The Sopranos: The Complete First Season (1999) – Blu-ray Disc

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“Pilot,” “46 Long,” “Denial, Anger, Acceptance,” “Meadowlands,” “College,” “Pax Soprana,” “Down Neck,” “The Legend of Tennessee Moltisanti,” “Boca,” “A Hit Is a Hit,” “Nobody Knows Anything,” “Isabella,” “I Dream of Jeannie Cusamano”

Sopranosbigcapby Bryant Frazer By the end of its run in 2007, HBO’s mob drama “The Sopranos” had become a cultural institution. Critics essayed strenuously on the series’ thematic concerns, genuflecting and kissing the ring of Don David Chase, the creator and showrunner whose fingerprints are all over every scene of every episode. The show’s run started in the days before DVRs splintered the television audience temporally, so viewers cleared their Sunday night schedules to take in “The Sopranos” even as they broke off into factions.

Lie to Me: Season One (2009) – DVD

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"Pilot," "Moral Waiver," "A Perfect Score," "Love Always," "Unchained," "Do No Harm," "The Best Policy," "Depraved Heart," "Life is Priceless," "The Better Half," "Undercover," "Blinded," "Sacrifice"

by Jefferson Robbins When did we collectively decide we want to be rescued by assholes? There's a definite arc to the modern police-procedural hero, be it the off-putting but tolerable Gil Grissom of the original "CSI", deep-sea humanoid Horatio Caine of "CSI: Miami", or the despicable Dr. Gregory House. (Yes, "House M.D." is a procedural–its perps just happen to be microbes, household cleansers, and anything else that qualifies as not-lupus.) These prodigies trend towards purer and purer strains of antisocial dickishness, and their techniques of inquiry grow ever more demeaning and emotionally brutal. They use their powers of detection to heal society but in the process get to sneer at its mores.

The Prisoner: The Complete Series (1967-1968) – Blu-ray Disc

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"Arrival," "The Chimes of Big Ben," "A, B, and C," "Free for All," "The Schizoid Man," "The General," "Many Happy Returns," "Dance of the Dead," "Checkmate," "Hammer into Anvil," "It's Your Funeral," "A Change of Mind," "Do Not Forsake Me Oh My Darling," "Living in Harmony," "The Girl Who Was Death," "Once Upon a Time," "Fall Out"

by Walter Chaw The closest television came to true surrealism until the inception of "Twin Peaks", Patrick McGoohan's remarkable, landmark brainchild "The Prisoner" is the headwaters for a dizzying array of modern genre confections. It's audacious in its ironclad refusal to provide the happy ending; in its determination to bugger expectation with every complex set-up and sadistic resolution, the show effectively honours the surrealist manifesto of defeating classification. The fact of it is the function of it–the delight of it being that the series functions as a tonal sequel to Antonioni's Blowup, using the disappearance of that film's photog protag as the launching point for its hero's imprisonment in his Welsh oubliette. Colourfully, quintessentially mod, it even looks the part, after all, acting in 1967 as prescient post-modern (po-Mod?) commentary on the elasticity of this genre model (Bond films in particular, the lead in said franchise McGoohan was offered, er, once upon a time) as allegory for the plastic-fantastic of a progressively absurd world. In its setting of a small town, isolated and beset by what seems a common psychosis, find a connection to Robin Hardy and Anthony Schaffer's claustrophobic The Wicker Man (1973), John Frankenheimer's similar-feeling Seconds (1966), and, yes, Godard's structuralist textbook Alphaville. Of all the ways to approach "The Prisoner", in fact, the most fulsome–if also potentially the most obscure–is that, like Alphaville, it establishes itself as a structuralist (as in Claude Levi-Strauss) exercise while predicting through its execution the post-structuralism/deconstructionism (and eventually surrealism) of, say, a Jacques Derrida.

