Back in my teen years, I would spend hours watching various talk shows in order to see my favorite boybands perform their new songs and talk about themselves. My all time favorite was the Backstreet Boys. I grew up with their posters on my bedroom walls, their self-titled album was the first CD I ever bought, and I became enraged when snobbish music critics bashed them. So this past Wednesday, I had an enjoyable flashback of those days when the Backstreet Boys appeared on The Bonnie Hunt Show. The group was in fine form, cheerfully telling stories about their families and experiences on the road and performing the catchy single “Bigger”. Furthermore, Hunt is a great host. Unlike some of her daytime rivals, she seems genuinely interested and knows when the focus should be on her and when it should be on her guests. Let’s hope this kind of light yet endearing entertainment continues.
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Future TBS late night host Conan O’Brien began his “Legally Prohibited” tour this week, and here’s your first look: O’Brien doing a ridiculously cockneyed Thom Yorke impression while singing Radiohead’s signature hit, “Creep”. This was just the sound check, so the show must be amazing. If you have tickets for a future date, however, you may want to avoid videos of the tour so it won’t spoil any of the surprises you paid at least 40 dollars for. This one should be okay though because, again, it’s just the sound check. But what a sound check!
Last week, Late Night With Jimmy Fallon featured the first ever television appearance of Liquid Liquid, who performed their classic 1981 deep cuts “Optimo” (non-televised and seen above) and “Cavern”, which was sampled infamously and illegally by Grandmaster Melle Mel’s anti-drug anthem “White Lines” (and allegedly recorded when they were slammed out of their minds on coke). Less unearthly and rhythmically disorienting than the originals (possibly due to the show’s acoustics), the band still nevertheless prove themselves to be insanely adept at their craft.
FOX’s Sons of Tucson has only aired four episodes, but the network has now announced that the new series is canceled. Imdb.com lists 13 completed episodes, but it isn’t known if any of them will air at a later date.
I watched the show, but found that it needed some work. The concept, streetwise brothers hiring a slacker to pretend to be their father so that they can stay out of foster care, was interesting, but the show had its problems. While much of the show focused on the often illegal exploits of “fake dad” Ron, weak storylines were put upon the kids, who showed more acting potential. However, the last few moments of the last episode showed some promise, in which Ron took the time to teach his neglected pretend son how to throw a baseball. Also keep in mind that there isn’t really much else on Sunday nights. What do you think? Are you going to miss Sons of Tucson?
As any fan knows, Lost does not feature an opening credit sequence (aside from the title screen), but a little hangup like that isn’t going to stop fans from imagining what one would be like.
Throughout its broadcast history, various fan made interpretations have surfaced, many of which are hilarious for their erroneous juxtaposition.
The first theme montage to gain traction is this one, and it’s notable for actually composing an original theme. The cheesiness of the song completely ignores the often brooding and somber tone the show thrives on. Something about it screams “syndication”:
The next one to surface screams “syndication”, but much more intentionally. Here’s Lost... if it were Baywatch.
If you went to go search on iTunes for the Baywatch theme immediately after watching that, you are not alone.
The latest take on Lost‘s opening credit sequence takes a page from the Saul Bass playbook. This ‘60s style credit sequence mimics Bass’s work on such classic films as Alfred Hitchcock’s North By Northwest. It’s more visually pleasing than funny, but there a few clever visual puns in there to make viewers chuckle.
Last but not least, although this next video isn’t exactly a take on Lost‘s opening credit sequence, it deserves to stand with the rest of these clips.
Ladies and gentlemen, witness “Hurley in the USA.”
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article