sons-ofanarchyseason4

Followers

Blog Archive

The Walking Dead 1.4 ‘Vatos’


“The only reason I got away was because the dead were too busy eating my family…” - Jim

I suppose it should come as no surprise that ‘Vatos’ was the bloodiest episode of The Walking Dead to date as it was written by The Walking Dead’s creator Robert Kirkman.

We’ll get to the bloodshed later though because it all came in the closing moments of the episode really, what preceded it was a great deal of foreshadowing and foreboding that almost took away some of the surprise of a particularly grisly ending; but it was done in such a gripping way by Kirkman that ‘Vatos’ was probably the best episode of the series since the pilot.

We began with Sisters Amy and Andrea out in a boat catching fish, a peaceful moment of character development and back-story that you knew we were only getting as a precursor to something bad.

It was good to finally get some sort of depth to two characters who to this point have really only been very faintly sketched, but in terms of making us supposedly care about what happened at the episode’s end it was too little, too late and Amy’s death was met with the kind of ambivalence that this scene was probably trying to ensure was avoided.

The pre-credits sequence of Vatos was littered with foreshadowing because in addition to the sisters, we also saw Jim on the outskirts of camp digging numerous graves.

Back in Atlanta we at least got the offer of an explanation as to why Merle elected to cut off his hand rather than cut through the handcuffs – the saw blade was too dull.

Merle had then taken off back through the building, so as Daryl, Rick et al followed the trail of blood through the building we at least got an insight into Daryl’s love for his pain-in-the-ass brother as he seems to have some sort of hero worship going on.

Daryl, who for all intents and purposes seems to be Merle-lite, was keen to let everyone know how tough his brother is – and in taking out two walkers one-handed and then cauterising his own stump on a stove I’d have to give Merle props for being one ‘ard bastard.

What was going on in Merle’s head though was anybody’s guess though as he had managed to get out of the building and take to the streets; one-handed and assumingly unarmed (excuse the pun).

Rick’s strong sense of family helped him to appreciate Daryl’s need to find his brother and agreed to help him look, on the proviso that they went and recovered Rick’s bag of guns first.

This allowed us to see a nice example of how the world has changed since the zombie apocalypse; as an impressed Daryl asked Glenn what he did for a living before after Glenn walked them through a tactically astute plan to recover the guns – “delivered pizzas” was the response.

Moments like that make you appreciate just how different of a world these characters are operating in – a world where a pizza delivery boy can become a master tactician.

As good as Glenn’s plan was, he hadn’t factored in one thing: getting kidnapped by a Mexican gang.

Back at the survivors’ camp Jim’s grave-digging had started to freak everyone out and after being confronted and not conceding he got physical with Shane and was restrained.

I’m all for these developments that give some of the characters at least the smallest amount of a third-dimension but I have to admit that this shift for Jim seemed like a bit of a contrivance; he was a seemingly perfectly calm, normal and rational man last week, yet this week he was some sort of unhinged prophet.

That’s right, although Jim couldn’t remember why he started digging he knew it was because of a dream he had – are we going to sprinkle even more religious connotations into the show now with this supposed visionary or has Jim just lost the plot completely?

Jim’s moment in the spotlight did at least give the character some back-story as we learnt his tragic story – he was only able to survive being eaten by the walkers as they were too distracted eating his family.

Back in the city we got to see further examples of two of the character’s personalities – both Rick and Daryl are fiercely loyal. Rick has shown immense loyalty to Morgan and in ‘Vatos’ to Glenn because they saved him when they didn’t need to.

Daryl on the other hand seems to be loyal to family – obviously we have already seen this in his obsession with finding Merle but we also got to see him determined to get Glenn back (part of his now adopted family).

After a tense stand-off between the vatos gang and the survivors we were treated to an unexpected, but welcome, twist.

The Mexican gang weren’t your stereotypical, faintly racist caricature of a Hispanic gang but instead were holed up helping the residents of a retirement home who had been left behind and essentially forgotten by the world when the apocalypse happened.

In addition to the not-so-subtle social commentary about how the old are essentially ignored and forgotten, this development also raised the question of just how many other ‘living’ people are out there – I get so swept along with each episode and so wrapped up in The Walking Dead’s universe I often forget that we have so many questions still unanswered. No doubt answers will be forthcoming but it’s a credit to the show that you aren’t constantly questioning things but rather just becoming immersed in the world the writers are painting.

Although I earlier mentioned that the world had changed so much in that someone like Glenn could become such an integral part of a community it was nice to be reminded that no matter how much things change, they still stay the same. Guillermo’s assertion that the world isn’t that different because “the weak get taken” was just about the most telling bit of pre-emption we could have had before the climatic bloodbath that followed.

When Rick and the rest of the rescue team headed back for their van they found it was gone – presumably at the hands, or should that be hand, of Merle. Daryl suggested his brother was on his way back to camp with some vengeance, but as we soon saw the camp was about to experience something a lot worse.

As soon as we saw the survivors all sat round the camp fire having a nice time, anybody who hadn’t already figured out that something bad was about to happen must have finally got that sense of impending doom – the calm before the storm so to speak.

First wife-beating Ed was mauled by a pack of walkers in his tent, then little Amy had a chunk taken out of her by a walker as the entire camp was overrun by bloodthirsty zombies.

We also lost a couple of red shirts in the ensuing melee but the aforementioned were the two major losses from the attack.

Rick, Daryl, T-Dog and Glenn returned just in time to put Rick’s bag of guns to good use taking out the walkers in truly bloody fashion, but the damage was already done.

The episode ended with Jim having an epiphany on why he was digging all those graves as we panned out to reveal bodies practically lining the ground around him – shame he didn’t remember that sooner…

Bullet Points:

- Am I the only one who thinks Jeffrey DeMunn who plays Dale sounds a little like Dennis Miller?

No one…? Okay, just me then.

- I know they’ve become somewhat of a staple of hen dos and slutty fancy dress but damn, if a cowboy hat doesn’t make any woman look better.

Laurie Holden was particularly working her hat in that opening scene. Incidentally I remember finding Holden strangely alluring in Silent Hill, until she was burnt alive of course.

- Once again ‘Vatos’ had some great moments of comedy in amongst all the drama and darkness, as the whole season has thus far.

My favourite two moments were Daryl and Glenn’s exchange before the gun-bag recovery mission: “you got some balls for a Chinaman”/“I’m Korean” and Glenn’s look over to the yappy, Shih Tzu type dogs when it was mentioned that they thought he’d be eaten by dogs.

- It’s probably a stretch but could Merle have lured the walkers to the survivors’ camp as his “vengeance”?

- Since Amy and Ed were bitten by the walkers does that mean that we will be seeing zombiefied versions of them next week?

- I’m still firmly in the camp that believes The Walking Dead is about the best thing on TV at the moment but there are still critics, including some whose opinion I normally respect, that just don’t seem to get it at all.

