IR Television Review: Continuing Boundaries & The Human Medium – Returning TV Shows – Spring 2012 – Part II
The advent of a plethora of continuing animated shows distinctifies the approach of the genre but, beyond the procedurals, there lies a grand amount of live action situations (cartoons if you like) that can get the boundaries bumping on good ol’ Earth. Granted many of these shows that can balance humor and drama are harder to come by but USA tends to keep on top of it as highlighted by their sophomore show “Fairly Legal” while a cartoon like “Bob’s Burgers” exemplifies using the medium to reflect real human intentions albeit with longer foreheads.
Ugly Americans As much as the lead character Mark wants to help people, he ultimately gets sidetracked by the element of pursuit that trumps all others: sex. In expanding their comfort zone outwards, the creators decide to switch Callie for an episode to a guy (ultimately so she can infiltrate the underwater kingdom of Atlantis) which creates an element of unease as Mark’s girlfriend (being a demon) doesn’t understand such things. Ultimately the idea becomes that pollution begets pollution. The aspect of upper and mis-management becomes a more particular case when, through the aspect of a bad stand up routine, Mark becomes the head of the company only to find out a grand amount of misspent money to celebrate employees birthdays. While not as mythological, “Americans” does find its footing but it is becoming harder for it to stay there.
South Park The application of social niceties never quite circled into Cartman’s realm but with the continuing thought here the balance between notions of genre and ripped from the headlines precedence seems to unbalance at the weirdest of times. While the bullying aspect might in fact be explored in deeper structure at a different time, the idea of Cartman as both a would-be emissary as well as the town’s worst nightmare seems to be prevailing whether he is racially profiling a relationship while also posing as gay or spearheading the most simple squandering based episodes about the new trendy kind of streaking to do. Despite this, the extremeness of the novelty is wearing off, even with an intrinsic spot on element about the TSA where inspectors are placed in bathrooms after an over-reactive mother dies on the toilet when her son doesn’t put the toilet seat down.
Thundercats Building the mythology involves the cats moving through worlds and not just staying on the ground. The evolution and pursuit of this is the key in making the series more epic. The use of the different animal classes whether it be dog, cat, bird, rat or beyond start to form an element of the hierarchy which gives the storyline much more gravitas beyond the literal threat of Mum-Ra. What is starting to happen is an evolution into a notion of “Spartacus” with Lion-O acting as that stalwart which has come into more specific focus when a new female cat who is a fighter in the arena becomes part of their clan. The infiltration of this storyline is subtle in the way it necessitates itself. However even the use of Lion-O going through different trials into order to win his life back after he mistakenly dies hints at a notion of theology which crystallizes even more when they have to take to the skies which is where their destiny lies, mystical rock or no.
Fairly Legal The tantalizing effort of mediator Katie seems to grow on a person. She can be a tad annoying but ultimately completely into control of her facilities. Last season seemingly portrayed an idealism of her being the pursuer instead of the pursuee in terms of her imploding marriage because she was so off her rock and focused on herself. There is no doubt that Katie is a selfish person at heart but her flaws (like the characters on many other USA Network shows) points to a fact of redemption. The idea that her resolution would come from a man who just has about enough regret as a spider shows the fire that the writers are playing with. It works in texture enough until it needs to be acted upon. Adding in a political race with Katie’s former husband as running for the contested DA seat creates some extra tension. What wins this viewer is simply Katie’s ability to be herself even in what should be a weighty legal world. His scenario to prove a legal point to her legal partner (and would-be suitor) using sexual teasing to prove a point is both intoxicating and heavily annoying which is what makes it work.
Bob’s Burgers The continuation of such a low-key show defies expectation but this little engine that could has done what “Allen Gregory” and “Unsupervised” cannot: a searing animated show that can still be funny without losing its irony or resorting to overdone sight gags. Whereas in “Archer”, H. Jon Benjamin is the star of the show, here he is the voice of reason; it is the kids with their intensive lack of sense and morality (or, in one case, too much of both) that propels the ideas. Whether it be looking for treasure in a soon-to-be-demolished taffee factory (which makes good reference to “The Goonies” with Cyndi Lauper even singing a modified theme song for the end credits) to Bob becoming a would-be hostage negotiator with his burgers, the irony is all too available. His kids are attention grabbers who will use whatever means they can to hog the high life from Bob who, beyond his simpleton view, means well.
