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by Jessy Krupa

5 May 2010

As advertised last week, Crosby spent the night with Jasmine, but snuck out through her bedroom window in the morning in order to avoid Jabbar. As hard as it is to believe, they were concerned about what their kid would think by seeing his parents in bed together. On another night, Jabbar saw Crosby in the hallway, but he just tried to convince the boy that he was dreaming. After seeing that, Jasmine vowed, “No more fooling around. Period”, but that offended Crosby, who thought they were something more serious. Despite the fact that it’s obvious that he cares more for her than she does for him, he eventually told her how he felt. Jasmine just replied, “Let’s just give it some time” before inviting him to “sleep over”.

Adam and Kristina continued to find some friends for Max, but in reality, they were looking for some friends for themselves as well. They first visited the Lessings, whose son, Noel, seems to be mentally behind Max. When Max wanted to leave, Adam and Kristina, put off by the bicycle-obsessed dad and the nervous mom, didn’t object. Max didn’t seem to be into the whole thing, questioning the reason why he needed to have friends. When Adam made plans to meet up with a family he knew from work, Max said, “You owe me a sticker for this.” This time, Adam and Kristina liked the parents, but their son showed no interest in Max. After they faked an illness to leave, Adam wondered if they were “relegated” to hanging out with the “short bus families”. I found that phrase surprisingly insensitive, but in the end, all of the Bravermans and the Lessings had a good time together.

by Terry Sawyer

3 May 2010

I come from a poor Midwestern family where my notions of the upper castes involved unnavigable place settings and the labyrinthian social order that I encountered in etiquette books. In college, I would read about people obsessed with the leisure class. Andy Warhol and Jann Wenner both seemed consumed with the perceived glamour of dilettantes, as if the money, power and exclusivity produced something even more magical than their other other lifetime fixation: fame. How far we’ve fallen from the ideals of these cultured, worldly elites cocooned in Victorian rituals of status. The villains of High Society have no class; they’re intellectual dead zones with charisma deficits whose tacky and shiftless lives breed the kind of collective contempt that used to get the peasants sharpening the guillotine blades. No one aspires to be Tinsley Mortimer and Paul Johnson Calderon, because there’s nothing here to aspire to:  no refinement, no worldliness, and no accomplishment. They are a Warhol film, stagnating in the gaze the camera, ostentatiously refusing to pick up a verb. They’d prefer to let the maid do it while swearing at her and throwing up on the rug. This is upper class living in 2010 and it is indistinguishable from the gutter.

by Jessy Krupa

30 Apr 2010

Tonight’s episode of Supernatural opened with two scientists discussing the upcoming human trials for a new flu vaccine. Their conversation is interrupted by a demon who injects one of the men with something that causes him to violently slaughter the other man. This, we can assume, has something to do with Pestilence.

Shortly afterward, Sam and Dean pose as CDC workers while they are questioning a female doctor. All of them wear protective masks as she describes “a mild case of swine flu” before admitting that they need vaccines and all of this is “a little unusual”. The brothers drive away, and then discuss things over the phone with Bobby. Suddenly, Crowley, the effeminate, Lucifer-hating demon that we previously met this season, appears in the backseat. Sam wants to kill him, but Dean is willing to hear out his plan to help them destroy Pestilence.

Crowley deserves a place in Supernatural’s villain hall-of-fame. Played well by TV veteran, Mark Sheppard, he delivered some of the best lines of the night. After all, his explanation for wanting the devil dead and betraying his own kind is “They ate my tailor!” Occasionally, his fireplace casts a demonic red glow on only him, which is a nice touch.

by Michael Landweber

29 Apr 2010

United States of Tara recently started its second season on Showtime. Toni Collette plays the title character, who is the mother and wife of a seemingly typical suburban family. Except that she suffers from Dissociative Identity Disorder. Tara is sometimes teenager T, perfect housewife Alice, redneck trucker guy Buck, therapist Shoshanna, and a weird subhuman creature that likes to pee on people. In Collette’s hands, this surprisingly all works—I have never had a moment watching the show where I did not believe in Tara’s transformations.

The supporting cast is also excellent. John Corbett plays Tara’s husband. He’s one of those actors who I always like to watch. Ever since Northern Exposure, he’s made everything he’s in better—see My Big Fat Greek Wedding and Sex and the City for examples. Rosemarie Dewitt steals all her scenes as Tara’s long-suffering sister. Keir Gilchrist and Brie Larson are the teenagers in the household who each are perpetually on the edge of their own meltdowns. (And I also enjoy occasional walk-on Patton Oswalt as Corbett’s buddy and Dewitt’s once and future love.)

by Steve Leftridge

28 Apr 2010

Well, the Urban Legend is gone. It was quite a run for Tim Urban, a guy with no real singing ability to speak of and who didn’t make the original cut to begin with. (Remember, he was a last-second replacement for shaggy orphan Chris Golightly, who was disqualified for bearing false witness, or some such malarkey.) A home-schooled, Bible-studied, teetotaling Texan, Tim was the perfect candidate for Sarah Palin’s America, where actual competence is far less important than mythical value identification. Finally, however, Turbo ran out of dumb luck, and what a difference it made this week. With one bunch-spoiling apple removed, everybody suddenly got better, making this week’s vote a tough call after a round of solid Shania from everyone.

Then again, maybe it’s the fact that Shania Twain’s songs are timelessly catchy and that her brand of country-pop is the kind of music that anyone seems to be able to have a hit with, and at least four of the final six are a good fit for today’s contemporary country scene. Hey, is it me, or was Shania a far better mentor when she was still married to Mutt Lange? Without him, she just seems like a regular, boring old mentor. But I’m sure she wrote all those songs herself.

//Mixed media

Notes, Hoaxes, and Jokes: Silkworm's 'Lifestyle' - "Ooh La La"

// Sound Affects

"Lifestyle's penultimate track eases the pace and finds fresh nuance and depth in a rock classic, as Silkworm offer their take on the Faces' "Ooh La La".

READ the article