Song of the day: "The Right Regrets" by Marc Shaiman and Scott Wittman

This is another song from the NBC TV show Smash. In general, I haven't really liked the songs in Season 2, but this is a great one. Debra Messing and Christian Borle did a great job acting this song, too. I like the theme about writing, which is unusual.

A writer has the empty page where he can set the scene
He puts the actors on the stage or on the movie screen
The characters all say the words the writer wants to hear
And then my friend; a happy end

But when the writer steps outside that room where he is king
He can't control when lives collide or what the lovers sing
And so he hides behind his words the one place he belongs
And in black and white he can rewrite the wrongs

Where he can find the strength to say what those he loves should hear
And just erase mistakes she's made then make them disappear
Where he can change the plot so he's a hero not a louse
And when the curtain falls there's not a dry eye in the house

A writer hopes to leave behind a work no one forgets
And when he writes the end to find he has the right regrets
A writer has the empty page where he can use his pen
To mend his heart and try to start again

Song of the day: "Rubber Duckie" from Sesame Street

I never thought one could perform "Rubber Duckie" but Jane Krakowski, Tony Award winner and pro singer, did it in her cabaret concert.

I thought it was hilarious. Maybe one of these days, I'll perform it as a joke.

Rubber Duckie,
You're the one,
You make bath time,
Lots of fun!
Rubber Duckie,
I'm awfully fond of you!
(bo-bo-bo-do)

Rubber Duckie,
Joy of joy,
When I squeeze you, you make noise,
Rubber Duckie,
You're my very best friend, it's true
(ohhh)

Every day,
When I
Make my way to the tubby,
I find a
Little fella who's
Cute and yella,
And chubby!
(rub-a-dub-a-dubby)

Rubber duckie,
You're so fine.
And I'm lucky that you're mine.

Rubber duckie,
I'm awfully fond of ...
Rubber duckie,
I'd love a whole pond of...
Rubber duckie,
I'm awfully fond of you.

Opinions and appreciation in culture and art

I've come to realize that there are certain genres or styles of performing art or types of food that I just can't seem to get into. Despite 8 years of piano lessons, I've never really understood classical music. I enjoy flashy violin solos like "Tzigane," but I have no idea what's going on in Mahler's symphonies. I don't get pop or rock music. I still can't tell the difference between various wines. Conversely, there are people who won't get my love of musical theatre, opera, and intense TV drama. (I'm still working on being a better theatre audience member.)

What does it all mean? If I don't appreciate something, is it because it's something innate about my personality (like gloomy people who can't stand Annie-esque material)? Or is it some innate prejudice (like my dad telling me as a child that pop music sucks)? Or is it that I just never met anyone who explained the merits to me, that I didn't have enough exposure to the material as a child?

Whatever the reason, I've learned that taste is very subjective. We shouldn't be dismissive of people's opinions when it comes to art and culture because everyone's opinions are born of complicated circumstances that we're likely never to know. On review websites, instead of saying that other people are wrong, you should say that you don't understand where the dissenters are coming from, or that your taste is different. And if you have a friend who loves death metal or something that you're not into, why not take this as an opportunity to learn why your friend loves the things he/she does?

Song of the day: "Mr. and Mrs. Smith" by Marc Shaiman and Scott Wittman

A charming, old-fashioned song performed by Will Chase and Megan Hilty in the TV series Smash.

MARILYN:
Call the justice of the peace,
But don't tell him our names.
Don't put out a press release,
Or mention baseball games.

DIMAGGIO:
Book the nearest bridal suite,
One room will suit us fine.
For the desk clerk that we meet,
The only autograph we'll sign is...

BOTH:
Mr. and Mrs. Smith,
Simply the folks next door.

DIMAGGIO:
People without a single clue what
An agent or grip is for.

MARILYN:
Yes

BOTH:
Nothing can beat the view,
When as far as the eye can see,
There's...

DIMAGGIO:
No one but Mrs. ...

MARILYN:
No one but Mr. ...

BOTH:
Smith and me.

DIMAGGIO:
For a home the man provides,
That cottage built for two.
We'll check the small town classifieds,
Variety won't do.

MARILYN:
Then we'll move to Main Street, U.S.A.,
And sign the deed of trust.
The mailbox at our hideaway,
Will tell the whole wide world that we're just

BOTH:
Mr. and Mrs. Smith,
Merely the folks next door.

DIMAGGIO:
People who use their kitchen each night

MARILYN:
Who've never been in Toots Shor

BOTH:
Nothing can beat the view,
For as far as the eye can see,
There's ....

DIMAGGIO:
No one but Mrs. ...

MARILYN:
No one but Mr. ...

BOTH:
Smith and me

BOTH:
No early calls,
No big premieres,
No lush romantic theme.
We'll spend the nights,
Making our own
Little League baseball team.

(brief interlude)

BOTH:
We're no one you've ever seen

MARILYN:
Movie stars don't live anywhere here,
Except on the local drive-in screen.

BOTH:
Yes, I'd gladly disappear,
If it might guarantee a view of

DIMAGGIO:
No one but Mr. ...

MARILYN:
No one but Mrs. ...

