in which I’m accepting viewing or reading suggestions from MCC readers and sharing my results in the interest of entertainment science. Today’s suggestion came from Senator Brett, photographer and Thought-of-the-Day thinker extraordinaire.

Karl Urban IS Judge Dredd IN "Dredd"Today’s subject: Dredd, the movie industry’s second attempt to adapt the iconic British comics character to the silver screen. The first attempt had okay visual effects, Sylvester Stallone reprising Cobra in funnier clothes, and Rob Schneider. Incredibly, the new version has fared even worse at the American box office, possibly because of rampant fears of an uncredited Schneider cameo.

What I knew beforehand: In a post-apocalyptic future, the grim and gritty Mega-City One sprawls across the land, contains hundreds of millions of inhabitants, too many of them evil. Whatever government remains has essentially given up on ruling and created an army of Punishers — duly authorized judges, juries, and executioners. The savings to taxpayers must be enormous. Judge Dredd is the best and angriest of the bunch. One of his frequent coworkers is Judge Anderson, a blonde with psionic powers. They kill crime.

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“Revolution” 10/8/2012 (spoilers): Charlie vs. Old Man Witherby at the Abandoned Amusement Park

Billy Burke, Revolution, NBCViewers have had a week since last week’s episode of Revolution to write down their guesses as to which character would die tonight. Would it be Aaron, the softest of Our Heroes, whose death would take all sense of comic relief with him? Would it be Miles, the main character? Would it be Charlie, the character that the show keeps telling us is the main character? Would it be “Nate”, sacrificing himself to atone for his nebulous militia past? Would it be Neville, executed for the crime of being too interesting a villain?

Before that moment of tragedy, we saw at least one victory in tonight’s new episode, “The Plague Dogs”, named after the Richard Adams novel about a pair of lab-experiment dogs on the run, like our heroes except with stranger side effects. Our cast finally reunites in the ghost town of Lowell, Indiana, as previously promised, fifty miles south-by-southeast of Chicago. (One empty business sports a sign reading “G. Stein Furniture Company”, the name of a real business in North Carolina. But never mind that.) As they merge and move along, their old buddy “Nate” also stumbles out of the shadows and joins them as a willing prisoner. We’re told that his last encounter with Charlie from episode 2 (“Chained Heat”) happened someplace called Pontiac. Presumably this is Pontiac, Illinois, one hundred miles southwest of Chicago and less than thirty miles away from Chatsworth, the recently raided town that the Rebel Alliance name-checked last week. (Pontiac, Indiana, is even more out of the way, hours south of Lowell. Obviously the larger city of Pontiac, Michigan, also won’t do.)

Their objective is to catch up with Neville’s entourage, en route with Charlie’s brother Danny to Noblesville, Indiana, which is thirty miles from where I’m now sitting and typing. Lowell to Noblesville is 120+ miles beyond what they’ve already walked from Chicago to Lowell. The bulk of the episode detours them into an abandoned amusement park, which in our reality would most likely mean a ten-mile digression off I-65 to Indiana Beach in scenic Monticello. It’s not a ride-for-ride carbon copy, but the show captures the basic essence of roller coaster, water slide, Ferris wheel with extra-wide gondolas, and plastic beach chairs. The show version has more water towers, its 1950s diner looks more like a place I know at Ohio’s Kings Island, and the giant-size guitar in the background of one shot gives away its true identity as the Hard Rock Amusement Park in Myrtle Beach, SC. As a single-episode stand-in, I guess it’ll do.

Also different from Indiana Beach: the attack dogs and their unhinged master, who sics his minions on Our Heroes and then vows revenge when they kill one in self-defense. How dare they! His poor, innocent, feral dogs were minding their own business and just going about their bloodthirsty day, and then that happens! Clearly the humans are at fault and must pay. Instead of haunting them with a fake ghost like most amusement park caretakers would, this grizzled stalker attacks from the shadows and even designs a primitive deathtrap for Charlie. Luckily for her the fixtures are authentically rickety and her day is saved. Ah, if only everyone’s day could be saved…

Meanwhile on the road to Noblesville, Danny does his own bit of heroic lifesaving after finding himself trapped with Neville in a storm cellar during a genuine Indiana tornado. The twister seemingly passes; Neville shouts “Amen!”; and I couldn’t help laughing as the ceiling collapsed on him. That’s our unpredictable Indiana weather in a nutshell, folks. If nothing else, Revolution nailed that part. Alas, Danny and Neville re-enact the old fable about the scorpion and the fox, as Danny conscientiously saves Neville’s life, only to be stung by him in return. Points to Danny for moral superiority in the face of a CG storm, at least.

