So, I know there’s a lot of outrage in the SYTYCD community right now. Oodles of backlash is rising up from the shock elimination of Natalie Reid and other dramas. And while I was sad-ish to see Natalie go, I have a much much bigger problem right now with SYTYCD. Namely, that they need a whole new crew of editors that know how to pay off their audience. Editors, for the second straight season, I’m Calling You Out
Last season, I wrote a post where I called out the editors for overediting the dances to within inches of losing watchability. The editing destroyed all flow of the dance, focused on only one dancer, or some other gaping problem. It was really ruining the season, but they kind of got it together by the end of last season. So it was really disheartening to me this week when I realized that they were having the exact same problem with the beginning of season 5, in a way. See, this season so far, they aren’t ruining the flow of dance, but rather, as we have been talking about so frequently in light of Vegas, the narrative flow of the show.
And one need look no farther than the gaping holes in Vegas week to see this problem unfold. I’m not talking about judging oversight or anything like that, I’m talking about literal holes in information for viewers. As I said all week in my recaps, where in the hell was Kelsea Taylor? Or African Dancer Geo Smith? Or Memphis Juker Marica Flaka? Or Contemporary ladies Anna Dunn and Arielle Taylor? How about our Guerra Sisters? Anyone know Tapper Peter Sabasino’s fate? Did Kellen Stancil dance with an umbrella again?
See, we don’t know. Because, despite these people all being deserving enough to have their entire audition solo shown during auditions, they apparently didn’t merit a single mention (at least by name) during Vegas week. Sure, Peter or Arielle could be seen in the background of shots, but they, and, frankly, us, the people who watched their auditions, don’t deserve any mention of their fates? That’s not cool.
Also, what in the hell did Amanda Kerby, Travis Prokop, or Peter Sabasino do to merit video packages from home if they were either only mentioned by first name when they were cut, summarily dismissed within the first five minutes of the show, or NOT MENTIONED AT ALL? I can kind of understand it in Travis’ case, given what his video package from home entailed and how it fits with Nigel’s message of men can dance too. But really, did we need to see Amanda Kerby’s home life and her dad’s disability if she was just gonna get cut in Vegas with little mention of it? Or have dinner with the Sabasino family if he was never to be seen again? No, we didn’t. This isn’t to say that seeing their audition solos was pointless, it’s actually the opposite. I was glad to see their solos, but I wanted to actually know what happened to them.
So, really, from a continuity standpoint, the show has been dreadful this season. I get why there are certain dancers in the top 20 who we have yet to see anything from (Abe Who?), either because the judges are hoping that they will go gently into that good night, or they want us surprised when they burst out of the gate and knock our jaws to the floor. But what is the point of showing us a complete audition solo, arguably the way viewers are supposed to first invest in a dancer, if we never hear from these people again. I’m not saying that the editors should only show the solos of our top 20, I just wish we could have seen some of these people pop up in Vegas, even if only to see them get cut. In past seasons, they’ve had this problem, but I never questioned it, because (correct me if I’m wrong here folks), we saw more audition episodes. With a greater number of shown auditioners, it’s inevitable that there will be dancers shown getting through and never being heard from again. With this season though, I feel like we only had a limited number of audition cities. And, by not telling us what happened to this fairly small number of people who earned mention from their auditions, you just have angry viewers, who will continually wonder what in the hell happened to Kelsea Taylor.
Showing posts with label Calling Outs. Show all posts
Showing posts with label Calling Outs. Show all posts
Saturday, June 6, 2009
Friday, May 15, 2009
Bones Finale: Well, That Was A Disappointment
Bones is not a show I’ve talked about on here before, but recently it’s become a show that I really look forward too. I remember I saw the pilot before it aired, and was thoroughly unimpressed. But, having heard really good word of mouth, I began to watch it this past summer, and finally caught up to the present during the tail end of this season. By the time I was fully caught up, it had become a show that I really really liked, with a great cast, compelling characters (and I’m not actually talking about Bones (the characer) here. Much love to Sweets, Angela, and Hodgins), and fun writing.
