NEW YORK - All 13-year-old boys are on board with "Family Guy." They love this show and no wonder. It's silly, subversive and caters to a 13-year-old boy's endless craving for humor about bodily emissions.
Among this particular demo, the fact that "Family Guy" is also breathtakingly smart is just a bonus (or even beside the point). But the deft blend of the ingenious with the raw helps account for its much broader appeal, as it taps into every viewer's inner 13-year-old boy -- which, whatever your age and gender, is the easiest point of entry into the show's garden of delights. (This Fox animated series airs at 9 p.m. EDT Sundays, as well as on TBS and Cartoon Network's Adult Swim.)
As a "Family Guy" fan who's long past preadolescence, I crack up watching it. I cringe. I ask myself, How do they come up with this stuff? And I find I'm in synch with it to a degree I might prefer not acknowledging in polite company.
I don't mean "Family Guy" necessarily mirrors my thinking. But it anticipates what I'm capable of thinking, if I were observant and twisted enough to see what it sees unassisted.
In its absurd incongruities, the show catalogs the detritus of modern life. In its devilish flights of fancy, it targets how things might be, if the world were only slightly more deranged.
No room here on "Family Guy" for niceties. So I give its excesses a pass. I embrace its wicked randomness. I feel grateful from the bottom of my inner 13-year-old boy's heart.
Item: Here's God as a bearded, white-robed ladies man hitting on a girl at a bar. He lights her cigarette with a bolt of lightning. "Magic fingers," he purrs. But then, to his chagrin, an inadvertent second bolt of lightning incinerates her. He summons his son Jesus ("Get the Escalade, we're outta here!") and makes a fast exit.
A little less provocative is a spoof of the farewell scene from "The Wizard of Oz": Dorothy ticks off the Tin Man and the Cowardly Lion when she tells the Scarecrow, "I think I'll miss YOU most of all."
"Sort of a weird comment," mutters the Lion indignantly, "right in front of all of us."
These are examples of the cutaway sight gags and comic asides booby-trapping "Family Guy," making each episode's story line feel hyperlinked to out-of-nowhere bits of foolishness. (Cookie Monster in an asylum battling his cookie addiction. Dick Cheney as a foul-mouthed greeter at Wal-Mart.)
But through it all, the basic setting is the Peter Griffin homestead in Quahog, R.I.
Peter is a cheery, melon-bellied dolt. He is married to randy redhead Lois, a closet kook who indulges Peter's almost limitless shortcomings.
Teenage son Chris is not only slovenly and overweight, but, by every indication, mentally disabled. Dowdy daughter Meg hates herself (her parents hate her more).
Stewie is a pint-sized megalomanic, raging at humanity with an aristocrat's haughtiness. ("Fie on your toilet!" the diapered toddler blasts his elders on the issue of potty-training -- "it's made slaves of you all!")
The only character who can hear Stewie is Brian, the Griffins' dog, who stands upright, speaks several languages, reads the paper and likes his martinis dry. He has an unrequited lust for Lois, but otherwise, his tastes are of those of a sophisticate.
Peter and his family have an unapologetic cartoonishness that, in contrast, makes "The Simpsons" seem entrenched in everyday reality. The characters on "Family Guy" seem infinitely adaptable to any situation, ready for anything to put a joke across.
As the vision of Seth MacFarlane (the show's creator, who's also a producer, writer and does numerous voices), "Family Guy" isn't above the gratuitous cheap shot. (Sarah Jessica Parker's face "looks like a foot," Peter complains.)
But it also has the brass to present Osama Bin Laden -- seen taping a fierce new video message to "all American infidels" -- as a fatuous showoff. After he stumbles over the word "Ramadan," instead saying "Radaman," he bursts into laughter. He can't control his giggles, egged on by his off-camera crew.
"Look at who's snickering over THERE," he chuckles helplessly -- "Mr. I-Can't-Do-a-Suicide-Bombing-Cause-I'm-Sick! He got a note from his doctor!"
"Family Guy" mocks politics, pop culture, celebrity, show-biz shtick and TV in particular, beginning with a sitcom sendup as Peter and Lois, at their piano, sing the theme song: "... Where are those good old-fashioned values on which we used to rely? Lucky there's a Family Guy ..."
