MAX HEADROOM: Dieties (S02E02, 1987)

(DVD) I’m keeping this to my most memorable MAX HEADROOM ep, but I loved all of them. I know most folks are only familiar with the character Max Headroom (performed in extreme makeup by Matt Frewer, who doubles as televisual news journalist Edison Carter) from the Coke commercials, or maybe from pseudo-characters from satirical cartoons like DOONESBURY or BLOOM COUNTY.

If you’re of a certain age and watched TV, you can’t forget that brilliant neon-lined backdrop. If you aren’t familiar with the show: Edison Carter is an activist journalist for Network 23 in a cyberpunk near-future. When he’s almost killed upon doing legwork for an investigative story that involves Network 23’s potentially lethal blipverts, the network puts a hit out on him via a hacker, who triggers a parking garage lift as Edison’s trying to escape some cronies, and he flies face-first into a parking garage hazard sign with the words ‘MAX HEADROOM’. Said hacker then reconstructs Edison’s persona from a digital copy of Edison’s brain to continue non-Network 23-related reports for the network, and MAX HEADROOM is born. (Edison survives to tell the tale, but is now stuck with a sarcastic, extremely popular but very extreme digital copy of hisself.)

I didn’t grow up with the even-more-forgotten MAX HEADROOM late-night show that Frewer helmed in Australia, but I watched the TV movie via LaserDisc when I was a youth and it was enough of a revelation that I named our newly acquired yellow-and-black-striped cockatiel Max after the show.

(Yes, I grew up with birds and LaserDiscs, and rode horses. I fully realize now that my youth was off-kilter.)

There are more intriguing episodes of MAX HEADROOM, but -Dieities- is a very Cronenberg-ian episode of TV. It’s about televangelists and the falsity of ‘mind-storage’ (which is obviously self-reflexive, given his Max Headroom TV-centric AI persona). Oh, and there are a number of vaguely hidden riffs on Scientology. It’s especially high-concept for a show that repeatedly took big swings.

Unfortunately, it’s not available to stream anywhere, but the DVD box set is readily available. In lieu of a trailer, here’s a link to the TV film:

“Oh God, he’s been in the Dobie Gillis file again.” (A quote from -Dieties-, not from the pilot. As someone who saw a number of Dobie Gillis films in summer day camps, I felt very seen.)

THE TWILIGHT ZONE: COME WANDER WITH ME (S05E34, 1964)

It’s a sad day: Richard Donner has passed away. While he’s rightfully best known for SUPERMAN, he spent -a lot- of time directing television, including an ep of previously recommended ROUTE 66, eps of TALES FROM THE CRYPT, even eps of THE LORETTA YOUNG SHOW, but most memorably, some of the best episodes of THE TWILIGHT ZONE. Consequently, I’m re-posting a slightly tweaked version of my prior recommendation of one of his lesser-known THE TWILIGHT ZONE eps:

(Hulu/Paramount+/VOD) This episode of THE TWILIGHT ZONE is rarely included in best of lists, which is fair — even if it’s the last-filmed ep -and- directed by Richard Donner — as its story is a bit strained, even by TWILIGHT ZONE standards. Floyd Burney, known as the “Rock-A-Billy Kid” (Gary Crosby), is on the prowl for a new song in a small, unnamed town. He overhears a woman singing and follows her voice as she repeats the refrain: “Come wander with me love / Come wander with me / Away from this sad world / Come wander with me”

The woman introduces herself as Mary Rachel (Bonnie Beecher) and is reluctant to part with the song, but Floyd is insistent. Matters escalate quickly as the rest of the song is revealed.

While the episode is a bit clunky, it’s the song that makes it memorable. -Come Wander With Me- is a brilliantly haunting ballad and, even though the song was never written or recorded in full, a number of musicians, such as Émilie Satt and British Sea Power, have covered it over the years.

Émilie Satt – Come Wander With Me:

British Sea Power – Come Wander With Me:

Hidden Highways – Come Wander With Me:

Original rendition:

A short clip from the ep:

THE SINNER: Season One (2017)

I watch more horror films than the average filmgoer, and I read a fair number of thrillers and murder mysteries, but I’m rarely disturbed by them. Call it desensitization or practiced separation, but all too often I see it as an academic matter.

THE SINNER S1 fucked me up. It’s a nasty, heartbreaking story but, more than anything else, it’s an extraordinarily cruel tale of abuse, one that I can rarely verbally discuss without finding a bit of a hitch into my breath.