One critic, who shall remain nameless, is almost rabid in his criticism of the show, going as far as to suggest that it is the millions of people who watch the show that have got it wrong not him, I suppose that’s the great thing about TV critics and their opinions – they’re like assholes…

The Walking Dead continues Friday @ 10pm on FX

Vote Tony McCoy for Sports Personality of the Year

The BBC have finally announced the ten nominees for their annual Sports Personality of the Year ceremony which will be held on 19th December.

The line-up is as follows:

- Mark Cavendish
- Tom Daley
- Jessica Ennis
- David Haye
- AP McCoy
- Graeme McDowell
- Graeme Swann
- Phil Taylor
- Lee Westwood
- Amy Williams

I’m not going to go over old ground and tell you why you should vote for Tony McCoy because that has been done to death on this blog. What I am going to do though is encourage anyone who has even a passing interest in Horse Racing to pick up the phone come 19th December and vote for the greatest ambassador the sport has.

If Tony McCoy can’t win this award this year then no one from Racing ever will and that is a telling commentary on the state of the sport at present. On the back of a public spectacle like his Grand National victory McCoy can really win this year and bring Racing back into the consciousness of the general public.

Sports Personality might not be the event it used to be or even be an award with any real cache but it is still popular enough to give Racing and McCoy the sort of attention that Horse Racing really could do with right now and there is no better man for that focus to be on that AP McCoy.

His omission from the voting last year was a travesty but if he doesn’t even make the top three this year it will be nothing short of a crime; bookies currently have him as odds on favourite to lift the trophy and with several campaigns online and in the Racing press to help him do just that Tony McCoy could be on the verge of his most important win of the season.

Dexter S05E11 - Hop a Freighter "Promo"




3 capítulos...esto se acabaaa!

Game of Thrones - Season 1 "Promo"


Californication Season 4 Trailer

Rob Lowe, Michael Ealy, Stephen Tobolowsky and the incredibly sexy Carla Gugino – if the trailer is anything to go by season 4 of Californication could be even better than season 3, if that’s even possible.

I must be slipping because it was my esteemed colleague Mr. Sam Brydges that pointed me in the direction of this trailer, put out by Showtime ahead of season 4’s 9th January US premiere.

All the major players appear to be present and correct as well as the aforementioned smorgasbord of brilliant guest stars so I have every confidence that the best written show on TV can continue to entertain and enthral for another sublime season.

When we will get season 4 in the UK remains to be seen but for now sit back and enjoy 2 minutes and 10 seconds of a tantalising tease of what is in store for Hank Moody in the upcoming season of Californication…

Iris: The Movie "Comentario"




Iris: The Movie, resumen de los 20 capítulos de la 1ª temporada en 1h:57min, con una última escena inédita en la serie, explicando ese pedazo de final, pero es que la respuesta a ese final es mucho más grande aún. Si ya la puse como el mejor estreno del 2009, ahora la subo a mi olimpo de mis mejores series.

A 2 semanas del estreno de Athena, donde podremos ver a cierta persona, ésta nos permitirá calmarnos un poco, antes del comienzo de la 2ª temporada (Noviembre 11).


Escena inédita, por lo que lleva a spoilers mayúsculos:

The X Factor Drinking Game

Regular TV or not TV readers will know that I love to hate The X Factor, which is currently in the midst of another season of unrelenting hype and media attention.

But I can appreciate that there are many people out there who, to quote Wes Mantooth in Anchorman, “pure, straight hate” Simon Cowell’s cash juggernaut.

So for those of you out there in that futile struggle to escape X Factor’s all-encompassing grasp I have devised a game that will help you to just accept your fate and welcome this mind-numbing, car crash piece of television in to your life – and what better way to do that than through copious amounts of alcohol!?

(It really is the only way to navigate two hours of this unadulterated gash.)

Thus I present to you TV or not TV’s patented X Factor drinking game…!

I should probably just get the standard drinking isn’t big and certainly isn’t clever speech in before I begin, because as much as X Factor might make you want to take your drinking to levels not seen since Oliver Reed’s days you should still try and drink responsibly as alcohol can seriously damage your health and let’s be honest:- no one likes a drunk…

So with those famous last words out of the way, for this game you will need an alcoholic beverage of the long variety (beer, cider, wine etc.) and the spirit(s) of your choice to use for your short drink(s), or shots as they will henceforth be referred to (the stronger the better – this is X Factor after all).

NB. If at any point during the onslaught of emotional manipulation you just can’t take it anymore you could always substitute any of the above for anti-freeze…

The following can be applied to any season of X Factor featuring the current configuration of format, judges and host (2010 specials follow at the end):

JUDGE/PRESENTER SPECIFIC:

Louis Walsh:

Take a drink every time Louis Walsh says any of the following:

- “Simon, Simon, Simon…” whilst screeching like a girl as Cowell talks over him

- “I want you in the final”

- “You remind me of a little/young… (insert name of performer here – usually highly racist)”

- “I want the people at home to vote for you”

- “I liked it”

And do a shot if he says the ultimate X Factor cliché:

- “You made it your own” (double up that shot if they most certainly did not make it their own).

- Finish your drink if you spot him clapping along like a retarded seal at any point.

Simon Cowell:

Take a drink any time Simon Cowell says any of the following:

- “I’m going to agree with [dramatic pause]… (insert other judge’s name here)”

- “Having said that…” (Cowell’s patented stroke/slap technique)

- “I liked you last week, I loved you this week”

- “Here’s why I like you…”

Dannii Minogue & Cheryl Cole:

- Take a drink every time Dannii Minogue tells the truth followed by an awkward silence as no one else agrees with her.

- Take a drink every time Cheryl Cole responds to a question without actually answering the question asked

- Or Cheryl refers to one of the contestants “a little star” or by telling them they “look like a (pop) star”

Dermot O’Leary:

Take a drink whenever Dermot O’Leary:

- Calls a male contestant “buddy” or a female contestant “hun” (make it a shot if his speech impediment makes it sound like he called them “cunt”)

- Does his girly twirl at the start of the show or whilst introducing a performer.

IN GENERAL:

Drink whenever:

- During shouty voiceover man’s recap at the start there’s a performance you’d completely forgotten about.

- One of the judges uses the contestant’s performance to have a go at another judge, i.e. song choice, staging etc.

- You see a glimpse of Simon Cowell’s chest hair.

- The contestants/judges mention the contestant’s home town either during their VT or after the performance (down your drink if they manage to sneak it in during the performance).

- A contestant cries. (do a shot if a judge cries [it will usually be Cheryl Cole])

- Brian Friedman or one of the judges mentions in the VT before the performance that the contestant is “taking a risk” and/or something about “pulling it off…”

- The words “current, unique, contemporary” are uttered by any judge. (finish your drink if all three are used in the same critique)

- Do a shot:

- Whenever Cheryl does her Dad’s Army salute.