Meanwhile down in Noblesville, now revealed as Monroe Militia HQ, Evil Dictator “Bass” Monroe continues holding Charlie’s mom Rachel captive, perpetuating what must be a years-long tradition of interrogating her unsuccessfully, even with sadistic lackey involvement. A flashback reveals that not only did Rachel turn herself in to save her family, but that her original captor…was Miles himself! DUN DUN DUUUUUN! I suppose this should be shocking, but it’s kind of not. Now that we know the Monroe Republic is half Monroe’s fault and half Miles’, I expect we’re in for a long parade of stunning revelations about the evil Miles committed before he realized what a series of grave mistakes he’d made, like My Name is Earl with more bloodletting.

To his credit, Miles corrects one important wrong in this episode. After two acts’ worth of wishy-washy quitter angst once again, he finally takes a leap of faith into the waiting arms of family commitment, officially deciding to stay with his niece and help see her quest through to the doubtlessly heroic end. The impetus that inspires this decision is tonight’s Shocking Character Death…which would be a lot more shocking if I hadn’t totally called it last week.

Alas, poor Maggie, we knew you slightly. Your flashbacks reveal a little more history, of your children separated from you in England, of your epic one-woman journey from Seattle to Buffalo, and of your unbelievable discovery that large boats capable of sailing to England are now extinct because of wars that demolished them all and, I suppose, resulted in the deaths of every boatwright and every boating company in America. Never mind that Christopher Columbus and several centuries of pirates managed just fine without today’s boat construction technology. Were all those Carnival Cruise liners drafted into the wars and sunk during fierce naval conflicts, too?

Sorry, where were we? Yes, Maggie, then — Charlie’s de facto stepmother passes away due to femoral artery damage from one vicious stab wound courtesy of the Phantom of Indiana Beach. A sad ending to her story, after being rescued from suicidal thoughts by Charlie’s dad Ben, made a part of the family, and now…this. In her final flashback, Maggie reads to her kids from yet another classic road-trip tale, The Wonderful Wizard of Oz, a copy of which she leaves behind with Our Heroes, perhaps serving as a reminder to keep following that yellow brick road. Or a reminder of a more innocent time when adorable dogs like Toto were the norm and not the exception.

MCC Request Line #1: “New Girl”

Welcome to the first installment of a recurring feature in which I’ll be accepting viewing or reading suggestions from MCC readers and sharing my results, for better or for worse, for richer or for poorer. Rather than dive face-first toward the bottom of the barrel, I’m leading off with a softball pitch of a show, as suggested by the curator and creator of Enchanted Seashells, a tugboat captain’s wife who’s also an accomplished artist in the medium of seashells. Check out her blog for some pretty inspired creations!

Zooey Deschanel, "New Girl", Fox sitcomToday’s subject: the Fox sitcom New Girl, now in its second season. Instead of researching at length and arming myself with knowledge of characters and situations in advance, I followed in the footsteps of our primitive ancestors and sat through a random episode with as little forethought as possible. In the old days of comic books, there was a saying that would translate into the TV world as, “Every episode is someone’s first.” Theoretically, if a TV show would like to attract new viewers and see ratings rise over the years, instead of dropping steadily from episode one to episode the last, then it would be in the showrunners’ best interest to ensure that every episode is a satisfying dosage for any viewer, whether new or returning.

To simplify the process, I tried the most recent episode available on Fox.com, entitled “Katie”. If any factual errors appear below, it’s because I relied only on my own knowledge and whatever was presented to me within the episode itself.

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“MCC Request Line” Prologue: What Do YOU, the Viewers at Home, Think I Should Try Out?

I’m trying something new here. Bear with me while I work out the details and set up my premise.

A few of my MCC commenters, the greatest Internet citizens of all time, have suggested works they think I ought to check out, either because they might be aesthetically rewarding, or because they’re likely to instill the kind of garment-rending anguish that I can only exorcise through verbal backlash in this particular venue. Some are things I’ve thought about but merely never took the time to sample. Some I’ve not tried or have actively avoided because of the awfulness I can sense emanating from them at a great distance. As my way of showing my appreciation for your suggestions, I’d like to give them a shot and then write about the results here. Since I have a few such requests lined up, an umbrella title seems in order.

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“Looper”: Five-Film Sci-Fi Mash-Up is Terrifying, Tear-Jerking, Terrific

Joseph Gordon-Levitt, "Looper"The short, spoiler-free version of my impression of Looper: the film is a knotty but ingenious cat-and-mouse thriller that moves from urban squalor to rural tranquility with an enviable dexterity while contemplating the effects of poor choices on our lives (our own as well as others’), the things we’ll sacrifice to stay true to our selfish nature, and what we’re willing to sacrifice if we think harder about what’s most important in the grand scheme. Other reviews have already noted the effectiveness of the makeup, the subtlety of the near-future visual designs, and the fun of watching Bruce Willis and Joseph Gordon-Levitt playing different versions of the same character. Consider those thoughts seconded here, since I can’t think of a good reason to retype them in my own redundant words.

However, I wouldn’t go so far as to grade it A+++++. I recognized more than a few moving parts from other films, albeit parts that are shuffled together skillfully, retooled for improved functionality, and kept as far removed from the trailers as possible.