Sex, race, physical infirmities, AIDS, pedophilia, Anne Frank, British bad teeth, the murders of Nicole Simpson and Ron Goldman, plus those good old-fashioned values -- on "Family Guy," nothing seems out of bounds.
Parts of "Family Guy" are simply brilliant. A near minutelong, wordless interlude where Peter struggles to dispose of a dead bullfrog has the artistry of Chaplin.
Not so high-minded: The instrumental "Dueling Banjoes" is re-imagined with Peter and portly filmmaker Michael Moore, unseen behind the doors of adjoining bathroom stalls (attention: 13-year-old boys!), in a performance of dueling flatulence.
Like so much of "Family Guy," it's rude, crude and deliciously wrong.
___
On the Net:
http://www.fox.com
http://www.tbs.com
http://www.adultswim.com
___
EDITOR'S NOTE -- Frazier Moore is a national television columnist for The Associated Press. He can be reached at fmoore(at)ap.org
Selasa, 01 Juli 2008
Tavira, one-handed violinist, dies at 84 (AP)
MEXICO CITY - Angel Tavira, a one-handed violinist who dedicated his life to Mexican folk music and won a Cannes Film Festival award for his first movie at age 82, has died. He was 84.
Tavira died of kidney problems Monday in a Mexico City hospital, said Eugenia Montiel, a spokeswoman for Camara Carnal Films, the company that co-produced Tavira's 2005 film "The Violin."
Tavira was born on July 3, 1924, into a family of musicians in the southwestern town of Corralfalso, and started playing the violin at age 6. When he was 13, he lost his right hand while setting off fireworks at a fair. He pursued his music career nonetheless, playing the violin with the bow tied to his stump.
"Being a Tavira meant being a musician," said his cousin Javier Tavira. "It's the family tradition; there were instruments in his grandfather's house. His uncles and cousins helped him work out a way to keep playing."
Mexican director Fernando Vargas made a documentary about Tavira in 2002, and two years later cast him in the fictional film "The Violin." With no previous experience, Tavira won an acting award at the 2006 Cannes Film Festival for his role as the patriarch of a family of street musicians who support an armed rebel movement.
In the documentary, Tavira describes the frustrations of learning how to play with one arm, saying he often wanted to hurl his violin to the floor.
"Just seeing myself tied to the bow, I only wanted to cry," he said. "I started practicing again just like I was learning to play."
Tavira was committed to traditional calentana music from his native Pacific coast state of Guerrero. He taught music to school children and led the Hermanos Tavira Banda folk band.
At 60, he enrolled in the Music Conservatory of Morelia in Michoacan state, studying musical scoring in the hopes of preserving calentana for future generations.
"He is a man who fought his whole life to keep the music of his region alive, teaching new generations and doing it with only one hand," Vargas said in a statement released by the National Arts Council.
Tavila is survived by his wife and 12 children from two marriages.
___
Associated Press Writer Istra Pacheco contributed to this report.
Tavira died of kidney problems Monday in a Mexico City hospital, said Eugenia Montiel, a spokeswoman for Camara Carnal Films, the company that co-produced Tavira's 2005 film "The Violin."
Tavira was born on July 3, 1924, into a family of musicians in the southwestern town of Corralfalso, and started playing the violin at age 6. When he was 13, he lost his right hand while setting off fireworks at a fair. He pursued his music career nonetheless, playing the violin with the bow tied to his stump.
"Being a Tavira meant being a musician," said his cousin Javier Tavira. "It's the family tradition; there were instruments in his grandfather's house. His uncles and cousins helped him work out a way to keep playing."
Mexican director Fernando Vargas made a documentary about Tavira in 2002, and two years later cast him in the fictional film "The Violin." With no previous experience, Tavira won an acting award at the 2006 Cannes Film Festival for his role as the patriarch of a family of street musicians who support an armed rebel movement.
In the documentary, Tavira describes the frustrations of learning how to play with one arm, saying he often wanted to hurl his violin to the floor.
"Just seeing myself tied to the bow, I only wanted to cry," he said. "I started practicing again just like I was learning to play."
