Quickies 7-25-2017

Zoolander 2 ~ I hated Zoolander or at least I remember hating Zoolander.  Now I think I might want to give it a serious re-watch.  My mind on the subject has been changed.  Seeing the sequel, Zoolander 2, I understood what was being gone for. Just sit back, relax, and enjoy the stupidity. While before I thought I was looking at a bad "Saturday Night Live" sketch that had gone on far too long, this time, I got the camp, and I saw the superhero parallels, at least in the sequel, and kinda loved it. And if nothing else, the opening gave me new respect for Justin Bieber, and that's saying a lot.

The BFG ~ This film adaptation of a Roald Dahl story is fun, but not as interesting as his other stuff, until they get to the giant meeting the Queen of England, and then it's great. Great fantasy that becomes great funny on a Monty Python scale. The kids will like it more than you will, but they won't get half the jokes. Fun for a rental.

The Wedding Planner ~ One of the terrible things about being in the hospital is that you will watch anything, because sometimes you either can't move or can't find the TV remote to change the channel. When this simple rom-com came on one night, I thought I was in for two hours of hell, but it wasn't half-bad. Predictable from start to finish, but I have to say I quite enjoyed this one… or maybe the IV was just full of good drugs.

Frankenhooker ~ I loved this movie when it first came out, thought it was hilarious, and bought the videotape when it came out. When I worked in a video store, I would push the button on the movie box when I walked by, and it would say, "Wanna date?" and "Got any money?" Hilarious. I saw it recently, the story of a deranged young man who brings his girlfriend back to life using body parts from dead chopped up prostitutes, and I'm sad to say – either I've grown up, or it doesn't hold up at all. I still think the talking box is funny though.

Remembering David Bowie

Last night's news of David Bowie's passing hit me hard. I was devastated. Many of you know I've been seriously ill for a month or so, but I've been making forward progress and trying to be positive - but this loss was a physical blow and crushed my spirits. I loved and love Bowie, he was a favorite, an idol, an inspiration, and the man marked my life.

My first exposure to Bowie, and also to the offensive gay epithet that starts with an F, was when I saw the "Little Drummer Boy (Peace on Earth)" duet with Bing Crosby originally air. I remember seeing him on "Soul Train," and in drag and as a puppet on "Saturday Night Live." "DJ" from Lodger (which I had on 8-track) was probably the first proper music video I ever saw, another field in which Bowie was a pioneer.

I remember vividly the first times I heard many of his songs. "Golden Years," "Cat People," "Station to Station," "I'm Afraid of Americans," "Let's Dance," "Sound and Vision," and a dozen others all hold specific memories for my first listens. How many other artists or songs can one say that about?

I saw Bowie once, during his Glass Spider tour. Squeeze opened, and both Peter Frampton and Toni Basil were part of his entourage on stage, but Bowie shined like a supernova in that dying and falling apart JFK Stadium. He was mesmerizing and amazing, a burning, singing, dancing light enthralling the thousands there. I'll never forget it.

This weekend, the weekend of both his birthday and death, was filled with Bowie for me. I watched him on "Storytellers" telling tales and performing for a small audience songs from his then-new album Hours. I also finally got around to listening to Blackstar, a fabulous collection. In an iTunes age when one can just cherry pick the songs one likes, I preordered Blackstar in its entirety as I have Bowie's last few.

And today I am crushed, numb, and indescribably sad. Rest in peace, man, I love you, you changed my life.
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A slightly different version of this appears at Biff Bam Pop!. Please pop over there for more remembrances of David Bowie by the staff there.

The Last Daily Show with Jon Stewart

A lot of people are going to hate me for this, but I'm not a regular viewer of "The Daily Show," not since Jon Stewart came on board sixteen years ago actually. His arrival marked a change in the show. Before, with Craig Kilborn, I kinda dug it, but when it became a news show with comedic elements as opposed to a comedy show about the news - I checked out.

The main thing that has always bothered me about this incarnation of "The Daily Show" is that there are people who think it is news. There are folks who hang on Jon Stewart's every word as if he's this generation's Walter Cronkite, and I think that's sad. Just as I think that more than half of the programming on CNN, MSNBC, Fox News, and others should have a big sign on the screen that says OPINION when they are doing that instead of reporting the news, I think "The Daily Show" should have one that says SATIRE.