The State: The Complete Series (1994-1995) – DVD

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by Jefferson Robbins "The State" probably had me at its opening kicker, a knockoff of the tumbling SPECIAL logo that prefaced every "Charlie Brown" program on CBS in the 1970s. The titular comedy troupe's eleven members are all about my age, so when these "twentysomething sketch-comedy whores" got their own show on MTV, this twentysomething sketch-comedy consumer was in generational tune with them. The members of The State clearly watched, and had grown up watching, a shitload of TV, just like their audience. Nostalgia's a powerful thing.

Important Things with Demetri Martin: Season One (2009) – DVD

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"Timing," "Power," "Brains," "Chairs," "Safety," "Coolness," "Games"

by Jefferson Robbins If he ever gets tired of being Steven Wright with a guitar and a facial expression, Demetri Martin may have a future as a filmmaker. It's plain from the first season of "Important Things With Demetri Martin" that the comedian/actor thinks about the various parts of a given scenario and holds the branching possibilities in his mind in a three-dimensional way. This is typical of puzzle fiends and anagramists–terms which suit Martin well–and any producer/director worth a damn. His well-known line drawings, here set into motion by animators, make me think he's read both Kurt Vonnegut's Breakfast of Champions and Scott McCloud's Understanding Comics. His comedy is a realm where everything is nametagged and hypertexted. (See the title of his debut CD: "These Are Jokes".) No surprise, then, that his stand-up routine is a hit in this age of Google Maps and floating metadata. Wait 'til we're all staring through the lenses of our augmented-reality iPhones, swimming in subsurface information–then we'll truly be residents of Demetri Martin's world.

Parker Lewis Can’t Lose: The Complete First Season (1990-1991) – DVD

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“Pilot,” “Operation Kubiac,” “Power Play,” “Parker Lewis Must Lose,” “Close, But No Guitar,” “G.A.G. Dance,” “Love’s a Beast,” “Saving Grace,” “Musso & Frank,” “Deja Dudes,” “Radio Free Flamingo,” “Science Fair,” “”Teacher, Teacher,” “Rent-a-Kube,” “Heather the Class,” “Jerry: Portrait of a Video Junkie,” “Splendor in the Class,” “The Human Grace,” “Citizen Kube,” “Randall Without a Cause,” “Jerry’s First Date,” “Against the Norm,” “King Kube,” “Teens from a Mall,” “My Fair Shelly,” “Parker Lewis Can’t Win”

by Jefferson Robbins It’s the cool uncle of “Malcolm in the Middle”. It’s got “Scrubs” among its progeny, and the ’80s teen comedies of Savage Steve Holland somewhere back up the line of descent. It may have single-handedly established the swoosh-smash-zip school of sitcoms, festooned with sound effects, inner monologues, and discursive daydreams. If it wanted, “Parker Lewis Can’t Lose” could claim “Family Guy” as a descendant, for the way it appropriates “Parker”‘s absurdist jump-cuts to tangential situations.1

Dollhouse: Season One (2009) – DVD | Blu-ray Disc

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BLU-RAY – Image A- Sound B Extras B
"Ghost," "The Target," "Stage Fright," "Gray Hour," True Believer," "Man On the Street," "Echoes," Needs," "A Spy In the House of Love," "Haunted," "Briar Rose," "Omega"

"Epitaph One," "Echo"

by Jefferson Robbins They're committing a grand social experiment over there at FOX, using some of the most loyal genre lovers in fandom as their rhesus monkeys. The disease they seek to wipe out, it appears, is the intermediary of the critic. Take much-abused, much-adored TV creator Joss Whedon; kick dirt in the face of his latest brainchild, "Dollhouse", when the poor thing is too weak to stand; and then, upon achieving maximum buzz by holding back longed-for portions of the resulting science-fiction series, release them through a hidden proxy and pretend it's a leak. It's pandering to geeks' idea of the Internet as a wild frontier, where the dispossessed can build a community and you can't stop the Signal, man. Meanwhile, for critics with a yen to stay independent of the studio's manipulation, they send out watermarked, shit-quality burns minus the fourth disc in the "Dollhouse" home video release. That missing platter features basically all the supplements any reasonable person would expect with their purchase, as well as the original, scrapped pilot "Echo" and the unaired thirteenth episode, "Epitaph One." So any critical analysis–like the one I'm about to perform–can be written off as sour grapes, spilt milk, the breast-beating of a self-appointed arbiter of good taste who's just mad because he didn't see it first.