Before proceeding, I brake here for COURTESY SPOILER ALERT for those who plan to see it but have been too busy or who avoid theaters. Now is your moment to escape for the sake of your future moviegoing experience, and I look forward to seeing you tomorrow.


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“Revolution” 10/1/2012 (spoilers): Educating Charlie, the Secret of Miles, and 10,000 Sniper Bullets

Charlie and Nora, "Revolution"

Action heroine class is now in session.

Week Three of NBC’s Revolution, entitled “No Quarter”, took major strides toward turning Charlie into the main character at last. She found a personal mentor in Nora; she completed her third kill (random crossbow takedown); she took out an entire bridge with archery and explosives, and — most shocking of all — she learned Miles’ deep, dark, horrible secret that makes her morally superior to him.

Miles’ shady past may never have come to light if Nora hadn’t introduced us to her friends in the Rebel Alliance, including their leader, Nicholas (Derek Webster from Damages and Harry’s Law), labeled a Catholic priest but struggling to walk the walk in a world turned topsy-turvy. More credit for the rebels’ survival may be owed to their nameless sniper who has the pleasure of mercilessly wielding the precious M40A rifle that Our Heroes acquired last week. (If they distinguished which of the three kinds of M40As it was, then I missed the last digit.) While everyone else hides in the basement of a former restaurant called Harrigan’s that resembled a Bennigan’s except of course totally different, the noble sniper mowed down the onslaught of evil cannon fodder as quickly as they could be ushered out of hiding by their leader, Jeremy (Mark Pellegrino from Supernatural, playing quite the remarkable villain here). Fortunately for the sniper, either Nora also lifted a gigantic box of M40Ax rounds along the way back to Harrigan’s, or the rebels stole the bullets previously and kept lugging the dead weight around until they could locate a weapon to match with them.

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Driveway Tunnelers Fail to Find Hoffa, But Recover My Lost “Cabin in the Woods” Review

My daily MCC followers may recall a recent entry in which I eulogized one of my oldest entries, a review of The Cabin in the Woods that somehow vanished from this blog without malice aforethought or explanation forthcoming. Originally posted on May 6th, I tried to return to it months later to double-check something I’d written (I don’t even recall exactly what), only to discover a large hole in my history where once it had existed. The software left a trail of another post that I intentionally deleted a few weeks later, but not the Cabin piece.

Wanna hear a funny story about a forgetful old man?

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My 2012 Staycation Movie Marathon Midweek Report

I’m blessed to have spent the past twelve years working for a company that firmly believes in allowing its employees too much vacation time. Each year I take one week off to spend with my family in the summer (cf. the ongoing “Road Trip” series) and one week in the fall to spend at home alone. While my son is in school and my wife is at work, during the daytime I have the house all to myself, as long as I don’t mind sharing the territory with our dog.

I’m also ridiculously blessed with a wife who doesn’t view my annual one-man one-week staycation as an opportunity to hit me with a dreaded “Honey-Do List” of five hundred different odd jobs that remain undone around the house. A friend at work complains that whenever he takes a staycation, his wife schedules enough activities for him that he spends all his so-called “time off” alternating between playing handyman and Mr. Mom. This is not a problem for me because my wife wants me to rest, in hopes that she’ll get to keep me around and alive for as many decades as possible. I wouldn’t call myself a workaholic, but I do have my frequent moments of appearing burnt out and frazzled. I’m told that relaxation makes a difference in my condition.

In most years, when I haven’t violated the premise and written myself a lengthy to-do list, my staycation usually takes the form of a week-long movie marathon. Like many American families, we suffer the first-world problem of buying more DVDs than we can possibly watch in a reasonable number of sittings. In an average week, when I’m burning the candle at both ends between my full-time day job (plus overtime) and my part-time non-paying night job (i.e., the blog), to say nothing of other activities and requirements of adult life, I’m lucky if I have time to sit still for three TV shows and a single movie. The high ratio of purchasing-to-watching means I have a never-ending stockpile of works on hand to ensure that I’ll never be bored inside my own home for the rest of my life.

The portion of the stockpile with the densest accumulation is comprised of things that no one in the house except me is interested in watching — movies and shows that have little chance of making the cut for Family Quality Time, a few of which I arguably shouldn’t be watching. Lately I’ve been actively curtailing my purchases in that subsection — partly for spiritual reasons, partly due to volume, and partly because watching things alone is a lot less enjoyable than viewing experiences that I can share with others around me. Anything in that subsection has to wait on the shelf and collect dust until I have extended time to myself and an inclination for solitude.

That’s where my annual one-man one-week staycation comes in handy. It’s one of my best opportunities to chip away at that particular viewing pile. Much of this week has been spent running errands around town, sleeping too much, and busying myself with the Internet and my part-time non-paying night job, which cruelly offers no paid vacation time. In between all of that, so far I’ve found time to watch six movies that I’d never seen before. I’m saving the DVD extras for another time, to fill small time slots between activities in future work weeks wherever possible.

