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"I can't follow your banner any more than you can follow mine. But the world is wide and there is room for both of us to be wrong." (Source withheld temporarily so we can just sort of… bask in it for a minute.)

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"I can't follow your banner any more than you can follow mine. But the world is wide and there is room for both of us to be wrong." (Source withheld temporarily so we can just sort of… bask in it for a minute.)


Posted by robinsloan on Monday, June 18th, 2018 7:02pm


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theprawn
6 days ago
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RT @cupcakelogic: garlick pic.twitter.com/TrkXZg3XIq

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Posted by cupcakelogic on Friday, March 2nd, 2018 10:01am
Retweeted by robinsloan on Saturday, June 16th, 2018 8:03pm


45183 likes, 20055 retweets
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theprawn
8 days ago
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Dancing FBI Agent Accidentally Shoots Bar Patron

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ABC News reports: “An FBI agent got himself into an embarrassing situation on Saturday when his service weapon fell out of its holster while dancing at a Denver club and he accidentally shot a fellow patron while retrieving it.”

“Denver police responded to Mile High Spirits Distillery and Tasting Bar for an accidental shooting at about 12:45 a.m. on Saturday,” according to ABC News. “The victim was taken to a nearby hospital in ‘good’ condition, according to police.” The FBI has not commented on the incident, the network reports.

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theprawn
21 days ago
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sirshannon
21 days ago
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The Good Guys™
jepler
21 days ago
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"embarssing"? "EMBARASSING"?!
Earth, Sol system, Western spiral arm

Welcome back, “Murphy Brown”: Just in time to take on “alternative facts and fake news”

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AP/Brent N. Clarke

AP/Brent N. Clarke

The reboot of the 1990s-era sitcom "Murphy Brown" will arrive not just 30 years after it first premiered on CBS, but to an almost unrecognizable terrain of journalism, cable news and politics. The network released the first trailer for the revival Wednesday at its upfront presentation, the annual reveal of new shows for advertisers. Much of the original cast — star journalist Murphy Brown (Candice Bergen), features reporter Corky Sherwood (Faith Ford), investigative reporter Frank Fontana (Joe Regalbuto), and executive producer Miles Silverberg (Grant Shaud) — will return to characters reimagined and reinvigorated to take on "this crazy new world of alternative facts and fake news," as Bergen declares in the trailer.

This "First Look" trailer doesn't feature any footage from the upcoming revival. Instead, the returning actors engage in a "Where Are They Now?" confessional segment, where in character, they catch viewers up on their departure from newsmagazine "FYI," how they respond to the current news and politics (including a freed O.J. Simpson and tiki torch-wielding white supremacists) and, most importantly, how they all reunited for a new cable morning show that Murphy will anchor, "Murphy in the Morning."

"We want to be really timely, that's why we didn't film a pilot," Bergen said during upfronts. "If we had, we'd already be several major headlines and a dozen Stormys out of date." Nearly half of the four-plus minute trailer features a mash-up of some of "Murphy Brown's" most charming, groundbreaking and iconic moments, some of which retain a startling relevance today. Take this scene, in which Murphy berates a new secretary: "If you are any of the following: a smoker, a manic depressive, a fan of Donald Trump, or a collector of Nazi memorabilia, this isn't going to work," she says. This was 1990.

For Murphy's new morning show, she won't just be battling the "alternative facts and fake news," landscape, but also her own son, millennial journalist Avery (actor Jake McDorman), who hosts a competing conservative morning show. CBS entertainment president Kelly Kahl said that the rivalry between "Fox & Friends" and "Morning Joe" was "pretty good characterization," Deadline reported.

"[Cable news] is populated with all kinds, like the Hannitys of the world and actual journalists too," Bergen said at upfronts. Yet "Murphy Brown" isn't just taking aim at the Fox pundits, but is likely to upset the Donald Trump administration, too. That's not unfamiliar terrain for the sitcom, which famously garnered criticism from vice president Dan Quayle when Brown became a single mom in season 4.

"Bearing babies irresponsibly is simply wrong," he said in May 1992. "It doesn’t help matters when prime-time TV has Murphy Brown, a character who supposedly epitomizes today’s intelligent, highly paid professional woman, mocking the importance of fathers by bearing a child alone and calling it just another lifestyle choice."