What Makes Sammy Run? (1959) – DVD

***½/**** Image C Sound C Extras B-
starring Larry Blyden, John Forsythe, Barbara Rush, Dina Merrill
teleplay by Budd & Stuart Schulberg, based on Budd's novel
directed by Delbert Mann

by Jefferson Robbins In adapting his hit 1941 novel What Makes Sammy Run? for a planned live TV broadcast, writer Budd Schulberg dropped two elements: driven Hollywood producer Sammy Glick as union-buster; and Glick as self-hating Jew. In an interview with Schulberg featured on the telecast's DVD release, he cops to scrubbing the former but not the latter. "I didn't think I would have enough time and space to adequately describe what the Writers Guild was and what the whole problem was," he says. Though Schulberg's not queried on Sammy's Judaism, it's safe to assume that throughline was a non-starter for a network (NBC) trying to capture Middle-American living rooms in 1959.

In Treatment [Season One] (2008) + Tell Me You Love Me: The Complete First Season (2007) – DVDs

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by Walter Chaw It's a show about the traditional mode of psychoanalysis–a nine-week, five days-a-week series detailing shrink Paul (Gabriel Byrne) and four patients, culminating each "Friday" in Paul's own session with former mentor Gina (Dianne Wiest). It's based on a popular Israeli drama that was the brainchild of such filmmaking talents as Eran Kolarin and Nir Bergman. And though it begins stilted and ends badly, its thick mid-section is the enabler of our obsessive, maybe ugly, voyeuristic impulses, gratifying the viewer with the sensation that, for all the dense verbal webs spun in these little progressive one-acts, the real expert is the viewer. "In Treatment" clarifies the role of the observer in this media, how the active participant is always involved in an anthropological exercise deconstructing the characters' motives and actions–and how that critical facility, eternally underused, is occasionally gratified by material that's not quite smarter than you, but appears to be.

True Blood: The Complete First Season (2008) – Blu-ray Disc

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“Strange Love,” “The First Taste,” “Mine,” “Escape from Dragon House,” “Sparks Fly Out,” “Cold Ground,” “Burning House of Love,” “The Fourth Man in the Fire,” “Plaisir d’amour,” “I Don’t Wanna Know,” “To Love Is to Bury,” “You’ll Be the Death of Me”

by Bryant Frazer The notion of vampires and werewolves as romantic leads isn’t exactly cutting-edge. Anyone who ever spent time in the ’80s and ’90s with cosplayers, Dungeons & Dragons enthusiasts, SF conventioneers, and/or habitués of certain USENET newsgroups knows of a thriving subculture that imagines vamps and other shapeshifters to be highly potent sexual partners, if not outright preferable to human companions. In a cinematic climate where former nerd icons like Frodo Baggins, Iron Man, and even Alan Moore’s Watchmen have been reinterpreted as big-budget propositions by the men in the suits, the eventual mainstreaming of vampire erotica shouldn’t come as much surprise. In the romance aisles of your local bookstore, where “paranormal” is the preferred rubric for a burgeoning category of supernatural bodice-ripper, a reader may now find that vampires and werewolves really are that into you. On the other end of the spectrum, the brooding, outrageously popular Twilight book and film series pussyfoots around the central metaphor of vampirism, detonating a no-intercourse-before-marriage payload in the hearts and minds of a generation of teenaged girls enraptured by the idea of an impossibly ravishing, possibly fatal affair with a stormy Count Dracula type whose feelings for an awkward young thing from Arizona are stronger than his love of a virgin’s blood.

