Still haven’t finished I’m a Virgo, not too far into The Curse, and one episode of Mindhunter was plenty. But I did get into some shows.
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How To With John Wilson season 3 (2023)
1. John tricks a self cleaning toilet stall into running while he’s inside it, briefly decides to prep for nuclear emergency, gets kicked out of more places than usual, rides a party bus, spontaneously goes to burning man for a week but isn’t allowed to air any footage. A very poopy episode.
2. He cleans his ears and notices new sounds, interviews people who live in unusually loud apartments or who make an awful lot of noise, learns about a pollution detox place, interviews electrosensitive people – and notices that the common element everywhere is people arguing with their neighbors.
3. He asks a compulsive masturbator how to stay motivated, gets a cat photographer to take “before” photos of his body, but the photog’s cameras get stolen so he asks a mystery author to help find the thief by reviewing John’s footage… interviews the personal trainer of one of the 9/11 hijackers, films his own rejection from an awards season HBO afterparty, wonders what he’s doing in television, sadly tries to connect with old college life, then stumbles into the world of competitive pumpkin growing.
4. He goes to a rained-out Mets game, goes home with a superfan… has to clean up to host a sports party but his vacuum is broken, so goes to a vacuum convention and finds some moving personal stories there.
5. He digs up scandal in the birdwatching community – this leads inevitably to UFO abduction stories, lie detector test, wondering whether things from previous episodes were real. Everyone thinks his show is fake, which it sometimes is, so he tries making a different kind of movie, a doc on the titanic sinking. “There was fake news right from the beginning” says a guest expert. “What does Anne Frank have to do with this?” I saw the car explosion coming, I’ve seen movies before.
6. He asks a psychic where his missing package went and gets the death card. Looks into pizza delivery and medical/organ shipping, gets piano-organ shipping instead, so he drives to Arizona with an organ shipping truck, meets a guy who freezes dead customers, and goes to a party full of people with sci-fi-ass beliefs (The Matrix comes up more than once). Meets an employee who watched The Bachelor ten hours a day and made a complex excel sheet. RIP this show, it was very good.
From Alissa Wilkinson’s Vox interview:
Wilson can’t physically be everywhere, of course. The show’s team includes a second unit, who get what Wilson describes as a “scavenger hunt” list of types of shots to find that might be included in episodes. It sort of wrecks their brains, Wilson said: “Even after we’ve wrapped the season, they’ll continue to send me images of things that were on the scavenger hunt list, like houses that look like faces or something like that. Until they get a new list of things to shoot, they can’t turn off the part of their brain that’s trying to locate this stuff in their environment.”
Wilson interviewed in Filmmaker:
I feel like knowing that this was going to be the last season, I was able to unlock a few different things that I was afraid to put in previously. It allowed us to be more ambitious narratively and what we reveal about the production in terms of the spectacle of the whole thing. Also, what we reveal about how the show has impacted my life, which was something that I wanted to do … I did want the show to potentially have some kind of real-world impact, even though it was done through goofy, satirical means sometimes.
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Archer season 9: Danger Island (2018)
Archer’s a one-eyed pilot who keeps crashing or getting shot down, his mother a business owner – everybody reimagined on a post-WWII island full of snakes and quicksand and cannibals, all after some treasure/plutonium. Kreiger gets to play a parrot, leaving the nazi role free for Cyril, so everyone can try on some new accents, and David Cross is an anthropologist studying the cannibals.
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The Twilight Zone, Vol. 2 (1959)
Continued from late 2023… the workout routine isn’t very routine yet…
104. The Sixteen-Millimeter Shrine
Sunset Blvd was a decade earlier, and Rod has clearly watched it, but he takes the story of a washed-up movie star obsessively reliving her glory days in a different direction. For a story about classic Hollywood, you get a classic Hollywood director: Mitchell Leisen, also past his glory days, who’d recently wrapped up his film career (whether he knew it or not) with some Jane Powell fluff. The great Ida Lupino qualifies for the part – she’d most recently been tenth-billed in Lang’s While the City Sleeps. For once there’s no hint of anything supernatural or even unrealistic until the twist finale. Ida sits alone every day in her screening room watching her roles from 20 years ago with the handsome young Jerry. Her agent/friend Martin Balsam (jury foreman of the 12 Angry Men) tries to get her to live somewhat in the present-day. He finds her a minor film role but she gets into an insult match with studio head Ted de Corsia (villain of The Naked City), and the agent arranges a visit from her former leading man but she’s upset to find he’s now a middle-aged supermarket mogul (Jerome Cowan, who appeared in High Sierra with Lupino). Finally she leaves reality behind and disappears into her eternal-youth film screen.
