So You Think You Can Dance: Basking In The Finale Glow

America once again crowned its favorite dancer of the FOX summer smash So You Think You Can Dance last week, and the victory of this year’s champion was a surprise to no one except her. 19-year-old art student Melanie Moore was clearly the one to beat throughout the hit series’ eighth season, winning over viewers and judges alike with her impeccable technique and infectious charm. In spite of her obvious popularity, Moore told Poptimal she never assumed the crown was hers until host Cat Deeley announced her name.

“Actually, I was really surprised,” Moore admitted, beaming with both shock and delight minutes after her win. “I think that it could have been anybody’s game. And a lot of the time, the frontrunners don’t win, so I wasn’t expecting anything at all.”

Judge Mary Murphy, enjoying her return to SYTYCD after taking a season off to recover from thyroid cancer, said Moore’s win was inevitable from the beginning.

“I think Melanie has the most outstanding technique over the others. Now, they were all good, but if you had to just analyze on pure technique only, I think she was the strongest dancer out of anybody in the Top 20,” Murphy declared. “What she has on top of that is the X factor [and] the fact that she didn’t crack under pressure … I think she’s just seemed to make everything look effortless.”

Executive producer and fellow Dance judge Nigel Lythgoe had a harder time predicting the season’s outcome, but revealed he had narrowed his field to two dancers by the finale.

“I didn’t have a ‘favorite’ … because I kept jumping between Sasha and Melanie,” Lythgoe said. “So, one of my favorites won tonight, and the other came second. I did really well in the sweepstakes,” he joked.

Runner-up Sasha Mallory enjoyed her life-changing run on the series, garnering her own legion of fans that included her sister Natalia, with whom she auditioned in Los Angeles and advanced to the second round in Las Vegas. Having her family in the audience during the finals to cheer her on and celebrate her journey during the season, Mallory said, was all the victory she needed.

“They’re so proud of me. There’s no sadness, at all,” Mallory confirmed. “They’re so happy I made it this far. You don’t have to win to be a winner.”

Fellow Top 4 dancers Tadd Gadduang and Marko Germar couldn’t agree with Mallory more. For Germar in particular, his harrowing injury pre-Dance helped him focus on the bigger picture outside of winning the show and simply appreciate the experience for what it was.

“Going through what I went through, me getting shot, definitely prepared me to conquer anything that’s less crazy,” he said, taking a thoughtful pause. “Being put on the edge of your life, everything else seems mediocre.”

As for Gadduang, he’d entered the show knowing full well not to psych himself out with Dance’s signature practice of keeping its contestants on their toes, both literally and metaphorically. By expecting a full tilt boogie of hard work, he said, the pleasure of the experience was always in full view.

“It was exactly what I thought it was going to be,” Gadduang said. “The show is built on surprising you, so the whole time I just wanted to have fun.”

Gadduang relished in his title as the season’s token “B-Boy,” or breakdancer, but surprised the judges and himself when his versatility in other genres opened his eyes to aspects of dance he’d never seriously considered before.

“In high school, I’d always tell my friends that after all this hip-hop dancing and stuff, my body’s not going to be able to handle it. So [I said] if I’m ever married, my wife and I are going to ballroom dance together,” Gadduang revealed. “So, getting the comments I got from the judges for my waltz, and just how Nigel said the ‘B’ in ‘B-Boy’ for me stands for ‘Ballroom,’ that was cool. It was surprising, because I never realized just how much I liked ballroom.”

The stringent physical requirements and adaptability expected of Dance contestants ensure no weak links sneak into the lineup. Unlike similarly staged reality competitions, all the contenders on So You Think You Can Dance are famously brimming with skill and work ethic, making the show’s narrative arc all the more compelling to watch.

Murphy agreed, saying the series is unlikely to experience a “Sanjaya effect,” and hopes Lythgoe incorporates SYTYCD’s judging template in other shows to prevent their worthy contestants from being potentially overshadowed by any random fluke or passing trend. In fact, Murphy revealed, Lythgoe has already taken this notion under advisement.

“I think Nigel may do a system like [SYTYCD] on the next American Idol … that for a certain period of time, anyway, the judges have a say. Not that America loses their say, they’re going to vote for their favorites and people will fall down into the bottom and they’ll then be taken off by the professionals, who they think needs to leave,” Murphy disclosed. “That’s so great, because I think it keeps the level of integrity very high on a show like this.”

With such an impressive array of dancers to choose from season to season, however, the title of “America’s Favorite Dancer” really does come down to one’s personal preference, which is where the judges’ professional eye comes in handy to make the ultimate decision. Emmy-winning Dance choreographer Tyce Diorio agreed, saying the task of the audience trying to decide the “best” out of a group of people equally talented but varied in expertise is impossible.

“It’s ‘America’s Favorite Dancer,’ so just pick one,” Diorio concluded. “Apples and oranges – both shiny, bright, gorgeous and beautiful, just pick one that you like. Both are magnificent.”

Lythgoe acknowledged that the culmination of various extraneous factors, in addition to the dancers’ likeability factor among viewers, make it hard to predict a definitive winner, even in the case of this season and Moore’s overwhelming lead.

“It was a difficult one,” he said. “There’s no guarantee that if we reran this next week with different routines that Sasha wouldn’t have won.”

With the So You Think You Can Dance nationwide tour kicking off September 17, the dancers aren’t leaving the show too far behind in spite of the season’s end. However, their thoughts are already focused on what the future holds.

For Moore, her plans to return next season as an All-Star are set in stone whether the producers are aware or not.

“I’d better be coming back as an All-Star! I’d better be coming back!” Moore announced, with winking intensity. “I will be assisting, I will be here, I don’t care what I have to do, you don’t have to pay me! I’ll be here, I don’t care!”

Looking ahead of her role as reigning Dance champ and hopeful All-Star, Moore expressed a wide-eyed desire to punctuate her artistic background by continuing her education and expanding her dancing career beyond the stage.

“I really want to go back to school; I think that I just have so much left to learn,” she said. “Who knows, maybe getting into choreography or something like that, I don’t know, but I really just want to do everything.”

Mallory revealed an ignited interest in exploring her thespian side, but above all else remains open to whatever her career has in store, as long as dancing is involved.