BOTH:
Smith and you.

Song of the day: "Brotherhood of Man" by Frank Loesser

I was introduced to this song by the recent NBC Super Bowl commercial. It's super-charming, fun, and smart, plus it stars the actors and cast of many NBC shows, including 30 Rock, The Office, Parks and Recreation, Community, Smash, Up All Night, Saturday Night Live, and others. Nice choreography for people who are not dancers. The commercial is almost four minutes long!

The song is "Brotherhood of Man" from the musical How to Succeed in Business Without Really Trying, which coincidentally starred Daniel Radcliffe and is playing on Broadway right now. Below are the lyrics from the original show (not the altered lyrics in the NBC ad):

FINCH:
Now you may joint the Oak's, my friend,
And may joint the Shriner's.
And other men may carry cards,
As members of the Diner's.

Still others wear a Golden Key,
Or small Greek letter pin.
But I have learn that's one great club,
That all of us are in.

There is a brotherhood of man,
A benevolent brotherhood of man,
A noble tie that binds
All human hearts and minds
Into one brotherhood of man.

Your life long membership is free,
Keep a-giving each brother all you can.
Oh, aren't you proud to be in that fraternity,
The great big brotherhood of man?

So, Wally, before consider firing everybody, remember this:

One man may seem incompetent.
Another not make sense.
Well, others look like quite waste
Of company expense.
They need a brother's leadership.
So, please, don't do them in
Remember mediocrity
Is not a murder sin.

FINCH:
There

MALE ENSEMBLE:
Where?

FINCH:
In

MALE ENSEMBLE:
In

FINCH:
the

MALE ENSEMBLE:
the

COMPANY:
Brotherhood of man.
Dedicated to giving all we can

FINCH:
Oh, aren't you proud to be
In that fraternity.

COMPANY:
The great big brotherhood of man.

WOMPER:
No kidding!
Is there really a brotherhood

MALE ENSEMBLE:
Yes, you're a brother.

WOMPER:
of man.

MALE ENSEMBLE:
You are a brother.

WOMPER:
On the level of brotherhood of man.

MALE ENSEMBLE:
Oh, yes! Oh, yes!
A noble tie that binds
All human hearts and minds

WOMPER:
Into one brotherhood of man.

COMPANY:
Oh, yes! Your life long membership is free,
Keep a-giving each brother all you can.

MALE ENSEMBLE:
Oh, aren't you proud to be,
In that fraternity,
The great big brotherhood
Of man?

MISS JONES:
You, you got me
Me, I got Yooooooooo - yooou

MISS JONES:
Oh, that noble feeling
Feels like bells are pealing
Dong with double jingling
Oh, brother!
You, you got me
Me, I got Yooooooooo - yooou

COMPANY:
Oh, that noble feeling
Feels like bells are pealing
Dong with double jingling
Oh, brother!
You, you got me
Me, I got Yoooooou

MALE ENSEMBLE:
Oh, that noble feeling
Feels like bells are pealing
Dong with double jingling
Oh, brother!

MISS JONES:
Oooooooooooooooooo
Oooooooooooooooooo

COMPANY:
You, you got me
Me, I got Yoooooou

Your life long membership is free,
Keep a-giving each brother all you can.
Oh, aren't you proud to be in that fraternity,
The great big brotherhood of man?

Link of the day: Alex Gansa walkthrough of Homeland's first season

I was delighted to find that AV Club posted an extensive interview with Homeland's co-creator and co-showrunner Alex Gansa. In it, Gansa goes through all twelve episodes of the standout first season. This is part of AV Club's "Walkthrough" series. The site has conducted similar interviews with other showrunners. The Homeland walkthrough was an incredibly interesting read and I came away being even more impressed with the writers. I'll list a few of the particularly interesting remarks.

• Gansa didn't think there was anything positive about doing network TV (as opposed to cable). What about reaching larger audiences??
• Mandy Patinkin was specifically asked to grow a beard. A commenter on the article said that he grew a beard and his wife told him he was much harder to read. "With the beard, you have to read most of his emotions through his eyes and in my opinion it works so well..."
• Gansa regretted killing off characters (e.g. Lynne Reed, Faisel, Tom Walker) too quickly before they had a chance to develop them.
• Gansa said that the riveting scene where Saul puts together the colored timeline was actually shot after the episode had already been wrapped. They realized they needed that extra scene after the fact. Gansa remarks that it's a testament to Mandy Patinkin's skill as an actor that he made the sequence so interesting, the way he tears the paper, etc. I've noticed that about outstanding actors. They can make anything seem interesting, make any line of dialogue seem interesting.
• The writers planned far in advance. They had decided that Dana would be the one to pull her dad back from terrorist activities. And that's why they carefully developed Dana's character and slowly gave Morgan Saylor (the actress who played Dana) more and more to do until she could play the pivotal phone scene in the finale.
• An interesting remark about TV writing:

  One of the things you learn very early in writing for television, especially, is that compressing the story is always a good idea... And what we realized we had to do was, whenever we could, swing for the fences and not save story, but put the cards down.
  