THE SINNER S1 is about a woman, Cora (Jessica Biel), who goes to the beach with her husband and toddler, who then kills a man kissing a woman in broad daylight, amongst a number of witnesses. Cora is arrested, confesses to the killing, and Detective Harry Ambrose (Bill Pullman) gets assigned to the case and he becomes obsessed with deducing exactly why she killed this man.

The first season of the show is based on the 1999 novel of the same name, written by Petra Hammesfahr, widely considered Germany’s Patricia Highsmith. (I disagree with that comparison because, for better or for worse, there will never be another Patricia Highsmith.) While the show hews relatively closely to the book, it does drop some of the darker and stranger elements* while also modernizing the material, tweaking the locale, and changing one noteworthy song.

I won’t go into the hows or whys, but it cuts to the quick of trauma in a way that made me very uncomfortable, but can’t help but extoll. Once I finished the final episode, I immediately started rewatching it, not to see how the pieces added up, but to examine how they pieced Cora’s character together. It’s a surprisingly controlled effort from first-time show runner Derek Simonds, one to be applauded.

If you’d like to read more about it, I highly suggest Matt Zoller Seitz’s piece regarding the first season.

The following second and third seasons are completely separate cases and allegedly, apart from Detective Ambrose and his private life, have nothing to do with the first season or the novel. (I have not seen them, so I can’t say for sure.) A fourth season is in the works.

* Yes, the book is quite a bit darker than the series. I read the novel a good year or so after watching it, so I’d forgotten what quite what the show excised, but it was probably for the best. For a list of differences, check out the following spoiler-filled article.

CONAN (2010-June 24, 2021)

(TBS/YouTube) I’d love to say that I was a rabid viewer of LATE NIGHT WITH CONAN O’BRIEN as a youth, but I don’t recall routinely tuning in for many late night shows back then.

However, I became more of an avid viewer as I grew older and Conan and his writers’ sensibilities have since informed an enormous part of my comedic taste. From Conan’s classic Simpsons’ ep MARGE VS. THE MONORAIL to Robert Smigel’s absurdity and filth to Andy Richter’s irreverent sidekick quips and on-his-feet reactions, not to mention Jon Glaser, Mike Sweeney, Jessie Gaskell*, Brian Stack, and so many more, penned and performed a treasure trove of smart and extraordinary dumb jokes.

That said, I’ve grown a bit worn out by him as of late. I still watch CONAN regularly, but the relatively recent change to thirty-minute eps excises many of the more surreal high-points of his shows. Worse, he’s been interviewing the same people over-and-over-and-over again for the past two years. I get it: he’s tired of a lot of the celebrity bullshit and he now only wants to talk to folks he has fun with, but the show has become rather routine.

However! Since opting to pull the plug on CONAN, this show has livened up a bit (even if he’s still primarily interviewing his favorite celebrities). A recent favorite moment was when Lisa Kudrow came by to promote the FRIENDS reunion special. Conan has been taping his show in the famous (well, to comedy nerds at least) Largo at the Coronet theater, and the two of them were able to take a walk down memory lane and visit the small stage where the two of met attending improv lessons. It’s surprisingly touching and sweet, and I hope the show leans into that sort of thing as it approaches the finish line.

  • Mike Sweeney and Jessie Gaskell hosted two seasons of the podcast INSIDE CONAN, which dove into the nitty-gritty of writing and producing the show, and it’s chockfull of delightful insight.

** If you haven’t watched CONAN O’BRIEN CAN’T STOP (2011, Prime/tubi/etc.), it’s a great character profile doc that was filmed around the time of his tour. It’s also a touch depressing.

COLUMBO: -Lady in Waiting- (S01E05, 1971)

(peacock/tubi) The brilliant and multi-faceted Norman Lloyd passed away on May 10th. While he was best known as one of Orson Welles’ Mercury players, as well as Dr. Daniel Auschlander on ST. ELSEWHERE, he also directed one of the first COLUMBO episodes: -Lady in Waiting-.

-Lady in Waiting- centers around heiress Beth Chadwick (Susan Clark), a woman we’re told is homely, and she desperately wants to marry everyman Peter Hamilton (Leslie Nielsen, in his first COLUMBO appearance) but can’t gain the approval of her controlling brother Bryce, the elder heir of the family business. Her solution? Murder.

The show was still finding its footing at this time, but it — like many of the first season episodes — was playfully experimental. In the opening, Beth vividly imagines how the murder will take place through a haze of optical effects as she tears through a box of chocolates in bed. She snaps back to real life and we then see how the murder actually plays out. Lloyd does brilliant work instilling tension through a cacophony of diegetic sound, snappy edits, and post-process zooms.