When one thinks of roasts, those old commercials featuring Dean Martin come to mind which invariably speaks to the level of celebrities that were sensibly structured there from Bob Hope to George Burns to Frank Sinatra to Lucille Ball.
“The Roast Of David Hasselhoff” affects no such lofty ambitions, simply a need of comedy wrapped in the notion of a party.
Interestingly enough, the person with the most cache hosts the experience in the form of Seth McFarlane, the creative force behind “Family Guy”, “The Cleveland Show” and “American Dad”. McFarlane, as is apparent in person, enjoys this kind of public interaction as he took his big band show on the road similarly.
Getting a person like David Hasselhoff to sit and be counted for his sins is a balance between attacking aspects of life and career head on versus the ultimate publicity such an outing affords. Half the roasters are comedians while others are the best collection affordable.
Pamela Anderson, as evidenced by her attendance at the Just For Laughs Festival in Montreal last year, knows how to take a joke and likes to dole them out as well, even when many of the jokes involve her sex tape.
Hulk Hogan and George Hamilton are simply out of left field and probably did it for the payday which is understandable but the sheer tele-prompter reading moves it along, especially when Hulk looks over and says “Do I have to say this?”
The great delivery of the evening resided with Gilbert Gottfried. No matter what the guy says, even if it makes no sense, one cannot help but bust a gut because the sheer obviousness of the delivery is so absurd.
Comedians such as Jeffrey Ross and the late Greg Giraldo use it as a great springboard for vicious comedy with the people actually in the room which can probably be both a dream and a nightmare. Roasting works this way though, most of the time, it can come off as cheap laughs with a mean spirited edge. Sometimes it is just off-the-cuff for sanity’s sake.
The bonus features optimize an all-in one-night production schedule which ultimately shows great production efficiency. The Behind-The-Scenes shows the lead up with many of the comedians (specifically Lisa Lampanelli) figuring out their own approach to the material. The Red Carpet interviews using a Comedy Central interviewer doesn’t allow the material to shine since the man with the microphone is trying to one-up the roastees and the roasted which takes away from the function itself (if that is possible). The after-show responses take on the same progression allowing for not as much fun and frolic as might have been possible. Watching however, both on the red carpet and after the show, Hoff’s daughters talking and standing behind their old man is an interesting diatribe of celebrity but also speaks to a different perception of life lived.
“The Roast Of David Hasselhoff” knows what it is: fun mindless banter focused on the throttle of a trainwreck filmed with a certain masochistic vibe. Entertainment has evolved in this direction with a bit of tongue-in-cheek humor allowing for a little bit of TMZ in us all. Out of 5, I give it a 1 1/2.
“The Ugly Americans” as an experience is probably more akin to experimentation. Highlighting the programming possibilities of Comedy Central makes this possible because one senses a level of fandom inherent in some of the shows greenlit (including this one).
Each one of the episodes here attacks a different perception of the monster genre while turning it on its head. The lead character (apparently the only normal human) around works for a social services sector of the city which has apparently been taken over by demons and essentially transmogrified into a literal hell-on-earth (through side trips to hell still happen).
The sectors of the monster genre though seemingly surround a more Seinfeld-based trapping which is what makes the show completely relatable in an odd way. The resident human has a roommate who is a newly turned zombie having done so to impress a girl who ultimately likes vampires better while his girlfriend is the spawn of Satan.
The social services aspect of the series structure is what motivates most of the episode narratives. “Kong Of Queens” explores the mammoth ape wanting to do his best to keep the city clean as he obsesses over the “dirt” while “Blob Gets Job” explores the conflicting career possibilities for a creature with no bones. “Demon Baby” meanwhile speaks to the end of the days since the boss of the company can bring about the end of the world if he mates with the spawn of Satan producing effectively what would be the Antichrist.
The special features provide a balanced perception of what the series is. The “5 On” spots structure nicely into the social media perception of this world which is further explored with the inclusion of Facebook photos take by the characters. The art shows a commitment to each individual monster with the notion of continuing seasons displayed with wanton efficiency.
“Ugly Americans” Season 1 Vol. 1 is an anomaly of sorts with an interesting premise, extremeness of art and ultimately unbalanced characters that allow for an otherworldy vision of what life might be like if monsters walked among us. Out of 5, I give the DVD a 2 1/2.