- If Louis is wearing a bowtie that makes him look like a kid’s magician/paedophile.

- Whenever Simon makes a not-so-subtle dig at Louis’ age and/or sexuality.

- Every time Simon refers to Cheryl in some sort of flirty but condescending way i.e. “this one” / “madam”

- Whenever Brian Friedman appears in a VT with his hood up.

- If Cowell uses “karaoke” to describe a performance (make it a double if he uses a metaphor to do it that essentially means the same thing i.e. “cruise ship”)

- And you should put a shot in your drink and down it if at any point Simon Cowell further devalues the word genius by using it to praise what is essentially a karaoke performance.

REMAINING 2010 CONTESTANT SPECIALS:

Drink if any of the following occur:

Matt Cardle

- Makes a praying gesture with his hands during feedback.
- Wears his hat during his performance.
- The words painter and/or decorator are uttered at any point during his segment of the show.

Cher Lloyd

- Does her John Wayne/just shat myself walk whilst performing.
- Makes a face like she’s having a stroke whilst ‘rapping’/singing.
- Her age is referred to by either Dermot or a judge.

Katie Waissel

- Looks close to a full blown nervous breakdown at any point.
- Judges make reference to how ‘nice’ she really is.

One Direction

- Bounce around like excitable puppies at any point during their song – even if the song doesn’t warrant that sort of reaction.
- The blonde Irish one punches the air, smiles inanely and looks across enthusiastically at his bandmates.

Wagner

- You can’t understand what he’s saying/singing.
- Gets a bit too familiar with one of his female backing dancers.
- Dermot tries to wriggle away as Wagner tries to put his arm round him after the performance.

Mary Byrne

- The words Dublin and/or Tesco are uttered at any point during her segment (to be used independently of the main point about hometowns, so drink twice)

Rebecca Ferguson

– The word Liverpool is uttered at any point during her segment. (see above for home town rules)
- Cheryl goes out of her way to prove that she gives Rebecca as much time as Cher.
- The judges make some sort of reference to what a “normal girl” she is.

The X Factor airs Saturdays @ 8pm on ITV1

The Walking Dead 1.3 'Tell It To The Frogs'


“It’s gotta be the brain, don’t y’all know nothing…?” – Daryl

Episode three of The Walking Dead didn’t quite have the excitement and tension of previous weeks but it stepped up the character development which was something that had been skirted around in the previous two episodes, and was sorely needed.

One thing I like about The Walking Dead is that we pick up where we left off the previous week, or at least we have up until this point, thus we begin with Merle still shackled to the department store roof.

Being handcuffed to a roof obviously wasn’t doing Merle’s already unstable mind any good and we found him talking to himself, seemingly removed from reality. When something snapped him back into the present and he remembered his predicament he started to freak out in a rather major way – something exacerbated by the arrival of the walkers at the door to the roof.

Thankfully for Merle, T-Dog had been blessed with the foresight to chain the door shut before he departed and thus the blood-thirsty undead couldn’t get at the bigoted redneck. As Merle desperately tried to get to the saw from the toolbox T-Dog knocked over back in ‘Guts’ it was obvious he must have been up there for some time as his belt was already off and lying there ready to swing in hope.

After the credits we were back with Rick and the remainder of the group he joined up with last week. It was immediately obvious Rick was feeling guilty for effectively chaining Merle up like an animal and nobody’s attempts to alleviate that guilt were going to change that; even more so once he discovered Merle had a brother back at the camp for which they were headed.

Back at camp Shane was attempting to slide into Rick’s fatherly shoes with Carl by offering to teach him how to catch frogs (there’s your title reference) down in the quarry by which their camp is located. It was almost a little difficult to see Carl seemingly so content with his lot, as he was completely unaware of what we now knew, mainly that this whole new existence he has carved for himself as Lori’s lover and Carl’s surrogate father figure was about to capitulate around him as Rick strolled into camp like a knight in shining armour, only in a white minivan rather than on a white horse.

Once the returning group met their respective loved ones, Rick emerged from the van and the look on both Shane and Lori’s faces told a million stories that no one seemed to pick up on.

As the returning group members dispersed from the van, Carl looked dejected and Lori headed off into the background to comfort him – Grimes Junior has obviously been expecting his Dad to be brought back to camp every time a group returns, which begs the question if the kid had faith he was still alive why didn’t Lori? Was it just childhood naivety or something else?

Whilst Carl was overcome with emotion at his old man’s return, Lori’s face said ‘shit’ more than ‘thank God’, as did Rick’s supposed best friend Shane’s face. They had obviously created this far from ideal, but making the best of what they had, life for themselves and here’s Rick coming to fuck it all up for them – it sounds stupid but the world as they knew it ended and now this is their life.

I was a little surprised the reunion wasn’t saved for an episode ending moment, but I still thought that more of a big deal would have been made about Rick reuniting with his family. This is especially true as, rightly or wrongly, the majority of people seemed to think that the lion’s share of the series would be Rick hunting for Lori and Carl before the series began.

I guess though, that knowing what we know, there was no point in trying to make the Grimes family’s reunion in to some poignant moment because things certainly aren’t what they seem.

As Rick got to tell his tale round the campfire we at least got some explanation as to why Rick was left behind at the hospital as Lori disclosed that she was told that patients were being airlifted to Atlanta once things got really bad, we later discovered why she also wrongly believed him to be dead, more on that later though.

Talk soon turned to that racist elephant in the room though and Rick’s guilt over leaving Merle behind had in no way subsided; T-Dog revealing he’d chained the roof door to stop the walkers getting to Merle only seemed to fan the flames for Rick to make the call to go back for him. Rick chose to save this news until the morning so as not to ruin his first night back with the family.

There were further reveals in ‘Tell It To The Frogs’ that made previous moments resonate more. For instance, I’d wrongly assumed last week that the ring on Lori’s necklace was hers and that she’d removed it from her finger out of respect to her ‘dead’ husband given what she was up to with his best friend, but this ring was actually Rick’s and he took it back right before rather inappropriately having sex with Lori while their son slept next to them – I know you’ve been apart for a while but come on!

Before the inappropriate love-making Lori offered Rick an apology for not believing he was alive, Rick was obviously dismissive of this but we all know what she’s really apologising for and although there was no explanation it was kind of satisfying watching her squirm. Lori’s face during the sex though would certainly seem to suggest that things are a long way from being right with this situation in her head.

Rick’s news that he was going back for Merle the next morning wasn’t the only bad news the camp would get that day as they stumbled across a zombie inside their camp rather graphically devouring a deer. After the men of the camp savagely beat and decapitated the walker we were introduced to Merle’s brother Daryl, who had killed the deer for food.