While it’s not the most memorable COLUMBO episode, it features a surprising character arc for Beth, who comes out of her shell upon killing her brother. It’s a rarity to see a COLUMBO murderer mature after the committing the crime; Beth gains confidence, starts dressing and acting the way she wants, and she knows exactly how she wants to steer the family business. She’s one of the few COLUMBO murderers I sympathize with, and Lloyd did a fantastic job wrangling the episode.

Sadly, no trailer for this ep, but please enjoy this AV Club Random Roles piece between Norman Lloyd and expert interviewer Will Harris.

HANNIBAL (2013-2015)

(Hulu/VOD) LAST MINUTE STREAMING alert! Apparently HANNIBAL leaves Netflix on June 5th and, while it’s also currently available via Hulu, it’s questionable whether they’ll stay there. Who knows, maybe it’ll become a peacock exclusive.

Either way, you have less than a month to watch all three seasons of this gloriously elegant, monstrous adaptation of Thomas Harris’ Hannibal Lecter novels.

It seems like Netflix has made the show far more popular than it was when I was one of five people watching the show weekly, so this recommendation may not be necessary but I’ll go ahead and give a description anyways: Bryan Fuller, best known for darkly comic works like PUSHING DAISIES (2007-2009, ABC) had long been infatuated with Harris’ novels about serial killers and the detectives that pursue them, and he convinced NBC to allow him to turn it into a very queer giallo TV series.

The end result was an adroitly pictured, psychosexual cat-and-mouse game between criminal profiler Will Graham (Hugh Dancy) and Hannibal Lecter (perfectly portrayed by Mads Mikkelsen), and it featured some of the most vivid, most memorable and horribly beautiful imagery ever to be approved by NBC standards-and-practices. With each season Fuller, along with director David Slade (30 DAYS OF NIGHT, HARD CANDY), ramped up the visuals and minimized the dialogue until the last season consisted mostly of a visually sumptuous mélange of abstracted blood and gore.

While the show improves with each season, my favorite moments are from the first season. To prevent giving anything away, I’ll simply allude to them: 1) the cello and 2) a hand-drawn clock. Upon seeing those moments, I knew this show was something special.

Sadly, rights and ratings kept Fuller from fully realizing his dream — no Clarice, no proper serialized SILENCE OF THE LAMBS — but the three seasons we have are some of the most audacious network TV yet.

IT’S GARRY SHANDLING’S SHOW (1986-1989)

(Dailymotion/Vimeo/YouTube/etc.)? You’re probably familiar with THE LARRY SANDERS SHOW, which features stand-up comedian and actor Garry Shandling as a neurotic late night host. (Given that Shandling was one of a few folks considered to be an heir to Johnny Carson, it was not much of a stretch for him.) It was a huge critical and commercial success for HBO, and its depiction of the nitty gritty of producing a late night show was very ahead of its time. However, before THE LARRY SANDERS SHOW there was IT’S GARRY SHANDLING’S SHOW.

Simply put, IT’S GARRY SHANDLING’S SHOW was one of the first meta-sitcoms. Shandling plays ‘himself’, aware that a sitcom audience, at home and in the studio, is watching him as he lives his semi-celebrity, narcissistic, vain, and insecure life. Each SHANDLING’S SHOW episode opens with Garry giving a fourth-wall breaking monologue about his current status as well as what he hopes to accomplish this episode. (I’ll note that THE GEORGE BURNS AND GRACIE ALLEN SHOW did something similar decades prior with their introduction to the show.)

As each episode of SHANDLING’S SHOW would progress, Garry would continue to nod and wink at the audience and, as the show grew older, became bolder about actively turning the safe 80s sitcom format on its head with loads of surreal bits and set-breaking acts.

SHANDLING’S SHOW was one of the first comedies penned for Showtime, as well as Shandling’s first show working both in-front of and behind the camera. He co-created it with Alan Zweibel, one of the original SNL writers, and they often enlisted legendary TV comedy director Alan Rafkin (THE DICK VAN DYKE SHOW, ONE DAY AT A TIME (1978), THE BOB NEWHART SHOW — his directorial filmography is ridiculous). Oh, and Ed Solomon (BILL & TED) had a hand in more than a fair number of eps, too!