The more Jon Stewart got political, and the more he took himself seriously, the less I liked what I saw. This wasn't what I was tuning in to Comedy Central for, ya know? And if I wanted to see one-sided fake news by people who think they're clever, let's face it, I'd watch Fox News. So yeah, I am neither a regular viewer nor a fan, but I did watch the final episode with Jon Stewart last night.

I enjoyed the SNL40 vibe of the returning correspondents, good to see many of them again, as those reports were something I did dig about "The Daily Show," and I am a fan of the official and unofficial spin-offs with John Oliver, Larry Wilmore, and even Stephen Colbert. And opposed to SNL40, it did not go on too long. As a fast food aficionado I have to say I loved the Arby's commercial, that was a touch of class.

So despite not liking the show, not being a fan of either Stewart or his concept of the show, I have enjoyed it from time to time, and enjoyed the final episode of his run. Even Springsteen was pretty awesome. It wasn't bad, even with the preaching about 'bullshit.' I think would have rather had them actually talk about the Republican debate, but as it stands, we all know the debate was much funnier. I look forward to a new take by incoming host Trevor Noah.

Why George Coe Was Cool

Actor and comedian George Coe passed away yesterday. He was an Academy Award nominee, a veteran of stage and screen, the voice of Woodhouse in "Archer," and an original cast member of "Saturday Night Live." He had appeared in numerous movies and TV shows from "The West Wing" to "Max Headroom" to the Transformers films and even Skyrim, but it was SNL that made him cool.

Here's the thing. George Coe was only credited on the first episode as one of the Not Ready for Prime Time Players, even though he made a few appearances throughout that first season. Coe was originally placed in the cast by network executives who thought the show skew 'too young' for viewers. They were quickly proved wrong and George Coe moved on.

The cool part is back in the dark days before the internet, when you couldn't just look something up on your cellphone in a split second, there was a wonderful sport called the bar bet. If you knew, you could say, "I bet you fifty bucks (or a hundred if you're feeling daring) you can't name every member of the original Not Ready for Prime Time Players."

The dumb ones might forget Chevy Chase, or include Bill Murray. The smart ones might, just might, get Michael O'Donoghue (always my favorite), but nobody ever got George Coe. Free beer money.

Good night, Woodhouse, we'll miss you.

Ant-Man

Ant-Man ~ I could talk about what Ant-Man is like in the comics, but really I already have elsewhere. I could take on the tact of how the film is different from the comics too, but I think where I'll go is with the burning question I had at the end of the movie, and no, I'm not talking about the mid-credits and end-credits stingers (at least not yet). Why does the Marvel Cinematic Universe treat Hank Pym with more care and respect than the Marvel Comics do? It's a puzzler, and I still don’t know the answer - but it makes me happy.

Ant-Man is a terrific heist film, settled into the wonderful tapestry of the Marvel Cinematic Universe, perhaps one of the best shared universe continuities out there. It is fun and exciting on a level matching Guardians of the Galaxy. At this point however, I'm going to caution you folks, we're entering spoiler territory, so if you haven't yet seen the film or don't want to know what happens - vamoose, or prepared to be spoiled.

I was sold on this film right from the 1989 flashback opening featuring some actors in various stages of youth and age through CGI. Michael Douglas, looking as young and sharp as he did back on "The Streets of San Francisco," is Dr. Hank Pym - the original Ant-Man - and he's quitting S.H.I.E.L.D. Also there are John Slattery of "Mad Men," who has played Howard Stark (Iron Man's dad) in a couple of the Marvel movies, and Hayley Atwill, the amazing Agent Peggy Carter. Enraged by the mention of his late wife, Janet, Hank punches Martin Donovan's Mitchell Carson. Carson, in the comics is a disfigured SHIELD agent who opposed the third Ant-Man - here's he's just a minor bad guy, later revealed to be Hydra, holding with storylines from "Marvel's Agents of S.H.I.E.L.D."

Flash forward to the present as burglar Scott Lang, played by slob-com actor Paul Rudd with the same unexpected and cool finesse that Chris Pratt took on Star-Lord. Is released from prison as paying his debt to society. While trying to stay on the straight and narrow, he falls in with his old crowd, buddies on the not-so-straight path - that steal our hearts, and steal the movie. Michael Pena and rapper T.I. are sidekicks that rule and roll, bring the humor and making this flick all the better as the serious comic relief - keeping it real while keeping it fun.