“I definitely feel like I’ve become more aware of my acting skills. With dancing, I never really thought of acting as a serious note because I’m such a goofy person and I laugh at the sight of a camera,” Mallory chuckled. “But I really want to get into it, try and see if I can memorize lines and act, so I’m going to take a few classes and see how far that takes me,” she said, before taking a moment to consider the grand scheme of things. “I just want to travel and dance. I don’t know exactly what my future holds, but I know there’s a lot of dancing in it.”

Gadduang is looking forward to hitting the road with his fellow dancers on the tour, and taking to heart the learning experience his non-performance hours will bring.

“I live to dance, but it’s the times outside of being on stage that I really, really cherish,” he said.

SYTYCD choreographer and judge Lil’ C understands the transitional period the dancers are in, and offered advice he revealed he still has to remind himself to take as he enters new phases of his own career.

“Always, always be a student. The real master is the person with the appetite of the student,” he offered. “A victory like this can definitely sometimes hinder somebody because it’s like, ‘Wahoo, I made it!’ And then it’s like, ‘Oh, this is it? I’ve hit my ceiling.’ … So you have to stay hungry; bask in the moment, but don’t dig your grave there.”

With a fantastic season under their belts and tour preparations already underway, this season’s crew of captivating dancers won’t likely find either a moment in which to bask, or a proverbial ceiling to hit.

 

For more Poptimal coverage of So You Think You Can Dance, click here.

Photos courtesy of Keith Kuramoto for Poptimal and FOX.

Additional reporting by Gabe Callahan for Poptimal.

Joshua Allen, Season 4 winner of "So You Think You Can Dance" Joshua Allen, Season 4 winner of "So You Think You Can Dance"	Joshua Allen Joshua Allen	Joshua Allen talks to Poptimal Joshua Allen talks to Poptimal
Season 8 All-Star Joshua Allen Season 8 All-Star Joshua Allen	Joshua Allen Joshua Allen	Krump King 'Lil C Krump King 'Lil C
"So You Think You Can Dance" judge/choreographer 'Lil C "So You Think You Can Dance" judge/choreographer 'Lil C	'Lil C's suit is "##Bucc" 'Lil C's suit is "##Bucc"	'Lil C talks to Poptimal at the "So You Think You Can Dance" Season 8 finale 'Lil C talks to Poptimal at the "So You Think You Can Dance" Season 8 finale
Top 4 contestant Marko Germar Top 4 contestant Marko Germar	Season 8's third place finisher Marko Germar Season 8's third place finisher Marko Germar	Marko Germar talks to Poptimal Marko Germar talks to Poptimal
"So You Think You Can Dance" finalist Marko Germar "So You Think You Can Dance" finalist Marko Germar	Marko Germar Marko Germar	Marko Germar Marko Germar
(l to r) Tadd Gadduang and Marko Germar of "So You Think You Can Dance" (l to r) Tadd Gadduang and Marko Germar of "So You Think You Can Dance"	Tadd and Marko pose for the press after the SYTYCD Season 8 finale Tadd and Marko pose for the press after the SYTYCD Season 8 finale	Tadd and Marko share a moment in front of the cameras Tadd and Marko share a moment in front of the cameras
Tadd and Marko, "So You Think You Can Dance" finalists Tadd and Marko, "So You Think You Can Dance" finalists	Mary Murphy Mary Murphy	Judge and ballroom dancing expert Mary Murphy Judge and ballroom dancing expert Mary Murphy
"So You Think You Can Dance" judge Mary Murphy "So You Think You Can Dance" judge Mary Murphy	Mary Murphy Mary Murphy	Mary Murphy smiles for Poptimal's camera Mary Murphy smiles for Poptimal's camera
Mary Murphy discusses the Season 8 finale of "So You Think You Can Dance" Mary Murphy discusses the Season 8 finale of "So You Think You Can Dance"	Mary Murphy talks to Poptimal Mary Murphy talks to Poptimal	Mary Murphy Mary Murphy
Season 8 winner Melanie Moore is "still in shock" Season 8 winner Melanie Moore is "still in shock"	Melanie Moore Melanie Moore	"So You Think You Can Dance" champ Melanie Moore "So You Think You Can Dance" champ Melanie Moore

Entourage Review: Whiz Kid

First off let me say that HBO cheated me out of about 7 minutes of Entourage.  What gives?  The show is only a half hour to begin with, can we please enjoy a full 30 minutes? Thank you.

On this week’s episode, Vince and Turtle must deal with the aftermath of Ertz’ gruesome suicide.  Vince doesn’t seem as shaken as Turtle, but the consequences for him are much greater.  He didn’t do anything wrong, but it’s just a bad look for him to have been there, because a death occurred and there were drugs on the premises.  After his stint in re-hab, Vince doesn’t need the bad press.  Eric, Ari, and Shauna go into survival mode.  Vince, for the most part, is unflappable as usual while those around him panic.  His calm is short-lived when his attorney tells him that he’ll probably have to take a drug test.  It seems like he’s been on the straight and narrow, and we know he didn’t do anything at Ertz’ place, so he’s in the clear, right?  Not exactly.

He proclaims that he didn’t touch anything at Ertz’, but he doesn’t say that he didn’t use drugs.  That’s because he took a few pulls from a joint the previous week, unbeknownst to anyone.  He tells Eric what happened and E does his best to reassure him.

Vince and Eric’s relationship has been strained lately, as the line between manager and friend is blurred.  Vince needs a friend right now, not a manager.  He tells Eric one of the realest things I’ve ever heard him say, and as a person who has abstained from alcohol for the past 2 years, I could relate.  Vince told Eric that while rehab was helpful, there was a lot of labeling taking place as well.  He was told that he couldn’t do certain things anymore and that he was an addict.  He rejected those labels and wanted to prove to himself that those labels were not true.  He didn’t feel like an “addict,” and wanted to prove that he wasn’t by indulging in something without succumbing to it.  He said that he took a few pulls of the J and hasn’t thought about it since; it was no big deal.  That scene resonated with me, and I’m sure that anyone who’s ever battled personal demons can relate. Good writing and good acting.

While Vince deals with his impending drug test, Ari tries to deal with being separated.  He’s clearly longing for his wife but lacks focus.  On the one hand it seems like he wants to reconcile, but on the other hand it seems like he’s trying to get back out in the dating world.  He has a history with Dana Gordon (Constance Zimmer) but ends up ruining their rekindled union when he uses her as a pawn to make Mrs. Ari jealous.