  That was the part of the season where people were like, “Oh my God, what’s going to happen next? What are the writers going to do next? I’m worried. Can they sustain the show? Are they telling the story too fast? How are they going to keep this going?” And, interestingly enough, that’s what people are saying at the end of the first season, too: “Well, where can they go from here? How can they move on from here?” One of the things that I learned from Howard on 24 in terms of plotting out these thrillers is that if you sit in a room long enough with smart people, there is a way the story can be told compellingly.

• More observations about TV writing. The scene discussed here is Carrie and Saul's interrogation of the Saudi diplomat.

  Here’s another example of a scene that everybody’s seen a thousand times, and the question was, “What spin do you put on it? How do you make it different? How do you make it interesting?” The way we chose to make this interesting was, the very thing Saul and Carrie think that they have over this guy [the fact he's gay], and that’s going to be the trump card, doesn’t work. That’s what turned the scene on its head all of a sudden...
  
  If you have more than one thing going on, a scene is always better, so what’s going on in this scene is that Saul has turned over the interrogation to Carrie and trusted her to do it... So the dynamics between Carrie and Saul are just as important as the dynamics between Carrie and the diplomat, and that’s what adds the richness and the complexity to the scene, and makes it feel different and unexpected.
  
  And always, whenever you’re writing a scene, whenever you can do something that comes purely from character but that is unexpected, that’s the gold. That’s when you’ve mined something that’s really worthwhile.

Frankly, I'm amazed by the amount of insider information we get nowadays about TV shows. I really enjoy this open dialogue between creator and audience. Apparently, there is a significant appetite for this kind of thing; otherwise, season walkthroughs, TV critic websites, and people like Alan Sepinwall wouldn't exist. Gansa must really respect AV Club to spend so much time granting this exclusive interview.

Slow TV vs binge TV

What's the best way to watch TV? Getting the DVDs and marathoning dozens of episodes at a time? Watching as the show airs, one episode a week?

I've seen arguments for both. Mary Choi of Wired argues "In praise of binge TV consumption." Over at AV Club, Todd Van der Werff argues "In defense of slow TV."

I find that thriller, plot driven shows are better watched via DVD marathoning. If I had watched Alias as it aired, I would have been incredibly annoyed about the constant cliffhangers in the first season. Densely layered, character driven shows are better watched slowly. I have no discipline, so it's a lot easier for me to watch as the show airs. I'm not the kind of person who given a stack of DVDs, can limit myself to watching one episode per day.

When I blitz through a show on DVD, I miss a lot of details and it feels like a blur. That's no big deal if it's a mediocre show, but not so great if it was a good show that I actually wanted to delve into. (The problem with mediocre shows is that finishing them becomes a tedious chore.) Binging is frequently unsatisfying, in the same way I feel about gorging on a huge bag of popcorn. Not to mention the unhealthy aspects of watching TV all hours of the day, neglecting hygiene, and forgetting to eat.

The higher quality the show, the more I want to watch slowly. I still have fond memories of watching Battlestar Galactica as it aired (with the exception of Season 1 which I had to catch up with on DVD). I would run down to the basement TV room to catch episodes on Sunday nights. I remember being inspired by the episode "Flight of the Phoenix" -- at how people could find moments of heightened joy in the darkest situations.

Currently, I've been watching Homeland as it airs. I would usually make a first pass on each episode. This would satisfy my need to find out what happened next and I would register the highest emotions on the first pass. (This makes me think of how shocked I was to watch Carrie's manic episode in "The Vest" on my first viewing.) I would read the responses from TV critics, read audience comments, and peruse conversations on forums. People would mention details I'd missed. Then I'd go back watch the episode a second time. The second pass would be my detail sweep. Then I'd wait for the next episode and repeat the process. I wouldn't normally go to all this effort, only for a special show. It's a lot of work, but if it's a great show, I learn a lot. In this way, TV watching becomes a rich experience and not just a trivial diversion.

Song of the day: "The National Pastime" by Marc Shaiman and Scott Wittman

I just watched the pilot episode of NBC's new TV show Smash. My favorite song is "The National Pastime", which alludes to the Marilyn-Joe DiMaggio relationship. It's a sly, double-entendre, throwback number -- which I love. You should watch it live with the beautiful choreography. It reminds me -- where have you gone Broadway dance? The last great dance routines I saw were on a revival of West Side Story.

MARILYN: (spoken) Fellas!
CHORUS: (spoken) Yeah?
MARILYN: (spoken) Fellas!
CHORUS: (spoken) Is it?
MARILYN: (spoken) Hey, team!
CHORUS: (spoken) Off the benches, it's Marilyn!

MARILYN:
I just got a date
CHORUS:
She's just got a date
MARILYN:
With baseball's Joltin' Joe
CHORUS:
That lucky so-and-so
MARILYN:
So run me 'round the bases,
Put me through my paces,
And teach me all the things a slugger's lover
Should know!

MARILYN:
What's that there?
CHORUS:
That's the pitcher's mound
MARILYN:
Have you ever seen a shape
That is so perfectly round
CHORUS:
Batter up
MARILYN:
Play ball
CHORUS:
You better give it your all
'Cause all men like to play at
MARILYN:
The national pastime.

