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The 87th Annual Oscars – A Night of Surprises

Monday, February 23rd, 2015

The 87th Annual Oscars were a night of surprises.

And The Winners Are:

  • Best Picture – Birdman or (The Unexpected Virtue of Ignorance) – a real surprise to me; I thought Boyhood was the one here, but it was neck and neck.
  • Best Actress – Julianne Moore, Still Alice - an excellent film, and a much deserved win, though Marion Cotillard was superb in Two Days, One Night
  • Best Actor – Eddie Redmayne, The Theory of Everything - this was a real upset – everyone thought Michael Keaton had this one in the bag.
  • Directing  – Alejandro G. Iñárritu, Birdman or (The Unexpected Virtue of Ignorance) - if you think the film was good, then Iñárritu wins.
  • Best Supporting Actress – Patricia Arquette, Boyhood – her win was no surprise; but the film was completely shut out in every other category.
  • Best Supporting Actor – J.K. Simmons, Whiplash – absolutely deserved for his performance here, and a lifetime of work.
  • Animated Feature Film - Big Hero 6 – honestly can’t speak to this; not a category I follow.
  • Documentary Feature – Citizenfour - another surprise, and hardly a safe choice, with an impassioned acceptance speech from the stage.
  • Foreign Language Film – Ida (Poland) – I’d go for Two Days, One Night – not enamored of this film at all, but it’s a small, sincere film.
  • Adapted Screenplay – Graham Moore, The Imitation Game – good choice here; Moore’s acceptance speech was raw and honest.
  • Original Screenplay – Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo, Birdman or (The Unexpected Virtue of Ignorance) – OK.
  • Original Score – Alexandre Desplat, The Grand Budapest Hotel – don’t like the film, don’t like Wes Anderson, but he’s a cult favorite, so it wins.
  • Original Song – “Glory” from Selma - the most moving moment of the evening, with an electrifying performance of the song, which got the evening’s first standing ovation & tears in the audience.
  • Film Editing – Whiplash - picked this, and agree with it; in this small scale film, the editing had to be razor sharp, and it was.
  • Production Design – The Grand Budapest Hotel - if you insist.
  • Sound Editing – American Sniper – deserved; whatever you think of the film, the sound editing was utterly complex, and multi-layered.
  • Sound Mixing – Whiplash - again, a great and deserving win for a film about a world of music – harder to mix that one might think.
  • Visual Effects – Interstellar - dull film, average SPFX; I would have preferred Captain America, Winter Soldier here.
  • Cinematography – Emmanuel Lubezki, Birdman or (The Unexpected Virtue of Ignorance) – superb cinematography, and a worthy win.
  • Costume Design – Milena Canonero, The Grand Budapest Hotel - again, if you insist.
  • Makeup and Hairstyling – Frances Hannon and Mark Coulier, The Grand Budapest Hotel - it picks up all these minor awards, but nothing major.
  • Animated Short Film – Feast – haven’t seen it.
  • Live Action Short Film – The Phone Call – haven’t seen it.
  • Documentary Short Subject – Crisis Hotline: Veterans Press 1 - a really good documentary; searing, honest, timely.

Those are my major thoughts; Neil Patrick Harris kept things moving, but the “predictions in a box” bit was lame and over-stretched; he seemed bored with the whole thing, and more or less just pushed things along; the songs keep slowing things down, especially the one after the memorial reel, which should just have been a fade to black; Selma will get a lot of much deserved traction as a result of the Glory performance, which was the standout moment of the evening for raw sincerity and passion; but it’s still not right that the director, Ava DuVernay, wasn’t nominated, but Glory did the most with what it had at hand. I predict that down the line it will get more attention than it has now; it certainly deserves it.

It was nice to see Jean-Claude Carrière win in the Governor’s Awards highlights reel for his many screenplays, especially for his work with the great Luis Buñuel; the tech awards deserve more than 30 seconds, and you could cut some of the endless musical numbers to give them just a bit more space; seen in 100 countries and 24 time zones by roughly half a billion viewers, the telecast of the 87th Oscars once again affirms, more than anything else, the continuing commercial dominance of the American cinema; but at the same time it’s interesting to see that the big budget “tent pole” movies were almost completely ignored in favor of smaller, more personal visions from the margins, where all the best ideas come from anyway.