Now back to Vince, the golden boy. With a little help from Billy Walsh (Rhys Coiro,) Vince manages to pass his drug test. Now packed with a renewed focus, Vince makes plans of coming back bigger and better than ever.  Looks like he’s got his swagger back.

Season 8, Episode 4: “Whiz Kid” (originally aired August 14, 2011)

Entourage airs Sundays at 10.30pm.

Images courtesy of HBO and IMDbPro.

The Glee Project: Q&A with Finalists Alex, Samuel, Lindsay, and Damian

It’s coming down to the end on Oxygen’s The Glee Project, the reality competition show that will grant one aspiring hopeful a singing/dancing seven episode arch on Fox’s hugely popular comedy high school series Glee.

After the past couple of weeks saw fan favorites Hannah and Cameron leave the competition, viewers of the show this week learned that the producers had at least one more surprise in store as this go ‘round none of the contestants were eliminated. Meaning that contestants Alex Newell, Samuel Larsen, Lindsay Pearce, and Damian McGinty are all continuing on in the final episode to fight one last time for their dream of appearing on Glee.

In a Q&A conference call with the four finalists, the group talks about their journey on the series, their most memorable –and difficult- moments on the show, as well as fleshing out their dream roles if they ever were to make it on Glee.

It’s been a long and trying road for the McKinley High hopefuls of The Glee Project. Starting out as a group of strangers with the same dream, week by week the remaining contestants get closer to each other while at the same time saying farewell to their friends whose elimination brings them one step closer to realizing their dream. Each week’s elimination is bittersweet to the contestants so imagine the relief/frustration when this week, no one was sent home. “I was convinced I was going home,” Samuel tells us of the surprise redo of the top four. Lindsay admits that (like me) she cried when she saw that they were all continuing on to next week’s finale.

Looking back on the season, the contestants tell us about their favorite moment on the show, and also about their most trying times. For Alex his favorite moment was performing the song “Valarie” with Hannah back in week 5’s Pairability recital. His most difficult moments were talking about his father’s death and being in the bottom three so many times. For Damian, the toughest moment came when best friend in the competition Cameron quit thereby giving up his spot to Damian who “lived to play another day.” Also, knowing that judge Ryan Murphy was willing to do without him put Damian in a negative head space. For Samuel his favorite moment came also in week five with the video for “Don’t You Want Me?” with Marissa. Samuel tells us that his toughest moment was being told by Murphy that he wasn’t vulnerable enough.

At this both Samuel and Lindsay agree that not being in the bottom three was a disadvantage for them. Samuel tells us that he did not have a clue that Ryan wanted him to be more vulnerable. And so he “spent eight weeks not doing what Ryan wanted” which put him at an unknowing disadvantage. Lindsay agrees with this telling us that for most of the competition she “put on [my] game face” and it was only when she fell into the bottom three during the later episodes that she found out this wasn’t what the judges wanted. They described themselves as being in the precarious position of doing well enough to get by but not succeeding because they were not in the bottom three to learn what they were doing wrong.

On the most surprising elements of being a part of The Glee Project, the contestants note that they are all bowled over by the absolute love and support they continue to receive from fans of Glee. From Facebook and Twitter to walking by Gleeks on the streets, the contestants say that fan response from the show has been overwhelmingly positive. “It’s incredible,” Samuel tells us about the fan reaction, “[you] want to pinch yourself.” When asked how fans react to his frequent dress in drag, Alex tells us that the fans like it, and some even suggest he be a contender on RuPaul’s Drag Race (although as a fan of that show I must say that Alex doesn’t quite have the Drag swag yet. Have you seen those chicks? They’re divas. Not like Alex has a problem relating to that, but we’ll get to that later.) Overall, Lindsay says that when it comes to fan reactions there’s “always more love than hate,” and the contestants express themselves grateful for it because at the end of the day, they’re relying on that love to carry them over when they get on Glee.

Whoever ends up winning The Glee Project will have a role specifically crafted for them by series creator Ryan Murphy, and while all the contestants, of course, trust Ryan’s judgment call on their character the contestants are all enthusiastic when asked what their dream character would be. “Kurt’s baby,” Alex says excitedly, “I want to be Kurt’s baby.”

The rest of the contestants aren’t quite so exuberant when voicing their character choices but it seems they’ve all thought this question out. Samuel says that his dream character would be the singer of a rock band that’s broken up so he joins New Directions to get his singing fix. Lindsay says she’s always dreamed of playing the “ugly duckling” sort of character, and Damian says he just wants to bring himself to the role of a shy/laidback new guy.

When asked how, once winning a role on Glee, they will keep from becoming one of the divas that Glee has become known for, the only contestant who actually answered was Alex saying that to the contrary he has every intention of being a diva on Glee. I mean, why not? Since, as he says, he already is one and, “I never change.”

And although only one of the guys is guaranteed a role on Glee, I’m sure I’m not the only one hoping that a few of The Glee Project contestants will at least score a guest spot. But as to whether or not that’s going to happen, that remains, for the moment, a mystery as the contestants reveal that until the finale airs they’re not even allowed to know of any other offers regarding their talent. But I say these folks are far too talented to not even at least get a one episode nod (perhaps a rival choir?). Either way, Glee-bound or not, I’m sure these guys will all end up great.

Thanks for talking with us. And best of luck in next week’s finale of The Glee Project.

The Glee Project airs Sundays at 9/8c on Oxygen.

Images courtesy of Tyler Golden, Bret Hartman/Oxygen Media

America’s Got Talent Review: YouTube Week? YouTube Week.

This week America’s Got Talent had 12 acts perform on Tuesday’s show who submitted their auditions via YouTube. They then let America vote for who would move on to the semifinals. On Wednesday night host Nick Cannon didn’t waste any time revealing who would go through by bringing out  acrobats Gymkana and the show choir Powerhouse. Gymkana got more votes and Powehouse was sent home. If you wondered why they were announcing the winners so quickly, when it’s usually a long process that takes all night, it’s because they wanted to give time to famous YouTube “successes” to perform. You heard me.

