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by Anthony Merino

6 Jul 2015

And you think that love is only
For the lucky and the strong
Just remember in the winter
Far beneath the bitter snows
Lies the seed that with the sun’s love
In the spring becomes the rose

The third episode of True Detective “Maybe Tomorrow” opens with an Elvis impersonator bathed in blue light covering Bette Midler’s The Rose, 1979. The song foreshadows the entire episode, which centers on the four main characters’ romantic dysfunction. It also establishes that new director Janus Metz Pedersen and writer Nic Pizzolatto are endeared to foreshadowing.

by Anthony Merino

25 Jun 2015

Director Justin Lin fixates on roads, highways and interstates throughout the first two chapters of the second season of True Detective. He uses them as ligaments to connect the series together, splicing a few seconds of roadways between shifts in story lines. Yet the only street name he shows to the viewer is for Mulholland Drive, an Easter egg reference to David Lynch’s classic 2001 movie Mulholland Dr., which itself was originally intended to be a TV series.

There are several parallels between True Detective and Mulholland Dr. Both the series and the movie overlay images in silhouettes and use ghostly images of the main characters in their opening credits. The second episode of True Detective‘s second season, “Night Finds You”, opens with Vince Vaughn’s Frank Semyon recounting a childhood drama, and concludes with another nod to Mulholland Dr. Semyon considers that he could have died there, and that his current life is a dream, “something’s telling me to wake up, like I’m not real, I’m only dreaming.” Later on, there is a scene where the three different interests—the city, county and state—discuss the creation of a task force. This scene is staged very similarly to a scene in Mulholland Dr. At this point, there is no way to tell if there are going to be some additional linkages to the movie, or if it was just Lin injecting thought candy for film geeks.

by Evan Sawdey

24 Jun 2015

It’s hard to believe we are now three full seasons in to the story of Sarah Manning (the still Emmy nomination-less Tatiana Maslany) discovering that she is, in fact, a genetic clone. Her copies are numerous, just as are the parties interested in cracking their genetic code, ranging from the biotech conglomerate Dyad to the fierce religious faction known as the Proletheans. By the end of the second season, it was revealed that one of the Proletheans, Mark Rollins (Ari Millen) was, in fact, part of a series of male clones, themselves developed under the name Project Castor, and in season three, the war between the male clones and Sarah and her sisters wages on, the chief antagonist being Dr. Virginia Coady (Kry Harper), who is hell-bent on discovering the sickness that is afflicting all of the Castor boys, even if if it means sterilizing several innocent young women in the process. What follows is a series of jailbreak attempts, school elections, double-crosses, and the single most unexpected and jaw-dropping twerk sequence ever filmed.

There was a lot to digest this season, so let’s digest the good, the bad, and the Indifferent as we start our countdown clocks until season four gets its 2016 premiere date. (Don’t get too worried, #CloneClub: there’s way more good than bad, but let’s be honest about a few things here.)

by Cynthia Fuchs

22 Jun 2015

“I was scared.” In August 2006, Renata Hill and six friends were arrested in the West Village. As she remembers it, they were walking outside the IFC Theater when a man accosted and then attacked them, leading to a fight when the women defended themselves. When police officers arrived on the scene, the man claimed the women assaulted him, at which point they were arrested, processed, and sent to Rikers Island, where they were locked in the fearsome BullPen, left to sleep on the floor.

by Anthony Merino

19 Jun 2015

TV critic David Bianculli once stated, “It is easy, and not at all inaccurate, to divide dramatic series television into two eras: Before Hill Street Blues 1981-1987… and after.” He credits the NBC crime drama with two revolutionary innovations that would become the genre norm (although both had been staples of daytime soap operas for years). The first was to replace the single lead with an ensemble cast. The second is that it replaced the standard episodic plot line, where each episode told a single self-contained story, to a narrative arc that would go over an entire season. However, Bianculli leaves out perhaps Hill Street Blues’ greatest contribution to American television.

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'Sugar Hill' Breaks Out the Old-School Zombies

// Short Ends and Leader

"Sugar Hill was made in a world before ordinary shuffling, Romero-type zombies took over the cinema world.

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