Dad refused to take a selfie because he didn’t want a photo of his face on Facebook so this is our compromise
11:03 pm |
September 17 2014
| 5 notes
This scene was perfect
That time James Bond replied to homoerotic taunting not with some macho no homo bullshit, but by calmly implying he was bisexual anyway and somehow did not suddenly cease to be awesome but instead roughly doubled in awesome points.
This is why Daniel Craig is my favourite Bond. The number of shits he gives about his sexuality and his machismo are exactly zero.
admittedly this is a pretty macho way to imply, “yeah, i’ve banged dudes, for england”
2:49 am |
September 17 2014
| 116,157 notes
“I just wanted to do something light and fun to distract me from the deep well of sadness that is my life.”
— naomi watts in bojack horseman literally seconds after i hit “post” on that last post. either this show’s maybe a little more predictable/on-the-nose than it oughta be, or i’m an observant genius who should be rolling in governor general’s awards
4:55 am |
September 7 2014
| 3 notes
bojack horseman observations
- comes across as facile sitcom garbage in the pilot. this is a weird feint.
- casting, though, immediately comes across as great: tons of L.A. comedians basically getting their voices in the same metaphysical room together and making an odd group of characters come together in a fun way. reuse of actors is as much a spot-the-voice thing as anything else, and that actually gives the casting itself a sort of winking humour and unusual coherence – hearing paul f. tompkins sit most of an episode out as mr. peanutbutter but drop in briefly as a spittle-flecked old-hollywood-type agent is a moment of both excitement and relief. it’s (PFT!/Patton!/etc.)! so nice to hear an old friend.
- the most off-putting part is that much of the humour relies on inside baseball; in retrospect, that explains, maybe, the podcast-circuit casting. some of the best material these folks are going to be able to deliver is, ultimately, material about being on the weird fringe of hollywood, of sorta-stardom, of mild fame, of a position of relative wealth and influence that is nevertheless submissive to deeper, slipperier wealth and influence. influence especially. and so: jokes about agents, about comedians finding work, about reality tv, about the whole complex. not, uh, not totally relatable at all times, even if you listen to enough podcasts to sorta “get it.”
- fine, though. plenty of the jokes still land, and much of it turns out to be set dressing for either the more relatable jokes OR the dark, genuine emotional complexity running underneath the series. more on that in a bit.
- first, though: the whole cast acquits themselves well – will arnett takes a typically arrogant will arnett character and imbues him with range and depth and occasionally legitimate sadness; alison brie gets a role that in any other sitcom would be a moonlighting-type romantic interest but turns out to be nuanced and realistic and attached to genuine desires and needs and hopes and fears and humanity; amy sedaris takes a goof of a character and plays her with compassion and grace and, once again, a degree of earned pathos – but PFT stands out a lot. his role is odd because it’s simultaneously very him and very not him. i’m not articulating this well, but he sort of nails both a particular dude and a particular dude set of thoughts and emotions very well, and that dude is a sympathetic dude, and PFT makes him remarkably sympathetic. yet it’s not a typical PFT role? idk. mr. peanutbutter grounds the show in a lot of ways. that’s my argument and i’m sticking to it.
- the episode about sedaris’ character is devastating.
- actually, a lot of the episodes are devastating, and that’s what makes it great – that it’s messy and ugly and frequently lacks closure and has something direct and sort of unsettling to say about the actual nature of closure. and that gives it both a sense of moral and emotional direction AND a guiding ethos. even the end of a life doesn’t necessarily offer closure, and the only existence that can ever truly have complete, non-messy arcs is the existence of the characters that the people/animal-human mutant hybrids of bojack horseman play on tv. in other words – it’s not real and everything is sort of fucked up pretty much all the time.
- and so maybe that justifies the inside baseball stuff – these people are all spinning their wheels looking for the same sort of happiness that they have to pretend to on camera. whether it’s dancing for a sitcom audience or being a genuine three-dimensional woman on camera by attempting to method act a human being’s soul away. and at best it’s forced, and at worst it’s a horrible failure and they know it. when the inside baseball hits, and it hits often, it sort of puts us in at shortstop facing down a line drive without a glove.
4:52 am |
September 7 2014
| 9 notes