I’ll admit it, I’m not a huge Booth/Brennan fan. They’ve got great chemistry, but I don’t feel the need to see them bang any time soon. But when I heard the news that they were going to in the season finale, I was interested certainly. I was wondering where the show was going to go from there. Well, it turns out I don’t have to worry because… It was all a coma dream!
Goddammit Bones, that’s just a crappy story twist and you know it. You tease and tease that they’re finally gonna consummate their relationship and then it’s in a coma dream? And there’s no explanation as to what the hell is going on and why everything is in a parallel universe until the last minute of the show? And you manage to make every single character far less likeable (save, perhaps, Sweets, who is always likeable) in this alternate universe? And you expect the fans to be happy with that? Well, no dice Bones, I’m a little pissed.
I see you tried to make up for it with a cliffhanger. Booth can’t remember Bones. My interest is piqued. But why do I have the feeling that within 3 episodes next season his memory will be back fully? And their sexual tension will continue to just sit there? If that’s the case, you’re going to fall way down my TV priorities list Bones. Because I don’t suffer being played by my TV shows, not on this magnitude. Is it just me, or is this turning into a “I’m Calling You Out” post? So what if it is, then. Bones, I’m Calling you Out. You had such forward momentum and positive feelings and you go and squander it all on a coma dream episode that was confusing and not even entertaining from the get go? And then you expect it will all be better because ZOMG Cliffhanger Booth can’t remember Bones? I wish I couldn’t remember this episode. Way to break down right before the finish line Bones. See you next season, with hopefully some payoff for fans who had to suffer through this finale.
I’ll admit it, I’m not a huge Booth/Brennan fan. They’ve got great chemistry, but I don’t feel the need to see them bang any time soon. But when I heard the news that they were going to in the season finale, I was interested certainly. I was wondering where the show was going to go from there. Well, it turns out I don’t have to worry because… It was all a coma dream!
Goddammit Bones, that’s just a crappy story twist and you know it. You tease and tease that they’re finally gonna consummate their relationship and then it’s in a coma dream? And there’s no explanation as to what the hell is going on and why everything is in a parallel universe until the last minute of the show? And you manage to make every single character far less likeable (save, perhaps, Sweets, who is always likeable) in this alternate universe? And you expect the fans to be happy with that? Well, no dice Bones, I’m a little pissed.
I see you tried to make up for it with a cliffhanger. Booth can’t remember Bones. My interest is piqued. But why do I have the feeling that within 3 episodes next season his memory will be back fully? And their sexual tension will continue to just sit there? If that’s the case, you’re going to fall way down my TV priorities list Bones. Because I don’t suffer being played by my TV shows, not on this magnitude. Is it just me, or is this turning into a “I’m Calling You Out” post? So what if it is, then. Bones, I’m Calling you Out. You had such forward momentum and positive feelings and you go and squander it all on a coma dream episode that was confusing and not even entertaining from the get go? And then you expect it will all be better because ZOMG Cliffhanger Booth can’t remember Bones? I wish I couldn’t remember this episode. Way to break down right before the finish line Bones. See you next season, with hopefully some payoff for fans who had to suffer through this finale.
Friday, May 1, 2009
Wednesday, April 15, 2009
I'm Calling You Out: Survivor's Coach
You Steven Seagal Wannabe Toolabg. If I had to sum up this post in one word, it would be fake. There is no way that what you are is nothing more than a character. No human being could exist with a personality like yours. Know how I know this? Because anyone who acts the way you act would have gotten the crap beaten out of themselves a long time ago and would have changed his personality. So yeah, Coach, I’m calling you out.
Let me guess, since I can see through your bull to the tool that you are, I would be a cancer in you tribe, right? Because anyone who disagrees with you is a cancer in your tribe. Then you’d probably say we shouldn’t be calling each other out, because we need to be unified as a tribe, only to go to confessional and proceed to call me out to the camera. Then I’m guessing you’d do something creeptastic, most likely involving invading my personal space and making some sort of weird sexual comment. You Steven Seagal Wannabe Toolbag Hypocrite.