The gist is this. S.H.I.E.L.D. wants the Pym particle formula which allows a man to shrink to ant-size. Pym quits rather than give it to them, and then builds his own company, which while successful, does not take advantage of the Pym particle. New boss, former Pym mentee Corey Stoll as complete villainous a-hole in the comics Darren Cross, is actually trying to duplicate it, and thinks he's finally got it. His masterpiece, a miniaturized battle armor called the Yellowjacket (very little resemblance other than name to one of the Marvel Comics identities of Pym). Pym, and his daughter Hope (who hardcore comics fans might remember as the alternate future daughter of Hank Pym and Janet Van Dyne, also known as the Red Queen in A-Next) want to stop this from happening.

Enlisting the help of Scott Lang through trickery and convincing him to become the new Ant-Man, Hank begins to train the new hero. These are entertaining sequences, and make the film. I weary of origin stories told over and over again in the movies (yeah, I'm looking directly at you, Superman and Batman), but this was fun, and fun is what Ant-Man is all about. The comedic bits are great, especially the cameo by Garrett Morris. As someone old enough to remember his appearance on "Saturday Night Live" as Ant-Man nearly four decades ago, that was a treat.

The plan is to break into Pym's own company and destroy the Yellowjacket suit along with all the data on the Pym particle to keep Cross from selling it from Hydra, but first a side trip - one that leads to a very interesting encounter. I have talked about the Justice League Europe theory before, and the idea of posing a superhero to fight another superhero is another way to do this. I suppose that's why this side trip pits Ant-Man against the Falcon.

I was pleasantly surprised to see Anthony Mackie show up as the Falcon when Paul Rudd's Ant-Man has to break in and steal something from the Avengers' new headquarters as seen in the end of Avengers: Age of Ultron. And I guess this kinda makes up for the Falcon's noted absence during the final battle of that last film. What I liked about this clash, different from classic superhero battles from the Silver Age of Marvel Comics where you knew who would win based on the name on the front of the comic, is that neither character was made to really look bad in the fight. Ant-Man is a proven contender to anyone out there who still doubted it, and though defeated, the Falcon isn't humiliated. He comes off looking good, and I was glad.

While the previews give away Evangeline Lilly's scenes, except for the hopes that she'll become the Wasp (or that the original might return), I need to caution folks that the Thomas the Tank Engine scene is the least of the final battle between Ant-Man and Yellowjacket. There is much much more and way cooler aspects to it that cannot be missed. This is sooo not Minions where the entire movie is in the preview. Speaking of the Wasp, there is a wondrous flashback scene, and she's features indirectly in the mid-credits stinger. And stay to the very end for the Captain America: Civil War teaser.

And then we come back to the question I posed at the beginning of this lengthy review. Hank Pym in the comics is really only known well for a few things, and most aren't good. He's had a variety of identities, a history of mental illness and domestic abuse, and of course, building a monstrous AI dead set on exterminating the human race. They could have gone a number of ways here. For the film to portray him as a hero, I can't be happier for my favorite Avenger. I loved this movie, the last and perhaps the best of Phase Two.

If you'd like to hear more of my thoughts on the movie, as well as my lovely wife's, please check out this week's special Ant-Man episode of The Make Mine Magic Podcast.

Arrow S03 E15: "Nanda Parbat"

Our opening this week, although brief, clears up a bit of a problem I've had with the character of R'as Al Ghul on "Arrow." The idea that he did not approve of the relationship between his daughter Nyssa and Sara, the first Canary, has always had a bit of an unspoken and icky anti-gay sentiment to it. Although a villain, it was always in my mind that R'as would be a bit more open minded, being immortal and all.

What is made clear in this short exchange between R'as and Nyssa is that yes, he did disapprove, but because he knew Sara would leave Nyssa (and him, and the League of Assassins) and hurt her. Also made clear is that R'as knows Oliver is alive, and that he did not kill Sara. Still, he must be dealt with. I also have to say that this opening is the first time that Matt Nable has made me believe he's R'as. He's good, but this is the first time he's struck me as that good.