Dead Like Me: The Complete Collection + Dead Like Me: Life After Death (2009) – DVDs + Pushing Daisies: The Complete First Season (2007) – Blu-ray Disc

DEAD LIKE ME (2003-2004)
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"Pilot," "Dead Girl Walking," "Curious George," "Reapercussions," "Reaping Havoc," "My Room," "Reaper Madness," "A Cook," "Sunday Mornings," "Business Unfinished," "The Bicycle Thief," "Nighthawks," "Vacation," "Rest in Peace," "Send in the Clown," "The Ledger," "Ghost Story," "The Shallow End," "Hurry," "In Escrow," "Rites of Passage," "The Escape Artist," "Be Still My Heart," "Death Defying," "Ashes to Ashes," "Forget Me Not," "Last Call," "Always," "Haunted"

DEAD LIKE ME: LIFE AFTER DEATH
½*/**** Image C+ Sound C+ Extras D
starring Ellen Muth, Callum Blue, Sarah Wynter, Henry Ian Cusick
screenplay by John Masius and Stephen Godchaux
directed by Stephen Herek

PUSHING DAISIES: THE COMPLETE FIRST SEASON
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"Pie-lette," "Dummy," "The Fun in Funeral," "Pigeon," "Girth," "Bitches," "Smell of Success," "Bitter Sweets," "Corpsicle"

by Walter Chaw Diagnosing the ills of Showtime original productions is a tricky deal, but whatever's wrong with them seems consistent across the board. Compared against HBO's output, there's nothing that can hold a candle to "The Sopranos" or "Six Feet Under" or "Big Love"; there aren't any masterpieces like "Deadwood", much less fascinating failures like "Carnivàle" or "Rome". To be brutally honest, it doesn't matter if we lower the bar, since not a single Showtime series could be called good on network TV terms, either. Flagships "Dexter" and "Weeds" are both overwritten and under-thought, jumping sharks regularly beginning somewhere around the middle of their first seasons and betraying their unsustainability faster than "Heroes". It's not for lack of star power or high concept that Showtime shows suck–not a surfeit of budgets or production values, no. I'd argue that the reason they're awful is because Showtime is incapable of hiring writers who aren't twee asswipes molding themselves to pop morality and rote, conventional character sketches and plot outcomes. Those hailing "Dexter" as an antiheroic crime thriller need to consider the storyline about the tough-talking Latina cop who has her heart softened by an Elian Gonzalez clone, or the revelation that Dexter might not be a serial killer after all, but a teddy bear with issues. And just as "Dexter" wastes the wonderful Michael C. Hall in its title role (ditto "Weeds"/Mary-Louise Parker), so, too, does another bit of Showtime dreck, "Dead Like Me", boast the excellent Ellen Muth and Mandy Patinkin in the pursuit of decidedly modest returns.

High School Musical (2007) [Remix]; High School Musical 2 (2008) [Extended Edition]; High School Musical 3: Senior Year (2009) [Deluxe Extended Edition] – Blu-ray Discs

HIGH SCHOOL MUSICAL
**/**** Image A- Sound B+ Extras C+
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
written by Peter Barsocchini
directed by Kenny Ortega


HIGH SCHOOL MUSICAL 2
½*/**** Image B Sound B+ Extras C-
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
written by Peter Barsocchini
directed by Kenny Ortega

HIGH SCHOOL MUSICAL 3: SENIOR YEAR
*½/**** Image A Sound A- Extras B-
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
screenplay by Peter Barsocchini
directed by Kenny Ortega

by Ian Pugh Not exactly the cultural apocalypse its Disney Channel roots and preteen popularity would have you believe, High School Musical is no worse, really, than any other cookie-cutter musical in recent memory. A by-product of pandering to a young, young audience, its biggest sin is that it alleges a greater basis in reality than its more "adult" contemporaries: The movie endeavours to give credence to the familiar tropes of storybook romance and rags-to-riches by applying them to the politicized zoo known as high school. Troy (Zac Efron) is captain of the basketball team and Gabriella (Vanessa Hudgens) is a brainiac, but all it takes is one happenstance karaoke duet for them to discover they both enjoy singing a whole lot, and their pursuit of that mutual interest throws the entire clique-driven society of East High into disarray. Although it's bolstered by a few genuine chuckles, the premise can't hide the fact that the high-school backdrop actively highlights how inconsequential the whole blasted thing truly is.