Seriously, Coach, even Tyson, your biggest ally, knows that you are a first class tool. He probably recognizes traits of douchiness, since he shows a lot of them himself. The only one who you seem to have the wool pulled over is Debbie, but since she doesn’t seem to possess a personality, she doesn’t really count. I dislike you so much I don’t even want you to make the jurt, even though I know your question would be preposterous, accusative, and insinuate that you should be in the finals instead of whoever makes it there (Oh dear God, you better not make the final Tribal, you Steven Seagal Wannabe Toolbag Hypocrite Weak Game Player). So can you please just get off my TV Coach? Just because some people liked Seagal in the 80s, doesn’t mean anyone likes him or you now.
Tuesday, June 24, 2008
I’m Calling You Out: Editors and Lighting People of So You Think You Can Dance
Ok, listen editors and lighting people from So You Think You Can Dance, we’ve gotta talk. CALM DOWN. Seriously, you’re starting to ruin some of the dances this season. And that’s really not a good thing for a show that showcases, well, dancing. So you’ve gotta chill out. I’m gonna break this down into two sections.
Lighting People: So, my gripe with you is nowhere near as big. I know that you’ve always been a little over the top in terms of lighting the numbers, but this season, you’re really starting to go overboard. I’m trying to focus on the dancing, and its really hard to do when you’re strobing what seems like 10 different colored lights all at once. Maybe I’m exaggerating a little bit, but you’re still overdoing the lighting. Just tone it down. I get that you’re trying to further the themes of the dances, but, for a program about dance, shouldn’t you let the dances speak for themselves?
Editors: Ok, you’re the ones who are really grinding my gears this season. Because, frankly, you’re hacking the show to death. If I’m watching a show called “So You Think You Can Dance”, chances are I’m watching to, you know, see people dance. So why, editors, must you cut the numbers to within an inch of their life. I’m not talking about duration here, I’m talking about the fact that there doesn’t seem to be a shot that lasts longer than two seconds this year. Dance is all about movement, flow, rhythm. So why are you cutting it so that I can’t observe any of those things in the dances? My other big gripe with you guys is that, well, these are partner dances. And I get that what one dancer is doing is probably more interesting than the other at times, but there’s still two dancers on stage. So why do you seem content to only show one a lot of the time? So many times this season, you’ve cut to show only one dancer’s movements. Unless the other dancer is standing absolutely still, this is kind of unacceptable. The choreographers have made these routines for two people. Both dancers have moves. So show both of them for gods sake.
If you don’t believe me, watch the freaking show. So far this season, there have been a total of 3 dances that truly stuck out to me: Katee and Joshua’s week one hip-hop, Courtney and Gev’s week two contemporary, and Kherington and Twitch’s week two Viennese Waltz (see youtube links below). And you know what’s interesting? All three are probably the most minimalist dances you’ve presented. While Katee and Joshua’s piece was overedited, the lighting was absolutely subdued. While Kherington and Twitch’s piece was overlit, the piece was presented simply, with very few cuts. Courtney and Gev’s was neither overlit nor overcut. And those are by far, in my opinion, the three best things I’ve seen this season.
But the proof isn’t just in the good pudding, it’s in the bad pudding too. No matter how bizarre he is, Wade Robson always turns in interesting choreography. Which is why I was super pumped that he was doing the top 20 group number (also see youtube link below). But then, you had to go and make it virtually unwatchable. Because I think there was about 15 seconds of actual dancing shown, versus like a minute of rapidly cut close-ups of Nigel overacting (If you didn’t see it, he was a part of the number). To me, this is completely inexcusable. I’m watching this show to see the dance, not to see Nigel Lythgoe ham it up. But you had a different agenda, and thus ruined what looked to be a very cool number.
So, seriously, tone it down. I’m starting to have major problems focusing on the dances. Especially in terms of my recapping, it’s hard to critique a dance when we can’t see the whole thing. Stop focusing on one dancer, stop cutting too much, stop overlighting, just stop. Present the dances without overdoing them. I’m watching for the dances, not for the editing.