Ranked below from best to worst, this week’s staycation feature presentations have been:

1. Broadcast News. Writer/director/producer James L. Brooks’ lamentation of the ever-growing superficiality of network TV news, and its increasingly money-minded fixation on entertainment value, is a tragic reminder of how little has improved since 1987. Amidst the anti-sheen commentary is a complicated love triangle between William Hurt’s shallow but skillful anchor-hunk, Albert Brooks’ sharp-minded but blindered nebbish, and Holly Hunter’s professional but bamboozled producer. I picked this up for the satire, but was surprised to discover that it cloaked a relationship film that I wished had been longer. Fortunately my copy is a Criterion Collection edition that includes additional scenes and an alternate ending among the extras, so eventually my wish for more will technically be granted.

2. The Town. The second film from writer/director Ben Affleck, making the most of the second phase of his career as he’s successfully moved beyond the grasp of super-stardom that placed him in several awful films in a row before he stepped back and took stock of his life. Affleck directs himself and an explosive Jeremy Renner as Charlestown bank robbers with a lifelong hometown-boy camaraderie, but slowly diverging opinions as to what they should be doing with their lives. Renner is perfectly happy to stay the course, but Affleck discovers new motivations to find a new direction for living. In that sense it’s practically a parable of Affleck’s own film career before segueing to directing. (If one reached too far, one could even insert an unfair observation about Renner standing in for Matt Damon in yet another context…)

3. Miller’s Crossing. The third big-screen collaboration between young Joel and Ethan Coen, this 1990 production about a 1920s gang war is mostly two hours of Albert Finney, Jon Polito, Marcia Gay Harden, and various other actors taking turns punching Gabriel Byrne in the face and stomach. In between the body blows, Byrne’s convoluted plan to establish long-term peace by escalating the war into a bloody free-for-all reminded me of Kid Loki’s recent efforts in Marvel’s Journey into Mystery series. The ambiguity of some characters’ actions was occasionally dissatisfying, but would evolve into a polished motif in later Coen Bros. films.

4. Last of the Wild Horses. This was actually a sixth-season episode of Mystery Science Theater 3000, the celebrated TV show that mocked a different bad film in every episode. The original feature was a so-so Western about…something. I’m not even sure now. All I remember is a cranky wheelchair-bound father being shot to death on his front porch in poorly conceived indignity. Mike Nelson and the ‘Bots defend themselves against the movie’s mediocrity with verbal slings and arrows. As a parody of the Star Trek episode “Mirror, Mirror”, the host segments center around a transporter calamity that causes Mike Nelson and Tom Servo to swap places with their evil counterparts from another dimension. We know they’re evil because Evil Mike has a mustache and goatee, and Evil Servo wears a yellow sash. Meanwhile in the MST3K mirror universe, the good versions of Dr. Forrester and TV’s Frank are forced to watch the first twenty minutes of the film, marking the only time those two entered the theater in the show’s history.

5. Sucker Punch. On the plus side, Zack Snyder’s girl-power action yarn is much less exploitative than I’d feared, even as reconfigured into a 127-minute Extended Edition. This alleviated some anticipated guilt, but didn’t make it a success. Emily Browning (Violet Baudelaire in A Series of Unfortunate Events) is a victimized teen consigned by her wicked stepfather to a mental asylum, which she reimagines to herself as a stylized brothel in which she’s trained to dance alongside fellow inmates Jamie Chung (Premium Rush), Disney’s Vanessa Hudgins, Abbie Cornish (the Robocop remake), and Jena Malone (Johanna in the upcoming Catching Fire). Rather than hire a choreographer to design a memorable Bunheads-style routine for Browning to master, Snyder instead has her delve one level deeper into her subconscious and symbolically represent each dance as a vapid, meaningless, expensive video game sequence. A rotating onslaught of giant artillery-wielding samurai, undead WWI German trench-dwellers, Lord of the Rings orcs, and sci-fi security robots each take turns destroying everything and meaning nothing. Some might find comfort in the movie’s message of The Power Is In You, but I was occasionally bored and ultimately bothered by the passing structural similarity to Pan’s Labyrinth, a more poetic and far superior film about a young girl escaping an oppressive environment through a secret entrance into a fantastical world.

6. Blow Out. Writer/director Brian DePalma’s 1981 take on the Hitchcockian wrong-place/wrong-time thriller sees post-Kotter John Travolta as a sound technician for grade-Z film productions caught in a conspiracy web when he records a fateful car accident with a high-profile victim and a telltale sound effect meant to go unheard. Robocop‘s Nancy Allen is surprising as a ditzy call girl with even worse timing that Travolta’s. Dennis Franz is suitable as a sleazy paparazzo who makes things even worse. John Lithgow cuts his teeth in what would be the first of many irredeemable psychos he would play throughout his career. I enjoyed the old-time scenes of Travolta editing and cutting recordings the old-fashioned way on reel-to-reel tapes, with all the constant rewinding and forwarding. Undercutting the suspense and making this difficult to recommend are the satirical pandering of the first five intentionally exploitative minutes, and the final thirty seconds of the film, in which an ostensibly tragic ending instead came off as out-of-character and revolting.