MARILYN:
Who's that man?
CHORUS:
That's the first base coach
MARILYN:
Have you noticed that he signals
Every time I approach?
CHORUS:
Kill the ump
MARILYN:
Throw him out
CHORUS:
Because there isn't a doubt
That all men like to play at
MARILYN:
The national pastime.

MARILYN:
When I was just a little girl
I liked being dainty and purty
But now that I'm giving sports a whirl
I feel I kinda like to get dirty
CHORUS:
Yeah!

CHORUS:
Baby, what's that there?
MARILYN:
That's the team's bullpen
And I like the odds I'm seeing
No girls, all men
CHORUS:
Hit the deck, look alive,
Beware the lady's line drive
MARILYN:
Yes, my skill and my passion'll
Elevate the national --

(interlude)

MARILYN:
Peanuts!
Hot dogs!
Cracker jack!
I don't care, I don't care,
If I ever get back!

(interlude)

CHORUS:
When the season's over
The play won't end
MARILYN:
'Cause a baseball diamond is a girl's best friend...
CHORUS:
Yes, her style and her fashion'll
Elevate the national pastime!

Television in the 21st century

I'm amazed by how artistic television has become in the last decade. Critics say that this trend started with HBO's The Sopranos in 1999. This kind of television, with its heavy serialization, deep characterization, and overarching themes, has found its niche on cable TV, especially on HBO, Showtime, AMC, and FX. (There aren't as many network shows of this kind; the outstanding examples are Lost and 24.)

New York Times film critic A. O. Scott argued that TV is just as good as film now and there is really no reason why films should be higher in the pecking order. (Unfortunately, film's prestige still lingers. Compare the coverage of the Oscars to the Emmys.) Some even think that TV is better than film now! Patrick Meaney wrote a very long piece citing the advantages of the TV format over the two-hour film. He pointed out that the length of the TV series allows more creative freedom and time to explore characters. On a TV series, with good material, an actor can showcase his/her diversity and range. More and more big name film actors are jumping into TV. Here's a sampling: Martin Sheen (West Wing), Alec Baldwin (30 Rock), Sally Field (Brothers and Sisters), Glenn Close (Damages), Claire Danes (Homeland). Recently, Dustin Hoffman signed on for HBO's Luck. He told the press that

You cannot get a shot at doing your best work in the studio system. There's committees, there's meetings, they're on the set ... they get involved in a quasi -- at least I think it is -- creative way. They buck heads with people they shouldn't be bucking heads with. And with HBO, once they give a go, there is no committee, there's no meetings, these guys are allowed to try to do their best work and they then give it to us.

Famous film directors are getting into TV, too. Martin Scorsese directed the pilot for Boardwalk Empire and Michael Mann is directing and producing Luck.

The biggest changes have come for writers and their audiences. If anyone is happy about the state of television, it's got to be the writers. Can you name any film script writers? In television, the showrunner (head writer) is truly the boss of everything and (provided that the network doesn't interfere) can realize his/her creative vision. The public has heard of David Chase (The Sopranos), David Simon (The Wire, Treme), Ron Moore (Battlestar Galactica), and the nerd favorite Joss Whedon (Buffy the Vampire Slayer, Angel, Firefly, Dollhouse). Many playwrights are writing for television, to gain experience (and to put bread on the table, so they can go back to the theatre).

The audience has become a greater, more vocal participant in television. Fans gather on forums to extol the virtues of actors, or trash showrunners for clumsy plotting. By its nature, Serial drama invites discussion and analysis. TV criticism websites have proliferated, for instance, Television Without Pity, AV Club, and HitFix. (Again, TV criticism is still lower status than film criticism, but hopefully that will change.) There are wikis to keep track of complicated plot threads and numerous characters. Writers monitor forums and occasionally go onto boards to personally talk with fans. On learning the audience's reaction, they can adjust the series before the fans revolt. (Some crazy fans have actually become a nuisance for showrunners and networks -- demanding changes as if they own the show.)

Personally, I enjoy watching a great TV series unfold. Every week, I watch an episode, read the critic reviews, and participate in forums. It's a heavy investment of time, but well worth it, for the enrichening experience. I learn so much about the human condition (e.g. endurance in Battlestar Galactica), archane topics (e.g. horse racing in Luck), acting (Claire Danes in Homeland), and writing.

The massive serialization and strong audience participation remind me of the Victorian novel. Back then, authors like Charles Dickens and Thomas Hardy wrote in installments. It's hard to remember this, since we read these works as complete (and very thick) novels in our literature classes. Writing in installments meant that the lower classes could afford fiction and that writers had to keep their readers interested. In Dickens's Great Expectations, there's a line of dialogue where one character brings up another character out of the blue in the dialogue. My high school English teacher explained that the reason was so the reader wouldn't forget the named character later. Supposedly, Thomas Hardy inspired the term "cliffhanger"! Nowadays, the cliffhanger is a standard trope in modern television. Large ensemble casts and intricately woven plot threads in TV series like Battlestar Galactica remind me of my favorite novel, George Eliot's Middlemarch (which was also serialized).  The serial television drama really is the 21st century's version of the Victorian novel.