Tavira was committed to traditional calentana music from his native Pacific coast state of Guerrero. He taught music to school children and led the Hermanos Tavira Banda folk band.
At 60, he enrolled in the Music Conservatory of Morelia in Michoacan state, studying musical scoring in the hopes of preserving calentana for future generations.
"He is a man who fought his whole life to keep the music of his region alive, teaching new generations and doing it with only one hand," Vargas said in a statement released by the National Arts Council.
Tavila is survived by his wife and 12 children from two marriages.
___
Associated Press Writer Istra Pacheco contributed to this report.
Lost Beatles tape will air on BBC radio (AP)
LONDON - The British Broadcasting Corp. will air a long lost Beatles interview featuring John Lennon and Paul McCartney talking about the day they met and their songwriting partnership.
The precious film sat forgotten for 44 years in a garage in south London until film fan Richard Jeffs realized a piece of pop history was contained inside.
Experts were surprised to find the audio portion still usable for radio broadcast.
The nine-minute interview was recorded at the Scottish Television studios in April 1964 during the early days of Beatlemania. It will be broadcast for the first time on BBC Radio 4 on Tuesday and repeated later this week.
On the tape, Lennon tells how he was playing with a skiffle band outside Liverpool when McCartney introduced himself.
The precious film sat forgotten for 44 years in a garage in south London until film fan Richard Jeffs realized a piece of pop history was contained inside.
Experts were surprised to find the audio portion still usable for radio broadcast.
The nine-minute interview was recorded at the Scottish Television studios in April 1964 during the early days of Beatlemania. It will be broadcast for the first time on BBC Radio 4 on Tuesday and repeated later this week.
On the tape, Lennon tells how he was playing with a skiffle band outside Liverpool when McCartney introduced himself.
Heath Ledger's hometown to name theater after him (AP)
PERTH, Australia - The Australian hometown of the late actor Heath Ledger named a theater in his honor Tuesday for his commitment to acting.
The $87 million, 575-seat Heath Ledger Theater in Perth is a fitting tribute because Ledger was always supportive of other young actors, Western Australia state Premier Alan Carpenter said at a naming ceremony.
Ledger died at 28 of an accidental prescription drug overdose in New York in January.
"Heath Ledger was totally dedicated to the craft of being an actor and that's what made him successful," Carpenter said. "I think what we're doing is continuing that support for young people who want to make a career in the arts and acting, stage and in film, whatever it happens to be."
Kim Ledger, the actor's father, called the tribute a pleasant surprise.
"He was such a giver to the arts right across the board. I really feel that there's not a lot of things he'd put his name to, but he'd put his name to that," said Kim Ledger, who attended Tuesday's ceremony.
Kim Ledger said family members would travel to New York later this month to attend a screening of "The Dark Knight." Heath Ledger plays the Joker in the movie, his final full film role. The actor's performance has already been lauded by critics.
The renewed attention on his son because of the film has made the family's grieving process difficult, Ledger said.
"It's just been a little more public and the films make it a little more public as well," he said. "It's been a little bit hard, but we've always been extremely proud of his work and that hasn't changed."
Ledger received a best-actor Academy Award nomination for his role in 2005's "Brokeback Mountain."
"The Dark Knight" opens in theaters July 18.
The $87 million, 575-seat Heath Ledger Theater in Perth is a fitting tribute because Ledger was always supportive of other young actors, Western Australia state Premier Alan Carpenter said at a naming ceremony.
Ledger died at 28 of an accidental prescription drug overdose in New York in January.
"Heath Ledger was totally dedicated to the craft of being an actor and that's what made him successful," Carpenter said. "I think what we're doing is continuing that support for young people who want to make a career in the arts and acting, stage and in film, whatever it happens to be."
Kim Ledger, the actor's father, called the tribute a pleasant surprise.
"He was such a giver to the arts right across the board. I really feel that there's not a lot of things he'd put his name to, but he'd put his name to that," said Kim Ledger, who attended Tuesday's ceremony.
Kim Ledger said family members would travel to New York later this month to attend a screening of "The Dark Knight." Heath Ledger plays the Joker in the movie, his final full film role. The actor's performance has already been lauded by critics.