Hannah Montana: The Complete First Season (2006-2007) + Alvin and the Chipmunks (2007) [Special Edition] – DVD

HANNAH MONTANA: THE COMPLETE FIRST SEASON
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"Lilly, Do You Want to Know a Secret?," "Miley Get Your Gum," "She's a Super Sneak," "I Can't Make You Love Hannah If You Don't," "It's My Party and I'll Lie If I Want To," "Grandma Don't Let Your Babies Grow Up to Play Favorites," "It's a Mannequin's World," "Mascot Love," "Ooh, Ooh Itchy Woman," "O Say Can You… Remember These Words?," "Oops! I Meddled Again," "You're So Vain, You Probably Think This Zit is About You," "New Kid in School," "More Than a Zombie to Me," "Good Golly, Miss Dolly," "Torn Between Two Hannahs," "People Who Meet People," "Money for Nothing, Guilt for Free," "Debt it Be," "My Boyfriend's Jackson And There's Gonna Be Some Trouble," "We Are Family–Now Get Me a Water!," "Schooly Bully," "The Idol Side of Me," "Smells Like Teen Sellout," "Bad Moose Rising"

ALVIN AND THE CHIPMUNKS
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starring Jason Lee, David Cross, Cameron Richardson, Jane Lynch
screenplay by Jon Vitti and Will McRobb & Chris Viscardi
directed by Tim Hill

by Ian Pugh Contemplating the factors that pushed Hannah Montana into the limelight is automatically more interesting than devoting the least amount of attention to the eponymous Disney sitcom that introduced her to her gullible constituency. The concept behind the show, a kind of rock star wish-fulfillment that teaches its tweener audience that if you tell enough people you're famous, you'll get there eventually, has proved the foundation on which to make a mint. But sit down to watch "Hannah Montana" itself and you won't see much more than the same episodic drivel from the Disney Channel–standardized junior-high antics cushioned by lame slapstick. Any significance you cull from a deeper reading invariably leads back to the construction of the carefully-groomed personality that serves as its centrepiece. Flanked by her best friends (Mitchel Musso and Emily Osment) and supported by her manager/father (Billy Ray Cyrus) and brother Jackson (Jason Earles), Miley Stewart (Miley Cyrus) divides her time between a typical teenage life and a tour through fame as bubblegum diva Hannah Montana. What she actually does with that time hardly matters.

John Adams (2008) + Jimmy Carter Man from Plains (2007) – DVDs

JOHN ADAMS
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“Join or Die,” “Independence,” “Don’t Tread on Me,” “Reunion,” “Unite or Die,” “Unnecessary War,” “Peacefield”

JIMMY CARTER MAN FROM PLAINS
***/**** Image A Sound A+ Extras A
directed by Jonathan Demme