The Arrowcave and the club have been fortified by Dig with A.R.G.U.S. tech, and given everyone inside a bit of time to catch up and get to know each other better for good or ill. Whether it's trading quips, training for battle, revealing even more secrets, or just the hostile environment caused by Malcolm's presence, it's just not pretty. I did love Malcolm's comment about Oliver bring a bow and arrow to a sword fight.

The thrust of the first half of the episode focuses on the mad obsession of Oliver's that Malcom train him to defeat R'as. Why is he so adamantly on Malcolm's side? As Dig says, there must be something to it, but Oliver is such a liar we'll never know it, until it's too late. When it does come up - while it's irrational male ego more than anything else - it makes more sense than 'trying to save Thea's soul.'

Laurel confronting Merlyn, followed by the assassins taking Merlyn, and Arrow fighting Nyssa are three excellent fight scenes in quick succession. For all the talking in the episode, this more than made up for it in the action column. I have to say however they are making much too fine a point on how good a fighter Malcolm is and how bad Laurel is. It's just not consistent.

Meanwhile Felicity has been distracted babysitting Ray Palmer. This A.T.O.M. suit sure is taking a long time to put together. Before his test flight I was beginning to wonder if we'll even see the Atom before he shows up on "The Flash" in "All-Star Team-Up." At least Felicity finally gets a real kiss from a bare chested man, even if it's not the bare chested man she really wants. I'm also starting to wonder what this Atom's powers are - he's more Iron Man or X-O than any version of the Atom. What I'm wondering now however is what the proposed spin-off pilot is about with the actors who've portrayed the Atom, Black Canary, Captain Cold, and Prof. Martin Stein…

What happens in "Arrow" this episode is that Malcolm is captured by R'as Al Ghul's forces, and Oliver and Diggle follow him back to Nanda Parbat. They're easily captured of course, but just when we think R'as will kill them, he instead makes an offer to Oliver. He asks him to become the next R'as Al Ghul. Now, despite various references to Bludhaven, it's been assumed that the Arrowverse is Batless. There are far too many bits from the Bat-family that have ended up here without a mention of the Batman for there actually to be a Batman. Of course that could be because of legal complications, but it still seems a stretch for R'as to groom Oliver just as he tried to with Batman. But then again, they did reconstruct the swordfight from Batman #244, so why not co-op the rest of the Batman/Demon story?

One last fun bit. William Shatner was live-Tweeting this episode the night it aired. Fun stuff, you can check out his feed here. Special thanks to super cool friend and fellow Biff Bam Pop! writer Leiki Vestimets for hipping me to it. You can check out the latest On… column at the site where she talks about "Saturday Night Live" here. And speaking of "Star Trek" and Biff Bam Pop!, please read our memorial of the late Leonard Nimoy here.

Back to the Arrowverse, I have more questions. Why does Oliver need Nyssa to tell him where Nanda Parbat is? Wasn't he there before? Isn't that where he faced R'as the first time? And after all the men that Oliver and Dig probably killed, how can R'as let them live? How can they live with themselves? I thought Oliver swore off killing.

Arrow returns March 18th, see you then...



And if you'd like to discuss this episode and anything else in the Arrowverse, please join the Arrow discussion group on Facebook.

Joe Cocker Dead at 70

Singer/songwriter Joe Cocker has passed away after a prolonged battle with lung cancer. He was 70.

This is embarrassing but I knew of the man for a long time before I ever saw or heard him. In the comics of my youth there were those Columbia Record Club ads which always included Mad Dogs and Englishmen, and I experienced John Belushi doing Joe on "Saturday Night Live" long before I ever saw the real thing. And the real thing was unique, powerful, and wonderful.

Joe Cocker had his own style, was his own man, and although he only had a handful of hits, they were amazing epic musical triumphs. His cover of the Beatles' "With a Little Help from my Friends" may well be one of those rare covers better than the original. He's worked with some of the best in the business over his forty-plus year career and will be missed. We've lost one of the legends.

RIP Don Pardo

I saw "Saturday Night Live" for the first time in June of 1976. I remember recognizing the voice of announcer Don Pardo right away. I can't rightly say where I knew it from but I knew it. The show has been on the air for almost four decades and he was there for all but one misguided season. The powers that be corrected that mistake quickly.