I liked how the zombie head was still ‘alive’ even after being decapitated and how Daryl calmly put an arrow through it – see opening quote.

After having it out with Daryl and explaining that he’s going back for Merle, Rick further justified his plan to return to the city by citing the collection of his gun bag from episode one as a sweetener. We also got the carrot dangled of Morgan and his son as Rick spoke of the walkie-talkie also in that bag that he needed to contact Morgan to tell him to stay out of the city.

With Rick heading off with Daryl, Glenn and T-Dog we remained at camp where we got an interesting examination of the women’s role in the camp. The end of the world as they knew it has seemingly set women’s progression back hundreds of years as they found themselves doing the laundry while the men stood around smoking and fooling around in the quarry.

This will be a really interesting study if they pursue it in future episodes – although there is no male-female divide or class system or anything like that anymore, are these people all equal as you would expect? It certainly doesn’t seem that way.

The women doing chores wasn’t just included to examine sexism in communities it also led to a pretty big development. We’d already had the set up of Ed being controlling of his wife & kid and his dissension with Shane, but after his wife Carol started to have fun with the other female members of camp he interjected himself into the conversation and it was revealed that he’s abusive.

Shane was in the wrong place at the wrong time in that he’d just had Laurie take out her frustrations with everything on him and kill stone dead their little tryst, so he in turn took out his frustrations on Ed, beating him half to death for his misogynistic ways.

The Walking Dead might be set in this dystopian world but abusive husbands and damaged wives still exist and although it was somewhat difficult to care about these thinly drawn characters when Carol ran over to the bloodied Ed after all he’d done to her and apologised it just proved that even a zombie apocalypse can’t free some people from abusive relationships.

It was interesting to learn during Lori’s dressing down of Shane that it was he who had told her Rick was dead – did he do this genuinely believing Rick was dead or did he have the ulterior motive of stepping into Rick’s shoes and effectively stealing his family? I’m very intrigued to see how much further we delve into that in the coming weeks.

On the other hand was Lori more to blame for not having the faith that her son had that his Dad was still alive? Did she easily accept Rick as being dead to justify the affair with Shane or did she truly believe it – the psyche behind what those two were thinking is one of the more captivating plot threads dangling at the moment.

And so to the closing moments of the episode and the rescue team arriving back on the department store roof. Daryl’s reaction seemed to signify that Merle had been had by the walkers but the camera panned round to reveal a severed hand and some bloody handcuffs…

…So Sarah Wayne Callies is going to have another one handed redneck to contend with.

If there’s a more appropriate image to end an episode of The Walking Dead on than anything stained with blood then I’d like to see it.

Bullet Points:

- Daryl Dixon is expertly played by Norman Reedus, who I remember from Gossip and Blade II but who has been quiet in recent years; he was really good in this episode and is less cartoonish than Merle in his redneckery, I would really like to see him added to the main cast eventually.

- There continues to be some nice moments of comedy peppered in with all the heavy stuff. Two stand-outs tonight, both of which were central to the actual storylines going on were, Shane’s discussion of Merle being a douchebag with Daryl and Rick and the “I miss my vibrator” line down at the quarry.

- Seeing characters bartering for everyday items such as bolt cutters is a subtle way of really getting across to the audience how far removed from the world we know this dystopian world the characters occupy really is.

- I don’t want these reviews to turn into me constantly bashing Sarah Wayne Callies but in that scene in the tent when Carl told her not to worry about Rick, young Chandler Riggs who plays Carl put across more emotion than Callies has yet.

Maybe it’s me that’s missing something in her as an actress because to keep getting these big roles she must give off something that show-runners pick up on. I can only hope that what I perceive as her extremely wooden acting doesn’t hamper my enjoyment of the remainder of the series, because right now this is the best show on television.

The Walking Dead continues Friday @ 10pm on FX

Dexter S05E11 - In The Beginning "Promo"




La perfección se podría llamar Dexter. ¿Por qué todas las temporadas mantienen el mismo nivel?

IRIS - The Movie




Ya tenemos también fecha para la película de IRIS. El estreno se producirá en Internet. La descarga estará disponible desde el 22 noviembre a través de la compañia de distribucion de contenidos Cine21i.

Nos mostrará el porqué de aquel final inesperado para muchos, con nuevas escenas y explicaciones.

Athena: Goddess of War 1x01 "Promo"




Ya tenemos FECHA!! Lunes 13-12-10. Estoy más que preparado!












Cowboys and Aliens "Trailer"




Después de Battle: Los Angeles, ésta también tiene muy buena pinta.

Capitan Cook (1987)




Yo de pequeño ya veía series de tv, el capitan Cook, serie del año 87 que cuenta la historia del Capitan Cook y su tripulación, cuando puso pie por primera vez en el continente australiano. Vagos recuerdos ya que han pasado muchos años, pero que recuerdo que en su día me flipó.

Más información aquí.

Mad Men 4.11 'Chinese Wall'


“No champagne… I’d say he’s got cancer.” – Freddy Rumsen

After the revelatory moments of recent episodes, Chinese Wall essentially dealt with the aftermath of the biggest of those recent bombshells – Lucky Strike’s decision to pull the account that was worth pretty much all of SCDP’s income.

The focus wasn’t just on where SCDP goes from here, although that thread is left tantalisingly dangling for the final two episodes of this sublime season to tie up, but also on how work has affected the personal lives of so many of the mad men.

The title is seemingly referring to the metaphorical wall so many of the characters have put up between their home lives and their work lives (in particular Faye) which has now had to be pretty spectacularly knocked down in the wake of this disaster.

When Ken’s dinner with his fiancé and her family is unpleasantly spoiled by the news of Lucky Strike’s defection, news quickly spreads like wild fire and Ken, Pete and Don’s evenings in particular are interrupted and essentially everything else takes a back seat as a late night meeting is called to find out exactly what is going on.

Not that it was needed, but to put into perspective just how critical this account was to SCDP’s survival the fact that the impending birth of Pete’s child became an afterthought, even to Pete himself, would give you an idea of what this could mean for the agency.

For an astute man, even though he may be an overgrown man-child, I’m really surprised at how naïve Roger was in thinking that he could keep a lid on this.

Don’s comment to Faye that he’d tried not to think about what would happen if they ever lost Lucky Strike before he headed in for the late night crisis meeting, proved that at least some people at SCDP knew they were hanging by a Lee Garner Junior shaped thread, which begs the question of why someone like Don didn’t do more to try and put some sort of failsafe in place.

This might have been due to aforementioned wall being there between work and personal but in some cases, notably Don’s, it clearly didn’t prevent the latter seeping into the former, and now the osmosis looks set to happen in the opposite direction ten-fold.

As the news broke around town, Pete was immediately presented with a chance to jump the sinking ship by his Father-in-law and whilst season one Pete probably would have leapt at the chance, season four Pete Campbell is a much more rounded character (more on that later).