by Ian Pugh It’s hardly anything new to explore the professional brilliance and personal failings of those upon whom history has bestowed the title of Greatness, but Tom Hooper’s epic miniseries John Adams bucks genre expectations by refusing to keep us at arm’s length with a standardized character archetypally flawed, deigning to present us instead with an actual human being. Certainly, it forges an entry point in dismissing the sense of harmonious unity we usually attribute to those early American leaders: marvel as the opinion Adams (Paul Giamatti, a delightfully bitter pill) holds of stoic, wooden George Washington (David Morse) sours from respect to resentment; smirk as he barely hides his contempt for the hedonistic Ben Franklin (Tom Wilkinson) and his platitudinous adages; shock as he is too late in realizing the treachery orchestrated by that prick Alexander Hamilton (Rufus Sewell). But it’s not enough to tear down romantic icons by having General Washington–who looks as if he’s leapt out of a Stuart painting–crack one of his false teeth at breakfast. “Bed, both’a ya!” Adams shouts at his children shortly after witnessing the bloody aftermath of the Boston Massacre, and suddenly the shroud of tall tales collapses in a single powerful blast from a man who may represent the antithesis of any preconceived notions we have about the era of powdered wigs and stockings.

The Big Bang Theory: The Complete First Season (2007-2008) – DVD

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"Pilot," "The Big Bran Hypothesis," "The Fuzzyboots Corollary," "The Luminous Fish Effect," "The Hamburger Postulate," "The Middle Earth Paradigm," "The Dumpling Paradox," "The Grasshopper Experiment," "The Cooper-Hofstadter Polarization," "The Loobenfeld Decay," "The Pancake Batter Anomaly," "The Jerusalem Duality," "The Bat Jar Conjecture," "The Nerdvana Annihilation," "The Pork Chop Indeterminacy," "The Peanut Reaction," "The Tangerine Factor"

by Ian Pugh I absolutely love the fact that "The Big Bang Theory"'s episode titles refer to throwaway gags buried in the show's worn-out sitcom scenarios. In "The Jerusalem Duality" (1.12), theoretical physicist Sheldon Cooper (Jim Parsons) is flummoxed by the presence of a North Korean wunderkind who threatens to steal his thunder; eager to upstage him, Sheldon proposes to end to the conflict in the Middle East by building an exact replica of Jerusalem in the Mexican desert. Within this seemingly arbitrary naming convention, find everything "The Big Bang Theory" is attempting to accomplish–a jovial elbow to the ribs directed at the smart guys who can't see the forest through the trees in their approach to life.

Californication: The First Season (2007) – DVD

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"Pilot (Californication)," "Hell-A Woman," "The Whore of Babylon," "Fear and Loathing at the Fundraiser," "LOL," "Absinthe Makes the Heart Grow Fonder," "Girls Interrupted," "Filthy Lucre," "The Devil's Threesome," "Turn the Page," "The Last Waltz"

by Ian Pugh "Californication" can only be described as an attempt to replicate Bukowskian swagger: a lot of drinking, fighting, and fucking, with a touch of melancholy as it silently laments that it doesn't know anything else. It's intriguing, but it proves to be a problem because, unlike its alcoholic inspiration, it really doesn't know anything else–especially how to properly express its perspective on all that drinking, fighting, and fucking. Indeed, it's a major problem, considering the show revolves around a novelist, Hank Moody (David Duchovny), who suffered an unwilling relocation from New York to L.A. after his alleged masterpiece of nihilism God Hates Us All was somehow transformed into a romantic comedy entitled A Crazy Little Thing Called Love, starring Tom Cruise and Katie Holmes. Much to the chagrin of his agent (Evan Handler), Hank hasn't written a word in almost five years–and in-between trying to win over his ex-lover Karen (Natascha McElhone) and their distant daughter Becca (Madeleine Martin), he spends his time patrolling the local bars and jumping into bed with every woman who crosses his path.

