// Category Archive for: TV

Music Review: Don Rich Sings George Jones

By Melissa Bratcher

Some people fantasize about going to Shangri-La, some people dream of winning the lottery. Me? I dream of going to Buck Owens‘s tape vault. Until a couple of years ago, it never crossed my mind, but with 2011’s release of Buck Owens’s Bound For Bakersfield collection of pre-Capitol demos (review), and now with the dual releases of Don Rich Sings George Jones and Buck Owens’s Honky Tonk Man, I want to go there. I cannot get my head around the fact that Don Rich’s lone solo record languished in the vault for 40 years. I can’t help but wonder what’s left in there, and desperately want to find out.

Don Rich was Buck Owens’s right hand: his guitarist, fiddler, and the man who brought harmony—a high tenor over Buck’s high tenor—to his tracks. They had an uncanny, beautiful way of harmonizing. Don’s smiling presence on Hee Haw, just over Buck’s shoulder, is my favorite thing about the show. Okay. That sounds a bit like fan fiction. Note to self: Don’t look that up. Ever.

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Assemblog: January 18, 2013

Bates Motel

New this week on Popshifter:
J Howell likes the new Atoms For Peace single “Judge, Jury, and Executioner”; Cait raves about The Definitive Shoes Collection; JG Thirlwell gives us his Best Of 2012; Emily says John Cale will always be cool; Chelsea suggests Erin McKeown newbies check out her latest album Manifestra; I interview Resolution directors Justin Benson and Aaron Moorhead; give my Top Ten Picks for 2013 movies and the Sundance Film Festival; and discuss new music from Adam Ant, Iceage, and Suede.

Remember when I said I wasn’t going to talk about the Oscars? I didn’t lie, but I do want to talk about something Oscars-related (though technically, it’s just about awards in general).

Over the last few months, we’ve seen a lot of “Best Of” lists for movies. Some of these are even compiled and counted and used to determine the “Best Movie” announcement for a particular group or publication. In that way, they’re sort of like mini-awards ceremonies, except no one goes home with a gold statue.

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Will John Cale Always Be Cool? Why, Yes.

By Emily Carney

Last week on Thursday, January 10, John Cale played “I Wanna Talk 2 U” (from his new album, Shifty Adventures in Nookie Wood, which is a must-own) and The Velvet Underground’s casual BDSM classic, “Venus in Furs,” on Late Night with Jimmy Fallon. (I find it somewhat hilarious that “Venus in Furs” was requested by a popular late night US TV host who is loved by moms everywhere and all that, since it was spicy as hell for the late 1960s, but whatever.)

JOHN CALE IS FREAKIN’ 70 YEARS OLD—he will turn 71 in March—and still is a total badass. He was resplendent in a three-piece suit with a skinny tie, grey hair splattered with pink highlights, and looked at least 20 years younger (I guess being John Cale does that to you; it makes you age backwards). The live version of “I Wanna Talk 2 U” actually sounds better than the album version; I always liked the grittier, rawer textures of Cale’s live performances and this certainly doesn’t disappoint.

Of course, “Venus in Furs” sounded as terrifying monolithic and droning as ever. Cale played viola for this performance and it sounded as gothic (not Goth, but gothic—like church music) as it always did.

I’m pretty sure The Velvet Underground never got their moment on The Tonight Show with Johnny Carson back in the day, so this will have to do . . . and it certainly was good to watch.

Assemblog: January 11, 2013

Mads Mikkelsen in NBC’s Hannibal

New this week on Popshifter:
Chelsea profiles Boston band The Grownup Noise; Danny reveals his choice for best turntable; Lisa picks 13 genre films to see this year; Paul tackles wrasslin’ and the potential of a new Prince album in 2013; Cait shares the good news about the upcoming David Bowie album; Julie likes the new Crime & the City Solution compilation A History of Crime; Brad has good things to say about the Blu-Ray for Sleep Tight; Elizabeth is back with a new installment of “TV Is Dead, Long Live TV” with her picks for this new year; I recommend Lost Girl for fans of good television; and give some background on the 2013 Sundance Film Festival, which starts January 17.

The only concession I will make to the 2013 Oscars is that they exist. It’s become a ridiculous wankfest and one to which I do not wish to contribute. So I guess you could say that my Oscar snub is to snub the Oscars. Ha!