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105. Walking Distance
Gig Young (Katharine Hepburn’s boss/bf in Desk Set) is an NYC hotshot worn down by the grind, come to visit the small town where he grew up, but he finds it’s in the same state he left it 20+ years ago – exactly the same state, complete with his eleven-year-old self. As he starts to figure things out he confronts his parents and neighbors, freaking everyone out. Cool canted angles as he frightens his young self off a merry-go-round, giving both of them a leg injury. Finally he has a surprisingly level-headed convo with dad (Frank Overton, a general in Fail Safe), who says maybe look for some joy in your own time and place and stop haunting us. Appropriately, director Robert Stevens returns from the first episode, which was also about a guy flailing around an out-of-time small town. Little Ronny Howard plays a local kid, and they shot on the Meet Me In St. Louis street.
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The Kingdom season 3: Exodus (2022)
Old woman Karen (star of The Idiots two decades prior) watches The Kingdom on DVD, says “that’s not an ending” then sleepwalks with Hellraiser eyes into a waiting taxi to the hospital, where reception tells her the show is fictional and calls Trier an idiot. The story is that the hospital is real, and a combination of its personnel and some actors starred in the series – so we swing between pretend-documentary (Kingdom-show tourists walking the hallways) and straight sequel. I’m not sure it all comes together in the end, but also can’t complain about getting five new episodes.
The hospital’s soul is in trouble again, leading up to Christmas, threatened by murderer Krogshoj (who they’ve allowed to stay and run an opium den for emeritus staff), and giant baby Udo Kier (now in a bleaching pond ghost-realm), and the evil antimatter doppelgangers of Karen and her spiritual son Balder (also a hospital porter in De Palma’s Domino), and of course the selfish and useless Helmer Jr (the actor just played Dag Hammarskjöld in a biopic), and the devil himself: Willem Dafoe. It’s fun how the show manages to pile further abuse on ol’ Helmer even though he’s long dead. Halfmer’s quirky department co-head is Ponto (Lars “brother of Mads” Mikkelsen), his fellow Swede who alternately helps and sues him is Anna (Tuva Nuvotny, died first in Annihilation) and we’ve got some new admin staff and a computer hacker. Still around from previous seasons is Udo’s mother Judith, Mogge Moesgaard in a propeller hat, and Helmer’s gal Rigmor, who maybe dies in a building-climbing wheelchair incident.
The owls are exactly what they seem:
Adam Nayman in New Yorker:
Karen’s condition is played simultaneously for laughs and for a kind of implicit empathy. As black as the show’s hell-is-other-people humor can be, it’s rooted in a tender sense of human frailty. It is not particularly scary in a horror-movie sense, instead accessing a more ephemeral, existential sort of terror that, in von Trier’s hands, is indivisible from comedy … At once confrontationally repulsive and mesmerizingly abstract, [The House That Jack Built] was easy to interpret as a self-portrait of sorts, the story of a loner trying to reconcile his aesthetic impulses with his depressive misanthropy. It featured clips from von Trier’s own filmography, giving the proceedings a valedictory air. The same could be said for The Kingdom Exodus, with its endearing, old-school echoes of its predecessor. But, like The House That Jack Built, the series is ultimately too thorny to function as a victory lap. In 2017, Björk accused von Trier of sexual harassment on the set of Dancer in the Dark; he claimed that he’d only hugged her. In the new series, he coyly includes a running subplot about Halfmer’s alleged (and utterly hapless) impropriety toward a female colleague — a spoof of P.C. culture from the experienced but untrustworthy vantage of somebody who’s spent decades working and living on the edge of cancellation.
Michael Sicinski in Cinema Scope:
[Overgrown Baby Udo Kier] becomes one of The Kingdom‘s primary plot strands, and it tends to signify von Trier’s loss of interest in real-world matters like the abuses of science and industry on the Danish people. Instead, Kier’s malformed sacrificial lamb permits The Kingdom to double down on its most obtuse, lunkheaded ideas … if The Kingdom gradually reveals itself to be a case of diminishing returns, that’s because the series initially asks to be taken somewhat seriously as an artistic enterprise, but winds up abandoning any pretense of commentary or real-world purchase in favor of a cosmic shaggy-dog story that insists on pointing out how self-aware it is of its overall lack of substance.