The Fall Guy: The Complete First Season (1981-1982) + CHiPs: The Complete First Season (1977-1978) – DVDs

THE FALL GUY: THE COMPLETE FIRST SEASON
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“The Fall Guy Pilot,” “The Meek Shall Inherit Rhonda,” “The Rich Get Richer,” “That’s Right, We’re Bad,” “Colt’s Angels,” “The Human Torch,” “The Japanese Connection,” “No Way Out,” “License to Kill (Part 1),” “License to Kill (Part 2),” “Goin’ For It!,” “The Adventures of Ozzie and Harold,” “Soldiers of Misfortune,” “Ready, Aim… Die!,” “Ladies on the Ropes,” “The Snow Job,” “Guess Who’s Coming to Town,” “Child’s Play,” “Charlie,” “Three for the Road,” “The Silent Partner,” “Scavenger Hunt”

CHiPs: THE COMPLETE FIRST SEASON
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“Pilot,” “Undertow,” “Dog Gone,” “Moving Violation,” “Career Day,” “Baby Food,” “Taking Its Toll,” “Green Thumb Burglar,” “Hustle,” “Highway Robbery,” “Name Your Price,” “Aweigh We Go,” “One Two Many,” “Rustling,” “Surf’s Up,” “Vintage ’54,” “Hitch-Hiking Hitch,” “Cry Wolf,” “Crash Diet,” “Rainy Day,” “Crack-Up,” “Flashback!”

by Ian Pugh In giving a modern-day look-see to a television series that stars a late-’70s/early-’80s icon as a Hollywood stuntman who improbably moonlights as a charming, violent bounty hunter, it seems only natural to start the discussion by lobbing a few Death Proof jokes in its general direction. Take the time to really sit down and watch “The Fall Guy”, however, and you’ll find that the complete honesty of its quest to grab the viewer’s attention just melts away your desire to be snarky. Lee Majors is the show’s anchor as Colton Seavers, the eponymous stuntman who spends his free time on assignment for a bail bondsman (Jo Ann Pflug) searching for folks who’ve skipped town before their court date, bringing his overeducated cousin (Douglas Barr, dead weight) and a stuntwoman-in-training (Heather Thomas, attractive dead weight) along for the ride. Although that premise gets bogged down in guns, fistfights, and doing crazy shit with whatever vehicles are available, Majors’s earnest performance offers a sense of levity to the proceedings, particularly once the character finally overcomes the traits ascribed to him by “The Fall Guy”‘s whiny country+western theme song, which complains about the stuntman’s inability to hold onto fame, money, or women. Indeed, as the series progresses, it becomes more interested in presenting Seavers as a conceptual mirror for the man who plays him, making Colt more of an aggressive ladies’ man (Majors was, after all, married to the era’s goddess-avatar of teenage onanism) and perhaps even turning his tides of bad luck into a tidy metaphor for Majors’s unsuccessful foray into features on the heels of “The Six Million Dollar Man”.

Comedy Central’s TV Funhouse: Uncensored (2000-2001) + Dear Pam [2 DVD Set] – DVDs

COMEDY CENTRAL'S TV FUNHOUSE: UNCENSORED
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"Western Day," "Hawaiian Day," "Christmas Day," "Mexicans Day," "Caveman Day," "Safari Day," "Astronaut Day," "Chinese New Year's Day"

DEAR PAM (1976)
*/**** Image C- Sound D+ Extras D+
starring Crystal Sync, Jennifer Jordan, John Holmes, Tony Perez
written and directed by Harold Hindgrind

by Ian Pugh Viewing it today, I realize that Robert Smigel's unfortunately short-lived Comedy Central series "TV Funhouse" probably represented a major turning point in my understanding of film and television as artforms. Its casual acquaintance with reality and fantasy was a vital link that germinated the meta seeds planted by "Freakazoid!" and Back to the Future Part II before I graduated to The Dead Pool and Tenebrae; and although the cartoons parodying celebrities are horribly dated now, they're most likely where I properly developed a sense of irony. ("Stedman," wherein Oprah's fiancé pretends to be a secret agent in order to spend her money and avoid sleeping with her, remains my most lucid memory of the show's broadcast run.) The revelation was somehow surprising yet completely logical all the same, considering how the show operates in a grey zone between two perspectives–that of a child vs. that of an adult–and questions whether the two are really that different from each other.