Tay Zonday came out and performed his iconic masterpiece “Chocolate Rain,” and then Kennan Cahill  lip-synced Katy Perry’s “Teenage Dream” and Cannon’s own “Famous” (lip-syned isn’t accurate. Kennan obviously didn’t know the words and just flapped his lips like a Muppet). OK GO did a live performance of their amazingly choreographed YouTube video of their new single “All Is Not Lost.” OK GO is a real honest-to-goodness band that tours and stuff. The other two acts were dreadful and didn’t retain any of the kitschy fun their YT videos had. Being in an Internet video and performing in front of millions of viewers onstage are two entirely different things.

Glow-in-the-dark bicyclist Matt Wilhelm, clogging crew TNC Elite and parkour posse Aeon were all next on the chopping block. Cannon announced unsurprisingly that only Wilhelm made the cut. Side note: I’m reluctant to criticize Piers Morgan like I normally do, about how he has horrible tastes and makes the show all about himself, because I’m now afraid that he will wiretap my phone. Anyway, AGT decided to punctuate Wilhelm’s victory with a performance by Rebecca Black. She sang two songs, her worst song of all time “Friday” and her new single(?) “My Moment.” I’m sure Wilhelm appreciated that. This wasn’t a new low for America’s Got Talent, they have had some horrible acts on before, but it was pretty bad. Even Nick Cannon couldn’t ham it up after her performance, instead he seemed to ignore her without a mention and move on.

Kalani Basketball Freestyle with his bag of basketball tricks, not-very-convincing illusionist Brett Daniels, singer-songwriter Kevin Colis, and the tiny tumbler Breena Bell were all brought on to stage next. Singer Colis was announced to be moving on which wasn’t a surprise, they love singers on this show, but I doubt he will be going much further. The Hand Dancers were then introduced to perform their, well, hand dancing. They didn’t just beat their limbs on a tabletop though, and incorporated what I would describe as hipster Irish dancing. This was the only YouTube act success that really translated into a live performance.

Horror dance troupe West Springfield Dance Team, the awesome bulldog act Gabe Rocks and solo dancer Beth Ann Robinson were the final three acts. They sadly sent Gabe home but he wasn’t a really a complete act, just a really cool dog. The judges were then split on who will stay for the semifinal round. Osbourne voted for West Springfield, Mandel and Morgan both picked Robinson sending her through. But then a twist was drop on West Springfield, and me, when they were told that they will return next week as Osbourne’s “wild card” act along with eleven other acts that have already been voted off for “Wild Card Week.” THIS SHOW WILL NEVER END.

The other previously dismissed acts that are given another chance to compete include Landon Swank, Kinetic King, Summerwind Skippers, Charkes Peachock, Yellow Designs Stunt Team, Shevonne, J. Chris Newberg, Those Funny Little People, Seth Grabel, The Fiddleheads, and Avery & The Calico Hearts. Honestly, I am excited to see the Kinetic King again. Are some of your favorite acts are getting a second chance.?

Season 6, Episode 22 and 23 (original airdates Aug 9 and 10, 2011)

America’s Got Talent airs Tues/Wed at 8/7c on NBC.

Images courtesy of Chris Haston and NBC.

Breaking Bad Review: How Jesse Got His Groove Back

Breaking Bad’s fifth episode this season, the aptly titled “Shotgun,” starts off with a bang as Walt careens down the streets of Albuquerque, desperately trying to maintain control of an increasingly out-of-control situation. Reeling from the news that Mike has taken Jesse for an impromptu road trip, Walt takes off like a bat out of hell in his Aztec, attempting to prioritize his affairs while breaking every traffic law in the book. He barks frantic orders to an unheard Saul over the phone, insisting that Skyler get all of his drug money should he disappear in the next 24 hours. As Walt hightails it to the nearest Los Pollos Hermanos and reaches for the off-the-books “Thirty-eight Snub” he bought a couple of weeks ago, it becomes clear his escalating delusions of grandeur are masking his usually-reliable perception of logic.

The core of Breaking Bad has always been centered on Walter White’s descent into the dark side, but with the stakes now higher than ever, Walt’s loosening grip on his understanding of the difference between himself and Heisenberg is only resulting in sloppy, egomaniacal attempts to assert his authority in the places it’s most unwelcome. Walt struts toward the front counter of Los Pollos Hermanos and demands to see Gus, snarling to the unimpressed cashier that “he’ll know what it’s about” if she tells him “Walter White is here.” Between revealing his actual name and driving like a live-action video game while an illegal gun rests idly under his seat, Walt’s determination to keep his job and his life suddenly reeks of the clumsy inexperience one would perhaps expect from Jesse.

In a twist unforeseen even last week, Jesse proves himself the unlikely face of grace under pressure as his emotional and psychological journey throughout the episode sees his character evolve at depths most have taken years to achieve. While Breaking Bad’s fourth season has primarily chronicled his spiral from apathetic delinquent to grief-stricken nihilist, Jesse’s sudden about-face ultimately positions him to maneuver Walt’s fate in ways neither of them could have predicted.

As Walt sits in a Los Pollos Hermanos booth, leery of the security camera’s watchful eye, neither he nor the audience is surprised when Mike gives him a call to ask what, exactly, he thinks he’s doing by trying to ambush Gus, who has predictably fled the scene. As Walt attempts to wring answers from Mike regarding his intentions with Jesse, the coyly dismissive responses from both men equally irritate and confuse Walt, who had been convinced moments earlier neither he nor Jesse would live until the next cook. “I’m crossing my heart, Walter,” Mike deadpans, promising he isn’t intending to kill his passenger. Can Jesse tell where they’re headed? “I dunno. North,” he snorts, rolling his eyes. I rushed over here to kill Gus in broad daylight for THIS? Walt’s dumfounded face seems to say.

Despite his ambivalence over the phone, Jesse shows the first sign of his rebirth when sparks of fear begin to ignite his sparse conversation with Mike as they cruise down the desert highway and Jesse flat-out asks if he’s going to be killed. Mike makes a sudden turn down an ominous dusty road and stops to take a shovel out of the trunk. Uh-oh. Jesse, fisting his keys like a makeshift Freddy Kruger glove, tells Mike, “you’d better shoot straight, old man, or I’ll slice off your other ear.” This sudden surge of self-defense marks Jesse’s first sign of any emotional response to his surroundings all season, and an important turning point in his personal narrative. Mike offers little more than a steely-eyed smirk before digging out a bundle of cash from beneath the ground and informing Jesse with his trademark gruff that they “have six more of these stops to make with lots of miles in between.” Oh, and Mike would like to get home before dark if that’s okay.