That’s what has passed for “relaxation” for me so far this week. I’ve exhausted my errands list, but I’ve no shortage of movies on deck. Assuming I don’t oversleep any more, I’ll see how the moods and options guide the rest of my staycation.

To Be Continued!

Ranking the Six “Sherlock” Episodes While Waiting to Judge “Elementary”

Sherlock, ElementaryMy wife and I were quite pleased to catch up with our peers recently by viewing all six episodes of the BBC’s fascinating Sherlock. Before diving in, I expected I’d at least enjoy some engaging moments from Martin Freeman, one of my favorite components of the original UK version of The Office, among other productions. Once our viewing began, I was struck more deeply by Benedict Cumberbatch’s performance as a truly intelligent character with a broken social compass. More succinctly put: he’s smarter than everyone around him and doesn’t care who that bothers. I’ve known more than a few Internet users with that same attitude, many of them mistaken in their position. I can see why the show would attract such a sizable Stateside fan base.

We owe sincere appreciation to the creators — Steven Moffat, Mark Gatiss, and some ancient writer named Doyle — for an intricate, adrenalized concoction of tension, intrigue, and emotional gamesmanship. I’d also like to thank the crowds of fans who recommended this to us. At the moment, I would rank the six episodes produced so far as follows, with spoilers ahead.

1. “The Great Game” (s. 1, ep. 3) — A bored Sherlock finds his spirits, and later his blood pressure, raised when a mad bomber taunts him with a series of life-or-death puzzles to solve, with victims as the prizes. Our Hero finally meets an opponent to equal or even rival his talents, and finally demonstrates that he actually has moral boundaries in comparison. Humor succumbs to terror as the challenges proceed relentlessly, concluding with a revelation that had me kicking myself for not guessing it sooner. (Mental note: when reading or watching a work about Holmes, any character named “Jim” needs to be heavily scrutinized. How could I not even have thought about it?)

2. “The Reichenbach Fall” (s. 2, ep. 3) — Moriarty drives Holmes and friends to the brink of insanity with the greatest game of all, one that destroys reputation, relationships, and lives with equal aplomb. The hyperintellectual brinksmanship was truly a wonder to behold. At times it was extraordinarily tough to disbelieve the lies. The main reason it has to settle for runner-up is because the last thirty seconds of the episode were no surprise. I already knew the show would be returning for season three. Granted, I have very little idea how Sherlock actually pulled off this astounding stunt (other than a nascent theory involving Molly), but we know that, somehow, someway, he did pull it off. When I’m supposed to be surprised and I’m not, I deduct points.

3. “A Study in Pink” (s. 1, ep. 1) — Where it all began, laying out the premise, putting all the pieces in starting positions, and setting the bar ridiculously high with an initial, disturbing stumper of a mystery. Tonally distinct, visually inventive, detail-oriented, funny, and enthralling.

4. “A Scandal in Belgravia” (s. 2, ep. 1) — For once, not only does Sherlock have to discern what the clues mean, he has to discern what the clues are. The Woman is such a formidable, superior Catwoman to Sherlock’s momentarily awkward Batman that I was a little disappointed that the solution to the locked MacGuffin phone depended on her being deep-down lovestruck. Otherwise, all performances were in top form, though Irene Adler’s risqué nature pushed the content boundaries a bit more than we’d expected.

5. “The Blind Banker” (s. 1, ep. 2) — Sherlock versus the Asian underworld, with a little help from British subculture and a little interference from Watson’s wish for a personal life. This would’ve been a very good episode of any other TV show, but the impersonal villain and the cutesy dating scenes felt inessential in the context of this series.

6. “The Hounds of Baskerville” (s. 2, ep. 2) — I would still call it good TV to an extent, particularly the scene in which an incensed Sherlock shows off to prove he’s still in control of his faculties, but it was the most predictable episode to date. Once you eliminate any possible supernatural causes on general Holmes-lit principle, the only remaining explanations possible for the demon dog are (1) the vulpine roomie from Being Human is a liar or a madman; (2) genetic tampering; or (3) hallucination. The excessively misty government property narrowed the possibilities for me fairly early into the episode. (If I was meant to think, “Oh, that’s just England for you!” it didn’t work.) The whodunit aspect also tipped its hand too early if you’ve seen too many mystery shows, which have taught us that the guest star who’s dying to be most helpful to Our Hero is almost always the guilty party. Sure enough, my wife and I had him pegged after his “chance” interruption of Watson’s drink-chat with the therapist. Alas, even the smartest kids in class are bound to trip from time to time.