The studios are stuck in this pattern of releasing big budget spectacles at enormous expense to drag viewers into the theaters, but while the Marvel and DC movies make money, it’s clear that the industry doesn’t really respect them – they want content, and thoughtful filmmaking. All in all, I was surprised by the end of the ceremonies – it’s always an ordeal, but people were allowed to speak their minds on any number of controversial topics from the stage. Some people went on & on forever, and got played off at the start of the ceremonies, but when someone had a real message to deliver, I noticed that the orchestra held back on a number of occasions.

The impassioned speech after the Glory production number was a real stunner, and Patricia Arquette’s call for equal pay and equal rights for women was met with resounding approval from the audience, and a raised fist shout out from Meryl Streep and others in support. However, as much as Julie Andrews is a cinematic icon, I thought the placement of the Sound of Music salute was bizarre to say the least, though Lady Gaga demonstrated that she’s learned a thing or two from Tony Bennett lately, singing the songs rather than belting them. All in all, a mixed bag that kept one thinking. No one film swept the awards, which was great – instead they seemed to be spread out over a number of interesting films, all of which will now get a lift at the box office and on VOD.

All in all, the Academy could have done much worse; glad it’s over until next year. See you then!

The 2015 Oscar Run-Up

Sunday, February 22nd, 2015

So, the 87th Annual Academy Awards are tonight.

Bob Fischbach of the Omaha World Herald asked me for my thoughts, and here in part is what he wrote: “Wheeler Winston Dixon [of] the University of Nebraska-Lincoln said academy voters are interested in celebrating new ideas that could rejuvenate the film industry, which he sees as under attack from streaming video and instant-access online services like Vimeo.

‘Small-budget movies have more original ideas than Marvel,’ said Dixon, who has written books about independent film and industry trends. Birdman was a technical marvel with its long takes and fluid camera motion. Boyhood took a risk in filming a family story over 12 years. The actors mature before your eyes. “’When you see a movie being made in which Superman meets Batman, that’s the sign of a genre collapsing into its baroque period,’ Dixon said.

Captain America and Spider-Man are [creatively] bankrupt.’ He compared it to the horror genre, which began with Frankenstein and Dracula but eventually doubled and tripled up on monsters to the point of ridiculousness.

Dixon said the Oscar shift has been going on for a while. When The Hurt Locker won best picture in 2009, it beat the digitally driven action fantasy Avatar, even though Avatar made 55 times more money — $2.7 billion globally . . . [Dixon noted that] big-budget tentpole movies ‘are committee movies that have to appeal to the lowest common denominator. Whiplash and Still Alice can afford to take risk[s] because they’re not going to break anybody’s bank.’

When they do catch fire, he said, the arty, independent films Oscar loves are increasingly being seen online and at home. ‘That’s the future. We’re going to see a real transformation of the Academy and what constitutes a movie, as film becomes more and more a solitary viewing experience.’”

You can read the entire article by clicking here, or on the image above.

Two and A Half Men Finally Runs Out Of Gas

Friday, February 20th, 2015

Two and A Half Men has finally ended, with an extremely self-reflexive episode.

Two and A Half Men ran out of gas a loooooooong time ago, but finally it was laid to rest last night, with a one-hour finale that strongly suggested that we’ve been wasting our time in a rather epic fashion for the past 12 years. Charlie Sheen left four years ago; since then Ashton Kutcher has filled in for him, and the series has been running on fumes ever since. That’s why my favorite moment in the show’s final episode – what? I’m going to miss this? – came when Angus T. Jones, apparently forgiven by Chuck Lorre for his outbursts against the series, made a final cameo appearance in a blizzard of truly terrible jokes – gags so wheezy that the entire cast broke the fourth wall – twice - to stare directly at the audience, as if to say, “you’re stupid enough to laugh at this?”

There were any number of in jokes at Sheen’s expense, cameos by Arnold Schwarzenegger and Christian Slater, and endless references to the long running feud between Sheen and producer Chuck Lorre, culminating in a capper in which a piano is dropped on a Sheen lookalike, and then on Lorre himself in the final shot. The cast and writers clearly threw any aspect of faux “realism” – even for a sitcom – out the window for this last episode, preferring to make something as meta as meta could be – an episode about the whole trajectory of the series over the last decade plus. In any event, it was a perfectly fun way to waste an hour, and now that the show’s gone, we won’t have to worry about it anymore, except that it will live on forever in reruns, which it’s already doing.