The bulk of Mike and Jesse’s day together is depicted in a fantastic time-lapse sequence set to Ana Tijoux’s “1977,” interloped with a peek at Walt’s bungled attempt to work by himself in the lab. As Jesse begins to assimilate himself to a new angle of the operation, Walt makes the defining realization that he’s used to Jesse riding shotgun with him. Although the montage of Jesse finding new ways to annoy Mike throughout their series of errands is certainly amusing (“You’re trying to bore me to death!” Jesse exclaims, after his collection of slack-jawed faces and air-drum solos wear tired. “Well, mission accomplished.”), Jesse makes sure to establish his role in this unlikely pairing. After suggesting he guard their loot while Mike makes each pickup, Mike insists with stern intensity that Jesse is not, nor ever will be, “The Guy” he’s itching to be. While Walt is fumbling with the forklift back at work, meanwhile, Jesse gets a chance to prove Mike wrong when a shadowy figure with a, yup, shotgun approaches the car during a stop. Jesse leaps into the driver’s seat and floors the gas pedal in reverse, smashing the gunman’s vehicle before taking off in a panicked frenzy not unlike Walt’s joy ride that morning.

However, when Jesse eventually finds Mike and explains that a couple of shady characters were looking to “rip us off, yo,” and he was merely acting on behalf of the operation, it’s clear Jesse’s attempt to assert his authority actually accomplished something, whereas Walt only succeeded in dropping the barrel, so to speak. Mike even lets Jesse smoke a celebratory cigarette in light of his unexpected bravado, and the two head back to Albuquerque having formed a curious bond. When Walt finally confronts Jesse about his trip the next day at the lab, Jesse reveals his new responsibilities with a terse, “I guess I have two jobs now.” It’s only when Mike and Gus meet to discuss the previous day’s activities when the real intentions behind Jesse’s increased work load come to light. Gus staged the robbery attempt for the sole purpose to snap Jesse out of his doldrums and hopefully instigate an alliance with Mike that will perhaps create a rift between him and Walt. “Just like you wanted,” Mike quips to an ever-stoic Gus. “The kid’s a hero.”

Despite Jesse’s return to civilization being entirely orchestrated with ulterior motives, it helps bookend Walt’s own decline into self-aggrandizing bombast when he feels the need to validate his self-worth at dinner with his family, even at the possible expense of the entire façade he’s fought so hard to protect. After his tantrum at the lab only led to a heaping slice of humble pie and his intimate reconciliation with Skyler was promptly punctuated with a reminder of her affair, Walt’s decision to crawl inside a bottle of red wine upon the news that Jesse is working alongside Mike proves disastrous when Hank begins talking about “the case of the crazy singing guy.” Although Hank told his colleague he felt Gale’s death gave him “closure” on his obsession with Heisenberg, his admission of respect for Gale’s obvious intellect gives him reason to take another look at the case as Walt brazenly suggests that Gale isn’t a “genius” but merely a lower-rung copycat. “Maybe,” Walt boldly slurs, “your genius is still out there.”

Skyler’s horrified death glare notwithstanding, Hank’s puzzled astonishment finds him perusing the evidence files the next morning, and the newfound motivation has him even being civil to Marie. The unmistakable grunt of discovery leads to a shocking final image of Hank gazing at an image of a Los Pollos Hermanos napkin. Knowing Gale was a health food nut, Hank is prompted to utter the staggering final line of the episode. “Since when do vegans eat fried chicken?”

“Shotgun” fired a full round of development for both the plot and characters of Breaking Bad this week, as the growing chasm separating Walt and Jesse proves to be more than just professional. As Jesse’s focus is suddenly springing into gear, Walt can’t seem to maintain clout over any aspect of his life. When Hank indirectly challenges Walt’s pride by giving Gale credit for his work, Walt’s desperate need for affirmation causes him to jeopardize everything he’s risked his life to protect. With Jesse possibly leaving the nest, Walt will need to learn to let his ego ride shotgun.

Do you think Hank suspects Walt yet? Will Walt get a new cooking partner? Will Jesse find out he’s merely a pawn? Do you still think this season is boring? Really?

Season 4, Episode 5: Shotgun (originally aired August 14, 2011)

Don’t miss Breaking Bad Sundays at 10/9c on AMC.

Photographs courtesy of AMC/Ursula Coyote.

True Blood Review: Alcide To The Rescue!

Audiences were promised a different shower scene than what was in the books and it was different, albeit cheesy, but I’m not going to complain too much. When we last left Sookie (Anna Paquin) and Eric (Alexander Skarsgard), Eric was still being controlled by Marnie/Antonia’s (Fiona Shaw) spell and finally after sunset, Sookie was able to take off the silver. Eric wasn’t healing much though since he hasn’t fed since Claudine. Sookie decides to finally give Eric her other forbidden fruit, her special fairy blood. He is able to control himself from feeding on her too much and then offers his own blood to her so that they can be “one”. Once again I admit, I squealed a bit. What happens after is the shower scene, where the two are transported into their own world of fur beds and lovemaking in the snow. Very fitting of course with Eric’s Viking background. I don’t remember if Sookie ever took Bill’s blood while they were hooking up but I definitely do not remember any hallucinogenic montages. While I am very much for a Sookie-Eric pairing, I can’t help but wonder if these fantastical scenes are just a reference to the fantasy of their relationship. Even Sookie ominously tells Eric after their v-induced sex that nothing lasts forever.

Luckily, thanks to King Bill’s (Stephen Moyer) insistence, there was only one vampire casualty in Louisiana due to the witches spell. He does some PR work and goes on TV spouting talk of how vampire suicide is common because of the hatred from humans, making the vampire lonely and filled with self-loathing. After the interview, Bill goes to call on Marnie/Antonia to meet with him at the Bon Temp Cemetery, so they can work out a peaceful resolution, NOT.