TV isn't the end of the story. New players are emerging in this media game. Felicia Day stars in and produces The Guild, a web series about gamers fully funded by donations. Netflix just committed $100+ million dollars to two seasons of a Kevin Spacey drama without even seeing a pilot. YouTube is trying to become more than just a streaming video site and commissioning several original series.

The only danger now is that we'll have so much good material to watch that the audience will splinter into niches. I actually know a substantial number of people who've watched Battlestar Galactica or The Wire. That's because there were only a few shows of that caliber at the time. It's a little like how everyone watched Walter Cronkite because there weren't any alternatives. In the future, there may be so many good TV shows that everyone will watch their own thing or be desperately trying to catch up on the huge list of "classics." (Exactly the situation we have with books.) The last decade of television has proven that there is no shortage of talented writers, actors, and crew. I look forward to see where we go next.

Thought of the day: Presentations are a form of writing

I've come to realize that presentations are just another form of writing. The critical thinking skills you use in writing words on a page are the same ones you use when you "write" your presentation slides. You need to map out what you're going to say, come up with a logical flow, provide supporting evidence/data for your points, etc. The main difference is that presentations are written to be performed. In that sense, they are similar to plays, movies, and television. A presentation can be a very personal work because you are both the sole writer and sole performer. Since I've started watching television with a critical eye, I want to write a post explaining how you can use ideas from TV writing to improve your presentations. If you are a good writer, you are probably a good presenter and vice versa.

Claire Danes on long distance relationships

Now that Homeland is over for the season, I have nothing better to do than search for "Homeland Showtime" and "Claire Danes" in Google News. Well, it wasn't a complete waste of time. I came across a transcript of an interview with Claire Danes on the Piers Morgan talk show (CNN).

I found this part interesting, where Claire discusses how tricky it is to maintain a relationship long-distance.

MORGAN: And you've been married what, two years now?
DANES: Yes, two years.
MORGAN: Spent any of that time together or was it basically --
DANES: We've been really fortunate, actually, in the formative stages of our courtship, of our relationship, we -- our schedules were kind of amazingly compatible. Lately, we've not been so lucky. I've been, obviously, filming a series, and he's doing a play in New York right now. So he's stationed there.
But we talk a lot. We text a lot. We send each other photos of our toes. I mean, I don't know.
MORGAN: Your toes?
DANES: I don't know. Dumb stuff. We try to make it --
(CROSS TALK)
DANES: I think it's dangerous when you go into a reporting mode, when you just kind of list the things you've done that day. Sometimes you just have to act as if you're with each other and not say anything terribly significant.

I've done that a lot, where I go into "reporting mode." Maybe I can try what Claire suggests and talk to someone over the phone as if they were there with me.

Thought of the day: Character is universal, plot is not

I realized today why the great actors do character driven stories.  It's because

Character is universal, plot is not.

All creative people strive to create something lasting that says something universal about the human condition or nature.  In the end, no one cares about tedious plot details.  Enough with the constant exposition and twists.  It's not that interesting.  Mysteries are so arbitrary; the audience is at the mercy of the writer.  That's why I get sick of TV shows like Lost, 24, and (the later seasons of) Alias.

OK, you need some plot, but just enough to make the story and characters work.

Why I love Homeland

I've been watching Homeland, a new TV show on the cable channel Showtime. I love it -- it's challenging, surprising, expertly written, and beautifully acted. I like all kinds of stories, but my favorite by far is the heavy-hitting, intense, raw, gritty drama. I haven't been this excited about a show since Battlestar Galactica.

Homeland is an espionage drama and a psychological thriller. The main character and protagonist is CIA officer Carrie Mathison (Claire Danes), an incredibly intelligent, driven, compulsive woman who is kind of crazy. She's been diagnosed with a "mood disorder." She's devoted her life to fighting terrorism and she becomes obsessed with the idea that an American POW, Nicholas Brody (Damian Lewis), is a terrorist. Her closest ally is her mentor Saul Berenson (Mandy Patinkin), who cares deeply about her and is constantly covering for her. When Brody is rescued from the Middle East, she's the only one who thinks he's been turned and she tries to (illegally) gather evidence to prove it.

I've never seen a show where the main characters are so unpredictable. Damn, it's exciting. Brody and Carrie are both complete wildcards. Brody is going crazy following eight years of captivity and trying to adjust to civilian life. Is he really a terrorist? Carrie is obsessed and isolated (by choice). She's a maverick spy who enjoys flirting with danger. As a viewer, my jaw is hanging open half the time and I'm thinking "what the... ?"

I've enjoyed every single character, even the minor ones. The show has the patience to spend time letting us get to know the characters as opposed to plot, plot, plot (the kind of writing I hate). Come on TV writers, character is universal, plot is not. I'm glad Homeland appreciate this. I savor the dialogue. The CIA people talk in a smart and crisp mannerbenefitingtheir education and occupation; Brody's family sound less polished as expected (they are middle class), but authentic. I like the scenes without dialogue even better. Brody cowering in a corner, Carrie watching him on video surveillance with headphones on, Carrie driving to work alone, Saul staying late at the office and digging through the refrigerator. All of it is fascinating in the context of this show. We really need less talking on TV.

