Former New York Giants superstar (and current in-demand sports commentator) Michael Strahan speaks with PopMatters.
For years, Michael Strahan was one of the single most feared forces in the NFL; quite a feat for a guy known off the field as something of a big softy. In his fourteen year career as a defensive end for the New York Giants, Strahan was selected to seven Pro Bowls, named NFL Defensive Player of the Year in 2001, and captured the NFL single season sack record.
After a stellar career on the gridiron, Strahan seems set to be as dominant on TV as he was on the field. He’s a host for Pros vs Joes and the star of the new sitcom Brothers, where he plays a retired NFL star named Michael. It’s all a little bit postmodern, yes. And like any retired football player worth his salt, Strahan is offering his thoughts on the current NFL season on TV every Sunday.
I caught up with Michael Strahan earlier this week to talk about his Super Bowl picks, his former team, the business end of running an NFL franchise, whether or not getting hit in the head for a living can ever be a safe occupation and of course, how he stays pretty for his new career in TV land.
You can almost sense how self-conscious Scooter felt when it came time to engage in the traditional opening-theme self-promotion; Scooter's entire personality boils down to consumerism: "I've got my computer."
I was listening to the Muppet Babies theme song the other day (don’t judge me!), and I made a point of studying its lyrics. (Surely you’ll concede that somebody has to intently critique the lyrics to songs from Saturday morning cartoons that aired 25 years ago.)
Point being, I noticed something terrible. Note what each of the Babies says in the opening theme:
Kermit: I like adventure. Piggy: I like romance. Fozzie: I love great jokes. Animal: Animal dance! Scooter: I’ve got my computer. Skeeter: I swing through the air. Rowlf: I play the piano. Gonzo: And I’ve got blue hair.
Now, I admit that Gonzo’s “I’ve got blue hair” is hardly characterization at its deepest and most stirring, but whereas Kermit’s an adventurer and Fozzie’s a comedian and Rowlf’s a musician, Scooter’s only claim to fame is, “I’ve got my computer.”
Legend of the Seeker had a rough start in its first season, but it improved greatly by the season finale. Season two picks up where the first ended, both in terms of plot and quality level.
The first season of Legend of the Seeker faced a decidedly uphill battle. Not only was it one of the first pure swords-and-sorcery fantasy shows in many years, it was also the first major show to try its hand in syndication since Xena: Warrior Princess went off the air. The link between the two shows was executive producers Sam Raimi and Robert Tapert. Conventional wisdom said that the syndication market was basically dead in the 00’s, left behind by the proliferation of cable channels willing to fund original programming. Raimi and Tapert believed otherwise; with a tailor-made timeslot on Saturday nights on stations usually devoted to the CW Network (which doesn’t broadcast on Saturdays), they believed they could find success again in syndication. And they turned out to be right. Action-oriented shows are always easier to market worldwide, and with strong ratings in dozens of countries, Legend of the Seeker was renewed before the first season was even halfway over.
But finding an audience wasn’t the show’s only uphill battle. Based on author Terry Goodkind’s sprawling epic fantasy series The Sword of Truth, Legend of the Seeker had to find a way to make a dense, highly serial story into one-hour stand-alone episodes. Unlike a cable network, the reality of the syndication market demanded that the show not be excessively serialized. Syndicators believe strongly that their shows need to be accessible to a casual audience that might not see every episode. Creatively, this was a huge issue for the show. Go too episodic and you turn off your core audience, go too serial and you alienate the casual viewers that are theoretically the lifeblood of syndication. And they struggled with this quite a bit for the first half of the season or so. But eventually, the show managed to find that balance, turning into a very satisfying hour of TV from week to week. The action scenes were always strong, and filming in New Zealand is always a huge advantage to a fantasy story. But the acting got better, the writing improved, and by season’s end, Legend of the Seeker actually resembled an engaging, serious fantasy show instead of the unintentional parody it started as.
This past weekend’s season two premiere found the show picking up right where it left off. The episode established the premise of the season, taken directly from Goodkind’s second novel, The Stone of Tears. Series hero Richard Cypher (Craig Horner) has destroyed the evil Darken Rahl, but in doing so, has inadvertently opened a fissure in the earth which leads directly to the Underworld. And the Keeper, the lord of the Underworld, is scheming to get out and destroy the surface world. So Richard and his companions must find the Stone of Tears, a near-mythical object which will allow them to seal the Keeper back in the Underworld. Aside from the overarching plot, though, the episode managed to work in a storyline involving rescuing kidnapped village girls which was resolved by the end of the hour. Not to mention another thread popping up regarding Richard’s surprise family lineage, which is already tearing apart the D’Haran nation, the people formerly loyal to Darken Rahl. Oh, and there’s another prophecy to worry about. In the first season, a prophecy said that The Seeker (Richard) would defeat Rahl, but now a different prophecy is saying that Richard will fail in his quest to seal up the Keeper. All in all, it was a strong opening for a show that is starting to live up to its considerable potential. Now the challenge is maintaining that level of quality as the show returns to its more episodic structure next week.
About partway through ABC’s adaptation of the Reagan-era sci-fi drama V, an FBI counter-terrorism agent, played by Steve the Pirate from Dodgeball, kicks down a door to a suspicious rusty old shed discovered while hot on the trail of a suspected terrorist. “Nothing!”, he proclaims as the interior reveals the banal components of your average quotidian shed, wishing to seek no further.