The only person who wasn’t adversely affected personally by the news of Lucky Strike pulling out was the blissfully unaware Peggy, who finally succumbed to the rather sleazy and relentless advances of Abe Drexler.

Her tryst with her suitor seemed to agree with her though as she seemingly became insatiable, which was rather crudely picked up on by Stan back at the office. Peggy’s new found sexuality was also evident as she brainstormed her Playtex pitch with Stan and Danny.

As much as Peggy tries to keep an air of being a ‘good girl’ round the office, more and more we are seeing her outside of work as one of the more sexually liberated characters on the show.

With the cat well and truly out of the bag it was damage control time for the partners and although they thought Roger was on his way to North Carolina to make a last ditch plea, the troops needed addressing.

Roger’s lie was becoming more and more elaborate as he went and hid out in a hotel room when everyone believed he was on a rescue mission; Lane’s assessment earlier in the season that Roger Sterling is “a child” had never been more telling than when he, in spite of being one of the agency’s partners, decided to save face rather than do what’s best for his fledgling company.

It even seemed like Roger was using the bad news to try and get closer to Joan, going as far as confiding in her with his lie and begging to see her. It should have been hard to feel sorry for him given how many lives his deceit had played with but he cut such a sad-sack of a figure than it was impossible not to feel a twinge of sympathy for this fallen hero. Especially as Joan effectively ended their brief rekindling, leaving Roger at rock bottom. The news that he would never get to be with the woman he considers to be some kind of kindred spirit seemed to hit Roger harder than the loss of the account that was essentially keeping SCDP afloat; which as much of a pig Roger can be shows that he truly does love Joan.

Back at the office, Don’s pep talk to rally the troops was met with a muted response, but I guess it would be hard to be motivated by a speech that even the speaker doesn’t seem to believe.

It was nice to see another brief moment between Don and Peggy that showed that the relationship that was cemented back in ‘The Suitcase’ is still strong and although neither may necessarily feel comfortable enough to publicly show it that bond is still very real.

Bad news was definitely the order of the day in ‘Chinese Wall’ though and hot on the heels of Lucky Strike was news of Glo-Coat’s defection as well. The partners weren’t naïve enough not to expect it but losing Glo-Coat had to sting with Don just that little bit more after it was for them that he won his precious Clio award.

Don’s frustration wasn’t exactly well hidden as he destroys the Clio and then takes it out on Pete, who had given Glo-Coat the reassuring phone call earlier in the day.

When you consider what Pete knows and what Don had him do for him last week, you’d think that the last person Don would want to piss off right now would be Pete Campbell.

In light of the loss of Lucky Strike how seething must Pete be that Don had him essentially dump a $4 million dollar account just to protect his real identity. Pete isn’t an idiot though, because he knows that Don Draper, no matter how much he may resent the man and what he has been forced to do to cover up his lies for him, is more valuable to SCDP than any one account.

So it is for that reason that Pete will keep quiet when he is spoke to like crap by a man who he has covered for on more than one occasion, because without Don there isn’t just no SCDP, there is no S, C or P either; but it has to be eating him up inside.

Which is where we come to Pete having grown up so much since the moustache-twirling villain of season one – he has learnt to accept and deal with things not always being fair in this business rather than taking it out on those around him.

Pete was also able to resist the advances of Ted Chaough because he knows that this isn’t about him it’s about getting one over on Don. Season one Pete may have been tempted by this but season four Pete knows better. You may think Chaough having the front to turn up at the hospital where Pete’s wife is giving birth is slightly unsavoury but as we saw later when Don, Pete, Cooper et al attended a funeral just to drum up new clients, there is no sense of ethics in the advertising.

A fact that was further explored as Don attempted to use Faye to get a foot in the door with potential new clients. Their relationship clearly means more to Faye than to Don as she was completely offended he would ask such a thing of her, claiming she would never ask such a thing of him.

Don’s rationale that desperate times call for desperate measures didn’t fly with the good doctor though and his attempt to breach that wall she’d so expertly constructed between her personal and work life seemed to signal the breakdown of their relationship.

The severity of SCDP’s plight really became clear during that final summit of the episode between the agency’s key figures (minus Lane back in London) as Megan arrived with news of the birth of Campbell junior. News which was greeted with muted congratulations before talk turned back to crashing the funeral to steal accounts; work is everything to these men and comes before almost everything on the other side of that wall, even during a moment like the birth of your first child.

Whether Don had realised that Pete is someone he needs to be keeping sweet or not I’m not sure, but his reaction to Roger’s lack of interest in trying to secure new clients and defence of Pete angered Mr. Sterling.

Roger’s indignation at people’s reaction only served to mask the truth though, which is that he fears for his position within the agency. The reason being that, as everyone else pointed out, he only had one client to look after – and with that client now gone what does Roger Sterling bring to the table?

As the forlorn Sterling arrived home to his trophy wife Jane (who it was nice to see after a somewhat lengthy absence this season) a very bad day was capped off by a cruel twist of fate as copies of his memoirs arrived.

Jane’s assertion that she was so proud of him must have been the icing on the cake for Roger – he feels like he’s let everyone down even if he can’t admit it, because you can see that guilt all over his face. John Slattery gave an exemplary performance in this episode, relishing the chance to bring something else to the table as Sterling other than the boyish charm he normally exudes.

It is interesting to note the generic inscription Roger wrote into the copy of his book he signed for Jane, there is no passion there – he may have landed his trophy wife but it wasn’t the one he wanted.

In another cruel twist of fate, the episode ends with Don returning home to find Faye at his apartment, where she reveals she has broken her own rules (and wall) and secured Don a meeting with Heinz.

Don is grateful but you can see that guilt on his face as well because just hours earlier he was sleeping with new secretary Megan – if only Faye had called sooner, maybe their burgeoning relationship wouldn’t be about to fall apart.

Don’s bedding of Megan (so to speak as it was actually on the couch in his office) kind of came around quite quickly. I’d written in my notes that Megan taking the time to repair his Clio trophy, then Don allowing her to sit in and try and learn from him and Don even asking her about herself (something he has never done with a secretary before) showed that there was obviously something there.

Before I could make reference to that in an episode review though they pulled the trigger on the two of them sleeping together, which in a nice change of pace for Mad Men, Megan took control of and almost forced the issue with Don being the one trying to stay sensible and resist.

With the finale approaching the slow burn on the blossoming relationship between boss and secretary seems to have been abandoned, which is a shame because it would have been rewarding to see Don develop a meaningful relationship with a woman gradually. Sure he sort of did that with Faye but we all know where that one is now heading – we saw previously that Megan is good with Don’s kids (unlike Faye or any of the other women he’s been with this season), so could she be the woman to finally fill that void in Don’s life…?

