Talk about some F-ed up shit. This one used to scare the crap out of me and my sister. It came on at 9:00, our bedtime, and if we lingered as the 8:00 show was going off, all my parents had to say was, "Ironside is about to come on" and we would scatter like cockroaches and dash for our beds. I remember plugging my ears so I wouldn't have to hear the creepy siren sound in this open.
Fuckin' Quincy Jones.
link
Oh, and remember: smoking kills. Or at least maims.
Wednesday, August 27, 2008
Classic TV Show Open Of The Day
Worst TV Series Endings Of The Day
From Maxim.com last year -- was their Sopranos prediction spot-on or what?
Twin Peaks
We never quite got Twin Peaks, what with its waltzing midgets and dense dream sequences involving pregnant, shrieking coyote-women. Its unresolved cliff-hanger ending, in which Special Agent Cooper sorta half-becomes the baddie Bob, didn't help matters much. It's never a good thing when viewers can't understand what's going on without the assistance of somebody armed with Cliffs Notes, diagrams, and, for reenactment purposes, sock puppets.
Alias
So wait—Sydney was working for the secret, secret, secret quasi-governmental cabal or the secret, secret ULTRA-secret one? Prophet 5, SD-6, The Covenant, Rambaldi… What's this about who's what? If this impenetrably plotted show had dressed Jennifer Garner as conservatively as the Law & Order gals, it'd have been off the air in about 18 seconds.
Quantum Leap
You gotta love shows on the cusp of cancellation that don't see the writing on the wall. The last Quantum Leap, a fairly typical episode with somewhat of a cliff-hanger ending, was appended with a simple "Dr. Sam Beckett never returned home," which would've been all well and good, except for the fact that the entire show was premised on the dude returning home. It was the prime-time drama equivalent of a football game ending in the middle of the third quarter without an explanation.
Moonlighting
After Bruce Willis started mowing down baddies in Die Hard and Cybill Shepherd squeezed out her twins (which accounted for her absence in the postcoital fourth season), neither star had the slightest interest in being on the show anymore. So you send them out quickly and quietly, right? Uh, no. The last Moonlighting ep showed Maddie and David rushing around like vertiginous chickens as the show's set was disassembled around them; they even got lectured by ABC executives. There's a fine line between "breaking the fourth wall" between viewer and show and "crapping" all "over" "a creative endeavor" that had once "meant something" to a gazillion "viewers."
The Sopranos
We're putting this one on the list a few weeks in advance (and no, we haven't received advance screeners). If David Chase and co. stubbornly refused to tell us the fate of the Russian left in the woods way back in season three, we have little hope that they'll answer any of our other questions. Our best guess: The Sopranos ends with Tony eating something (turkey? gelato?) with the same look of bemused annoyance that he's worn for the last three seasons shrouding his face. And every reviewer in the universe will laud Chase's "bravery" for having plotted such a daring, dramatically unconventional climax.
St. Elsewhere
After multiple seasons of Howie Mandel high jinks, we learned that the whole thing took place (or didn't take place) in the mind of an autistic kid. No, seriously.
Seinfeld
Leaving the gang in prison after finding them guilty of violating a Good Samaritan law—what's up with that? (Utter that last clause in a nasal, New Yawk whine, if you will.) The conclusion may have been true to the show's no-hugs, no-learning blueprint, but it wasn't remotely…what's the word we're looking for here…funny, perhaps? Costanza deserved better.
Oz
The show spent its final season methodically and nonsensically killing off most of its memorable characters (e.g.: Warden Leo Glynn got stabbed as part of some conspiracy involving the governor and Said got shanked for being too righteous or something). But the blow-off of the series-long Beecher vs. Schillinger subplot remains several levels beyond unforgivable. After all the rape, kid-killing, face-pooping, and sublime nastiness, Beecher accidentally kills Schillinger during a prison performance of Macbeth? That's all we get for our emotional investment in the feud? Fuck you. Really. Fuck you.
The X Files
By the time The X Files was mercifully euthanized—roughly 40 episodes too late—the show's black-oil, sewn-eyed-aliens conspiracy had long since ventured into the realm of the absurd. In the finale, the show attempted, through some kind of court-martial proceeding involving Mulder and lots of flashbacks, to dig itself out from under a trash heap of red herrings. Alas, the explanation made things even worse—it exposed plenty of holes in the storytelling. And that was before a helicopter materialized out of nowhere and killed the Cigarette Smoking Man for the 11th time.
Vid Of The Day: Runway Tumble
I guess this is a bit old but I'd never seen it. Enjoy. I did. Another great submission from The Courteous Chihuahua, who just launched her own blog. Check it out.
link
Vid Of The Day: Why Women Need Catalogs
From The Courteous Chihuahua, who would never do something like this.
100 Greatest Novels Of The Day
From the board of the Modern Library at Random House, the 100 greatest English-language novels since 1900.
What? No Grisham or The Bridges Of Madison County?
But seriously... what about To Kill A Mockingbird? Of Mice And Men? The Old Man And The Sea? I realize the latter two are short works, but I found them every bit as powerful as The Grapes Of Wrath and A Farewell To Arms, if not more so.
What others are missing? This list came out in 1998; do any books of the last ten years belong here now?