The title Homeland is an interesting one. On the surface, it sounds like a reference to the Department of Homeland Security, even though technically the CIA is part of the State Department. Another way to interpret is that all the main characters are terribly isolated and lonely, unable to connect with other human beings -- they are never "at home" with themselves. There are so many scenes where people are alone, particularly Brody and Carrie.

The first seven episodes were just dynamite and absolutely riveting. Episodes 8 and 9 were good, but not stellar. Well, I guess the writers can't keep hitting home runs. Warning: spoilers ahead. If you haven't seen the show, don't read the rest of this post. Really, don't read further. You're losing out on all the fun.

SPOILERS BELOW
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.

There are so many great moments that it would take forever to list them all.

• The CIA tech Virgil confronts Carrie with evidence of her mental condition.
• Carrie (lamely) trying to seduce Saul to avoid ending her career with the CIA.
• Carrie melting down in the closet.
• Carrie starting to mirror Brody: she wakes up when he wakes up from a nightmare, she brushes her teeth while lying on the coach watching Brody lie on the coach watching TV
• Brody casually leaving the house and walking in a mall after punching out a reporter.
• Brody opening the garage door a crack and conducting Muslim prayer.
• Saul unleashing his rage on Carrie because she lied to him about the illegalsurveillanceand then tried to seduce him after he found out.
• Virgil cracking witty remarks about the surveillance footage.
• Carrie flirting with her boss, David. Yeah, she's not manic and depressed all the time!
• Carrie gleefully predicting what order Brody puts his uniform on.
• Carrie, Virgil, and Virgil's brother taking down the surveillance while the Brody family is at church singing a hymn. Carrie looks awed at finally being able to step into the house and then of course, she starts frantically looking through all of Brody's belongings.
• Carrie and Brody meeting for the first time.
• Carrie chewing out Saul and calling him a pussy, then Saul throwing her out of his house.
• Carrie brashly telling Saul that they're going to catch Brody lying on the polygraph and that she'll bet "everything" she's got -- even her jazz CD signed by Thelonius himself.
• Carrie tearfully escaping to her sister's house and getting into bed with her nieces.
• Carrie and Brody having wild parking lot sex.
• Carrie antagonizing white supremacists in a bar.
• Carrie and Brody having emotionally raw, romantic sex.
• Confrontation between Carrie and Brody at the cabin.

When I watched the pilot, I was blown away by the character Carrie Mathison and Claire Danes's performance. Wearing an engagement ring to scare off guys interested in relationships? Check. Giving herself a whore bath? Check. Trying to seduce her mentor? Check. Melting down in the closet? Check. After I saw the pilot, I felt like I had to know more about this character. How does she manage to live like this and why?

I'm riveted by Carrie and Danes's portrayal of her. Carrie Mathison is the finest female TV character I've seen. So complicated, compelling, and yet likable. If you know of a better character, I want to see it. I feel deeply connected to this character. She's so smart and yet so damaged. I have so many conflicting emotions about her. I love how brash and daring Carrie is. But it's not the kind of brashness where someone shows off. She just knows that she's really smart. It's the kind of charismatic confidence that flirts on the edge of arrogance. Women are socially pressured to be compliant; Carrie's unapologetic attitude is refreshing. She loves her job because of the job itself and not because a family member tragically died in 9/11. (I hate it when writers soften up a strong female character by coming upwithsomething like "oh, she became a police officer because her mom was murdered." As if it's threatening for a strong female to simply love her job.) I feel really bad for her, for mental condition, that she has to hide it from her colleagues at work. But I also recognize that being manic (bipolar?) is just part of who she is. It's not like there is a definitive point where the mental illness begins and Carrie the person ends. I wonder why she insists on isolating herself. She stays away from her family, people who clearly love her and worry about her illness. Why is she so terrified of a loving relationship? I'm kind of mad at Saul for constantly covering for her. He keeps letting her get away with behavior that is bad for her and bad for her career. I crack up when Carrie throws her fits. Sometimes she really acts like a kid, especially in Saul's presence.

I think I know why I feel this deep personal connection. I have a close family member who has similar manic fits. I've been that smart, brash girl. I've had problems, and I isolated myself for it. I think I'm growing up and losing my taste for ingénue characters like Buffy Summers and Sydney Bristow. Carrie Mathison is an adult and a real woman who is mature in some areas and growing in other areas. I don't see many complex portrayals of younger women on film and television. (The keyword here is "younger", not a green kid but not a jaded middle-aged woman.) That's exciting to watch.

Homeland has been renewed for a second season, so I'm sure I'll get to see some of my questions addressed. I'll keep watching, if nothing else, to see what Carrie is up to and to watch Claire Danes perform. I'm hoping the writers can keep up their outstanding work. Because Homeland is a show that inspires me. It has this ineffable quality about it that makes me feel better for having watched it. I'm entertained, challenged, moved, and educated. But even if the rest of the series disappoints me, I'll still have my memory of those first seven amazing episodes.