It also has one of the best TV theme songs ever, reflecting the meta-nature of the show, also penned by Shandling & Zeiwbel. It’s 41 seconds long — a fact the show frequently hammers home — but it’s catchy enough that you’d suspect it was written and performed by Randy Newman:

(From the first episode — there’s a bit of setup, but not much):

To follow that up, it has one of the best riffs on the theme song opening:

Sadly, today it seems to be barely remembered except by TV and comedy nerds, despite the fact that it was quite critically acclaimed at the time. There are several reasons for that: first, it was on Showtime in 1986 and they didn’t exactly have a huge audience then, and they certainly weren’t known for their original programming. That said, FOX purchased rerun rights to bolster their Sunday lineup, but this was before they’d wrangle THE SIMPSONS.

Second, it was practically impossible to watch after FOX ceased airing reruns in 1990. Some fans would post VHS recordings to YouTube once that was a thing, but it was like posting into a vacuum.

Third, Shout! Factory released a full-series DVD set over a decade ago that I dragged my feet on buying and, before I knew it, it was out-of-print and almost of the ripped YouTube eps had been scrubbed.

However! You can still find a fair number of eps out there, as well as a smattering of clips. They’re well-worth your time although I’ll warn you that more than a few jokes haven’t aged terribly well, but they’re all immaculately constructed. If you don’t believe me, Rolling Stone just listed the show as #58 on their ‘100 Best Sitcoms of All Time’ list*.

Sample episode (S01E12):

First episode (S01E01):

Shout! Factory’s DVD Trailer:

  • I quibble with the list, not because of the entries themselves, but because I don’t believe you should include an in-progress series on the list, and they included -many- on-the-air shows.

JAMES ACASTER: REPETOIRE (2018)

(Netflix) James Acaster is an English comedian that, with REPETOIRE, embodies the playful, albeit formalist, comedy I absolutely love. His storytelling and setups are accessible, but if you love plays on logic or toying with language, you’ll completely fall for him.

However, Acaster isn’t simply content to play with language, as the specials dabble with color and structure, breaking up his epic four-hour comedy special into four parts, then breaking up those parts into subparts punctuated by blocking and small props, such as how he utilizes his watch.

It’s very smart, oddly thrilling for stand-up comedy, and surprisingly re-watchable.

It’s worth noting that Acaster has taken a hard turn from his prior observational/fictional comedy to focus more on self-reflective storytelling bits regarding mental illness, so REPETOIRE isn’t exactly representative of his current comedy, but it’s still damn good.

(Apparently, a clip calling out transphobic comedians from his latest special COLD LASAGNE HATE MYSELF 1999 went viral in January, so you may already be familiar with him.)

Lastly, GOOD ONE, Jesse David Fox’s brilliant comedy podcast, hosted him recently and it’s a terrific hour and a half that has Acaster breaking down his process and comedic evolution.

“I should have warned you earlier: some of the jokes are sad.”

THE DUST BOWL (2012)

(hoopla/VOD) When I first heard that Ken Burns was working on a documentary about the Dust Bowl, I was already neck-deep doing research for a very Dust Bowl-centric novel and I thought to myself: “Well, I might as well give up on it now, because soon there’ll be a storm of Dust Bowl novels and the market will be exhausted.’”

For whatever reason, that did not happen. (Also, while I did finish a very rough version of the novel, I ended up abandoning it as it deviated too far from what I wanted it to be.) When Burns’ THE DUST BOWL did come out, it didn’t have the buzz that his recent documentaries have had. Hell, I heard more people talking about Burns’ BASEBALL doc than THE DUST BOWL.

Ken Burns has always been able to turn what could be a dull American history lesson into something immensely watchable; dramatic, even. He even managed to make the story of the creation of the United States National Parks into a riveting six-part documentary series. However, the Dust Bowl itself, just on paper, reads like a horror story. It doesn’t necessary require Burns’ deft touch.

If you aren’t familiar with the Dust Bowl, it’s one of the earliest and one of the worst, man-made environmental tragedies ever. Basically, the US government had a ton of unworked land in the Plains and then handled out lots for folks to head west, to settle and farm. Families rushed out and overworked the land to the point where the soil ended up turning to dust. Then a severe drought arrived and, because nothing could grow, there was nothing to catch the wind in the plains. The winds stripped all of the newfound dust from the ground, causing the ‘dust storms’ that barreled over the lands. Oh, and all of this occurred during The Great Depression.