Katee and Joshua’s Hip-Hop
Courtney and Gev’s Contemporary
Kherington and Twitch’s Viennese Waltz
Top 20 Group Routine
Lighting People: So, my gripe with you is nowhere near as big. I know that you’ve always been a little over the top in terms of lighting the numbers, but this season, you’re really starting to go overboard. I’m trying to focus on the dancing, and its really hard to do when you’re strobing what seems like 10 different colored lights all at once. Maybe I’m exaggerating a little bit, but you’re still overdoing the lighting. Just tone it down. I get that you’re trying to further the themes of the dances, but, for a program about dance, shouldn’t you let the dances speak for themselves?
Editors: Ok, you’re the ones who are really grinding my gears this season. Because, frankly, you’re hacking the show to death. If I’m watching a show called “So You Think You Can Dance”, chances are I’m watching to, you know, see people dance. So why, editors, must you cut the numbers to within an inch of their life. I’m not talking about duration here, I’m talking about the fact that there doesn’t seem to be a shot that lasts longer than two seconds this year. Dance is all about movement, flow, rhythm. So why are you cutting it so that I can’t observe any of those things in the dances? My other big gripe with you guys is that, well, these are partner dances. And I get that what one dancer is doing is probably more interesting than the other at times, but there’s still two dancers on stage. So why do you seem content to only show one a lot of the time? So many times this season, you’ve cut to show only one dancer’s movements. Unless the other dancer is standing absolutely still, this is kind of unacceptable. The choreographers have made these routines for two people. Both dancers have moves. So show both of them for gods sake.
If you don’t believe me, watch the freaking show. So far this season, there have been a total of 3 dances that truly stuck out to me: Katee and Joshua’s week one hip-hop, Courtney and Gev’s week two contemporary, and Kherington and Twitch’s week two Viennese Waltz (see youtube links below). And you know what’s interesting? All three are probably the most minimalist dances you’ve presented. While Katee and Joshua’s piece was overedited, the lighting was absolutely subdued. While Kherington and Twitch’s piece was overlit, the piece was presented simply, with very few cuts. Courtney and Gev’s was neither overlit nor overcut. And those are by far, in my opinion, the three best things I’ve seen this season.
But the proof isn’t just in the good pudding, it’s in the bad pudding too. No matter how bizarre he is, Wade Robson always turns in interesting choreography. Which is why I was super pumped that he was doing the top 20 group number (also see youtube link below). But then, you had to go and make it virtually unwatchable. Because I think there was about 15 seconds of actual dancing shown, versus like a minute of rapidly cut close-ups of Nigel overacting (If you didn’t see it, he was a part of the number). To me, this is completely inexcusable. I’m watching this show to see the dance, not to see Nigel Lythgoe ham it up. But you had a different agenda, and thus ruined what looked to be a very cool number.
So, seriously, tone it down. I’m starting to have major problems focusing on the dances. Especially in terms of my recapping, it’s hard to critique a dance when we can’t see the whole thing. Stop focusing on one dancer, stop cutting too much, stop overlighting, just stop. Present the dances without overdoing them. I’m watching for the dances, not for the editing.
Katee and Joshua’s Hip-Hop
Courtney and Gev’s Contemporary
Kherington and Twitch’s Viennese Waltz
Top 20 Group Routine
Friday, May 16, 2008
I’m Calling You Out: Myself
So, listen, I suck. To any of the two people who may still look at this blog, I want to apologize. I kind of, well, gave up on it during the school year. Sophomore year was kind of harder than anticipated. Plus I’m lazy. Those two things aren’t a good combination normally, but they especially aren’t a good thing when you’ve got a blog that you write in your spare time. So yeah, Levy on TV fell by the wayside.
But, Summer is here! Finals (and boy were there lots of ‘em this semester) have finished crushing my spirit. I am vegetating on my couch at home. Which also translates into me not having any more work to do. And what does not having any more work to do mean? Well, good two readers, it means I’m gonna start writing this blog again! Can I get a huzzah? No? At least some mild enthusiasm? I’ll pretty much take anything. Even a minor “Yay?” will do.