Bullet Points:

- Correct me if I’m wrong but isn’t that the first time we’ve seen Ken’s fiancé and her family? I’m not necessarily surprised they managed to get two what I would consider ‘name’ actors into two of those roles but I am surprised at how little screen time they got, especially the brilliant Ray Wise – he’s too good to be wasted in a minor, seemingly inconsequential role like this so I’ve go to think that we will be seeing more of the soon to be Mrs. Cosgrove and her family down the line.

Whilst not as well know as Ray Wise (recently brilliant on Reaper as The Devil), Larissa Oleynik played Ken’s fiancé Cynthia. Oleynik has appeared in 3rd Rock From the Sun and was of course in 10 Things I Hate About You but she is probably best remembered for playing the titular character on The Secret World of Alex Mack. And with Joe O’Connor on the show, who played Clarissa’s Dad on Clarissa Explains It All back in the day, Mad Men is turning into somewhat of a Nickelodeon reunion.

- Given that it was the episode that featured the (albeit unseen) birth of her child I was personally disappointed in the lack of Trudy in ‘Chinese Wall’ mainly because I need my Alison Brie fix.

In the context of the episode and its focus on the distance between work and family, I guess it worked not having Trudy appear on screen though; and at least I’ve still got this week’s Community double bill in my Sky+.

- There was a nice light moment in the middle of all the drama as the SCDP head of accounts asked if anyone had a question and little Danny raised his hand only not to be seen at the back of the room due to his height, or lack thereof.

Mad Men has been doing a brilliant job with visual gags like this of late – the scene the other week where Don had the staff disposing of Miss Blankenship’s body as his meeting went on had me in stitches.

- Megan is played by an actress called Jessica Pare – and as much as I enjoy writing my Mad Men reviews and exploring the social and psychological themes on the show, I’m going to undo all that more academic thinking with this next point – because I’m sure anyone who’s seen Hot Tub Time Machine will agree that she has one of the most appropriate surnames of all time, that is at least if it’s pronounced how it reads.

- Stan Rizzo continues to be one of my favourite characters on Mad Men, mainly due to the fact that he’s almost cartoonishly chauvinistic. His knowing look when Peggy realised she’d done her Playtex pitch with lipstick on her teeth was great.

I really hope Stan isn’t one of the casualties of the no doubt impending redundancies at the agency.

- The song over the closing credits was Welcome To My World by Jim Reeves, which rightly or wrongly, always makes me think of that dreadful Thomson Holidays ad.

Mad Men continues Wednesday @ 10pm on BBC4

The Lost Future - Tv movie "Promo"




Tv movie protagonizada por Sean Bean estrenada el pasado 13 Nov en Syfy.

Cars 2 "Teaser"

Green Lantern "Trailer"




¿Estamos otra vez ante la típica película de superheroes?

The Walking Dead 1.2 'Guts'


“Nice moves there Clint Eastwood.” – Glenn

Since the premiere I’ve seen polarizing reviews of The Walking Dead, some critics cite that it is too derivative of other zombie works whilst at the other end of the spectrum some gush about how epic the series is.

I am definitely in the latter camp. For me this is just the finest hour of television you could imagine; The Walking Dead is huge, in terms of scope, ambition and the world it is doing a damn fine job of depicting.

Expectations were high for this series and it has in no way disappointed thus far, regardless of what some people – who in all honesty seem to be missing the point – may say.

After a ‘Previously…’ montage that reminded me of just how much they managed to pack into that epic first episode, we were dropped straight back in to the post-zombie apocalyptic world the characters now occupy.

Only we weren’t back with Rick, stuck in his tank in the middle of Atlanta, we were at the survivor camp that his wife and son are currently occupying.

After Lori gets spooked out in the woods on her own, predictably, it is Shane causing the rustling that scares her, stealing a moment away from the others the pair begin a rather disturbing sex scene that in all fairness put me off my lunch slightly.

The mood was somewhat killed as Shane spotted Lori’s wedding ring round her neck as he indulged in Michael Scofield’s sloppy seconds. Once Lori removed the ring the pair resumed their vigorous alfresco sex session, with the credits arriving just after a nice close up shot of the ring on the ground as Shane piled Lori from behind in the background.

The Walking Dead certainly isn’t pulling any punches in any area at all.

Mercifully we saw very little of the survivors camp this week, which meant we had to suffer through very little of Sarah Wayne Callies’ horribly wooden acting – how she got this gig is beyond me, her work on Prison Break was anything but stellar and she is making Lori seem like the coldest bitch ever – maybe that is the point though.

The little incident with the wedding ring proves she obviously hasn’t forgotten Rick, but my interest in seeing them reunited is about zero right now; my interest in seeing her become zombie chow though? I’d say that’s peaking right about now – at least she could probably convey a zombie quite well, what with the vacant expression and all.

Enough with the negative though because I am genuinely loving The Walking Dead, as derivative as it is in terms of the zombie genre, there is nothing like it on television and in that sense it is a breath of fresh air.

Speaking of fresh air, Rick was in great need of some when we left him last week – trapped in a tank with a rotting corpse and surrounded by walkers outside.

His saviour came in the form of a voice over the tank’s radio though and Rick was guided from his little bolthole to join an ethnically diverse group of survivors in a department store by a guy named Glenn, but not without dispatching several walkers on the way with some accurate head-shots.

The group consisted of a black man, black woman, South American man, Asian dude (Glenn), blonde woman and cartoonishly bigoted redneck Merle, played by screen veteran Michael Rooker with no sense of restraint whatsoever. Rick actually slotted into the group dynamic quite nicely given that they were missing an average white guy.

Rick’s Clint Eastwood like performance on the street though had drawn almost the entire walker population of Atlanta right to the department store’s front door and they were now intent on getting in for a spot “light meat and dark meat” as Rick put it. Meaning the survivors now had to move on and that they weren’t best pleased with Rick.

After a foiled attempt to get out of the building through a sewer, the aptness of the episode’s title became evident as Rick coined a cunning plan to get to the nearby construction yard and commandeer a vehicle.

The plan involved him and Glenn coating themselves in the blood, body parts and yep, you guessed it: guts of a walker they had recently offed in order to move through the streets undetected as the walkers pick up the location of humans through scent as well as noise and movement, apparently.

The Walking Dead’s brilliant dark humour was on display as the group set about hacking up their disguise, when Glenn got a bit queasy Rick told him to think about something else, “puppies and kittens” he suggested, to which T-Dog replied “dead puppies and kittens…” which drew a big laugh from me.

The tension was almost palpable as Glenn and Rick put their plan into action. It was all going so well until the first brain switching off moment of the episode occurred; the heavens opened and apparently washed off the smell of death from both Rick and Glenn.

I have to say that if I had a guy’s recently removed small intestine and one of his severed feet hanging from my neck that I doubt a little rain water would get rid of that stench in less than a minute, but I guess I can accept that time restraints mean that dramatic licence may have to be taken at times with certain facts and events.

