Matthew Wrather hosts with Peter Fenzel, Mark Lee, and Josh McNeil to overthink the coming season of 24, the Golden Globes, the late night debacle on NBC (big winner: Arsenio Hall), and the misattribution of agency in argumentation.

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Download Episode 81 (MP3)

Why yes, Virginia, I do plan to reuse this graphic every time I write about this show.

Glee has honestly been a little patchy, for me, since its stellar pilot and the equally stellar season opener.  It’s never been less than enjoyable, but there were a couple of weeks there – episodes 3 and 4, to be precise – where I found myself wondering what I had been so excited about.  I’m happy to say that with the most recent episode, the trend has reversed.  And I’m even happier to say that I think I’ve figured out why, because otherwise I don’t know what I would write about this week.  Episode six brought back an element of the pilot that they maintained in episode two, let slide in episodes three and four, and hopefully will never let slide again:  the epic voice.

Voice in this context has nothing to do with the show’s music, which has been consistently fantastic all along.  I’m using it here to describe a certain kind of writing.  Basically when you sit down to tell someone a story, you have two options.  Either you can try to present the story as events that are actually happening, while trying to make yourself as invisible as possible, or you can call as much attention to yourself as possible, while giving up on any attempt to convince people that story is actually taking place.  The first of these techniques is dramatic.  The second is epic.

Be grateful I didn't make it about Peter Shaffer.

Here are three potential interpretations of Bruno I’ve been hearing recently (okay, four):

— Bruno is about surprising people into revealing ugly truths about themselves, like Borat
— Bruno is a piece of stunt cinema done for shock value, like Jackass
— Bruno is (alternatively) a shameless revel in queerbashing / a clever indictment of queerbashers

Its episodic structure plays into each of these thematic approaches at times. The visual style, format and pacing are pretty similar to Borat, and it has a lot of similar set pieces and gags. It has a lot of gay jokes of questionable kosherness. All true and welcome. But these all seemed subplots, side themes to me, not really the main thrust of the piece – not what it was about.

My gut impression, which thinking about it more has only confirmed, was that Bruno was a much older sort of comedy, a comedy that followed a self-obsessed symbol of vice through a society that didn’t necessarily deserve better, but which at least offered the comfort and amusement of being hilariously consistent. Bruno immediately reminded me of Moliere — the French writer who brought us such Top 40 hits as The Hypocrite, The Misanthrope and The Imaginary Invalid.

And in thinking about the comedy of Moliere, where it sits in the tradition of comedy, and where Bruno sits among today’s comedy offers us some insight on one of the questions I think needs to be asked a lot more critically of our cultural arbiters:

When we laugh at our vices and failures, why must we insist they be fixed, or even be fixable?

Really, Mark Lee should be writing this post. A couple weeks ago, he had the idea of doing a schmaltzy Terminator song, in the style of “I Don’t Wanna Miss a Thing” or “Everything I Do (I Do It For You).” He asked if anyone would be willing to help, and I told him to “keep me in the loop,” which means “good luck.” Then he sent me a demo version of the song, and it’s been in my head ever since. So in the end, I had no choice but to make this video.

Notice the armband he’s wearing?

This song, to me, is a prime example of “earony,” a word I coined to describe my feelings towards inspirational speeches. The word is a combination of “earnest” and “ironic.” With this song, Mark is clearly mocking monster ballads. At the same time, he clearly loves monster ballads to death. Thus, it’s an earonic song.

I like to imagine this whole backstory about lovers separated by nuclear disaster, searching for each other as they dodge exoskeletons. “How far would you go to find the one you love?” No wait, maybe we play it a little lighter. Poster shows an endless line of gleaming robots walking down Santa Monica Boulevard. Tagline: “The commute is killer today.”

But here’s something to Overthink: is the end credits monster ballad a thing of the past? Robin Hood was ‘91, Armageddon was ‘98. Nowadays, they end action movies with upbeat rock songs, not cigarette lighter-waving declarations of undying affection. Of course, maybe the monster ballad itself is an endangered species. The genre definitely peaked in the 80’s and early 90’s. I might argue that the high water mark for monster ballads was 1992, which gave us “November Rain” and “Bed of Roses.” But ‘92 was also the breakout year for Nirvana. After Nevermind, rock became less glam, for better and for worse.

Anyway: Mark, you’re a rock star, plain and simple.

Lyrics after the jump.

Apparently I was not the only person who thought this.  Check it out:

And

Yeah.

Every asshole with a cable modem thinks he can make a mint on the internet by selling useless crap. (Real grade-A douchebags call this a passive income muse. No joke.)

Why should be any different? Introducing the first offering of the Overthinking It Store. Buy quick, before this combination of memes expires, or before we get a cease-and-desist order from Mr. Serious. I give it 72 hours.

Honestly, this seems in bad taste. (winky emoticon)

So last May (that’s May 2007), Matt “Call Me the Webmaster” Wrather and I were taking in The Coast of Utopia, a trilogy of plays by Tom Stoppard. It covers the part of Russian history most people don’t know a lot about — between when Catherine the Great had sex with a horse and when Animal Farm picks up.

So anyway, during one of the intermissions, I was sort of free-associating, as is my wont. And like an apple hitting me on the head (see how I’m referring both to Newton and orchards?) I realized that Tobey Maguire is in both Spider-Man and The Cider House Rules. And that Spider and Cider rhyme. And then I knew I was doomed. I was going to have to do something about it.

So here you go, internet. The Spider House Rules.

I don’t really expect it to get watched that much, since The Cider House Rules isn’t that well-known. But as long as you guys are impressed, I will not have sat through the terrible 1992 Michael Caine thriller Blue Ice in vain (I needed him holding a gun).

I have had a love-hate relationship with Family Guy. Or, more precisely, a love-indifference relationship. Honestly, it wasn’t even on my radar during the first Fox run, though I was of course aware of occasional gems. I didn’t watch it on Adult Swim or buy the DVDs.

My indifference was never informed by anything like a moral stance. Contrary to the impression I may have given, I’m not prudish in the least, and frankly relish comedy that is blatantly offensive. (Click at your peril. It gets worse and worse.)

In fact, I think that the supposed “offense” actually does more to reveal and ironize the double-dealing — from subtle forms of self-deception to the most blatant hypocrisy — that is a daily feature of life in the world’s only current superpower. (Do you hear me, China? Your souls are in peril! Sarah Silverman tried to warn you!) I’d actually like to talk about offensive comedy more, but that’s for another post.

Long story short, I got into the show when it returned to Fox last year, and it is in a spirit of profound admiration that I offer you the following clip, which may be the most perfect comic artifact the show has produced. Video after the jump.

Elton John stuns the audience at his benefit concert for Hillary Clinton with a scathing political rewrite of “Candle in the Wind.”

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