The Internet says that Season 3 isn’t scheduled to begin production till January 2013, which means we have at least a year before my wife and I will be able to watch episodes as they air. Until then…well, we do have an option to keep us occupied. CBS’ new counter-interpretation of the Holmes milieu, Elementary, will premiere this Thursday evening, September 27th. Jonny Lee Miller and Lucy Liu are the prettier, Americanized versions of the detective duo who’ll be plying their trade in New York City and presumably encountering their own special Moriarty in the months ahead, though the early publicity info has a dearth of other Doyle staples such as Lestrade and Mrs. Hudson.

A schedule conflict will prevent me from watching the premiere as it airs, but I’d like to see it for myself at some point — partly because watching new things is a fun source of writing prompts for me, but mostly because I’d like to judge it firsthand rather than dismissing it outright. I’m willing to grant the benefit of the doubt, though I take slight issue with apologists who defend it on the grounds that plenty of actors have performed their own interpretations of Hamlet and other famous characters without being beholden to other versions. Though this is true to an extent, you rarely have two versions of Hamlet being staged in the same city at the same time. Usually a bit more space is left between them so they can stand or fall on their own merits, rather than competing against one another for the same audience. Also, if Elementary turns out to be nothing more than CSI: English Accent, I’m definitely done with it.

“Revolution” 9/24/2012 (spoilers): Mitigating Morality and Fussing Over Flags

The Rebel Alliance goes up to 11Last week’s premiere of the new JJ Abrams series Revolution achieved encouraging Nielsen ratings. Then again, so did the pilots for The Event and FlashForward. We’ll have to wait until Tuesday morning to discover how episode two fared. I’m sticking with it for now with some form of curiosity, but I can’t say the show is firing on all cylinders yet.

The interesting sword-fighting scenes in this week’s episode, “Chained Heat”, are mostly between Miles and special guest C. Thomas Howell as a generic bounty hunter. Unfortunately for Miles, all his other party members lack key adventuring skills. If they were Dungeons & Dragons characters, their class would be Hostage. Worse still in Miles’ mind, head hostage Charlie still adheres to old-fashioned, inconvenient, old-world beliefs such as Killing Is Wrong and Slavery Must Be Stopped. Through the course of the hour, Uncle Miles has to teach his niece that (1) life in the new world is basically a constant state of war, so killing is mandatory until someone reinvents the American legal and penal systems; and (2) they have better things to do than become a traveling abolition squad. The validity of either lesson remains open to debate.

At first Miles abandons his dead-weight companions and tries to carry the series solo, but Charlie refuses to let him because she believes she’s the main character, and also she wants to fight by his side with her crossbow that she’ll willingly use to wound animals or shield herself from swinging swords. Despite her inexperience and naivete, despite Miles’ considerable head start, and despite a scene where she plods around a playground for a while and has an intense childhood flashback, somehow she catches up with him anyway. One has to wonder if perhaps she possesses innate tracking skills not yet mentioned, if Miles somehow got lost, or if he was just testing her to see if she would follow him, and had been hiding in the bushes all this time.

Miles wouldn’t be alone in using shrubbery as camouflage. That’s exactly where “Nate” spent this episode, keeping himself, his conflicting motives, and his general brooding hidden but never far from the action. Basically he’s set up as a season 1 Angel to Charlie’s Buffy. Those are some big shoes to fill, “Nate”.

Of course, in order to follow Miles in the name of “only trying to help”, Charlie had to let Aaron and Maggie stay abandoned and fending for themselves. The duo reacts to this by not staying put, instead venturing forth armed only with the late Ben Matheson’s potentially world-saving flash-drive MacGuffin amulet, a dead iPhone that hopefully doesn’t experience memory degradation issues, and Aaron’s magic glasses that have survived fifteen years or more without collecting scratches all over the lenses. Maybe I shop at all the wrong optometrists, but after two or three years with the same pair of glasses, I’m usually half-blind and having to learn how to focus through the few clear spots.

Thus do Aaron and Maggie throw caution to the wind and advance in the direction of Grant Park, the hometown of Grace, the mysterious lady from last week that Danny met by pure happenstance, who then threw him to the wolves, and who for some reason has a working computer with a 56K modem with the old dial-up squawks and everything. We know little else about her so far except she had/has an asthmatic son whose inhaler had no expiration date; she’s not afraid to throw innocents to the wolves for the sake of saving her own skin or cause (too early to tell which of those means more to her); and her subplot ends in a cliffhanger involving a rude home invader named Randall. I like to think that a character with that name just has to be awesome, so I’m sure there was a perfectly courteous reason for him to smash her door down.

Funny thing about Grant Park, though: it’s fifty miles south of Chicago. That wouldn’t be a cakewalk for the Fellowship of the Ring, let alone for casual pedestrians. I can’t wait to see how that goes for Maggie and Aaron, who’s not exactly built like a cross-country runner. I also look forward to finding out how Charlie’s brother Danny, who was taken captive many miles west of Chicago in the pilot, somehow beat them to Grant Park by a full episode — accidentally and with asthma, at that. They do have one thing in their favor: Miles told everyone to meet in two weeks in Lowell, Indiana, which lies a measly fifteen miles east of Grant Park. That leg of their trip should be a breeze compared to the Chicago-to-Grant-Park marathon.