Now, I know I’ve made this promise before. But this time, I’m for real. I’m seriously gonna try. Like, put real effort into it, which, I assure you, is a BIG thing. Plus, you can expect my stream-of-consciousness recaps to return, which may make someone, somewhere happy, right? Look for those recaps starting with the return of So You Think You Can Dance, and with the premieres of my hands down favorite ever reality show The Mole and the crown jewel of my summer TV watching line-up, VH1’s “I Love Money”, which pits contestants from “I Love New York”, “Flavor of Love” and “Rock of Love” against one another for money. Just like the gladiatorial games of Ancient Rome, but with less awesome tigers and lions and more trashy people and STDs. I can’t wait.
So yeah, I’m actually gonna keep writing this time. Not just saying it, actually gonna do it. So prepare yourselves, Levy On TV 2.0, coming across the interwebs to you guys.
But, Summer is here! Finals (and boy were there lots of ‘em this semester) have finished crushing my spirit. I am vegetating on my couch at home. Which also translates into me not having any more work to do. And what does not having any more work to do mean? Well, good two readers, it means I’m gonna start writing this blog again! Can I get a huzzah? No? At least some mild enthusiasm? I’ll pretty much take anything. Even a minor “Yay?” will do.
Now, I know I’ve made this promise before. But this time, I’m for real. I’m seriously gonna try. Like, put real effort into it, which, I assure you, is a BIG thing. Plus, you can expect my stream-of-consciousness recaps to return, which may make someone, somewhere happy, right? Look for those recaps starting with the return of So You Think You Can Dance, and with the premieres of my hands down favorite ever reality show The Mole and the crown jewel of my summer TV watching line-up, VH1’s “I Love Money”, which pits contestants from “I Love New York”, “Flavor of Love” and “Rock of Love” against one another for money. Just like the gladiatorial games of Ancient Rome, but with less awesome tigers and lions and more trashy people and STDs. I can’t wait.
So yeah, I’m actually gonna keep writing this time. Not just saying it, actually gonna do it. So prepare yourselves, Levy On TV 2.0, coming across the interwebs to you guys.
Sunday, September 16, 2007
I'm Calling You Out: The Emmys. Quit Sucking So Much...
Listen Academy of Television Arts and Sciences, we’ve gotta have a serious talk. Because watching this year's Emmys, I am seriously worried for you. Yes, you picked some fresh faces like America Ferrara of Ugly Betty instead of somehow giving her award to Kelsey Grammar. And yes, I was pleasantly surprised by certain wins like my favorite comedy of last year being your favorite as well, 30 Rock (I know I said Slap Bet from How I Met Your Mother was my favorite episode, but 30 Rock’s entire first season was great). But seriously, we’ve got some major things to talk about.
Number 1: How many of your voting members actually watch new television shows or shows that aren’t necessarily on the Big 4 networks nowadays? How many of them get channels like HBO and Showtime? Because, watching the telecast, it was really apparent that you guys missed out on a whole lot of good TV last year. Many people are saying that The Wire’s fourth season was one of the best seasons of television any show has had ever. It got zero nominations. Lots of people said that Friday Night Lights freshman season was the best first season they can remember. It got casting and directing nominations. Veronica Mars didn’t have its best season ever, but it still turned in a solidly great show. I guess you never saw it. Dexter over on Showtime boasted a morally ambiguous character (which you guys usually love) and great performances and writing. Well, at least it got an Emmy for it’s awesome main title design, but it didn’t even make the main telecast. So, seriously, I think every viewer should be forced to watch at least one episode of every show that’s eligible for nominations. I don’t care if you guys only want to watch repeats of The West Wing, you kind of have to keep up with current television that’s off the beaten path.
Number 2: The Sopranos. Where to begin with your treatment of this show? Firstly, you bring the entire cast and crew on stage in the middle of the broadcast for a standing ovation. That’s nice of you guys, honoring them for what an impact their show has had on television. Too bad that didn’t translate into actual wins. Seriously, you guys could only honor it with writing, directing, and best series? You thought James Spader deserved best actor more than James Gandolfini? Or that Terry O’Quinn deserved it more than Michael Imperioli? Or that Sally Field deserved it more than Edie Falco? Or that Katherine Heigl deserved it more than both Aida Tuturro and Lorraine Bracco? I’m sorry, as much as the four winners put in good performances this year, their statues belong to our favorite Jersey mobsters, drug addicts, mobster’s wives, mobster’s sisters, and mobster’s therapists.