When the last new show of the current season aired, I actually thought of Don and how long he's been at this, Googled his age and was surprised. I loved the man, and loved his sense of humor, and his ability to deadpan a joke when needed. He did this to great effect in "Weird" Al Yankovic's "I Lost on Jeopardy" and when his usual announcement that "guests of Saturday Night Live stay at the Marriott's Essex House" became part of a bit. He did it with the same finesse as always.

Don Pardo passed away yesterday, quietly in his sleep at the age of 96. SNL is probably what he was known for most even though his golden voice has graced many other shows, games and news, with the same warmth and professionalism. The man and his voice are legend, and I know "Saturday Night Live" will ever be the same again.

Nothing Lasts Forever

Nothing Lasts Forever ~ You may or may not have heard of this obscure 1984 film with Bill Murray. Shot in black and white and shelved by MGM, it was never officially released in theaters or to video retail. Directed by fellow "Saturday Night Live" alum Tom Schiller (remember the brilliant Schiller's Reel?), it has remained unseen for decades but is now, possibly only temporarily available on YouTube.

Ostensibly a Bill Murray vehicle, it stars the immediately post-Gremlins Zach Galligan as a young man, Adam, who returns to New York from Europe with dreams of becoming an artist. The trouble is that America has been through hard times and some things have changed. A transit strike has put the Port Authority in control of New York City in an almost fascist state. Artists are frowned upon and Adam is put to work at the Holland Tunnel for a wacky boss played by Dan Aykroyd.

With me so far? 'Cause it's about to get weird, and yes, weirder than it already is. After Adam is kind to a beggar, the kindness is returned when the man reveals that there is a secret underground of bums that really control the world. After a truly disturbing purification process, during which we go from black and white temporarily to pseudo sepia colorization color, the masters of the world give Adam a mission - to bring art to the moon where he will meet his soulmate.

Adam goes back up to black and white NYC where no one believes him. And then he gets on a bus to the moon, where a young, pre-arrogant, and not-as-grumpy Bill Murray is his possibly sinister sky host. Look quick or you'll miss Larry 'Bud' Melman. Once on the moon, we're in pseudo-color again. But even on the moon things are not as they seem.

This New York City is like a cross between Fellini Paris and Hell here, and in that way, the black and white is used to good effect, very German Expressionist, with just a touch of Val Lewton and David Lynch. The tour of the NY art scene is both surreal and far too real, imagine Andy Warhol in 1920s Germany, bizarre. There are many bits lifted from old movies that may have had something to do with its non-release, rights problems, perhaps?

Zach Galligan, as in Gremlins, does a great It's a Wonderful Life Jimmy Stewart, perhaps much more naive. Lauren Tom, who this writer knows from voice acting in the DC Comics Animated Universe, is his lovely lunar soulmate. The amazingly named Apollonia Van Ravenstein is also quite good. Also look for Eddie Fisher, Imogene Coco, Sam Jaffe, and Mort Sahl.

Perhaps the reason Nothing Lasts Forever was not released was its pre-Tim Burton oddity or its painfully non-mainstreamness. Maybe the studio didn't know what it was - scifi, drama, comedy, period piece, musical? Even I'm not sure. It certainly is intriguing and worth a look while you can. Check it out.

RIP Harold Ramis

Actor, writer, and director, Harold Ramis passed away today, much too young, at the age of 69. The name might not ring a bell at first for some folks, but for others, the man defined comedy for a generation.

I first became aware of Harold Ramis from "SCTV." In my youth, the show aired a 1 AM, right after the original "Saturday Night Live," and was known by me and my friends as 'the secret SNL.' We called it that because most folks turned off the TV when SNL was over, they didn't know about this treasure. "SCTV" was a skit show set under the premise of a fictional Canadian TV network, and featured performers from Chicago's improv troupe, Second City, from which coincidentally half of the original SNL cast was from as well.

Harold Ramis was the head writer of the show, as well as working for Playboy and National Lampoon. From this starting point, he began form his comedy technique, and began writing film. Animal House, Stripes, Meatballs, and Caddyshack (which he also directed) all came before Ghostbusters.  

Ghostbusters was huge when it came out, I don't know if anyone remembers how big it was. At the time it had a pop cultural impact similar to Star Wars, everyone knew the lines, and everybody had the t-shirts, and everybody was humming the song that would eventually make Huey Lewis richer.