The renewed attention on his son because of the film has made the family's grieving process difficult, Ledger said.
"It's just been a little more public and the films make it a little more public as well," he said. "It's been a little bit hard, but we've always been extremely proud of his work and that hasn't changed."
Ledger received a best-actor Academy Award nomination for his role in 2005's "Brokeback Mountain."
"The Dark Knight" opens in theaters July 18.
Special Guest appearance on "Museum" sequel (Reuters)
LOS ANGELES (Hollywood Reporter) - Christopher Guest is taking it up to 11 for Foxs sequel to "Night at the Museum."
The "Spinal Tap" star has joined the cast as Ivan the Terrible for the comedy adventure, officially titled "Night at the Museum: Battle of the Smithsonian."
Also joining the cast are Jon Bernthal (Al Capone), Bill Hader (Gen. George Armstrong Custer) and French actor Alain Chabat (Napoleon).
The film, directed by Shawn Levy, reunites lead Ben Stiller with castmates Robin Williams, Ricky Gervais and Owen Wilson. Shooting is underway in Vancouver,
The original film, released in 2006, was a box office success for Fox, grossing 574 million worldwide.
Reuters/Hollywood Reporter
The "Spinal Tap" star has joined the cast as Ivan the Terrible for the comedy adventure, officially titled "Night at the Museum: Battle of the Smithsonian."
Also joining the cast are Jon Bernthal (Al Capone), Bill Hader (Gen. George Armstrong Custer) and French actor Alain Chabat (Napoleon).
The film, directed by Shawn Levy, reunites lead Ben Stiller with castmates Robin Williams, Ricky Gervais and Owen Wilson. Shooting is underway in Vancouver,
The original film, released in 2006, was a box office success for Fox, grossing 574 million worldwide.
Reuters/Hollywood Reporter
Fox promotes new TV show with mysterious ads (Reuters)
LOS ANGELES (Hollywood Reporter) - "Find the pattern," growls a voice from your radio.
The gravely suggestion interrupts a commercial for the Abrams Auto car dealership and concludes with a whisper of "Fox."
The Fox network is hoping listeners will piece together these mysterious fragments and realize there is indeed a pattern -- one that leads straight to the networks new action drama "Fringe," which premieres September 9.
The ads, which debuted this week, are part of Foxs innovative ad campaign for the J.J. Abrams series, which the network hopes will jump-start its fall lineup. Although the network declined to release specific dollar figures, the campaign represents Foxs largest scripted series marketing effort in years.
The campaign will feature cryptic messages that encourage fans to search on the Internet for more information. Fans of Abrams hit ABC drama "Lost" and the hit winter movie "Cloverfield" are familiar with the tactic, so much so that Abrams name is incorporated into the radio ads as a clue.
"Our radio goal was definitely to not say Fringe," said Laurel Bernard, senior vp marketing at Fox. "We didnt want them to sound in any way like a traditional radio spot. We wanted them to be disruptive and a little mysterious sounding."
The campaign also includes online ads placed on Web sites outside of the usual entertainment hubs to catch viewers attention in unique locations. Users on such sites as Automobile.com and recipe site FamilyOven.com will see mysterious ads encouraging them to "Imagine the Impossibilities."
"They will be very quick sort of messages, leading people to nondescript Web sites that will ultimately lead them back to Fringe," Bernard said.
With the campaign, Fox is getting an early start on its fall marketing. The networks off-air marketing efforts usually dont being until six weeks before a series premiere.
Reuters/Hollywood Reporter
The gravely suggestion interrupts a commercial for the Abrams Auto car dealership and concludes with a whisper of "Fox."
The Fox network is hoping listeners will piece together these mysterious fragments and realize there is indeed a pattern -- one that leads straight to the networks new action drama "Fringe," which premieres September 9.
The ads, which debuted this week, are part of Foxs innovative ad campaign for the J.J. Abrams series, which the network hopes will jump-start its fall lineup. Although the network declined to release specific dollar figures, the campaign represents Foxs largest scripted series marketing effort in years.