Number 3: Learn to budget your freaking time better. Remember last year when you stuck Bob Newhart in a tank with three hours worth of oxygen? And if the broadcast ran over, Newhart would die? Well, let’s try doing that every year. Or cut out the freaking filler. Did we really need a ten-minute performance of Frankie Valli songs by the cast of Jersey Boys in order to honor The Sopranos? No, we didn’t. Did Ray Romano need to do a 5-minute bit about how it’s been two years since Everybody Loves Raymond finally, mercifully went off the air? No, he didn’t. Was I forced to endure all of this? Yes, yes I was.
Number 4: Just because a show is well rated, doesn’t mean it’s good. Seriously, you guys think Two and a Half Men is one of the five funniest shows on TV? I can name you ten funny un-nominated comedies that should have had its spot. At least you guys didn’t nominate every Desperate Housewife like you did last year. But seriously, look for the undiscovered gems and do a service to the TV watchers of America by highlighting them. You know how much a show like Friday Night Lights could get noticed if you had rightfully nominated it? A lot. But no, instead you give what was far and away the worst season of 24 another nomination. And there was a season where a character got caught in a bear trap.
So yeah, Emmys. Get your act together. Quit drooling over everything David E. Kelley touches. Quit giving a token win to one fresh-faced newcomer. Look beyond the Neilsen top 20 for your nominees. And respect greatness. Maybe your ratings will stop plummeting if you do so. Just a thought.
Number 1: How many of your voting members actually watch new television shows or shows that aren’t necessarily on the Big 4 networks nowadays? How many of them get channels like HBO and Showtime? Because, watching the telecast, it was really apparent that you guys missed out on a whole lot of good TV last year. Many people are saying that The Wire’s fourth season was one of the best seasons of television any show has had ever. It got zero nominations. Lots of people said that Friday Night Lights freshman season was the best first season they can remember. It got casting and directing nominations. Veronica Mars didn’t have its best season ever, but it still turned in a solidly great show. I guess you never saw it. Dexter over on Showtime boasted a morally ambiguous character (which you guys usually love) and great performances and writing. Well, at least it got an Emmy for it’s awesome main title design, but it didn’t even make the main telecast. So, seriously, I think every viewer should be forced to watch at least one episode of every show that’s eligible for nominations. I don’t care if you guys only want to watch repeats of The West Wing, you kind of have to keep up with current television that’s off the beaten path.
Number 2: The Sopranos. Where to begin with your treatment of this show? Firstly, you bring the entire cast and crew on stage in the middle of the broadcast for a standing ovation. That’s nice of you guys, honoring them for what an impact their show has had on television. Too bad that didn’t translate into actual wins. Seriously, you guys could only honor it with writing, directing, and best series? You thought James Spader deserved best actor more than James Gandolfini? Or that Terry O’Quinn deserved it more than Michael Imperioli? Or that Sally Field deserved it more than Edie Falco? Or that Katherine Heigl deserved it more than both Aida Tuturro and Lorraine Bracco? I’m sorry, as much as the four winners put in good performances this year, their statues belong to our favorite Jersey mobsters, drug addicts, mobster’s wives, mobster’s sisters, and mobster’s therapists.
Number 3: Learn to budget your freaking time better. Remember last year when you stuck Bob Newhart in a tank with three hours worth of oxygen? And if the broadcast ran over, Newhart would die? Well, let’s try doing that every year. Or cut out the freaking filler. Did we really need a ten-minute performance of Frankie Valli songs by the cast of Jersey Boys in order to honor The Sopranos? No, we didn’t. Did Ray Romano need to do a 5-minute bit about how it’s been two years since Everybody Loves Raymond finally, mercifully went off the air? No, he didn’t. Was I forced to endure all of this? Yes, yes I was.