Earlier, Jason (Ryan Kwanten) rushed over to Bill’s place just in time to stop Jessica (Deborah Ann Woll) from walking out into the light. They share a passionate kiss after the high emotions they experienced coming close to death. This leads to Jessica finally breaking up with Hoyt (Jim Parrack). Poor Hoyt is in denial that Jess is ready to call it quits. Ah young love, that first heartbreak is a killer. In their second round, Hoyt releases his anger and says all the things that he knows will hurt Jess’s feelings. He even goes as far as to rescind his invitation and claims how his mother was right and that god hates fangers. Jess heads over to Jason’s who rescinds his invitation as well. He is now unwilling to betray Hoyt anymore than he already has. This is probably the smart move to make. Jess just gets the short end of the stick in all of this, but she’ll get over it, she’s got all the time in the world after all.

Sookie and Eric decide that they want to stand with Bill in his meeting with the witches. Mayhem ensues as Eric strikes the first blow and we see the ferocity of his former self come back with a vengeance. Pam is about to bite Tara (who’s on the witches side) when Bill saves her. She asks him why and he says you know why. I am assuming that is because she is Sookie’s best friend. Is that the only reason why her life would be worth something? If so, that is messed up and Marnie/Antonia’s claims have a lot of truth in it. Bill could have said, because I didn’t save you last season with crazy Franklin Mott. But he doesn’t.

Sookie defends herself from a witch attacker with her fairy lighting thingy and then gets shot in her left side of her stomach. Both Bill and Eric sense it but Holly and another witch silver Bill, while Marnie/Antonia bewitches Eric again. This time it looks like Marnie/Antonia takes Eric as a servant because she kept saying something that sounded like “servo” and then she kept stroking his hair like a pet.

The other male who comes to Sookie’s rescue is Alcide (Joe Manganiello). He goes against the decree of his new pack and the promise he made to Debbie and comes to Sookie’s house in search of her. Debbie follows him in wolf form and plays the shocked girlfriend. Looks like old Debbie Pelt is making a comeback! She’s begged and pleaded with Alcide to stay away from Sookie how many times now since season four started but he can’t seem to help himself (is that more of Sookie’s fairy blood calling out to him?). Can’t really blame him cuz Debbie is still crazy underneath that “I’m trying to change” façade.

Marcus, leader of the Shreveport Pack, finds Sam (Sam Trammell) at Luna’s house and gets extremely territorial despite the fact that they are already divorced. When a were and a shifter produce an offspring, does that make the progeny a were or a shifter? In any case, Luna’s daughter seems terrified of her dad and prefers Sam’s friendly disposition. The other Mickens brother continues to dig himself into a deeper hole by shifting into Maxine Fortenberry and sells her land for a mere $5,700.

Lafayette’s (Nelsan Ellis) story has taken a detour from the main storyline as he gets possessed by the spirit of an African woman from the fifties(?) who had her own baby killed by the Caucasian father of the child. So is she haunting little Mikey because she wants her own baby back? Seems like it. I wonder if bad luck runs in the family because Lafayette and Tara sure seem to find themselves in one crappy situation after another.

But rest assured there is more True Blood goodness to come as HBO has renewed the show for season five. At San Diego Comic-Con, showrunner Alan Ball revealed that in season five we will find out how Pam (Kristen Bauer Von Straten) was made into a vampire and there will be some version of the strip club Hooligans (the establishment owned by Claudine’s fairy brother Claude in the books). Ball also said that they were already working and researching for storylines for the next season. That is very good news indeed.

The Help Review: Novel or Screen, It’s a World Worth Knowing

The Help (by Kathryn Stockett) is one of those stories that don’t come along often enough.

I had the novel on my shelves for over two years before finally picking it up in anticipation of the film, because like every die hard reader (and writer) I need to read the novel before I can watch an adaptation. I’m not sure why this is, exactly. It might be some weird sense of loyalty to the author, or the desire to form images for the characters in my head before Hollywood decides what they look and act like, or just the plain old (99% of the time true) fact that the books are always better.

The Help is no exception to that rule. The film isn’t bad, not by a long stretch, but I don’t anyone who read the novel will come out thinking they did it justice.

The story is set in 1960’s Jackson, Mississippi during the heart of the Civil Rights movement, a place where tensions ran high and putting a toe out of line could leave you destitute or worse. Much worse. The book is narrated by three women: Aibileen (Viola Davis) and Minny (Octavia Spencer), who are black maids working in white households, and Skeeter (Emma Stone), a privileged white girl recently graduated from Ole Miss and hankering for a career as a writer. Aibileen’s special talent is raising babies, while Minny’s is cooking (and getting fired for sass-mouthing her bosses). Aibilieen works for Skeeter’s friend Elizabeth Leefolt (Ahna O’Reilly) raising her Baby Girl Mae Mobley and their friend Hilly Holbrook (Bryce Dallas Howard) recently fired Minny for not using the colored toilet.

Minny got back at her though, with a Terrible Awful deed that will drop your jaw and leave you collapsed with laughter, along with Hilly’s mother (played by Sissy Spacek).

For her part, Skeeter is dealing with being the only girl her age who hasn’t got a husband, wants a career, and doesn’t think it’s right the way people treat the black women in their lives. After all, they raise their children, cook, and keep their homes and secrets safe. After having a job application to a New York publisher declined, the editor there agrees to read pages of an idea Skeeter pitches – she wants to write about what it’s like to be a colored maid in Jackson from the maids’ point-of-view.

This turns out to be harder than she expects; in talking to the maids she begins to understand the culture of fear, violence, and disrespect that ensures the maids’ silence.

This is a 400+ page novel, so obviously details are going to be left out, sometimes ones that are treasured pieces of the story. What is missing from this movie, though, adds up to more than a few inconsequential bits and made me feel like a whole piece of the pie (hehe) is missing.

I didn’t care for the voiceover, which almost always suggests lazy exposition to me, but my biggest complaints all deal with the alterations that were made to a few of the main characters and relationships. First of all, Hilly Holbrook is a terrible racist of a woman. Let’s get that out of the way. That said, no one is all good or all bad, and Hilly does have some good qualities in the book – some that Aibileen even mentions from time to time. Howard’s Hilly Holbrook teeters on the edge of a caricature of the “Southern Racist White Woman,” which bothered me a little bit. In the opposite area, director Tate Taylor softened Skeeter’s mother (played by Allison Janney) into a woman barely recognizable to readers of the novel. The character is a rigid, high-born Southern woman who yes, loves her daughter and is often the center of hilarious dialogue, but is also unapologetic for her part in a deed that breaks Skeeter’s heart. In the movie she gets an entire scene in which she in turn plays the hero and the loving, proud mother that didn’t exist in Stockett’s novel. Once again, it made a character out to be 100% likable and therefore flat instead of deeply layered.