The campaign will feature cryptic messages that encourage fans to search on the Internet for more information. Fans of Abrams hit ABC drama "Lost" and the hit winter movie "Cloverfield" are familiar with the tactic, so much so that Abrams name is incorporated into the radio ads as a clue.
"Our radio goal was definitely to not say Fringe," said Laurel Bernard, senior vp marketing at Fox. "We didnt want them to sound in any way like a traditional radio spot. We wanted them to be disruptive and a little mysterious sounding."
The campaign also includes online ads placed on Web sites outside of the usual entertainment hubs to catch viewers attention in unique locations. Users on such sites as Automobile.com and recipe site FamilyOven.com will see mysterious ads encouraging them to "Imagine the Impossibilities."
"They will be very quick sort of messages, leading people to nondescript Web sites that will ultimately lead them back to Fringe," Bernard said.
With the campaign, Fox is getting an early start on its fall marketing. The networks off-air marketing efforts usually dont being until six weeks before a series premiere.
Reuters/Hollywood Reporter
Indonesian film explores trauma of 1998 riot victims (Reuters)
JAKARTA (Reuters) - A new Indonesian film puts the spotlight on the sensitive issues of racism and rape involving the minority Chinese community during the bloody riots that led to the downfall of former President Suharto 10 years ago.
At one level, the movie "May" is a simple story about a fictional Chinese-Indonesian woman raped during the May 1998 riots when more than 1,000 people were killed in Jakarta.
Most who died were trapped in burning buildings, as mobs rampaged through the streets focusing attacks on Chinese houses and shops.
But the film also explores the broader human tragedy behind the riots that broke out during the height of the Asian financial crisis.
"It is a reflection of the 1998 incident. We made the movie not only to remind people, but (because) we want this incident to never happen again," said Viva Westi, the films director, adding that not only Chinese but everyone was the victim of the riots.
Ten years on, rights groups say people who lost family and homes are still waiting for justice while the issue of rape has never been dealt with because of the silence of the victims and the reluctance of the public to acknowledge any sexual abuse.
Thousands of Chinese Indonesians fled the country during the riots, which brought to a head years of economic and social tensions between indigenous Indonesians, called pribumi, and the ethnic Chinese.
Aside from ethnic differences, most pribumi are Muslims and most Indonesian Chinese are not, and there was also resentment over what many other Indonesians saw as disproportionate economic influence by the Chinese.
An independent team set up to investigate the riots found that 85 women, mostly ethnic Chinese, were sexually assaulted, but authorities dropped the inquiry, citing lack of evidence.
"It (the movie) is about humanity. Its about how this event impacts the lives of individuals. But its also political. We made this movie because many of the problems are still unsolved," said Ade Kusumaningrum, the films publicist.
"We cannot re-enact the riots because every person has a different interpretation. There is no simple truth ... But we wanted to portray the main tragedy from a womans perspective."
GUILT
In a break from the usual crop of horror and teen films in Indonesia, Westis movie is a rare and sensitive look at the riots through the eyes of May, the Chinese-Indonesian woman, who was separated from her boyfriend and mother in the riots.
May flees to Malaysia and builds a new life as a pub singer, but 10 years on she is still traumatized by the events that left her pregnant and filled with anger toward her boyfriend, Antares, believing her fate would have been different had he rescued her.
Apart from dealing with Mays crisis after reuniting with Antares, the movie also delves into the guilt felt by many indigenous Indonesians at the fate of the Chinese minority.
In the film, a laundryman, Gandang, struggles to deal with his success at the expense of Mays mother, who sold her land to him for a plane ticket to escape the riots.
"The character of Gandang is the analogy of the Indonesian government. He never did anything for 10 years, but he enjoyed everything without explaining what really happened," she said.
Although many Chinese who fled during the riots have returned in recent years and the community has made progress in some areas, deep scars remain and it is still trying to find its exact place in the worlds most populous Muslim nation.
Under the autocratic rule of Suharto, ethnic Chinese were initially major targets of mass killings of alleged communists and communist sympathizers, and subsequently their culture and language were severely restricted.
Even so, the community, which represents only about 3 percent of Indonesias population, had a strong influence over big swathes of the economy, and some of the most wealthy had close links to Suharto.