Number 4: Just because a show is well rated, doesn’t mean it’s good. Seriously, you guys think Two and a Half Men is one of the five funniest shows on TV? I can name you ten funny un-nominated comedies that should have had its spot. At least you guys didn’t nominate every Desperate Housewife like you did last year. But seriously, look for the undiscovered gems and do a service to the TV watchers of America by highlighting them. You know how much a show like Friday Night Lights could get noticed if you had rightfully nominated it? A lot. But no, instead you give what was far and away the worst season of 24 another nomination. And there was a season where a character got caught in a bear trap.
So yeah, Emmys. Get your act together. Quit drooling over everything David E. Kelley touches. Quit giving a token win to one fresh-faced newcomer. Look beyond the Neilsen top 20 for your nominees. And respect greatness. Maybe your ratings will stop plummeting if you do so. Just a thought.
Friday, August 10, 2007
I'm Calling You Out: Big Brother Editors
Listen here Big Brother editors; we’ve got some serious problems. Now, I realize that this season doesn’t really have a single likeable person. Anti-Semites don’t deserve good editing, nor do misogynists, whiny brats, sketchballs, nor other various forms of douchebag. But one of the least objectionable people in the house is Jen, who, while being vain and spoiled, is not a raging psychopath like some of the others. She is often funny. She is the strongest woman in the house by far, both emotionally and physically. So why do you insist on making her look like the biggest bitch to ever exist? Does she intimidate you? What did she do to you but provide good moments for television, such as when she burst into tears over her photo on the memory wall?
But the misportrayal of Jen is just the least of your problems. I have a much bigger issue with your portrayal of “Evil Dick”. Now, Dick has certainly lived up to his moniker. He has verbally assaulted 6 of the 8 houseguests left, not counting himself. He has threatened to crush Jen’s windpipe in the past. He has said he wants to choke her with member. He’s used a word that I refuse to use to refer to several female houseguests (Let’s just say See You Next Tuesday) He’s cause so many uncomfortable moments in the house that even his own offspring who is stuck in there with him thinks his antics can be out of control. And yet, Big Brother editors, you paint this guy to look cool. You’ve even created a rock riff that signals when he’s about to verbally assault someone, so that we know that his rock star awesomeness is about to come out and call someone a f**king something or other. Because being verbally abusive to those who share the same living quarters is soooo rad.
But it’s not only Dick who you edit to make cool, even though he’s aggressively douchey. You also edit Danielle. Poor, poor Danielle, right Big Brother editors? She’s such an innocent victim, stuck in the house with her unstable dad, with everyone taking all of their stuff against Dick out on her. And everyone is now starting to turn against her and her dad, and poor Danielle is such a victim, because she’s just going to get caught in all the anti-Dick crosshairs. Well, I’m sorry, but that’s bullshit and you know that Big Brother editors. Because she’s been there right alongside her dad for a while now, and she’s been just as venomous to certain houseguests. She’s the one who let her Dad run her HOH, so she’s just as complicit in a lot of his recent douchebaggery. So quit making her look like such a poor, innocent waif. She’s just a whiny little brat.
Oh, yeah, and you guys kind of suck at your job at times. It’s clear that will show a part of a conversation, and then show another part of the same conversation later. Way to be asleep on the job guys.
This is not to say that all of your editing is crap. You’re constant showcases of Amber the Anti-Semite’s crying jags can be quite funny. The bit this past Tuesday with Jameka praying while Jen complains about her bunny suit was pretty damn funny. But editors, I’m calling you out because you’re ridiculously biased in your editing, and you make the least decent people in the house look like the good guys, and that’s just not fair to the remaining semi-decent human beings left in the house. And if this behavior continues, you can expect another calling out. Because Dick is a Dick and America should see as much.
But the misportrayal of Jen is just the least of your problems. I have a much bigger issue with your portrayal of “Evil Dick”. Now, Dick has certainly lived up to his moniker. He has verbally assaulted 6 of the 8 houseguests left, not counting himself. He has threatened to crush Jen’s windpipe in the past. He has said he wants to choke her with member. He’s used a word that I refuse to use to refer to several female houseguests (Let’s just say See You Next Tuesday) He’s cause so many uncomfortable moments in the house that even his own offspring who is stuck in there with him thinks his antics can be out of control. And yet, Big Brother editors, you paint this guy to look cool. You’ve even created a rock riff that signals when he’s about to verbally assault someone, so that we know that his rock star awesomeness is about to come out and call someone a f**king something or other. Because being verbally abusive to those who share the same living quarters is soooo rad.