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TV Is Dead, Long Live TV: Five Things to Watch in 2013

By Elizabeth Keathley

The Venture Bros., image courtesy of Jackson Publick

So much good television is on offer for 2013. Given that I didn’t write an arbitrary best-of list for 2012, I thought I’d start out this year with an arbitrary list of things I’m really looking forward to watching in the next year. In no particular order, here are five things to get excited about for 2013 on your screen, be it television or computer or tablet.

1. Hemlock Grove. While the trailer is a little cheesy, the cast and concept are sound. Masks, hidden things, and danger lurking underneath ordinary faces? I’m in. I’ve also been waiting to see Aaron Douglas again since his role on Battlestar Galactica ended. No one can play crazy waiting to burst through a placid exterior like Aaron Douglas. I keep waiting for the role that will let him rip someone’s head off. I hope this show gathers loads of momentum from Netflix watchers, but I’m worried that actual ratings (measured by clicks and views on Netflix) will look small when compared to the made-up Nielsen ratings we’re used to as a metric. Here’s hoping Hemlock Grove delivers the horror and fandom goods and thrives as a show independent of any network.

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Blu-Ray Review: Lost Girl, Season 2

By Less Lee Moore

As much as I love genre fiction, I’ll admit that most mainstream genre movies and TV shows are fairly sexist. Even if they don’t obviously reinforce stereotypes or display misogynist behavior, the violence enacted against women is often in higher proportion to what their male counterparts must endure. Enter Lost Girl, a Canadian-produced TV show whose title might seem to indicate more of the same, but which is a delightful and welcome entry into the world of genre television.

Lost Girl was created by a woman (Michelle Lovretta) and many of the episodes are written and directed by women. In addition, the gender makeup of the principal cast is half female and half male. The main character, Bo (Anna Silk) is a succubus who is trying to find her way in the world of the Fae (also known as fairy folk) while not committing to either the Light Fae or Dark Fae.

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Best Of 2012: Less Lee Moore

Noomi Rapace and Rooney Mara as Lisbeth Salander

2012 was the year of the woman. Women dominated the best of music, film, and TV.

The most significant figure for me in 2012 was Lisbeth Salander, the Steig Larsson-created character of the Millennium trilogy of novels, who also appears in the original Swedish film series and David Fincher’s newest film incarnation. Critics and fans may fight over who was better, Noomi Rapace or Rooney Mara, but both were outstanding at portraying my personal favorite female character of the last couple of decades. (Ms. Rapace had the added distinction of playing the more than worthy successor to Ellen Ripley when she inhabited the role of Dr. Elizabeth Shaw in Ridley Scott’s misunderstood but brilliant Prometheus.)

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Best of 2012: Danny R. Phillips

My editor at this fine publication has informed me that I need not stick to 2012 releases for my “Best Of” list. With that in mind, I have made a list of new releases & “classics” that I have gone back to in the last year or so.

Shall we begin?

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666 Park Avenue: The Best Little Horror Program You Aren’t Watching

By Lisa Anderson

The Ansonia

On September 30 of this year, a new supernatural drama called 666 Park Avenue premiered on ABC. Produced by David Wilcox, a veteran of such shows as Law & Order and Fringe, 666 Park Avenue is loosely based on the Gabriella Pierce novel of the same name. I’ve been watching and enjoying it, and apparently I’m one of only a few, because the show—disadvantaged perhaps by its 10 p.m./9 p.m. eastern time slot—has failed to break more than 2.1 of the Nielsen ratings share in the 18-49 demographic (which translates to about 23,982 viewers). It deserves a closer look in my opinion—at least for people who are into network TV horror.

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The Vince Guaraldi Trio, A Charlie Brown Christmas

By Chelsea Spear

The tinkling piano lines, rolling brushed drums, and sprightly tempos of Vince Guaraldi’s soundtrack to the classic TV special A Charlie Brown Christmas are a welcome sign of the holiday season. Guaraldi’s keyboard treatments of classic Christmas songs like “Greensleeves,” “O Tannenbaum,” and the classic children’s choral arrangement of “Hark! The Herald Angels Sing” give these classics a new sound. Some of his originals, such as “Christmas Time is Here,” portray the loneliness and melancholy of the holiday season though a few minor chords and a contemplative melody. Other new songs, like the bright, upbeat “Linus and Lucy,” sound like the rush of energy you sometimes felt as a kid around the holiday.

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