Claire Danes the intelligent and self-aware actress

I find this happens to me over and over again. I crush on some Hollywood star and rush around the web reading all about them. Tina Fey [1], Jennifer Garner [2], and now Claire Danes [3]. All incredibly poised, thoughtful, intelligent actresses. In any industry, there are some exceptional people. Part of me is the ridiculous fan who wants to know the gossip about their lives, but the other part is the person who wants to know what they've learned about life and what they think of their art.

How many actresses use words like "avuncular" and "apoplectic"? Claire Danes! Okay, maybe the intellectual elitist in me is overly excited but that is pretty unique. It's not just the big words; her overall intelligence is striking in interviews. Critics, interviewers, and film industry colleagues have frequently marveled at her "maturity." I'm not sure that's the best word for it. She seems to be deep, thoughtful, intense, serious, and intellectual ("I want to read the great books and talk about ideas"). This kind of personality is uncommon among adults; Danes was already like this as a child. When she was nine, she thought about becoming a psychologist or therapist (in case she didn't make it as an actor). I think she's one of those rare people with a very high emotional IQ, sensitive and empathetic yet grounded by her intellect. She picks things up way faster than the average person. Check out this interview at the age of 18. She herself remarks that she's "always felt ancient."

Claire Danes seems pretty damn cool. And now I need to go out and find some friends who are just as awesome -- real people I can hang out with.

[1] Tina Fey is a media darling and willing to be brutally honest and insightful in interviews, so there is lots of good material. I like the part about having "a great house."

[2] I always thought it was amazing how Jennifer Garner would ask J.J. Abrams about his directing choices in the DVD commentary. A real student of the theater. I wrote a gushing review of her work on Alias.
[3] I didn't really know much about Claire Danes. My only exposure to her was when my high school English teacher showed Romeo and Juliet in class. Only recently did I take notice of her, in the Showtime cable TV series Homeland (which rocks).

Favorite TV shows as of 2011

I thought I'd quickly jot down my favorite TV shows by genre.

Drama
Battlestar Galactica, Homeland, Buffy the Vampire Slayer

Comedy
30 Rock (seasons 1-2), Scrubs (seasons 1-4)

Genre
Alias (action/espionage/drama, season 1), Chuck (action/espionage/comedy, seasons 1-2), Firefly (western/comedy/drama)

Procedural 
Bones (seasons 1-2)

Note: I realize my categories are a little subjective.  You could call Battlestar Galactica a military science fiction show, Homeland a spy show, and Buffy the Vampire Slayer a fantasy vampire show.  So they could also be called genre shows.  But these three shows use the genre merely as a context to drive intelligent storytelling and provoke strong emotions in the characters.  So I still call them dramas.

Quote of the day: Arnold Schwarzenegger on achieving goals unapologetically

During the last week, I got hooked on the TV show Homeland, a psychological thriller starring Claire Danes, Damian Lewis, and Mandy Patinkin. The acting on the show is outstanding and in particular, I feel a strong personal reaction to Danes's work. Poking around on the New York Times website [1], I found a profile on Ms. Danes and I liked the following quote:

My line about Arnold is that he doesn't get in his own way. He is not apologetic about achieving his goals. And when you have that attitude, it's amazing what one can accomplish. He wanted to give me relationship advice. I was having trouble with a female friend, and he said, be really forthright and do not accommodate her needs excessively. I took his advice [pause] and we're not friends anymore. So there you go.

[1] I've learned that you can only find interesting material on celebrities if you go to serious journalistic websites like the New York Times. Talk show appearances by celebrities are the worst. It's a bunch of air-headed, flirtatious talk.

Review of Alias, Season 1

I watched Alias this summer in 2011 and I couldn't believe this show was made in 2001.

Alias Season 1 has quickly become one of my all-time favorites. I was surprised to find how much I enjoyed this show since I'm not big on the spy genre. On the surface, Alias seems like an action show with a female lead in sexy outfits, but it is much more than that. It is a tour de force of tight writing, sharp dialogue, outstanding acting, and creative vision. Alias is the story of Sydney Bristow -- the girl next door, straight-A student type who happens to sign up for spy work, out of patriotic inspiration and boredom. Most spies and action heroes are cold, calculating personalities, so this is a refreshing concept. The show works for me because as absurd as the plot twists become, I believe in Sydney Bristow. Her character is always grounded and she is easy to relate to, because she is sensitive and wears her heart on her sleeve. This is J.J. Abram's trademark -- the drama that is both realistic and absurd at the same time. Sydney does crazy spy work and juggles both a double-life and double-agent job, but she comes home to hang out with her friends who know nothing about her spy life, and she struggles with her relationships with her father and her paternalistic boss. As weird as the espionage world gets, we can always relate to hating your boss, trying to get along with parents, and managing work-life balance. It's hard to find compelling 20-something female leading roles in Hollywood, which makes me appreciate Sydney Bristow on a personal level.