Click here, or on the image above, to see a clip from final episode.

Aftershock – The Best Episode of Law & Order

Monday, February 9th, 2015

Detective Lennie Briscoe (Jerry Orbach) in the haunting final shot of the Law & Order episode “Aftershock.”

As a contributor to Wikipedia notes, in the episode, which originally aired on May 22, 1996, ”Jack McCoy, Claire Kincaid, Lennie Briscoe and Rey Curtis attend the execution of a man each had a part in helping to convict. Kincaid and McCoy fight briefly while driving back to the city. Kincaid decides to take a sick day, while McCoy returns to the office. Briscoe and Curtis have the day off, but Curtis decides to finish up some paperwork. Curtis has a scuffle with a man in a holding cell and is ordered by Anita Van Buren to take the day off. He proceeds to meet a graduate student (Jennifer Garner) downtown and spends the day flirting with her while ignoring his wife’s phone calls. He eventually spends the night with her.

Briscoe visits an off track betting facility and meets some acquaintances with ‘inside information.’ After losing some money, Briscoe meets with his estranged daughter and they go to lunch. Kincaid visits her former law school professor (who is later revealed to be her stepfather) to discuss her concerns about capital punishment, and more broadly, her feelings about the legal profession and her role in it. She then has a late lunch with Van Buren and discusses the morality of capital punishment.

After dispatching a few plea bargains and lunch with Elizabeth Olivet, McCoy goes to a bar and meets some blue collar workers where they play darts and talk about their fathers. McCoy initially speaks highly of his father, a former police officer. However, after getting drunk, he reveals that his father demanded perfection from him, and would beat both him and his wife (McCoy’s mother) for the slightest failure. He also states that he ‘never talks about these things.’

Briscoe’s talk with his daughter does not end well. He walks into the same bar that McCoy is at and orders a club soda, as he is a recovering alcoholic. After McCoy leaves in a cab, Briscoe seemingly becomes depressed and orders a vodka. Kincaid, whom McCoy had earlier called to get a ride home, meets a drunken Briscoe at the bar and offers to take him home. While driving home, Briscoe laments the state of his relationship with his daughter, and says that he would have liked to have a child like Kincaid. As she tries to comfort him, a drunk driver slams into the side of their car, killing her.

The episode ends with a dazed Briscoe wandering in the accident scene, bursting into tears at the sight of Kincaid’s dead body, as Van Buren reads part of a letter she has been writing to her mother about the execution in a voiceover: ‘A crowd of people stood and cheered when he raped her. They were supposedly good people and they did absolutely nothing. Then he beat her to death with a tire iron, and today the State of New York got its revenge. It’s not enough, and it’s too much.’”

This is thoughtful television at its very best – superbly directed by Martha Mitchell.

Charlie Brooker’s Black Mirror

Thursday, February 5th, 2015

Black Mirror is one of the most original and disturbing visions of Dystopia ever produced for television.

Juts like The Twilight Zone in the 1960s, Charlie Brooker’s British television series Black Mirror, of which there are now six episodes plus one 90 minute multi-part special, White Christmas, starring Jon Hamm of Mad Men, is disturbing and thought provoking television. Designed, like The Twilight Zone, so that every episode has a new premise, a new cast, and a new plot, but consistently offering visions of a totally wired-up future in which there is no freedom or hope, Black Mirror is available on Netflix streaming in the US – or, as I did, you can buy the Region 2 British DVDs of all six episodes. Regarding the structure of the series, Brooker has commented that “each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.” Which, I’m afraid, we are.

The series kicked off in early December 2011 with the truly horrific episode The National Anthem, in which the Prime Minister of Britain is forced by terrorists to disgrace himself on worldwide live television to save the life of a kidnapped member of the Royal Family; followed by 15 Million Merits roughly a week later, in which the future is seen as a world of endless drudgery and nonstop video commercials which are forced upon workers who must ceaselessly toil at meaningless jobs simply to survive. The Entire History of You deals with the endless recording of human existence on cellphones, Twitter and other media, which has reached the point of total immersion, so that everyone knows everything about everyone else – there’s nowhere to hide.