Later he would come into his own as a director and producer as well, with such films as Vacation, Analyze This, a favorite of mine, Someone to Eat Cheese With, and The Ice Harvest. He would also do his final film with Bill Murray, probably their best film, Groundhog Day, a piece of brilliance that the two men disagreed on how it should be done. To this day, it's probably what has kept Ghostbusters 3 from happening.

We've lost one of the greats, both behind and in front of the camera, who made us laugh and made us think. Harold Ramis will be missed.

The Robin Renee Blog Tour - Wrap-Up

Wrapping things up here on the Robin Renee Blog Tour, and I want to thank everyone involved. Special thanks goes out to all the folks who participated and helped with to tour, including, and not limited to, Shelley Szajner, Marie Gilbert, Becca Butcher, Patti O'Brien, Fran Metzman, Ray Cornwall, Andy Burns, the South Jersey Writers, the GAR! Podcast, Biff Bam Pop!, and especially to Robin Renee herself. You all rock, very hard! Thank you!

Here is a breakdown of the stops on the Blog Tour.

Robin Renee is interviewed by Shelley Szajner here about inspiration, Kirtan, and This..

Marie Gilbert runs down some of the places where Robin can be found on the internet here.

Becca Butcher gives her thoughts on the This. release here.

Here, I give a song by song review of This., along with Robin adding her thoughts and observations as well.

Patti O'Brien talks about Robin's music, and then interviews her about her travels here.

We return to Welcome to Hell, where guest blogger Fran Metzman interviews Robin about her influences, inspirations, and creative process. See it here.

Over on the South Jersey Writers blog, Marie Gilbert returns to interview Robin about encouragement, inspiration, and the ups and downs of a music career.

Robin was a guest on The GAR! Podcast where discussion included DEVO, David Bowie, Saturday Night Live music moments, and the creative process. You can listen to the episode here.

And finally, you can go here for the Biff Bam Pop! interview with Robin Renee, with a few edits for space considerations showing up here.

Robin can be found at her website, and on her blog, and check out her music at CD Baby, and at iTunes. Follow her on Twitter here, and Like her Facebook page here.

And don't forget about Robin's terrific new single "All I Am," now available at CD Baby, with 20% of the proceeds going to the You Will Rise Project.

Thank you, everyone!

Lost Hits of the New Wave #26

"Jocko Homo" by DEVO



Over on The GAR! Podcast, as part of the Robin Renee Blog Tour, Ray and I interviewed Robin for about a half-hour or so. One of the things that came up in conversation was transformative moments in music on "Saturday Night Live."

In those early seasons of the program I was exposed to many new musical experiences that shaped and influenced how I perceived music, and in the growing punk and new wave atmosphere of the late 1970s, "SNL" was full of new musical experiences. Both Robin and I were affected by an appearance by David Bowie. Ray talked about seeing Fishbone, although much later. I remember being amazed by Patti Smith, Elvis Costello, The Specials, The Clash, the B-52s, Gary Numan, and yes, DEVO.

I wouldn't be as hardcore into the band as I was later in the Freedom of Choice and New Traditionalists years, but the visuals and sounds stayed with me. I was especially drawn to their cover of the Rolling Stones' "(I Can't Get No) Satisfaction," and that it did what all covers should seek to do, overtake the original. I still to this day feel the DEVO version is superior to the Stones'.



Don't forget to get over to garpodcast.com, and listen to the Robin Renee interview, and go to Biff Bam Pop! tomorrow for the next stop in the Blog Tour.

Going Overboard

Going Overboard ~ I used to use Adam Sandler as a litmus test for how bad a movie was. I really hated his early work that much. This flick is his earliest, his first, and the one that Adam Sandler wants you to forget. I really don't blame him.

Sandler is a gawky cruise ship waiter with a bad jewfro who wants to be the ship's comedian after the real one drops dead. His routine is that of a bad Catskills comic from the sixties, and he acts like a whiny and unfunny Jerry Lewis clone when off stage.

Billy Zane, Milton Berle, Terry Moore and in an early cameo, Billy Bob Thornton all embarrass themselves in this mess that was filmed entirely on a cruise ship, with the wrong lenses. Thankfully for them, and unluckily for me, Sandler and Burt Young are on the screen the most. The 'heavy metal' band, I think called Croaker, that sings "I'm gonna slap your cat, upside his head" is probably the only real laugh in the whole movie.