The change that disappointed me most was the relationship between Minny and her employer, Celia Foote (Jessica Chastain). Celia is an outsider, a white trash woman from a place called Sugar Ditch, MS who got herself pregnant and married to one of the most eligible bachelors in Jackson – and Hilly’s ex-boyfriend to boot. Instead of the multi-dimensional, lovingly sculpted character in the book, this Celia is utilized for the easy laugh. Yes, she’s inappropriate and ridiculous in the novel, but she’s also desperate, and sad, and one of the best white human beings we get to meet. The friendship between her and Minny, and later Celia’s husband Johnny, is also reduced to little more than a vehicle for laughs, when it’s actually heartbreaking and poignant and one of my favorite parts of the story.

Minny herself, along with the film as a whole, was coated with more sugar than I would have liked, given the gravity of the subject matter. Minny lost the anger boiling underneath her gruff exterior, and the screenplay eliminated any real fear of reprisal for what Skeeter and the women were doing by telling stories about their lives as colored help. With the exception of a (passing, really) mention of the Medgar Evars murder, it felt as though nothing worse than maybe getting fired lurks as a consequence. In reality, these women could have been beaten or killed for what they were doing and I would have liked to have felt that ever-present, running undercurrent of fear.

All of those nitpicks may be due to my love for the novel, and there are plenty of things the movie does well.

The performances are well-executed, even breathtaking at times, and I can’t imagine a better cast being assembled. Emma Stone’s Skeeter is emotional, spunky, and naïve and makes us feel all the right things at the right moment. Other standout performances for me came from Viola Davis, who also jerked the heartstrings, Jessica Chastain, who I’d bet money read the novel, because she understood the complicated Celia even if the audience did not, and Chris Lowell, who played Skeeter’s love interest Stuart. Fantastic. There is absolutely nothing to complain about as far as the acting in this film.

The cinematography, costumes, and set design are all pieces of a perfection pie that anchor us firmly in our time and place and don’t let us go.

The heart of the story is kept intact, and this is a tale that will make you laugh and cry, sometimes at the same time.  There are some small, quiet moments that are done very well, and in those scenes you do understand exactly what’s being attempted, risked, and maybe accomplished.

You know that feeling when you can tell a movie is getting close to the end, and you just want it to get there already because you know exactly what’s going to happen and you have to pee and there’s laundry to fold and…you get the point. You will not feel like that watching The Help. I could have watched these characters, this place, this tale, forever.

It’s a story that needs to be told, about a time in history that too often gets glossed over because people are embarrassed about the actions we took or the way people were treated. I know I learned some history I’d never (or don’t recall) hearing about before and, shameful or not, it is our past. The people who lived it, who were sacrificed so we could get through it, deserve to be remembered. The movie brings that world to life, albeit with less day to day fear than probably existed, and gives us a glimpse into the lives of a community that I would never get tired of knowing.

Photos Courtesy of Dale Robinett and Dreamworks

30 Minutes Or Less Review: 83 Minutes Of Bro’ Bonding

You know what they say, if you want something done right…get someone else to do it. Especially if it’s an overly complicated heist and that’s exactly how Dwayne (Danny McBride), the self-proclaimed man with the plan, and his hopelessly loyal sidekick, Travis (Nick Swardson), decide to handle their quest for a sweet one hundred thousand dollars in the movie 30 Minutes or Less. Looking for some poor sap to pull off the foot work in the first step to their much larger plan for monetary domination (more specifically acquiring a ten million dollar inheritance and then opening a kickass tanning salon that offers happy endings) was the easy part and that’s where the unwary pizza delivery driver Nick (Jesse Eisenberg) came into the picture. With a homemade bomb strapped to his chest and less than half a day on the ticking timer, Nick is forced to come up with the goons’ money or be blown to pieces. Luckily, his best friend Chet (Aziz Ansari) becomes his trusty ride or die partner and the pursuit begins.

The duo comedies are some of the best out there and 30 Minutes or Less gives you a double dose with two rivaling pairs trying to outsmart one another. Some of my favorite comedians are in this movie, like McBride and Swardson, and they each bring their distinct styles to the screen. However, if you’re not a Danny McBride fan like myself to begin with, you’re going to have a hard time watching this film, and more so if you can’t stand the show Eastbound & Down, but especially if you’re like me and can’t stop thinking “Kenny Powers” whenever you see him in just about anything these days. Your Highness was to me Kenny Powers in tights and looking back, The Foot Fist Way may have been the future Kenny Powers with a black belt. 30 Minutes or Less might just be Kenny Powers with a gun, but whatever the case I don’t really mind because it’s a comedic style I can’t stop finding hilarious. Jesse Eisenberg is another personality you’re going to have to tolerate since he’s been known to play similar bumbling and nervous characters in every film which I’m not normally a fan of so, when it comes to a lead role, I don’t tend to gravitate to his movies. Nick started out as I envisioned he would (bumbling and nervous) but as time went on, Eisenberg seemed to break out of the predictable mold and become just a little more badass, even more than in Zombieland, and the character Nick went from having no direction in life to fully taking charge of a dire situation. Also, his comedic timing was better than I expected so, as it turned out, I really liked Eisenberg in this movie.

Much of the movie was Nick and Chet trying to figure out how one acquires one hundred thousand dollars while at the same time tinkering with the logistics of removing an explosive vest from a human body. When Chet’s only solution of removing Nick’s arms to slide the vest off doesn’t fly, robbing a bank is the only option left. Between Dwayne and Travis’ constant watchful eyes, a dangerous hired hit man and a greedy stripper, all of which are out for the stolen money, all of the intercepting causes a bunch of unnecessary confusion and distress. Of course it wouldn’t be side-splitting hijinks if it didn’t, but it successfully kept me guessing how each character was going to get leverage out of the situations that were relentlessly popping up.