The second season – starting in February of 2013 – picks up on this theme with Be Right Back, in which a young widow finds comfort in an artificially created “web” version of her late husband, which “comes back to life” through the aid of every video, Tweet, e-mail and photo scan, and later a synthetic body, but still brings her no real solace. White Bear, easily the most brutal episode of the entire series, came next, with its tale of a young woman who awakes in strange house, unable to remember her identity. Wandering outside, she discovers that no one will talk to her; rather, they incessantly record her every move with their cellphones. The last regular episode to date, The Waldo Moment, chronicles what happens when a CGI cartoon character is suddenly thrust into a race for a seat in Parliament.

The episodes vary in length, from 44 to 62 minutes, and they’re broadcast on Channel 4 in the UK, which has a history of innovative programming going back to the early 1980s. In this country, you’ll have to watch them online, on buy the DVDs, and there is, of course, an American version of the show in the works, for which I hold out little hope – some things just don’t travel well. London at the moment is a fearfully expensive, fairly Dystopian location itself, and the series makes full use of all the technology that comes with a society under constant surveillance – which is life in the UK today. Black Mirror is a paranoid vision of the near future which comes all too close to probability – if we let tech get out of hand (and I would argue we already have), this is just a sample of the world we can expect to live in.

That said, I don’t think the episodes from season two are as strong as those in season one. With completely uncharted territory to mine, and no real risk of failure – if the series clicked, fine, but if not, it would have been a noble experiment – Brooker and his associates could afford to take nearly any risk to create something really off the charts. Season two is slightly more formulaic, though I enjoyed Be Right Back the best of the lot, having just the right mixture of menace and melancholy in its construction. Still, the entire series is literally light years ahead of anything on American television, with the partial exception of PBS, and I suggest you check it out for yourself- whatever you might think of it, it’s an authentic and original vision of society in collapse, and all of us are the victims. It’s a mixture of satire, prognostication and social criticism that really hits home. But beware – it’s not for the faint of heart. Not at all.

You can get more information on Black Mirror by clicking here, or on the image above.

2015 Oscar Nominations & Predictions

Thursday, January 15th, 2015

And so the Oscars roll around again.

First off, let’s just remember that although The Academy Awards have managed to elevate themselves into the stratosphere of award ceremonies, they’re industry awards, voted on by members of The Academy of Motion Picture Arts and Sciences, not not critics, or members of the public. Their main function, now and always, is to highlight Hollywood as the supposed center of the cinematic universe, and underscore the hegemony of Hollywood mainstream filmmaking, while making a few cursory nods to the rest of the world with one “foreign” film – it’s really a three hour advertisement for the American film industry, voted on by those who are a part of that industry – so as Norman Mailer might say, “it’s an advertisement for itself.” In short, unlike Cannes, or Berlin, or the New York Film Festivals, this is strictly an industry event.

That said, it seems to me that in this particularly contest, the big winners will be –

Best Picture, BOYHOOD, Richard Linklater’s ambitious real time experiment;

Best Actor, Michael Keaton for BIRDMAN on the “comeback” theory, and also because BIRDMAN got so many nominations throughout the entire ballot;

Best Actress, Julianne Moore for STILL ALICE, which is a fantastic performance in a very small, tightly budgeted film, and a very good choice, although it’s sad to see Marion Cotillard nominated in the same category for the infinitely superior TWO DAYS, ONE NIGHT, but that will never win;

Supporting Actor, J.K. Simmons for WHIPLASH, and absolutely deserving in every sense – Simmons has been a journeyman actor for decades, and here he really gets a chance to shine, and really delivers – a remarkable performance;

Supporting Actress, Patricia Arquette for BOYHOOD;

Adapted Screenplay is wide open, but I’ll go for Damien Chazelle for WHIPLASH;

Best Foreign Film, IDA – a virtual lock;

Best Editing, Tom Cross for WHIPLASH, a dazzling display of virtuoso technique, especially in the final moments of the film;

Best Special Effects, Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher for INTERSTELLAR, though personally I think Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick should win for CAPTAIN AMERICA: THE WINTER SOLDIER, which despite its comic book origins is a much more intelligent and thoughtful film than Nolan’s entry;

and I’ll stop there.

BIRDMAN or GRAND BUDAPEST HOTEL may well sweep the other categories through sheer momentum; but the whole thing is really up in the air at this point, and these are just my thoughts on the subject. There were so many excellent films that weren’t nominated – as always – so this is just handicapping a very closed field. But we’ll have to wait until February 22nd, 2015 to find out what really happens – so until then, take a look at the ballot yourself, by clicking here or on the image above, and place your bets.