Which brings us to brain switch off moment number two – as after Rick and Glenn successfully got a vehicle (after some very cool zombie head-splitting with an axe I hasten to add) and they headed back to rescue the remainder of the group at the department store, T-Dog rushed to unlock Merle, who Rick had earlier handcuffed to the roof, and managed to drop the key down the only vent nearby. Inexplicable? Yes. But it didn’t half make for good television, even if it was slightly insulting to your intelligence.

So from the looks of things, Rick and the gang are on their way back to the camp at which his wife and kid are residing, which means all hell is sure to break loose sooner rather than later, both figuratively and literally. I’ve got to admit I’m a little surprised they’re reuniting the family this soon in the show’s run, I expected it to a season finale moment for sure; but from the looks of next week’s preview it’s happening and it’s happening now, surely something will go wrong pretty soon after though… right?

Bullet Points:

- Did anybody else notice T-Dog knock over the tool bag on the roof? Would it be completely insane to suggest that Sarah Wayne Callies may soon have another one-handed redneck to contend with after she put up with T-Bag for so long on Prison Break…?

- This isn’t meant to sound racist (though it inevitably will) Glenn really reminds of Miles from Lost. It’s not just because both actors (Steven Yeun & Ken Leung) are of Asian descent, it was in the way he delivered his lines, his sarcasm and his neuroses.

- I’m not familiar with the zombie ‘rules’ that I’ve seen some people babbling about on the internet – if a zombie can climb over a chain link fence, why couldn’t he climb up a ladder? Or is it best I just don’t think about things like that?

The Walking Dead continues Friday on FX @ 10pm

The Increasingly Poor Decisions of Todd Margaret 1.1 ‘In Which Claims Are Made and a Journey Ensues’


“Hey asshole, I make one call to your boss and you’re gonna sell shit-berries in an Uzbek bus station.” – Brent Wilts

The Increasingly Poor Decisions of Todd Margaret is a transatlantic fish out of water comedy which sees David Cross as the titular character stumble from bad situation to another.

Through a misunderstanding (he was practicing self-help tapes rather than actually being assertive) asshole executive Brent Wilts (played with profane delight by Will Arnett) promotes loser Todd Margaret to head up sales of Far Eastern energy drink Thunder Muscle in London.

There Cross gets to act very un-Cross like as a loser who just gets repeatedly shat on. I have to say, I prefer Cross in more edgy roles than this, yes Tobias in Arrested Development was a loser but he was a bizarrely interesting loser. There is nothing really interesting about Todd Margaret and that’s a disappointment because Cross is renowned for his dark humour.

The show still has some decent laughs though, mainly coming from the scenery-chewing Arnett who literally steals the show. Sure he may be playing Devon Banks (his 30 Rock character) on crack but this is the sort of smarmy asshole Arnett always plays and always plays well.

Rounding out the cast are Brits Sharon Horgan and Blake Harrison (The Inbetweeners). Horgan, who I used to dislike after her part in the dire original incarnation of The Friday Night Project but who I have now grown to like and find quite sexy in a strange way, plays Alice a friendly café owner who takes pity on Todd. Harrison plays Todd’s only employee, the dopey and immature Dave, essentially channelling the role Harrison plays on The Inbetweeners.

The Increasingly Poor Decisions of Todd Margaret is never going to win any awards, but it has enough laughs to keep you coming back. This first episode breezed by and in no way outstayed its welcome.

There is plenty of potential there for fish out of water type laughs with Margaret, of which the surface was only scratched in episode one – Todd misunderstanding the meaning of the word “fag”.

Hopefully Arnett will appear to yell and scream genius one-liners at Todd in every episode because judging from the pilot he is the best thing in the show. Cross might not be at his best here but he still flexed his rather large comedy muscles in a memorable scene where he downed three of the Thunder Muscle drinks and went a bit loco in Alice’s café, much to Dave’s amusement.

The episode opened with Todd in court charged with a ridiculous list of crimes before we were sent back 14 days to him worming his way into the promotion that saw him shipped off to England, if this is how each episode opens it will at least be a novel way of doing things as the intrigue of how Todd came to be charged with such heinous crimes will be increased.

All in all, nowhere near the strongest comedy on TV but a fine little show that will no doubt attract a cult fan base.

Bullet Points:

- Cross is brilliant at playing loathsome characters but shouldn’t we be feeling sorry for Todd Margaret? If that is in fact the case, they didn’t do a very good job of conveying that in this episode. The fact he basically left his cat to die in its own filth isn’t really the best way of instilling compassion in a viewer.

- Whoever’s idea it was to have Cross and Arnett share a screen it wasn’t a good one, no matter how brilliant they both are; the last thing any comedy needs is comparisons to the peerless Arrested Development, let alone a freshman one that is somewhat lacking in A.D.’s unparalleled quality.

- If the bomb disposal officer who destroys Todd’s inexplicably large suitcase looked familiar, that’s because he was played by Kayvan Novak, the man behind the laugh-less Fone & Facejacker shows.

The Increasingly Poor Decisions of Todd Margaret continues Sunday @ 10.35pm on More4

Dexter S05E09 - Teenage Wasteland "Promo"




It's fraking amazing! Vaya 4 capítulos que nos esperan.

Saturday Night Live: The Gift & The Curse - Redux


It’s retro time again here at TV or not TV as we step back in time to September 2008 and a feature I wrote for Obsessed with Film on the American institution that is Saturday Night Live.

The show has always been either very kind or very cruel to its alumni and that was the focus of this feature, looking back with hindsight was I spot on or way off on my assessment of the current SNL line-up and what their future had in store for them…?


“Live, from New York, it’s Saturday Night!”

On October 11th 1975 a TV show began that would have one of the most significant cultural impacts in the history of television; Saturday Night Live is an American comedy sketch show that airs, funnily enough, on Saturday nights and is recorded, as you may have guessed, live. SNL, as the show is commonly known, has been responsible for launching the careers of some of the most popular comedy actors of the last forty years, it’s alumni list reads like a who’s who of box office titans… and Horatio Sanz.

SNL is filmed at NBC studios at Rockefeller Centre in New York and was created by Lorne Michaels, who still executive produces the show today, about to begin it’s thirty-fourth season, SNL is now one of the longest running shows in US network history and is a firm part of American culture, continuing to be one of the, if not ‘the’, most influential show on television. Each season features a cast of young actors and comedians and each episode is traditionally fronted by a guest host and features a musical act.

When the show began in 1975, the emphasis was heavily on the ‘variety’ side of things, but slowly as the first season went on, sketch comedy began to increasingly dominate proceedings, shaping SNL into the format you see today. ‘The Not Ready For Prime Time Players’, as the first season’s cast mockingly referred to themselves, quickly established themselves as the real stars of the show.

