I emailed The Fish at 104 the X today. Here is what I said: Why don’t you ever play any chick groups or groups with chick lead singers. The only one you play is Evanescence (over and over). Why don’t you play someone like Courtney Love, or Avril Lavigne, or Pink, or Cheryl Crow, Fiona Apple, Poe, Liz Phair, Joss Stone, L7. Seriously. I could go on and on. Where are the chick’s voices? If you want to mail The Fish too, his email is: firstname.lastname@example.org. I think on Monday I might call the programming director and lodge a formal complaint. Woo.
Slate has a nice analysis of the clever caveman commercials and their potential as comic television.
Watch this. It’s Michelle Malkin’s response to Rosie’s “Ching Chong Chinese” on The View, which I posted about a while back. Ok, Ok, I know it’s Michelle Malkin, but it makes a great point. Of course, when you do something racist like Rosie did, you leave yourself open to this kind of valid response. It’s unfortunate that Rosie is fodder for someone in the right wing like Michelle. Just because Malkin is ultra-conservative, doesn’t mean she cannot launch these criticisms. I hate when this kind of thing happens, because it means people like Malkin can accuse you of hypocrisy. That just sucks.
In my deepest disappointment, Rosie O’Donnell’s racist “Ching Chong Chinese” on the View. I’ve been liking her co-hosting stint lately, until this. I don’t know why she succumbed to this bit of racism, but I guess she didn’t know any better. It’s an example of white obliviousness when white people who are generally progressive make jokes about immigrant accents by exaggerating and mimicking them. There’s no excuse for this behavior, especially when it’s televised for the world to see:
I watched Spartacus on hi-def tonight. My husband was completely oblivious during the oysters or snails scene, which made me chuckle. Wikipedia has a nice entry on Spartacus. The entry explains that Anthony Hopkins dubbed Olivier’s lines when the film was remastered to include the Oysters or Snails scene with Tony Curtis.
I saw the movie Jesus Camp yesterday. It depicts Evangelicals teaching their kids to be soldiers for Jesus. They even pray over a cardboard effigy of George Bush, asking for Jesus to help Bush lead us to a right wing country. George Bush is not God’s representative on earth. If anything, he’s a false prophet bringing the apocalypse closer, which I suppose most Evangelicals think is a great thing. Thankfully, Jesus Camp has closed down. Of course, the scandal with Ted Haggard, who is featured in the film, might have had something to do with the camp closing. Here’s Jon Daily on Ted Haggard.
Trevor Fehrman on the Pussy Troll scene from Clerks II: Was there ever a scene where you couldn’t keep a straight face delivering your lines? Yes, the pussy troll scene. [laughs] Yeah, that’s what I was thinking of. What the hell was that? The pussy troll scene was one of those scenes that is a real nothing ventured, nothing gained scenario. When I first read the script I thought, “Whew, he didn’t fuck it up.” The second thought was, “How are we going to make this scene work?” There are a couple of golden rules that always exist in comedy. There’s the rule of three
I enjoyed V for Vendetta yesterday. The Wachowskis’ commentary on the Bush regime is obvious, whereas in the Matrix movies, the philosophy is garbled and multifarious. What’s equally interesting is the reviewers’ commentary. You can tell who is conservative and who is liberal by their take on the movie. In any event, one reviewer made a very disheartening comment: But this is not the movie, and these are not the times, for sophisticated arguments. If now is not the time for sophisticated arguments, then precisely when would that time be? Have we really become so dumb that any movie wanting to make a political point
I don’t like scary movies, but the Skeleton Key was fun to watch because it was based outside of New Orleans. What a fabulous cast — Gena Rowlands, John Hurt, Kate Hudson. The movie wasn’t terribly scary, thank goodness. I love Gena Rowlands, so that made it entertaining. I agree with the Tomato Meter’s 39 rating, but I think some of the reviews were unfair. In any case, the Slant review made a nice point about race in the film: In the tradition of Angel Heart, it looks to stir cultural anxiety by introducing a pretty white thing into a sinister world where “black” magic
Mira Nair’s films evoke the feeling of lush reds and yellows. That is such a prevalent visual theme in the four films I’ve seen by her: Mississippi Masala (1992) Kama Sutra (1997) Monsoon Wedding (2002) Vanity Fair (2004) I saw Vanity Fair last night. It was better than expected, and better than the critics rated it. But then, I LOVED Kama Sutra. Of those I’ve seen, Kama Sutra is my favorite, mostly that’s due to the director’s commentary. On the one hand, Kama Sutra is somewhat inaccessible to American audiences. OTOH, I love this film because I do find it most accessible compared to some