The entire ballot is posted as a pdf here; see what you think.

Woody Allen’s New “TV” Series – on Amazon

Tuesday, January 13th, 2015

Woody Allen is doing his first “TV series” ever – with Amazon!

As always with Woody Allen, details are scarce, but Amazon has signed Allen to write and direct a full season of what is now being appropriately referred to as the “Untitled Woody Allen Project,” as the always reliable Nancy Tartaglione reports in Deadline. Of course, it’s not really a “TV series,” though it seems it will resemble one in format, because it’s only going to be on Amazon Prime. What a “full season” means these days is anyone’s guess, but I’m hoping it means at least 13 half-hours. As Tartaglione writes, “Amazon Studios broke new ground this weekend at the Golden Globes, winning its first major awards with the Best Television Series and Best Actor – Comedy or Musical statues going to Transparent.

Now, the streaming service is ramping up another first: signing Woody Allen to his first-ever TV series. Amazon has ordered a full season of the Untitled Woody Allen Project, which will premiere exclusively on Prime Instant Video. The Oscar-winner will write and direct the half-hour show whose logline is under wraps. (Allen previously penned an unaired sitcom pilot, The Laughmakers, for ABC in 1962.) An exact time frame was not provided for the project, however Amazon says its customers in the U.S., the UK and Germany will be able to see the series next year. Further details, including casting, are to come.

‘Woody Allen is a visionary creator who has made some of the greatest films of all-time, and it’s an honor to be working with him on his first television series,’ said Roy Price, Vice President of Amazon Studios. ‘From Annie Hall to Blue Jasmine, Woody has been at the creative forefront of American cinema and we couldn’t be more excited to premiere his first TV series exclusively on Prime Instant Video next year.’ Allen added, ‘I don’t know how I got into this. I have no ideas and I’m not sure where to begin. My guess is that Roy Price will regret this.’”

I love it! “No ideas and I’m not sure where to begin.” That’s the way to launch a series!

The Colbert Report Signs Off

Friday, December 19th, 2014

The Colbert Report signed off with a star-studded finale that no other comic of this generation could match.

On the last show, a mammoth sing along to the tune of We’ll Meet Again featured everyone from Randy Newman to Henry Kissinger to Willie Nelson to James Franco to Gloria Steinem to Charlie Rose and every imaginable stop in-between – a fitting end to what was arguably the greatest late night satirical talk show in television history.

As Richard Corliss wrote in Time Magazine, “I’m blue. After nine years and two months, The Colbert Report is off the air. I’ve seen each of the 1446 episodes leading to tonight’s sign-off, and cherished almost all of them. The show’s conclusion will leave a void in my life and in my writing, since I’ve shoehorned Colbert references into reviews of Superbad, Prince of Persia, Pompeii, Jackass 3D, Nightcrawler and Julie Taymor’s The Tempest, and into essays about Richard Nixon, Ingmar Bergman, Derek Jeter, makeup artist Dick Smith and the 2012 Super Bowl.

For my wife Mary Corliss and me, Colbert has been destination viewing. Even in the early years, we never took the show’s excellence for granted, agreeing that some day we’d look back on the double whammy of The Daily Show and The Colbert Report as the golden age of TV’s singeing singing satire.

That age ends now. Colbert is gone from TV until September, when he takes over David Letterman’s CBS 11:35 slot and, at 51, becomes the oldest man to debut as the host of a late-night network talk show. He’ll be off the air for nine months — a long time for admirers like me to go cold, or Colbert, turkey. And when he finally starts on CBS, he’ll just be Stephen Colbert. Not ‘Stephen Colbert,’ the greatest fake newsman in TV history, and one of the richest fictional characters in any popular art form of the past decade.”

So until September, it’s cold turkey for Colbert fans – when we’ll meet again.

Larry Teng Directs Hawaii Five-0

Saturday, November 8th, 2014

The reboot of Hawaii Five-O, which just aired its 100th episode, is superb action television.