It was complete chaotic action surrounded by crude comedic banter but deep down I think 30 Minutes or Less was intended to be a bromantic comedy. While Dwayne made it clear he was the brains behind the operation, he couldn’t have formulated it without his pyrotechnic buddy, Travis. No matter how many times Dwayne put him down or lied to him about the true intent of the plan, Travis stuck by his side until they both came to the conclusion that, wannabe-hardened criminal mentalities aside, they actually cared about each other. The same went for Nick and Chet, despite the immature and ultimately insignificant conflict that drove them apart in the beginning of the movie, which proved the theory that having a bomb strapped to your body threatening your very existence can really bring two besties closer together.

 

Images courtesy of Sony Pictures.

Jersey Shore Review: Like More Than a Friend

I thought the season premiere last week was tame, by Jersey Shore standards.  But luckly this week featured more of the ridiculously pathetic behavior we’ve grown accustomed to witnessing. So let’s get to it.

The episode opens at the club with Deena exhibiting “thirsty” behavior towards Pauly.  She’s always had a crush on him and wants to smush, but Pauly is reluctant because he knows that it’s nearly impossible for a girl to sleep with a guy and not develop feelings.  Who needs the drama?  Snooki and Vinny went down that road before, and don’t even get me started on Sam and Ron.  Deena tries to cuddle with Pauly later when they get home, but he pretends to be sleeping.  Ouch.  He acts like he wants to spare her feelings, but I just don’t think Pauly is feeling Deena like that.

Later we are reminded that they are friends first, when Deena gets angry at Pauly for spilling the beans about Mike trying to cuddle with her.  Mike is like a dog in heat.  Last week he was all over Snooki, and this week he tries to cuddle with Deena in truly bizarre fashion.  He eavesdrops on a minor argument over the phone between Snooki and her boyfriend and blows it out of proportion, saying that if Jionni can’t make Snooki happy, then he will have to step in. He makes a big show of consoling her, but she doesn’t look like she’s biting.

Later Mike brings home a random girl who is DTF, and Snooki sends mixed messages by making fun of the girl’s looks and telling Mike that he can do better than her.  If she doesn’t like Mike herself, then why does she care who he brings home?  Mike hints that Snooki is they type of girl he can do better with and reminds her that they hooked up before.  Snooki doesn’t say much about that, but she makes it clear that they aren’t anything other than friends.  Anything more than that is all in Mike’s head.

Speaking of bringing someone home, when they all go out partying Ron gets wasted and claims that he will be bringing plenty of girls back to the house and that he slept with several girls before coming on the trip.  Sam is right there and he says all this for her benefit.  They had been doing so well, but I should have known that it couldn’t last.  I hate to say this, but Sam is pathetic.  Ladies, let Sammi serve as a cautionary tale.  How much abuse and heartache does she plan to endure?

At this point I can’t even blame Ron, because he is single and free and owes Sam nothing.  He also has the good sense to avoid the emotional entanglement that Sammi is trying to create.  Even after he hurts her feelings at the club, she still asks to cuddle with him later at home.  She’s a glutton for punishment and it’s sad to watch.  Sometimes the only way to get over the last person is to move on to the next person.  Ron is certainly moving on, and plans to have a lady friend named Hanna visit him at some point.  Have some pride Sam.

Best of the episode: Mike coming up short with Snooki

Worst of the episode: Sam and Ron. Again.

What to look for next: House drama with Sam/Ron and Mike/Snooki

For another take on this week’s episode check out “She’s Too Young For You Bro” by Stephanie Jaar.

Jersey Shore Season 4, Episode 2: Like More Than a Friend (originally aired August 11, 2011)

Jersey Shore airs Thursdays at 10/9c on MTV

Images courtesy of MTV.

Jersey Shore Review: She’s Too Young For You, Bro!

The second episode of Jersey Shore picked up right where we left off last week – fist pumping in a Florence nightclub – and things quickly became all about the hook-ups and relationships. Here’s a rundown of the main pairings so far this season and who comes out the winner in each situation:

Deena/Pauly D. Deena wants to “smush” with Pauly D, who surprisingly (or perhaps unsurprisingly since he’s probably quite the expert in this field now) understands how women’s minds work. He doesn’t want to “smush” with Deena right away because he knows she’s just going to become clingy after that, even though Deena insists she won’t. Pauly D gets the point here for keeping his distance.

Ronnie/Sammi. We all knew this would get messy, but it happened sooner than expected for me. Sammi is an emotional drunk while Ronnie is a manwhore drunk, two very bad combinations. All Sammi cares about is what her ex is doing and then she breaks down and admits she misses him. Ronnie misses her too, he says, but effectively turns her down when she brings up cuddling and sleeping together. Point to Ronnie for not falling back on old habits!

Mike/Snooki. Where does one even begin with Mike and Snooki? Maybe they did “smush,” maybe they didn’t. But Snooki’s boyfriend conveniently gets angry at her for not calling every day and Mike uses the opportunity to comfort her….and then he follows that up with a confession of his love for her. Snooki takes it all in stride but emphasizes that she just sees him as a friend. Point for Snooki!

Mike/Random Girl at Club. Resigning himself to the fact that Snooki is simply not interested, Mike picks up a girl at the club. “What, a classy Italian girl actually fell for The Situation’s charm?” I hear you say. Nay, dear readers, this has yet to happen. Mike’s one night stand is with an American studying abroad in Italy named Brittany. At the end of the episode, we see Mike giving her a call because he’s horny and wants someone to sleep with. I’ll withhold giving a point to either person in this round, but if Brittany doesn’t show up next episode then it’ll be a point for her.

As for the “job” the Jersey Shore gang will be holding this season, they’ll be working at a real Italian pizzeria. The owner, Marco, seems pretty strict so there’s no telling how this workplace environment will go down. We see a bit of orientation with Snooki having the honor to make a pizza, but they haven’t officially begun working yet.

The cast also once again prove their ignorance and believe the big church in Florence is “The Vatican.” I’m really starting to pray that they’re doing this for the cameras.

Next week I expect more drunken Deena falling on the cobblestoned streets of Florence and even more Ronnie/Sammi drama to go down. But what I’m really starting to wonder is whether any of the Jersey Shore boys will be able to bring back a real Italian girl to the smush room – Vinny seems pretty intent on accomplishing this one goal. This season is only just beginning!

For another take on this week’s episode check out “Like More Than A Friend” by Tanya Lane.

Season 4, Episode 2: Like More Than a Friend (originally aired August 11, 2011)

Jersey Shore airs Thursdays at 10/9c on MTV.

Images courtesy of MTV.

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