To be clear: we’re not talking about temporary tornados here; we’re talking about stories-high loads of dust covering the lands for days on end. Houses were literally buried in dust. Everything in your house was covered in dust. You ate and breathed dust. The dust chewed through everything, eroding wood, clothing; farm animals would suffocate on it; children spewed up dirt.

These storms lasted for a decade because, there was no way to stop them without rehabilitating the land and, because of the prolonged drought, that simply couldn’t be done, not the way the current farmers tended their lots. Those lands had literally became deserts. Everyone that had been lead out there by the government, told to farm away with abandon, were left with less than nothing. (Yes, this was definitely Burns’ attempt to bring attention to climate change.)

Burns has always been best at leveraging photos for visual props as opposed to film footage, as photos allow him to unfurl his trademark sense of fireside storytelling at his own pace, but there are more than enough snippets of environmental footage that really hammer home the scale, monstrosity, and devastation of the storms. Anyone could make an effective cautionary tale documentary from that footage because it’s that spectacularly unreal, and it encompasses everything about America at that point in time.

It’s also worth noting that, unlike many Burns’ docs, a number of those who lived through the Dust Bowl are still alive, so there are far more first-person accounts than you’d expect from a documentary of his. It’s an enthralling, often tragic documentary, one which captures the tension of how the US was handling the plains at that time.

I’d imagine the same reason why THE DUST BOWL didn’t gain traction like prior Burns documentaries is the same reason I never learned about the Dust Bowl until later in life. It’s the tale of an American failure on American land that was spearheaded by an American government and resulted in the ruin of many American families and individuals. It’s a man-made disaster that folks just want to sweep under the rug and, yeah, that doesn’t make for the coziest viewing, but it’s history worth knowing.

REVIEW: Pancakes, Divorce, Pancakes (S0103, 2014)

(Paramount+/Pluto/VOD) Personal note: This will be the last daily recommendation for the foreseeable future, for reasons detailed below. I hope I haven’t wasted too much of anyone’s time, and my many sincere thanks to those who have commented and those I’ve conversed with over the past ~275 recommendations. You’ve been a balm through this very difficult time.

REVIEW was a fictional Comedy Central show — adapted from a more irreverent Australian show of the same name — centered around soliciting life experience queries from people and then ‘life-reviewer’ Forrest MacNeil (legendary cult comedian/actor/writer Andy Daly) would then find a way to live the experience, review it, and rate it on a five-star system.

While the show could — and definitely leaned into — slapstick behavior, it more often than not tackled more emotional challenges. In -Pancakes, Divorce, Pancakes-, the third episode of the opening season, Forrest is requested to:

1) Review eating 15 pancakes:

2) Review getting divorced (unfortunately not available via YouTube)

3) Review eating 30 pancakes:

Forrest commits to all of it and it’s so hilariously tragic, partially because he’s so blindly committed to his job, but also because he feels he has a personal contract with an audience that barely exists with which he has his own unwritten personal rules that he must abide by. (Especially in the -Divorce- segment, where most of the comedy is elicited by the fact that he feels he can’t tell his wife he’s doing this because of his show.)

I initially picked this episode as a quick-and-easy recommendation to write up but, while typing the above, I realized: Oh, fuck. I’ve become Forrest MacNeil.

I started these daily recommendations to give me a bit of structure and bonding with friends during lockdown. Also, I’d missed writing about media, as the last time I regularly did so was more than several years ago on my defunct videogame criticism/analysis website THE NEW GAMER. I thought: “I can find ~200-300 words a day about something I’ve watched that I love! Surely I can manage that for a year, or until I get to see a post-worthy film in a theater!”

That word limit lasted about three months. Then I added more unstated personal rules: I should post no later than midnight CST; if I haven’t watched it in over a year, I should re-watch it; if it’s an adaptation, I should read the book and comment on that; if there’s a TV adaptation, I should watch and touch on that. (To be fair, half of the time I had either already read the adaptation or watched some, if not all, of the TV adaptation. For example, my THE GHOST & MRS. MUIR recommendation with which I had previously done all three.)

Thanks to REVIEW, I’ve realized I’m currently writing these daily recommendations simply because of my own arbitrary rules and, while I love writing about media, it’s spun a bit out of control. It hasn’t been a bad experience by any means, but those dumb rules of mine ruined what was supposed to be a quick, dumb thing done for fun. That said, I’ll continue to write recommendations, but on far looser terms.

So, on that note, I’ll review this endeavor as Forrest MacNeil would: “Writing a daily media recommendation newsletter during a global pandemic: 4 stars.”

“This certainly is an upsetting number of pancakes.”