I don’t watch that much TV, so I came late to this show, but even if my favorite directors are people like Manoel de Oliveira and Eric Rohmer, one simply has to admire the skill of people like Larry Teng, a young director who works in episodic television on such shows as Medium, Elementary, NCIS: Los Angeles, Criminal Minds and Hawaii Five-O, and has done a great deal to bring diversity to the director’s chair on television. Teng’s brilliance as an action director is simply stunning – fight scenes, car chases, shootouts – this is work much like that done by the gifted William Witney for Republic in the 1940s, and he’s obviously primed to make the jump to features.

Watching the show, and having been on as many sets as I have, it’s stunning that the cast and crew knock out each of these episodes in eight days flat – but as Teng told Cheryl Hollar,

“in Hawaii Five-O (on such episodes as ‘Ua Hopu,’ ‘Mai Ka Wa Kahiko,’ ‘Ka Hakaka Maika’i,’ ‘Ma Ke Kahakai’), there’s a visual grandeur built into the show. There’s a little more mission. It’s a different kind of storytelling specific to the need. You have to have the full cooperation of the island when you’re shooting. It’s one of the bigger budget shows out there. And it really shoots itself. It’s a beautiful location. That’s one reason we are able to do the big scope movie stuff that we do.

Anytime you work on a show as ambitious as Hawaii Five-O, you still try to do the show in eight days. You have to understand where you want to spend your time on a show like that. You have to have enough daylight to shoot a lot of different scenes. You’re always chasing the sun. And, there’s also the potential for breakdown of equipment that’s not always readily accessible to you as it would be in a production center like L.A.

Hawaii Five-O’s ‘Ua Hopu’ (2012) felt like a mini movie to do. It was an all-day shoot in the jungle. We had two and a half hours to do it. Alex O’Loughlin [one of the leads in the series] and Mark Dacascos [playing the villainous Wo Fat] only had about an hour that Sunday to really choreograph, which is like no time at all.

Normally, you have like a full day. So, coming on set, we narrowed about four hours work down to two and a half. Alex and Mark only had one hour rehearsal time. That is normally a full day as well. It was also the last scene of the day. So, the closer it got to quitting time, we started to lose a little bit of light.

Also, with something like that, you don’t want to harm your actors. So, you want to make sure it’s safe. You break down the fight scene into movements, like four separate sections.” In short, it’s hard work, which most people forget when they’re just sitting watching the tube.

Watch an episode, to see what cutting edge action direction is like today; really impressive.


Friday, November 7th, 2014

Mom is a television sitcom that steps outside the usual box.

Mom, a half hour sitcom which debuted in 2013, stars Anna Faris and Allison Janney, and was created by Chuck Lorre, Eddie Gorodetsky, and Gemma Baker. Chuck Lorre is the current “king” of half hour TV sitcoms, with a whole string of credits under his belt, starting with writing duties on Roseanne, and the moving on to create or co-create Grace Under FireCybill, Dharma & Greg, Two and a Half Men, The Big Bang Theory, and Mike & Molly, but Mom is probably the best thing he’s ever done. Anna Faris has been knocking around in medium budget “spoof” feature film comedies for nearly a decade now, wasted for the most part in the Scary Movie franchise and other similar projects, where she really couldn’t show the true range. Allison Janney is also a superb actor, who has also been working of late in an excellent supporting role on the cable series Masters of Sex.

The series itself often steps outside the usual TV comfort zone to deal with such issues as homelessness, alcoholism, compulsive gambling, teen pregnancy, the realities of living paycheck to paycheck in an unforgiving world, and manages to mix real social observations with some pretty funny punch lines, which both Janney and Faris deliver with expert aplomb. Don’t get me wrong; there’s always a happy ending around the corner, even when the extended family is evicted from their home for non-payment of rent, and is forced to move into a sleazy motel rather than sleep in their car.

But the show clearly passes the “means test” – the characters don’t live in palatial mansions on their minimum wage jobs, as happens in many TV sitcoms. Faris’ character works as a waitress; her mother, played by Janney, has a distinctly sketchy past; they don’t always get along, and all the plot lines don’t neatly wrap up with each half hour (of 22 minutes, if you want to deduct time for the commercials). In between the laughs, there are some hard truths on display here. Despite the fact that Mom’s primary mission is to entertain, there’s some really good acting from the ensemble cast, sharply funny dialogue, and genuine insight – imagine! – in this show, which has just been renewed for a second season. The series is picking up viewers, and is just starting a second season. You could do worse than to watch an episode.

Mom is a welcome respite from most of the junk you’ll find on TV; check it out.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

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