When Chevy Chase left the show mid-way through the second season to pursue bigger and better things, he set the precedent that many of his SNL peers would also follow over the years. While Chase’s decision to attempt to ply his trade elsewhere might not have been the bed of roses he may have been expecting, many SNL alumni have gone on to achieve massive success on the big screen; Dan Aykroyd, Bill Murray, Eddie Murphy, Adam Sandler and Will Ferrell all owe their success to their SNL tenure.

For every Bill Murray though there’s a Chevy Chase and for every Will Ferrell there’s a Chris Kattan. For some reason, many popular SNL performers can’t make their popularity on the show translate onto the big screen, and after leaving the cast, find their careers faltering. The same seems to be true of SNL characters that make their way into feature length adventures.

While this initially seemed to be a fruitful avenue to take with the success of The Blues Brothers and Wayne’s World, these have proved to be the exceptions rather than the rule with more recent SNL film efforts failing quite spectacularly; A Night At The Roxbury, Superstar and The Ladies Man were all mauled by critics and audiences alike. It’s little wonder that we haven’t seen an SNL character make the jump to film since The Ladies Man forced it’s charmless ways upon us in 2000.

It’s inevitable that film work will be offered up to SNL’s cast members, both during the show’s seasonal hiatuses and when they finally decide to cut loose and follow the Hollywood dream. Given the fact that the cast spend months on end each year writing and performing an array of colourful characters, you’d think that SNL cast members would adapt quite well to film roles – but this isn’t the case.

Some SNL alumni have gone on to achieve great success by continuing their work on the small screen; Tina Fey has gained nothing but praise for 30 Rock, a series that has also gone some way to saving Tracy Morgan’s career, Jimmy Fallon, who has also struggled with big screen roles, I think we can all agree what a haemorrhoid the Taxi remake was, has recently landed his own late night talk show in the big talk show shake-up that’s going on at the moment in the US and several cast members have made scene-stealing guest appearances on US sitcoms.

Big screen roles however, seem cursed for the former cast members of Saturday Night Live, even for those who initially succeed, career longevity manages to elude so many of them. So what is it that seems to prevent these talented comedians and performers from making a lasting, successful career on the silver screen?

The first thing that it’s important to consider is Saturday Night Live’s air time; Saturday night. Staying in is the new going out, or so people who never go anywhere would have you believe, and while I can’t speak for America, I can categorically say that Saturday night TV in the UK is complete and utter unadulterated dog shit, but if we had something like SNL, I can safely say I would be watching regularly.

My point is that with SNL being Saturday night TV, it has become an institution; something to watch with your family or your mates while you have a few beers – something which can instantly improve your enjoyment; hell, I once watched Scary Movie drunk and laughed virtually all the way through…

This isn’t an attack on SNL’s quality, because it has delivered consistently cutting edge comedy for years, but what I’m suggesting is that when you’re glad of some decent entertainment on TV on a Saturday and you’ve had a drink or two you may find a certain actor or character a lot less annoying or more entertaining than you would if you had to fork out £6.00, or however many dollars that is; $50?, to sit and watch that same character churn out knob and fart jokes for an hour and a half at your local cinema.

This links us to the second major reason I believe many SNL stars can’t transition small screen laughs onto the big screen; running time. SNL features ninety minutes of non-stop sketches and gags from a variety of performers, if you don’t like the actor or character currently occupying your screen, then in five minutes there’ll be another one, but if you’re watching a feature length film starring one of these same actors or characters then you’re there for the long haul. Even two of the SNL alumni who I would argue have achieved the greatest career longevity; Adam Sandler and Will Ferrell, still manage to polarize audiences.

So how do you explain the plummeting careers of SNL stars past? Are the writers the real talent behind the show, with the stars taking all the glory or is Saturday Night Live actually cursed? When you consider the tragic premature deaths of three of it’s most popular performers; John Belushi, Phil Hartman and Chris Farley you can argue that it is, but the curse I refer to is the one that affects careers. Eddie Murphy and Dan Aykroyd, two of SNL’s most famous former sons, had the world at their feet in the eighties, and while they’re by no means out of work nowadays, when was the last time you laughed at something either of them did? …Actually Aykroyd’s shameless attempt to cash-in on The Blues Brothers nostalgia with the criminally awful Blues Brothers 2000 was pretty funny, but I digress…

The same can be said of those who graduated from Rockefeller Centre in the nineties. At one time Mike Myers’ name on a poster ensured a guaranteed hit, but after the debacle that is The Love Guru, you have to wonder if he’s the latest victim of the SNL curse. You’d probably be shocked to hear Dana Carvey had even made films beyond Wayne’s World, David Spade clearly fairs better on television, Rob Schneider, who seemed to be carving out a nice career as the comedic relief sidekick in the early nineties, has been reduced to nothing more than Sandler’s bitch, even the mighty Chris Rock’s film career has been nothing more than roles they could have got Cedric The Entertainer to do for half the price.

So what of the current crop of performers and recent alumni to walk onto SNL’s hallowed stage; the most successful SNL alumnus of the new millennium is Will Ferrell, Ferrell dominated the screen for seven seasons of SNL and soon brought his larger than life persona to the big screen, and he has quickly become one of the biggest comedy players in Hollywood. Ferrell has also proved himself to be a reasonably talented actor with his performance in Stranger Than Fiction, but his career has not been without flops. Unlike the majority of his peers, for Will Ferrell the hits far outnumber the flops, but he has arguably been at his best when teaming with Adam McKay, who coincidentally was head writer on SNL for most of Ferrell’s stint, collaborating with him on most of his best sketches.

Ferrell though is the only mega-star SNL has created since the supposed golden age of the mid-nineties, Tina Fey and Amy Poehler have both been successful but their success has been more critical and somewhat limited to the small screen. The current SNL cast may soon break this trend though; Andy Samberg, fresh off the success of Dick In A Box, the spoof music video he and Justin Timberlake performed on the show that became an internet sensation, had his first major starring role last year in the surprisingly enjoyable Hot Rod. Will Forte and particularly Bill Hader, who has seemingly had roles in nearly every major comedy released in the last few years, also appear to have bright futures in front of them.

Can the current generation break the seemingly career crippling curse that hangs over SNL and use the gift that this show gives them to build successful careers? I genuinely believe that the likes of Samberg and Hader can, and although it could be a while before SNL produces it’s next megastar, the show’s influence on modern comedy both in film and TV appears to be as healthy as ever. And who knows, maybe some of the colourful alumni of years gone by will experience a career resurgence and remind us all that they became stars for their talent and not just off the back of their association with such a legendary and influential show.

For the time being though, the gift and the curse of Saturday Night Live is very much still afflicting many of the show’s former cast members, and only time will tell who will be next to receive the gift of success from their tenure on the show and who will be next to fall victim of the SNL curse.

*This feature was originally written for, and published on, Obsessed with Film.