Miles’ side quest, as it turns out, is to recruit the last cast member, Nora (Daniella Alonso), who can hold her own in a fight, can allegedly blow stuff up, is willing to steal herself better weapons, and has a Rebel Alliance tattoo on her back, in the form of an eleven-star American flag. Apparently the rebels are so hardcore, they think North Carolina and Rhode Island don’t count as Original Colonies because they were too slow to get ratified. 11-OC in full effect, y’all.

Meanwhile, Giancarlo Esposito’s Neville, the most interesting evildoer in the show, saw reduced screen time, but taught us two key lessons: he’s some kind of religious (for me, the most eye-rolling revelation this week), and the original fifty-star American flag has been renamed the “rebel flag”. With the series taking place in northeast Illinois, it may be years before the characters walk far enough south for us to learn what a Confederate flag is now called. His superior, Sebastian Monroe, presidential monarch of the Monroe Republic, had even less screen time with only two scenes to call his own: one demonstrating that he’s against torture but not murder; and one revealing that Charlie’s mom is alive and captive.

Hopefully the future doesn’t see Charlie following her mom’s lead in every other episode. I’d like to see her grow as a character, preferably sooner rather than later. It was sad to see her innocence die a little when she experienced her first kill (and, seconds later, her second kill) while helping Nora steal the cool sniper rifle from the copter-hoarding Imperial forces. She doubtlessly has more trials ahead of her, so she’ll need to keep working on her backbone development, stop letting strong men back her into helpless positions, and start owning the fact that this entire journey was her idea.

If she keeps insisting on retreating to the background, I would recommend the show change focus ASAP so that Miles really is the one true main character. Along those lines, they’d do well to change the name of the show as well. My suggestions for a new name would include Miles to Go; Miles Down the Road; Crossing Miles; Miles and Nora’s Infinite Hit List; or We’re Walking, We’re Walking, We’re Walking.

My Geek Demerits #4: Not Watching “The Big Bang Theory”

[Being the fourth in an intermittent series covering assorted areas in which I feel resigned to live as a minority among geeks.]

The people who hang around us the most realize that my wife and I differ from them in key ways. In small-talk situations we find ourselves fielding questions about certain movies, TV, books, genres, and other topics that never arise at elegant dinner parties. We’re not know-it-alls and we’re immediately honest in admitting when we haven’t seen or become aware of a certain work or area. If the answer lies within one of our personal proficiencies, we cheerfully oblige. I do edit myself for length because no one ever wants or truly needs my complete, passionate answer in paragraph form. I’m merciful that way. It makes me look more introverted and antisocial than I really am, but it’s for everyone’s own good. Also, people tend to wander off after the first three sentences.

Every August like clockwork, someone will ask if we’re attending GenCon. Five to six weeks after a new super-hero movie is released, they’ll ask if we’ve seen it yet. When the subjects of Star Wars or Star Trek arise on occasion, my wife tags in to the convo while I sit ringside. Once every eight to ten years when someone asks me about comics, I have to remember to limit my answers to twenty words or less, and to confine my citations to Marvel or DC titles only, because explaining the fact that hundreds of other publishers have existed throughout comics history will only frighten and confuse them. Conversely, if someone mentions sports of any kind, we have nothing to offer them and wait patiently until they can find a normal, human, sports-loving conversationalist to rescue them from us.

In the last year or so, one question has begun popping up more frequently than any other: “Do you guys watch The Big Bang Theory?”

For my wife, it’s an easy question to answer. She has no use for 98% of all network TV shows produced after 1992. Her part in the conversation is done, and she’s ready to flow to the next topic. I have my response rehearsed and down pat: I fix my gaze upon any other point in the room except the questioner, pause with a strained expression, and mumble, “No.”

They’ll say, “Really? Oh, it’s so funny!” Then they’ll try to quote a line or antic that comes to mind, smile, and wait for me to be bowled over. The most common choice is a shout of “BAZINGA!” as if this will implant fake happy memories of the show in my head and win me to their side.

Instead I bounce my gaze to a point on the opposite side of the room from the first faraway point, smile sheepishly, wince, and mutter, “Heh. Yeah, I…just don’t.”

If they’re terrible at reading body language, they’ll finish their pitch with, “Oh, you should try it! It kinda reminds me of you guys!”

My first impulse is to imagine them dying gruesomely before my eyes. Since that’s a sinful thought, I try to capture it, suppress it, nod a little, replace my smile with a blank look, and wait out the rest of the scene in silence, just like Clark Kent used to do on Smallville whenever anyone confronted him with a question he didn’t feel like answering. If I’m to continue living in peace with others, then I have no choice but to muster up a humane response.