Not only did "Murphy Brown" challenge Quayle when it returned that fall in an hour-long episode, but it brought in 70 million viewers, CBS estimated at the time.

So, is Mike Pence next? It's likely, since Murphy cites the election of Trump as the reason she returns to journalism. So it's safe to say that "Murphy Brown 2.0" is ready to face not only Trump and all of his Twitter tirades that will predictably follow, but also the more quiet wrath of Pence and the conservatives who actually run the Republican Party.

A running theme of the teaser is that the returning characters are all wrestling with how to survive and practice journalism under the Trump administration. For producer Silverberg, two years at "The View" nearly broke him, while Fontana can't bear the thought of donning a Lacoste polo and an Ikea tiki torch to infiltrate neo-Nazis for a story. "We had to do something. Get the old gang together," Murphy says in the trailer. "It's our civic duty. And besides, you missed us — you know you did," she says directly towards the camera. A sly smirk barely raises the sides of her mouth, but it's charming as hell.

The 13-episode reboot will air Thursday nights on CBS at 9:30 p.m. beginning this fall, during its comedy bloc with "The Big Bang Theory," "Young Sheldon" and "Mom." The network was candid when asked if it hoped to amass similar viewership numbers to 1980s sitcom revival "Roseanne." "We're extremely hopeful. We'd love to get 'Roseanne' numbers," Kahl said.

Beyond parallel revivals, it will be interesting to see the reception around "Murphy Brown," or if the two reboots will constantly be put at odds. Yahoo has already dubbed the show the "anti-'Roseanne,'" and "full of liberal laughs." Either way, it seems inevitable that come this fall, "Murphy Brown" will be a talker on both sides of the political aisle.

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theprawn
38 days ago
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If this trailer is any indication, this is going to be every bit as good as my wildest hopes if not better. So happy to have Murphy coming back!
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Sony calls time on PS Vita game card production

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The end is nigh for the PlayStation Vita. Sony has revealed that it is calling time on the production of physical PS Vita game cards, marking a significant end-of-life milestone in the console's lifespan.

In a message leaked to Kotaku, and later confirmed by Sony representatives, it's stated that Sony's American and European arms "plan to end all Vita GameCard production by close of fiscal year 2018."

Developers must submit final code by June 28 of this year, and purchase orders by February 15 next year, just a few weeks before the 31 March 2019 financial year cut off point for Sony. 

A troubled life

The Vita hit the scene in 2012 to much fanfare, promising console gaming on the go. And though a powerful device with a lovely screen, it struggled to get a foothold following the rise of smartphone gaming and the then-unexpected resurgence of the Nintendo 3DS.

Pair that with proprietary, prohibitively expensive memory cards and a lack of first-party support, and within a couple of years the Vita's decline seemed terminally inevitable.

It maintains a strong following, especially in Japan, where its niche was found among the RPG community, and its second screen abilities with the PS4 still impress. Its indie game library remains a joy to explore, as does its wide ranging access to PS1 games. But with the Nintendo Switch now dominating the handheld space as a hybrid, the sun is setting on the PS Vita.



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theprawn
38 days ago
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The Vita is one of my favorite consoles, up there with the SNES and also underappreciated GameCube. RIP Vita. We’ll always have Monster Hunter.
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Arrested Development’s Season 4 “Remix” Is an Experiment Gone Horribly Wrong

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Arrested Development just remixed its fourth season. It is terrible.

In 2013, the fourth season of Arrested Development premiered on Netflix. For production reasons including cast schedules and Netflix’s narrative flexibility, creator Mitch Hurwitz tried something new. Rather than a linear story, each episode focused on a specific character with jokes and references that only clicked after watching the whole season.

Fans were angry. They hated the creative storytelling and demanded straightforward chronology, one that reminded them of the first three seasons back in the early 2000s. Hurwitz made the mistake of listening to them.

Last weekend Netflix dropped the Arrested Development Season 4 remix, Fateful Consequences. Hurwitz recut the original 15-episode season into 22 shorter linear episodes. Both versions begin and end the same way, but while one tackles the narrative in an innovative way that challenges the viewers and retains the intellectual rigor of its original three seasons, the other remixes it into sometimes vastly less interesting.

