Seriously, if you’re one of those people who loved True Detective but was disappointed its resolution didn’t actually involve cosmic, eldritch horror, you need to read Broken Monsters.
Anyway, I've been thinking I needed to a.) update this site more often and b.) clean up my online presence, so I'll be taking both of those zombie blogs offline. However, because I did put a lot of work into the material on those sites, I'll be taking some of that content and re-posting it here. This means that this site (which also has, much to my dismay, been too-infrequently updated of late) will be somewhat more lively in the coming months as I mix in a bunch of my spy-fi-related material (and crime comics reviews!) with any new personal and pop culture topics that may catch my fancy.
Which brings me to A Man Called Sloane.
A Man Called Sloane was a half-season adventure series that aired on NBC in 1979. It starred Robert Conrad (The Wild Wild West, Baa Baa Black Sheep) as Thomas Remington Sloane III, the (only) Top Priority agent for a secret organization called UNIT. Though the format harkened back to the 60s and shows like The Man from U.N.C.L.E., it was still very much a product of its time, with ludicrous plots, lots of cheesecake, and Conrad's patented macho swagger. Needless to say, I loved it as a kid. Back in '09, I got my hands on a set of bootleg DVDs and reviewed all twelve episodes of the show. That represented a lot of time and work, so rather than let those posts disappear into the digital aether, I'll be re-running those reviews here over the next few months.
Of course, I'll be editing them a bit and adding a few new thoughts and observations (as I've watched most of the episodes more than once now). I even plan on writing at least one new article for the series, as I never reviewed the original T.R.Sloane TV pilot film (a/k/a Death Ray 2000), which starred Robert Logan as superspy Sloane.
As I mentioned above, it won't only be reruns here; I'll be getting back to posting those "Wednesday Covers," and will almost certainly have a Halloween post or two. I'll also continue to keep you updated on my various comics projects and will continue posting about cheesy B action movies, comic strips, etc.
Look for the first Sloane review on Monday.
Julia Stiles (the Bourne movie franchise) has been tapped for the lead in TNT‘s drama pilot Guilt By Association, from former prosecutor Marcia Clark, on whose book the project is based…
In the venn diagram of Marcia Clark, Julia Stiles, and Things That Could Be the Next Coming of Scandal, this pilot is in the middle. And I am waiting impatiently for it to be filmed.
First, the year in me. Rosemarie and I moved to a deluxe apartment in the sky. We won an award. And I published a book. All in all, not a bad twelve months.
2013 was the least active year in the history of ye olde website, and most of the posts were about cocktails. But blogs are dead anyway, as Jason Kottke was the most recent to remind us. Still, I feel bad that I didn’t manage to rattle on about everything I watched, read, listened to or otherwise ingested. Hence, this rambling roster of recommendations, in the order consumed. It is by no means complete; there are highly touted titles I have yet to catch up with, others I’ve seen and am still chewing over. But such lists are always written in the sand, aren’t they? Consider this a snapshot of how I feel on New Year’s Eve. Come New Year’s Day I’ll be another person entirely. And so will you.
Side Effects. New age noir, slyly updated for the era of prescription drugs. In the words of my friend Ray Banks, “classically sleazy.” And with that, Steven Soderbergh retires.
Noir City. A high point every year. Saw it in both Seattle and Portland this annum!
Claire DeWitt and the Bohemian Highway, by Sara Gran. Miss Gran continues to toy with the conventions of the mystery novel even as she probes the deepest mystery. This entry in the best series going is, sadly, the only novel on this year’s list. It was a strange reading year for me.
Behind the Candelabra (HBO). And with that, Steven Soderbergh returns! (I never bought that retirement story for a minute.) Featuring a bravura performance by Michael Douglas as Liberace, it doesn’t stint on the dirt or the garish period details while proving to be a riveting portrait of a long-term relationship falling apart.
Pacific Rim. The movie I always wanted to see when I was eight years old made me feel eight years old again.
The Hitchcock 9. Seeing the Master of Suspense’s first directorial efforts, completely restored and with live musical accompaniment, was an event of the first order. Kudos to the British Film Institute – and to Seattle’s SIFF Cinema, for innovative musical choices and following the series with several days of Hitchcock’s early U.K. sound films.
Hollywood and Hitler, 1933-1939, by Thomas Doherty. Engaging social history looking back at how the studios and the predominately Jewish moguls who ran them did and did not respond to the rise of Nazism in the years before World War II. Doherty has a thorough understanding of movies and of Hollywood as a business and a community. (Would that the same could be said for Ben Urwand. His shoddy and sensationalistic The Collaboration, which covers much of the same ground, is the worst book I read in 2013.)
Drug War. You can have your superheroes. Give me bad-ass cops. Johnnie To goes to mainland China and makes an epic thriller.
This Town, by Mark Leibovich. The one book that almost makes me say “The one book you have to read.” It serves up in clinical detail why American politics is broken – because once elected, the people who run this country essentially move to a separate realm, one without connection or consequence. Told with the gleeful abandon that only comes when an insider (Leibovich is a longtime political correspondent for the New York Times) decides to set the palace walls ablaze himself.
Blancanieves. A bewitching black-and-white silent film that retells the tale of Snow White and the Seven Dwarves in 1920s Spain. With bullfighting. I can’t believe it wasn’t more popular.