Wow, this sucked. Now I remember why I hated Adam Sandler so much years ago.

Homeland

I'm a latecomer to this show. I tried watching it during its first season and just couldn't get into it. My mom-in-law was enjoying it, so I gave it another shot, this time, getting through two episodes, and not digging it because I found t too predictable.

Then Emmy time came around just before the start of the second season of "Homeland." The show was a big winner, and I had friends who were surprised I wasn't watching, saying it was right in my television wheelhouse. I relented, and watched the whole first season streaming in about a week.

I was wrong. It's really only predictable for about four episodes, after that I was irrevocably hooked. The second season has been as just as good as the first, something I wasn't sure it could keep up.

There are problems however. The first was something I thought only I was seeing, but as a recent "Saturday Night Live" sketch brought to light, Claire Danes' overacting and crazy unblinking eyes when having an anxiety attack skate the thin line between reality and over the top almost to the point of laughing out loud. Her crazy face jumps the shark every time she makes it.

Brody's daughter is the current equivalent of the daughter in "24," where you have to ask, why do we care? It's subplot just for the sake of subplot, rather than efficient storytelling. These last two points make me wonder if we'll get a third season despite how amazing everything else on the show is.

Time will tell. Despite what I've said, I'm glued to my TV every Sunday night.

Hotel Transylvania

Hotel Transylvania ~ I gotta be up front with this one. It's not bad, but honestly I was expecting so much more from Genndy Tartakovsky's first foray into big screen animation. "Samurai Jack," "Dexter's Laboratory" and especially the most recent "Sym-Biotic Titan" are among my faves on Cartoon Network. Yeah, I know he also worked on "Star Wars: Clone Wars," but let's get real, it is sooo not in the same league.

Hotel Transylvania is not bad, but it's not that good either. Simplistic, and borrowing more than a little from Rankin/Bass' Mad Monster Party? from decades ago, it struggles more than it needs to by using the voice talents (and I use the word 'talent' very loosely) of Adam Sandler as Dracula. It's like listening to Sandler's annoying Opera Man voice for almost two hours. Where there's Sandler, there's also Kevin James as Frankenstein, as well as a cornucopia of unfunny "Saturday Night Live" veterans.

This one is good for the kids, but might be a bit much to take for the adults. Be warned, the end breaks into a rap celebration that must be missed. Embarrassing for all involved. Seeing Steve Buscemi involved in this movie tells me he owes somebody a big favor, or he needs to fire his agent. As for Genndy Tartakovsky, his next project is rumored to be a big budget animated Popeye. I'm hoping for the best, and not more of this.

Don Kirshner 1934-2011

One of America's greatest music producers, and a driving force in popular music for decades, Don Kirshner, passed away yesterday from heart failure in Boca Raton, Florida. He was 76.

I think it's sad that there are probably generations who don't even know his name, or if they do, it's because of late night infomercials, or they think he's a character Paul Shaeffer played on "Saturday Night Live." Of course they are other generations, before the advent of MTV, who know the man and his contributions.

Kirshner was instrumental in starting the careers of numerous songwriters in the 1960s with his "Brill Building" school, where friend and producer Phil Specter also worked. 'Graduates' included Carole King, Neil Sedaka, Neil Diamond, Howard Greenfield, and Gerry Goffin. Together they scored dozens and dozens of hits, before they went on to have careers of their own, while Kirshner himself started several record labels and moved on into television. Known as "The Man with the Golden Ear," he was one of the folks who created the Monkees, as well as the cartoon Archies, both groups prefabricated, and he also discovered many 'real' music acts as well like Bobby Darin and Kansas.

Kirshner was also a 1970s fixture on Sunday late nights with his legendary "Don Kirshner's Rock Concert." There he introduced many acts to America for the first time like Prince, Blue Oyster Cult, Earth Wind and Fire, Parliament Funkadelic, the Sex Pistols, Alice Cooper, Rush, Linda Ronstadt, KISS, Ted Nugent, David Bowie, and the Ramones, just to name a few of the hundreds who appeared on the program. The series, which ran from 1973-1981, was notable for being live and not allowing acts to lipsync, a widespread curse of the 1970s. We didn't have MTV, we had Don.

We have lost one of the true geniuses of the music industry, he will be missed.