The show further innovates by mixing different genres: espionage, mystery/thriller, and a little soapy drama. I love cross-genre shows because there is more variety, less chance of falling into cliches, and the audience doesn't quite know what to expect. The action sequences, camera work, and costumes are film quality. You will have fun watching Sydney execute her missions. I'm not a connoisseur of spy shows, but I was entertained by the different wigs/dresses, car chases, and parachuting.

I really enjoyed the writing and fast-paced plotting. Not many words are wasted. The action sequences are cut extremely tight. Unlike other spy shows, there isn't much mission preparation or debriefing shown; we just see Sydney stealing item X and then we're back in Los Angeles. One moment Sydney is in spy headquarters and then she's having beer at her apartment with her best buddies. Yet the show takes the time to explore Sydney's emotional reactions, which keeps Alias grounded in reality. I really like how the show goes for broke -- outlandish costumes, insane stunts, hard-hitting emotional breakdowns, the audience feeling like Sydney is *really* in danger -- and yet it feels organic and not forced. Maybe the writers used up all their best ideas in the first season and that's why Alias started going downhill... but that's a discussion for another time.

The big selling point for me is Jennifer Garner's performance. She is naturally charismatic and has probably the world's best smile, making Sydney probably the most likable spy in cinematic history. (It seems like every male character on the show is in love with Sydney -- a joke, but not far from the truth.) Garner clearly put 100% effort into her acting. Watch her face when she runs -- it's clear that both Garner and Sydney take their job seriously. Sydney Bristow is an extremely demanding role (Sydney is in almost every scene, stunt sequences, foreign languages, dramatic acting) and Garner does everything very well.

The rest of the cast is absolutely stellar. I don't know how many TV shows have ever had a cast this good. There are two critically acclaimed Broadway actors (Victor Garber and Ron Rifkin) and Michael Vartan, Bradley Cooper, and Merrin Dungey have all gone on to great careers (in particular Cooper has become a huge star). Kevin Weisman is funny and charming as the comic relief, and Carl Lumbly, as Sydney's partner, lends gravity and presence to the show. Every single cast member is fantastic and my only complaint is that I wish Vartan and Dungey's characters could have been written better. The superb acting is what really makes the show work. In the hands of lesser actors, the show would have become campy.

I'll leave you with the words of a TV critic:

Alias isn’t a perfect series, by any means. But I do think it’s the most important show of the past ten years that’s been completely swept under the rug. ... I have a sneaking suspicion that few shows have had a greater impact on the television landscape today.
- Ryan McGee, AV Club

(If you are interested in reading more, check out Ryan McGee's essays at AV Club's TV Club Classic.)

Thought of the day: Four types of TV shows

There seem to be four premises to create interesting TV shows.

1. Show based on neurotic and/or childish characters (a staple of sitcoms)
   
2. Show based on characters with interesting jobs -- the procedural (cop, medical, legal, detective/spy/crime dramas)
   
3. Show based on a particular genre (vampires, fantasy, science-fiction, military, espionage)
   
4. Show based on relatively normal characters thrust into crazy situations (character diagnosed with cancer, nuclear holocaust)
   

Personally, I like shows that mix several of these premises. Chuck combines spy action with nerdy comedy, and its main character finds himself pulled from his dull existence as a computer technician into the world of espionage. (Premises 2, 3, & 4) Battlestar Galactica is a militaristic sci-fi drama in which most of the human race is suddenly wiped out. (Premises 3 & 4)

Sasuke / Ninja Warrior

Sasuke is a Japanese TV show that features contestants running through timed obstacles courses. There are four stages and only three people have completed all four to achieve "total victory." It looks really cool and a nice test of athleticism. The male competition (Sasuke) seems to heavily challenge arm strength. The female version (Kunoichi) appears to focus more on agility as opposed to arm strength.

Some really cool videos: Makoto Nagano winning Sasuke and Ayako Miyake winning Kunoichi

Song of the day: "Have A Little Faith In Me" by John Hiatt

I heard this song a long time ago when it was covered in the movie Phenomenon. When I was watching the TV show Alias, I was pleasantly surprised to hear a nice, instrumentally simple cover of the song in baritone (rare for pop music!). The song is sung by a minor character in a night club and then the show segues into an emotional montage for Sydney.

I have an inherent bias against pop music, but when done well, this song is decent.

When the road gets dark
And you can no longer see
Let my love throw a spark
Have a little faith in me
When the tears you cry
Are all you can believe
Just give these loving arms a try
Have a little faith in me

Have a little faith in me
Have a little faith in me
Have a little faith in me
Have a little faith in me

When your secret heart
Cannot speak so easily
Come here darling, from a whisper start
Have a little faith in me
And when your back’s against the wall
Just turn around and you, you will see
I will catch you, I will catch your fall
Just have a little faith in me

Have a little faith in me
Have a little faith in me
Have a little faith in me
Have a little faith in me

‘Cause I’ve been loving you, for such a long, long time
Expecting nothing in return
Just for you to have a little faith in me
You see time, time is our friend
‘Cause for us, there is no end
And all you gotta do, is have a little faith in me
I will hold you up, I will hold you up
And your love, gives me strength enough to
Have a little faith in me
Hey hey
All you gotta do for me girl
Is have a little faith in me