I watched the entire first episode. In 2007 a magazine graciously sent us subscribers a promotional DVD containing the premiere episodes of both BBT and How I Met My Mother. My reaction to the latter was easy to summarize: Neil Patrick Harris was in top form, but I’m generally not amused by comedies about people striving for sex and love in that order. My reaction to the BBT pilot was even more adverse, but tougher to articulate. Everything that bugged me about the pilot has only been exacerbated by further examples and new reasons developed over the years.

Right off the bat, I was disappointed that the pilot was entirely stocked with stereotypes. The classic dumb blonde was the central figure, surrounded by the emotional good geek, the unemotional bad geek, the worse geek who thinks he’s suave, and the token nonwhite geek. I was more disappointed that all five characters were conscripted in service to a comedy about people striving for sex and love in that order. Well, except the bad geek, who appeared to suffer from a Vulcan emulation disorder.

More problematic: I simply didn’t laugh. At all. I half-smiled at the periodic table shower curtain. That’s as good as it got. Most of the jokes didn’t feel written For Geeks By Geeks. It felt like classically trained sitcom writers dusting off the old clichéd jokes about geeks and taking them for a spin at the geeks’ expense, even in lines spoken by one geek berating another. If I might borrow Johnny Carson’s old shtick and pretend that someone just shouted, “HOW BAD WAS IT?”: it was so bad, I once watched an entire episode of According to Jim that made me laugh more. The gags at the dumb blonde’s expense only worsened the feeling that I was watching corporate-approved assembly-line sitcom product.

I came away from the single viewing experience with an offended impression in my head that I couldn’t properly label until a few years later when an Internet participant under the message-board username “Front Toward Everybody” coined the right summation and crystallized my conclusion for me: “nerdsploitation minstrel show“. If the frat jocks from Revenge of the Nerds suddenly became aware enough to create a TV show spoofing and mocking their arch-nemeses, BBT is the end result I imagine.

I’ve witnessed little evidence to reverse my position. The jokes that are quoted to me every so often, whether by well-meaning friends or by easily amused magazine writers, elicit no merriment from me, and fall a few notches below the everyday chatter that online friends proffer via social networks for free. Those same samples have failed to dispel my presumption that the show revels in laughing at — not with — the issues and weaknesses of some among our crowd. I find that more saddening than snicker-worthy.

On a different level, I’m also annoyed that the show does indeed kowtow to corporate interests. I’d suspected this at first when ads for the show (produced by Warner Bros.) began appearing in titles published by DC Comics (owned by Warner Bros.) with the cast all wearing DC super-hero attire. My suspicion was confirmed this weekend when I received my subscription copy of the new issue of that same magazine that sent me the DVD in 2007. This week’s cover story about BBT (apparently they still love it to pieces) confirms on page 33, “A rule that only DC Comics products can appear in the comic-book store was lifted in honor of Marvel legend Stan Lee’s guest appearance in season 3.” I’m surprised DC didn’t bar Stan the Man from appearing and insist that the show feature special guest star Dan DiDio instead. Openly corporate favoritism is, in my opinion, highly anti-geek.

Naturally, the Nielsen commoners can’t get enough of it. It’s now the highest-rated sitcom in current production, preparing to start its sixth season this coming Thursday, September 27th. I realize the industry has rewarded it with many Emmys, which mean about as much to me as Tonys do. (Hint: as I live nowhere near Broadway, the answer is near zero.) I get that I’m supposed to dig the theme by Barenaked Ladies, who’ve composed several great songs but have never sustained a fully satisfying album from start to finish for my taste. I realize the show has garnered many renowned guests hallowed and revered to our crowd — numerous Trek actors and actual scientists, among others. How nice for the show that it has powerful friends, allies, and fans. Good for it.

Perhaps the show has matured since then and stopped falling back on easy go-to shtick. “It’s funny ’cause geeks don’t get women!” “It’s funny ’cause geeks use real big words!” “It’s funny ’cause geeks like stupid stuff!” If those have disappeared, great. I’m glad it’s experienced a miraculous, hopefully repentant turnaround. The rest of the world can continue enjoying it at their leisure for the twenty more seasons sure to come.

Meanwhile, I’ll be fine over here without it. If I want to see or read works authentically FGBG, funny or even dramatic, I’ve had plenty of options past and present about our mindset — Scott McCloud’s Zot!, Evan Dorkin’s “Eltingville Club” stories, Sideways, Frasier, High Fidelity, Phonogram, Fringe, The Nerdist channel, and the amazing, colossal, heartbreakingly underrated Community, which in its three seasons has been more magnificently FGBG than I thought humanly possible, without stooping to the lower common denominators or compromising a great taste in reference points.

Even if the Nielsen commoners take Community away from me after the new showrunners fail to appease them, I guarantee shouting “BAZINGA! BAZINGA! BAZINGA!” at me won’t change my mind.