The Bling Ring. In a year of movies about the hollowing out of the American Dream, Sofia Coppola’s up-to-the-minute look at fame-obsessed teenagers turned bandits takes the prize. Also deserving of consideration in this category: Michael Bay’s underappreciated Pain & Gain.
Rush. Ron Howard returns to his Grand Theft Auto roots and makes the film of his career and my favorite of 2013. Peter Morgan’s script transforms the battle for the 1976 Formula One championship into the essential existential question: how do you live your life? Magnificently photographed by Anthony Dod Mantle, with Daniel Brühl giving the performance of the year as Niki Lauda.
Captain Phillips. Harrowing all the way through, never more so than when the damage has been done; the closing scenes depicting shock are impossible to shake. Tom Hanks at his finest.
Frances Ha. The great dilemma of your twenties – finding your own music to dance to – put on screen in a truly unique way. Greta Gerwig beguiles even while she maddens. Thinking of the final shot puts a smile on my face even now.
A Life of Barbara Stanwyck: Steel-True 1907-1940, by Victoria Wilson. At times frustratingly thorough, the first of this two-volume biography gives our greatest movie actress the treatment she deserves.
Six by Sondheim (HBO). A biography in the form of half a dozen songs, and one of the best treatments you’ll ever see of a writer writing.
Nebraska. Alexander Payne’s film (written by Seattle’s own Bob Nelson) is an elegy for a life and an entire way of life – as well as a reminder that time passes for the young as it does for the old. Will Forte should be getting more love for his performance here.
Inside Llewyn Davis. In many respects the evil twin of Frances Ha. Structured like a folk song, which is why it’s going around and round in my head. What happens when you’re good enough to make it – and you don’t make it? It’s also a meta, there-but-for-the-grace-of-God-go-we self-portrait by Joel and Ethan Coen, two artists dogged by questions of likability who may only be able to create with a partner.
Here’s wishing all of you the best in 2014. Thanks for stopping by on occasion. I’ll leave the light on. Odds are I’ll still mostly be talking about cocktails, though.
In 1971, MASTERPIECE THEATER began it 43 year run with THE FIRST CHURCHILLS, a BBC costume drama based on Winston Churchills' family memoir. I remember being filled with excitement about this 12 part series, one of the first tastes of British TV I had had. It was perhaps the only TV show that academics would admit watching.
If you look at the first few seasons of the show, most series were based on great works of literature: James, Balzac, Dickens, Zola, Collins, Wharton. It was not until UPSTAIRS, DOWNSTAIRS perhaps that they reached out to a broader audience and offered, what seemed at the time, a more raucous story.
As you can see, these were not lavish productions even by the standard of the day. But you could watch TV believing you were being educated as well as entertained if that made a difference to you.
After several seasons, I found that no matter what book the series did, who the author was, the results were fairly similar and static. They all had much the same look to them and much the same sort of characters. I am sure it is me who was lacking and not the series. The introduction of MASTERPIECE MYSTERY added a new ingredient, but the results are often too similar in tone for me. A writer's style is lost as the same production teams, directors, set designers, etc, take hold of them and give them the BBC feel.
I am sorry to offend and clearly most US series are inferior to what we find here. But I can't help but think it could be better.
Here is a list of all the series, they did.
That’s one way to read S.! Jen and Eric would approve.
Andy Taylor and Barney Fife on THE ANDY GRIFFITH SHOW. Don Knotts and Andy Griffin had chemistry. You believed in their friendship from their first scenes together. Barney was a screw-up but there was nothing he wouldn't do for the Taylor family. And Andy covered up a million of Barney's goofs over the years. They played like a well-oiled machine.
Tami and Eric Taylor, played by Kyle Chandler and Connie Britton on FRIDAY NIGHT LIGHTS anchored a constantly changing cast of teenagers. Romances might come and go, teams might graduate and move on, but they were the rock solid totally believable heart of the show. Who didn't want parents like them?
Lorelai and Rory Gilmour (Lauren Graham and Alexis Bledel) on THE GILMOUR GIRLS were perhaps the first mother-daughter team to even have their own patter. Although they had moments of disagreement, you never doubted they loved each other and it was this bond that carried the show through some fairly doubtful scenarios. This must be a special gift of Graham because she has a similar relationship with Mae Whitman on PARENTHOOD.
What are some of your favorite TV relationships?
Really liked ALL IS LOST. http://crimespreemag.com/film-review-all-is-lost/
Could not love this more: Marcia Clark, author of Killer Ambition, is on tonight’s finale of “Pretty Little Liars.” So now Clark is an accomplished lawyer, author, and actor, because of course. Watch a clip from her scene above!
I would rewatch THE WIRE but not THE SOPRANOS. I would rewatch SIX FEET UNDER but not THE GOOD WIFE.
What series that you enjoyed would you watch again? Which one would you not?
ORPHAN BLACK has the best performance on TV I have ever seen. If you like a combo of science fiction and crime fiction, this is for you. It is on BBC-America and has been renewed. Watch one actress play six parts and you will be amazed that each one is completely distinct. Sometimes she plays one character pretending to be another.
RECTIFY on SUNDANCE is the story of the release of a man in prison, on death row, for 20 years when DNA evidence makes the case against him murky. This is a slow and contemplative look at what happens to someone after 20 years alone. It examines southern culture, religion, philosophy. Terrific stuff.