But it’s not only Dick who you edit to make cool, even though he’s aggressively douchey. You also edit Danielle. Poor, poor Danielle, right Big Brother editors? She’s such an innocent victim, stuck in the house with her unstable dad, with everyone taking all of their stuff against Dick out on her. And everyone is now starting to turn against her and her dad, and poor Danielle is such a victim, because she’s just going to get caught in all the anti-Dick crosshairs. Well, I’m sorry, but that’s bullshit and you know that Big Brother editors. Because she’s been there right alongside her dad for a while now, and she’s been just as venomous to certain houseguests. She’s the one who let her Dad run her HOH, so she’s just as complicit in a lot of his recent douchebaggery. So quit making her look like such a poor, innocent waif. She’s just a whiny little brat.
Oh, yeah, and you guys kind of suck at your job at times. It’s clear that will show a part of a conversation, and then show another part of the same conversation later. Way to be asleep on the job guys.
This is not to say that all of your editing is crap. You’re constant showcases of Amber the Anti-Semite’s crying jags can be quite funny. The bit this past Tuesday with Jameka praying while Jen complains about her bunny suit was pretty damn funny. But editors, I’m calling you out because you’re ridiculously biased in your editing, and you make the least decent people in the house look like the good guys, and that’s just not fair to the remaining semi-decent human beings left in the house. And if this behavior continues, you can expect another calling out. Because Dick is a Dick and America should see as much.
Monday, June 18, 2007
I'm Calling You Out: Adrianna Costa
Fox's movie-making reality show "On The Lot" is a trainwreck for so, so many reasons. Many of those are due to the format itself, but this post is not about those. There will probably be another post on that but this is a gripe aimed directly at one person. That's right Adrianna Costa, I'm calling you out.
How did you get this job? Seriously. You are just really, really bad at this whole hosting thing. Now you, as a person, I have no problems with. Sure, there's that whole "I'm gonna try to be exactly like Scarlett Johansson only more Latina" thing going on, but know what, I forgive you for that, because you are attractive. And you may do entertainment news for CNN alright. I've never seen you do it. I get my entertainment news online.
No. I'm calling you out because you are the worst host on network television right now. And this is after I just savaged Cameron Daddo of "Pirate Master" in my last post. You bring absolutely nothing to the show. Your purpose seems to be there solely to do things like hit on contestants like Trevor, and get awkwardly hugged by awkward contestants like David after awkward comments from judge Garry Marshall. And, this may not be your fault, but the whole delivery of eliminations thing is so tired out and lifeless (may be your delivery, may be the shtick itself).
So, Adrianna Costa, I'm begging you. Leave the lot. The show will still suck, but it'll be a little bit better. Unless they bring in Brian Dunkleman. Or Lauryn Sanchez. Or Cameron Daddo. Do you think Seacrest would be willing to do it?
How did you get this job? Seriously. You are just really, really bad at this whole hosting thing. Now you, as a person, I have no problems with. Sure, there's that whole "I'm gonna try to be exactly like Scarlett Johansson only more Latina" thing going on, but know what, I forgive you for that, because you are attractive. And you may do entertainment news for CNN alright. I've never seen you do it. I get my entertainment news online.
No. I'm calling you out because you are the worst host on network television right now. And this is after I just savaged Cameron Daddo of "Pirate Master" in my last post. You bring absolutely nothing to the show. Your purpose seems to be there solely to do things like hit on contestants like Trevor, and get awkwardly hugged by awkward contestants like David after awkward comments from judge Garry Marshall. And, this may not be your fault, but the whole delivery of eliminations thing is so tired out and lifeless (may be your delivery, may be the shtick itself).
So, Adrianna Costa, I'm begging you. Leave the lot. The show will still suck, but it'll be a little bit better. Unless they bring in Brian Dunkleman. Or Lauryn Sanchez. Or Cameron Daddo. Do you think Seacrest would be willing to do it?
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