One of Arrested Development’s main attractions is the density of its jokes.
Every minute of the series packs it in, but they’re not just the standard set-up punchline variety. We’ve got callbacks, off-screen references, and recurring gags, basically any joke format that exists pops up at one point or another. After going off the air in 2003, the series only grew in popularity as viewers rewatched over and over, catching weird mentions that only play out seasons later, and creating niche, extremely esoteric theories like that David Cross’ Tobias is really an albino black man.

When the series returned in 2013, those in-jokes persisted. A passing shot of a character’s back, or an overheard bit of dialogue only makes sense after watching it reappear later on. Because it was on Netflix, it was meant to be binged. And because it was Arrested Development, it was meant to be binged a few times. All the jokes only come into focus after multiple watches, they’re meant to be buried below the surface. Apparently, viewers didn’t like that. Now it’s just mostly Ron Howard saying ad nauseum, “Hey, remember that joke? Get it now? Do ya?”

The remix suffers from an aggressive amount of narration. It might as well just be a Ron Howard audiobook. To stitch together all these disjointed but intersecting plots Howard must over-narrate every step of the way, constantly reminding the viewer of all the plot threads stuffed into each 22-minute episode.

The remix trades delayed gratification for cheap shortcuts to punchlines that fall flat without any substance to support them. Instead of indulging in the episode-length jokes and guest star performances central to character-focused episodes, everything gets chopped up and divided across the remix, trying to season each episode with comedy but really just leaving us with the faint taste of a better show on our tongues.

Season 4’s strongest bit player is Maria Bamford as Tobias’ sidekick, a washed-up actress and recovering drug addict. She shines through in his episodes where we get heavy doses of Bamford’s bleak and twisted style, but in the remix her performance is spaced out, transforming her character into someone pitiful and painful to watch.

Isla Fisher guest stars as Ron Howard’s daughter, and while the first version of season four quickly throws her in the mix by episode two so small side jokes throughout the season land, the remix first shows her to us in some odd decontextualized PSA jokes that make zero sense to a viewer unfamiliar with the character.

The remix of the fourth season only really works for those who’ve already seen the original (still available on Netflix, although bizarrely hidden under the “Trailers and More” tab). It’s basically an idiot’s guide to Hurwitz’s style and undermines the skill with which he crafted it the first time around. Just look at his other recent production for Netflix. Lady Dynamite, starring the genius Maria Bamford, eschews linear storytelling by leaping between past, present and future with increasing speed as the series plays out because the comedy doesn’t come from where the characters end up, it comes from how they get there.

Mitch Hurwitz tore apart a great season of television simply because viewers didn’t like it. Now we’re stuck with a misshapen garbage heap of comedy remnants. I hope they learned their lesson.

[Ron Howard voiceover]: They did not.



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theprawn
41 days ago
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Yes.

Season 4 was brilliant, a rare gem that was best watched twice back to back. The remix is watchable, but barely.
MotherHydra
41 days ago
This made me sad, I *was* going to watch the remix but I'm definitely turned off to the idea now.
DMack
40 days ago
Season 4 was good, the remix is fine, I'm enjoying it now just because it's been 5 years since I saw S4 and it's reminding me how good that was. The biggest mistake was putting a show like AD on a platform where everybody puts netflix on in the background and doesn't pay attention to the show :P
theprawn
38 days ago
I take back "but barely". It's okay. It's not anywhere near as good as S4 and is a bit redundant in a way less clever than the original. With too much voice over. But it's probably worth while if you haven't watched in a while.
theprawn
38 days ago
Either way, gotta watch one version or other before season 5 launches!
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fxer
40 days ago
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faaak I love AD but there is an ocean of great TV out there. I've gotta binge watch the same season several times in a row to make it "click"?

"innovative" and "intellectually challenging" aren't the first terms that come to mind.
Bend, Oregon
sirshannon
40 days ago
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I was disappointed after 1 episode of season 4. Disgruntled after 2 episodes. Didn't continue watching after 3 episodes.

Maybe this remix will make it worth another attempt.
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