Westi says she plans to go to the international circuit with her movie which only ran in the cinema in Jakarta for a week before it was edged out by big Hollywood releases such as "Sex and the City" and "Kung Fu Panda."
The National Commission on Human Rights said the movie was an important reminder of a past many may have forgotten or are reluctant to accept.
"Raising the facts of May 1998 is necessary, to tell the public that it has indeed happened and that women were victims," said Hesti Armi Wulan, deputy chief for external relations.
"The general public must understand the bitterness of rape victims, because the trauma will never stop."
(Editing by Ed Davies and Jerry Norton)
At one level, the movie "May" is a simple story about a fictional Chinese-Indonesian woman raped during the May 1998 riots when more than 1,000 people were killed in Jakarta.
Most who died were trapped in burning buildings, as mobs rampaged through the streets focusing attacks on Chinese houses and shops.
But the film also explores the broader human tragedy behind the riots that broke out during the height of the Asian financial crisis.
"It is a reflection of the 1998 incident. We made the movie not only to remind people, but (because) we want this incident to never happen again," said Viva Westi, the films director, adding that not only Chinese but everyone was the victim of the riots.
Ten years on, rights groups say people who lost family and homes are still waiting for justice while the issue of rape has never been dealt with because of the silence of the victims and the reluctance of the public to acknowledge any sexual abuse.
Thousands of Chinese Indonesians fled the country during the riots, which brought to a head years of economic and social tensions between indigenous Indonesians, called pribumi, and the ethnic Chinese.
Aside from ethnic differences, most pribumi are Muslims and most Indonesian Chinese are not, and there was also resentment over what many other Indonesians saw as disproportionate economic influence by the Chinese.
An independent team set up to investigate the riots found that 85 women, mostly ethnic Chinese, were sexually assaulted, but authorities dropped the inquiry, citing lack of evidence.
"It (the movie) is about humanity. Its about how this event impacts the lives of individuals. But its also political. We made this movie because many of the problems are still unsolved," said Ade Kusumaningrum, the films publicist.
"We cannot re-enact the riots because every person has a different interpretation. There is no simple truth ... But we wanted to portray the main tragedy from a womans perspective."
GUILT
In a break from the usual crop of horror and teen films in Indonesia, Westis movie is a rare and sensitive look at the riots through the eyes of May, the Chinese-Indonesian woman, who was separated from her boyfriend and mother in the riots.
May flees to Malaysia and builds a new life as a pub singer, but 10 years on she is still traumatized by the events that left her pregnant and filled with anger toward her boyfriend, Antares, believing her fate would have been different had he rescued her.
Apart from dealing with Mays crisis after reuniting with Antares, the movie also delves into the guilt felt by many indigenous Indonesians at the fate of the Chinese minority.
In the film, a laundryman, Gandang, struggles to deal with his success at the expense of Mays mother, who sold her land to him for a plane ticket to escape the riots.
"The character of Gandang is the analogy of the Indonesian government. He never did anything for 10 years, but he enjoyed everything without explaining what really happened," she said.
Although many Chinese who fled during the riots have returned in recent years and the community has made progress in some areas, deep scars remain and it is still trying to find its exact place in the worlds most populous Muslim nation.
Under the autocratic rule of Suharto, ethnic Chinese were initially major targets of mass killings of alleged communists and communist sympathizers, and subsequently their culture and language were severely restricted.
Even so, the community, which represents only about 3 percent of Indonesias population, had a strong influence over big swathes of the economy, and some of the most wealthy had close links to Suharto.
Westi says she plans to go to the international circuit with her movie which only ran in the cinema in Jakarta for a week before it was edged out by big Hollywood releases such as "Sex and the City" and "Kung Fu Panda."
The National Commission on Human Rights said the movie was an important reminder of a past many may have forgotten or are reluctant to accept.
"Raising the facts of May 1998 is necessary, to tell the public that it has indeed happened and that women were victims," said Hesti Armi Wulan, deputy chief for external relations.
"The general public must understand the bitterness of rape victims, because the trauma will never stop."
(Editing by Ed Davies and Jerry Norton)
Langganan:
Postingan (Atom)