It turns out that the FBI agent was deliberately defeatist because he didn’t want his fellow spooks sneaking into his secret lair. Still, this disavowal pretty much sums up V; a dramatic entrance (the arrival of a spaceship/flying LCD screen) and a subsequent failure to carefully examine interiors. Who would believe for one second that a counter-terrorism agent would surrender so easily on the trail of a terrorist cell recently found to be making massive purchases of C-4?
The rejection of surfaces is pretty much the thesis of V‘s first episode, but it’s a thesis upheld by the lazy sci-fi shorthand of a singular empirical reality laying beneath the surfaces. We know the good guys are good, because they know what’s really going on, whereas the suckers pledging a dogmatic “devotion” (the show’s big buzz word) to the new movement are apparently just dupes lured in by the Id-drive to fuck galactic travelers or the desperation-drive to accept anybody offering peace and prosperity in a time of turmoil.
How slow is too slow for non-violence? One girl counts to five and voila!
The video beating and subsequent murder of Derrion Albert is incredibly disturbing. In surfing for the video, I stumbled upon a very young girl who left her response to seeing the raw footage, and reading what she called ‘racist’ comments left on the web about Albert’s death, as well as direct racist comments (“monkey”) towards her—a child.
YouTube user sepulturantera posts the comment:
and btw if you wanna know what killed him, its the countless other useless niggers that watched the other apes with the boards…
“What if that were you, or your son, or daughter,” the young girl asks in her posting, then counts to five, giving viewers the chance to get rid of their racism. YouTube is much more apt at protecting music industry copyrights than protecting children from cyber-terror. This girl is young, and it hurts my heart that she has to learn about this aspect of our society. No, we cannot just count to five and expect to rid our society of racism, no more than we can erase our commitment to violence. Our society’s tolerance for youth violence is already incredible, but sitting here surfing the net, it’s just sad to realize what youth today are exposed to at home. And yet it’s great that the net exposes this murder—perhaps these youth will be the ones to finally create change.
Jozen Cummings’ article “The Beating of Derrion Albert Is Must-See TV”, on TheRoot.com was a common sense reminder:
So let the video of Derrion Albert’s life-ending beating get as many views as the video of Kanye West jumping on stage in the middle of Taylor Swift’s acceptance speech (as I write this, this one currently has 1,959,026 views). Let #derrionalbert be a trending topic on Twitter and make sure it stays there as long as #musicmonday or #jayz. Blog about Derrion Albert like you would your own relationship woes, remix the video of his beating by layering it over Sam Cooke’s “A Change Is Gonna Come” to drive the weight of Albert’s loss home, or get a camera, record your own thoughts about this horrific tragedy, and in the words of YouTube, “broadcast yourself.” But most importantly, watch the video. It hurts, it’s disgusting, but it might be the first step we need to avoid seeing a sequel anytime soon.
Folks tend to forget that we’re always about moving forward, and must therefore always re-frame our pain and anguish into something that sparks us into action, and fuels efforts for change. Like Jozen Cummings’, “I [too] winced when I saw the wooden railroad plank being smacked against Derrion Albert’s head.” Yet, do we worship death, or life? Do we simply mourn, or shake things up to refocus ourselves on life?
Photo: Nadashia Thomas, 6, a cousin of
Derrion Albert, holds a sign beside
a poster of Derrion Albert at Fenger
High School in Chicago, Sept. 28, 2009.
A vigil for Derrion Albert was planned
outside of Fenger High School.
(AP Photo/Nam Y. Huh)
Our society relies so heavily on martyrs, and even invents a menagerie of superheroes to descend upon us as our saviors. Yet, I believe that we could earnestly use the net to spread the message of change so that fewer and fewer of us have to be sacrificed in order for folks to get the message. What happened to Emmett Till had been happenin’! What happened to King—both the good Rev. Dr. and Rodney—had been happenin’! And even Homer Plessy stood, or sat rather, for what was already a probable cause to abandon racism: the trouble with reinforcing ‘race’ (because sometimes we can hardly tell white from Black, so therefore race cannot matter).
But, alas, “they keep on sayin’: Go slow” And we go slow, too; we all seem to sit and stew until somebody—literally someone places their body on the line—gets arrested, beaten, mutilated and/or shot. We are a society that has even preferred placing kids on the front lines of our massive discomfort over race can class, and potentially crossing the boundaries of those rigid social lines. Even the multi-culturalism celebrated in schools tends to fizzle out over time, another myth betrayed by the web: Take a look at old high school pictures of integrated schools, versus the parties and families in which we live now, where we’ve gone back to Black and white, rich and poor. Our social lines are as rigidly divided along class as before the Civil War, and as racially segregated as we were after the Second World War, thanks to suburban sprawl, leading to these concentrations of chronic poverty where the Derrion Alberts live and die. No wonder that our films and media are, too, more retro than Technicolor.
Now that marching and mass movement of people as forms of protest are out, and the age of video coupled with the web is upon us, what us gon’ do! This been happenin’, so what us gon’ do? Wonder what lynching would have looked like on a Nokia!?!