- ULYSSES by James Joyce
- THE GREAT GATSBY by F. Scott Fitzgerald
- A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce
- LOLITA by Vladimir Nabokov
- BRAVE NEW WORLD by Aldous Huxley
- THE SOUND AND THE FURY by William Faulkner
- CATCH-22 by Joseph Heller
- DARKNESS AT NOON by Arthur Koestler
- SONS AND LOVERS by D.H. Lawrence
- THE GRAPES OF WRATH by John Steinbeck
- UNDER THE VOLCANO by Malcolm Lowry
- THE WAY OF ALL FLESH by Samuel Butler
- 1984 by George Orwell
- I, CLAUDIUS by Robert Graves
- TO THE LIGHTHOUSE by Virginia Woolf
- AN AMERICAN TRAGEDY by Theodore Dreiser
- THE HEART IS A LONELY HUNTER by Carson McCullers
- SLAUGHTERHOUSE-FIVE by Kurt Vonnegut
- INVISIBLE MAN by Ralph Ellison
- NATIVE SON by Richard Wright
- HENDERSON THE RAIN KING by Saul Bellow
- APPOINTMENT IN SAMARRA by John O'Hara
- U.S.A. (trilogy) by John Dos Passos
- WINESBURG, OHIO by Sherwood Anderson
- A PASSAGE TO INDIA by E.M. Forster
- THE WINGS OF THE DOVE by Henry James
- THE AMBASSADORS by Henry James
- TENDER IS THE NIGHT by F. Scott Fitzgerald
- THE STUDS LONIGAN TRILOGY by James T. Farrell
- THE GOOD SOLDIER by Ford Madox Ford
- ANIMAL FARM by George Orwell
- THE GOLDEN BOWL by Henry James
- SISTER CARRIE by Theodore Dreiser
- A HANDFUL OF DUST by Evelyn Waugh
- AS I LAY DYING by William Faulkner
- ALL THE KING'S MEN by Robert Penn Warren
- THE BRIDGE OF SAN LUIS REY by Thornton Wilder
- HOWARDS END by E.M. Forster
- GO TELL IT ON THE MOUNTAIN by James Baldwin
- THE HEART OF THE MATTER by Graham Greene
- LORD OF THE FLIES by William Golding
- DELIVERANCE by James Dickey
- A DANCE TO THE MUSIC OF TIME (series) by Anthony Powell
- POINT COUNTER POINT by Aldous Huxley
- THE SUN ALSO RISES by Ernest Hemingway
- THE SECRET AGENT by Joseph Conrad
- NOSTROMO by Joseph Conrad
- THE RAINBOW by D.H. Lawrence
- WOMEN IN LOVE by D.H. Lawrence
- TROPIC OF CANCER by Henry Miller
- THE NAKED AND THE DEAD by Norman Mailer
- PORTNOY'S COMPLAINT by Philip Roth
- PALE FIRE by Vladimir Nabokov
- LIGHT IN AUGUST by William Faulkner
- ON THE ROAD by Jack Kerouac
- THE MALTESE FALCON by Dashiell Hammett
- PARADE'S END by Ford Madox Ford
- THE AGE OF INNOCENCE by Edith Wharton
- ZULEIKA DOBSON by Max Beerbohm
- THE MOVIEGOER by Walker Percy
- DEATH COMES FOR THE ARCHBISHOP by Willa Cather
- FROM HERE TO ETERNITY by James Jones
- THE WAPSHOT CHRONICLES by John Cheever
- THE CATCHER IN THE RYE by J.D. Salinger
- A CLOCKWORK ORANGE by Anthony Burgess
- OF HUMAN BONDAGE by W. Somerset Maugham
- HEART OF DARKNESS by Joseph Conrad
- MAIN STREET by Sinclair Lewis
- THE HOUSE OF MIRTH by Edith Wharton
- THE ALEXANDRIA QUARTET by Lawrence Durell
- A HIGH WIND IN JAMAICA by Richard Hughes
- A HOUSE FOR MR BISWAS by V.S. Naipaul
- THE DAY OF THE LOCUST by Nathanael West
- A FAREWELL TO ARMS by Ernest Hemingway
- SCOOP by Evelyn Waugh
- THE PRIME OF MISS JEAN BRODIE by Muriel Spark
- FINNEGANS WAKE by James Joyce
- KIM by Rudyard Kipling
- A ROOM WITH A VIEW by E.M. Forster
- BRIDESHEAD REVISITED by Evelyn Waugh
- THE ADVENTURES OF AUGIE MARCH by Saul Bellow
- ANGLE OF REPOSE by Wallace Stegner
- A BEND IN THE RIVER by V.S. Naipaul
- THE DEATH OF THE HEART by Elizabeth Bowen
- LORD JIM by Joseph Conrad
- RAGTIME by E.L. Doctorow
- THE OLD WIVES' TALE by Arnold Bennett
- THE CALL OF THE WILD by Jack London
- LOVING by Henry Green
- MIDNIGHT'S CHILDREN by Salman Rushdie
- TOBACCO ROAD by Erskine Caldwell
- IRONWEED by William Kennedy
- THE MAGUS by John Fowles
- WIDE SARGASSO SEA by Jean Rhys
- UNDER THE NET by Iris Murdoch
- SOPHIE'S CHOICE by William Styron
- THE SHELTERING SKY by Paul Bowles
- THE POSTMAN ALWAYS RINGS TWICE by James M. Cain
- THE GINGER MAN by J.P. Donleavy
- THE MAGNIFICENT AMBERSONS by Booth Tarkington