Birds of Prey: The Complete Series (2002-2003) – DVD

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BIRDS OF PREY: THE COMPLETE SERIES
"Pilot," "Slick," "Prey for the Hunter," "Three Birds and a Baby," "Sins of the Mother," "Primal Scream," "Split," "Lady Shiva," "Nature of the Beast," "Gladiatrix," "Reunion," "Feat of Clay," "Devil's Eyes"

GOTHAM GIRLS: THE COMPLETE SERIES
"The Vault," "Lap Bat," "Trick or Trick, Part 1," "Trick or Trick, Part 2," "A Little Night Magic," "More Than One Way," "Precious Birthstones," "Pave Paradise," "The Three Babies," "Gardener's Apprentice," "Lady-X," "Hold That Tiger," "Miss Un-Congeniality," "Strategery," "Baby Boom," "Cat-n-Mouse," "Bat'ing Cleanup," "Catsitter," "Gotham Noir," "Scout's Dishonor," "I'm Badgirl," "Ms.-ing in Action," "Gotham in Pink," "Hear Me Roar," "Gotham in Blue," "A Cat in the Hand," "Jailhouse Wreck," "Honor Among Thieves," "No, I'm Batgirl," "Signal Fires," "Cold Hands, Cold Heart"

by Ian Pugh The most that can be said for the execrable "Birds of Prey" is that, five years beforehand, it predicted the disaster of David Eick's unfortunate "Bionic Woman" remake: owing its creation to the popularity of a similarly-themed show ("Smallville" being the analog for "Battlestar Galactica" in this instance), it transforms an already-overblown superhero premise into an ill-conceived soapbox to peddle some artificial feminist claptrap. And, like "Bionic Woman", it attempts to capture the atmosphere of its forebears while betraying zero understanding of what made them successful in the first place. Unlike many of the show's detractors, I don't really care that "Birds of Prey" is a Batman series without Batman's literal presence; I do, however, care that it basically removes any hint of pathos from the setting and, in the classic tradition of the now-defunct WB television network, replaces it with the superficial whininess that teenagers frequently use to get attention. It's The Dark Knight Returns without the nostalgic melancholy. The Killing Joke without the sick, mind-bending tragedy. No Man's Land without the goddamned earthquake.

Square Pegs: The Like, Totally Complete Series… Totally (1982-1983) + Girls Just Want to Have Fun (1985) – DVDs

SQUARE PEGS
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"Square Pegs (Pilot)," "A Cafeteria Line," Pac-Man Fever," "Square Pigskins," "Halloween XII," "A Simple Attachment," "Weemaweegate," "Open 24 Hours," "Muffy's Bat Mitzvah," "Hardly Working," "A Child's Christmas in Weemawee," "It's All How You See Things," "Merry Pranksters," "It's Academical!," "The Stepanowicz Papers," "To Serve Weemawee All My Days," "No Substitutions," "No Joy in Weemawee," "The Arrangement"

GIRLS JUST WANT TO HAVE FUN
ZERO STARS/**** Image B- Sound B
starring Sarah Jessica Parker, Helen Hunt, Shannen Doherty, Lee Montgomery
screenplay by Amy Spies
directed by Alan Metter

by Ian Pugh The "square pegs" of the title are brainiac Patty (Sarah Jessica Parker, already having settled into a halting conversational style that never left her) and "fat girl" Lauren (Amy Linker), newly-initiated freshmen at Weemawee High School who pledge during the opening narration of each episode that this year, this year, they're going to be popular. Unfortunately, their never-ending–maybe even Wile E. Coyote-esque–bid to break into Weemawee's social elite always results in half-baked schemes and humiliating compromises. (Upon being ousted from a table in a crowded diner by the popular crowd, Lauren rationalizes that "having them sit where we were just sitting is almost as good as sitting with them.") While "Square Pegs" never fails to empathize with the folks who are young and foolish enough to believe in such a ridiculous enterprise–because it's all they know at this stage of their lives–what really makes the series special is how it forces older viewers to contemplate the people they were in high school and who they are now.