If you know Kaitlin Olson at all, you know her as barmaid and failed actress Dee Reynolds in It’s Always Sunny in Philadelphia, the best show on television. The only comedy actress on television in the same league as Kaitlin Olson is Julia Louis-Dreyfus of Seinfeld and Veep, and in a better world, their rivalry would be the Emmy story of the past six years. We’d all hold our breaths right as they announce who’s won Outstanding Lead Actress in a Comedy Series – is this Julia’s year or Kaitlin’s? Everyone would politely clap for Lena Dunham and Edie Falco and the other nominees, but we’d know it came down to Julia or Kaitlin, and if anyone else won, it would be the biggest upset of the night, like when Jeff Daniels won Outstanding Lead Actor in a Drama Series for The Newsroom, a show that I like way more than the average person and which I would definitely never give an Emmy for anything.
Instead, we’ve had five years of Julia Louis-Dreyfus waltzing away with the award because her one true rival wasn’t there to challenge her.
Continue reading “The Last Slapstick Artist”
Save the Tiger is the story of Harry Stoner, the owner of a clothing manufacturer in Los Angeles, as he tries to keep his company afloat through a season of hardship. He goes to numerous ethically dubious lengths to do so, and worst of all, he spends the whole time pining for the simplicity of his youth, when baseball players would put the spikes of their cleats right in your face and you knew how a plane stayed in the air because you could see the propeller on the wing. Even Jack Lemmon, the most charming man in history, can’t make Harry Stoner’s meandering trips down memory lane anything but annoying.
Then Harry stands at a podium to shill for his company’s new fashion line. He looks out on the crowd and his face turns white. His audience of middle-class drunks have been replaced by a legion of war dead, young men that Harry saw blown to pieces and shot to stillness in the Second World War. They stare at him in total silence. Harry tries to speak, but he can’t.
This is what we talk about when we talk about nostalgia.
Continue reading “What We Talk About When We Talk About Nostalgia”
Adam Sandler is one of the biggest film stars of the past quarter of a century and no one knows why.
Continue reading “The Problem with Adam Sandler”
Five years ago, Andy Samberg made his final appearance as a cast member of Saturday Night Live. It was the end of a seven-year run in which he and his comedy partners, Akiva Schaffer and Jorma Taccone, not only helped to save the show from cultural irrelevance but redefined popular culture for decades to come.
We gather today to remember their impact, their accomplishments and their dick jokes.
Continue reading “We All Live On a Lonely Island”
We live in a time of great crisis and upheaval. The contradictions of the grotesque global atrocity known as capitalism continue to tear holes in the fragile fabric of the post-war liberal consensus that has guided the political culture of the western world for over seventy years. Each tear creates a new opening for resurgent fascists and other far-right extremists, who march openly in the streets of major cities for the first time in decades. The liberal centre offer no resistance to their rise, while conservatives, who have always been craftier and more pragmatic, prove eager collaborators.
After decades of failure by the professional political class, the dispossessed and disenfranchised of the world look elsewhere for solutions, and every attempt by the left to offer a more compelling alternative vision of the world than either the capitalists or the fascists is scuppered either by our own disunity or the constant treachery of centrist elites more afraid of a tax hike than eugenics. Meanwhile, poverty tortures and kills us, and the state tortures and kills us, and we torture and kill each other, and the greatest fear of all is not that some great and terrible calamity will happen, but that nothing will happen at all, and the only future is the violence and oppression of this present moment stretching infinitely forever and ever.
But let’s not talk about any of that today. Instead, it’s time we addressed another plague of modern civilisation, a malady that infects both our artistic and political culture, and threatens to consume everything that lays before it like a horde of rats.
I speak, of course, of the hit musical Hamilton.
Continue reading “Hamilton Tickets”
How do you talk about a show influenced by Twin Peaks without burying it in the shadow of Twin Peaks? Twin Peaks is widely considered one of the greatest TV shows of all time, and certainly one of the most important. Now more than ever we are awash in a sea of shows – good and bad – that follow an investigation into a murder or disappearance in a small town that kicks up buried secrets and drags unspoken darkness into the light. And whether a show like that is good or bad, someone is going to compare it to Twin Peaks.
Continue reading “A Town Called Fortitude”
I Love You Phillip Morris is the lost film of the noughties, a masterpiece of filmmaking that no one remembers less than ten years later. Everyone who loves film has a movie they champion in the face of an indifferent world, and I have several, but none so much as I Love You Phillip Morris. Wikipedia calls it a “black comedy drama” but I Love You Phillip Morris is one of those rare multi-genres films that layers each element so perfectly the result is pure alchemy, a work of art so inexplicably magical that even an accurate label can only ever be a reductive one. I Love You Phillip Morris is a biopic, a caper, a black comedy and a tragedy, but if it’s any kind of film, it’s a romantic comedy, and not just a romantic comedy, but one of the greatest romantic comedies of all time.
Continue reading “Written in the Stars or Some Crap Like That”